Ditto short description. Certain other personages are mentioned: Natalie Portman, Kate Winslet, Mel Gibson, Russell Crowe, June Allyson, Dick Powell, Ronald Reagan, Harvey Keitel, Robert de Niro, Larry King, Madonna, Stella Adler, Isabelle Huppert, and several others briefly mentioned.
Acting, drama, Hollywood, sex, marriage and John Hinckley are discussed. Several movie storylines are laid out.
The plot is somewhat farcical, suggesting Natalie Portman as a cinematic scapegoat for Foster's angst and iconic place in American culture. A pop psychoanalysis suggests Foster is a nymphomaniac hiding behind a counterculture alternate lifestyle. The main theme spins around a Jungian pattern of synchronicity between the author and the title character with the object of improving the author's life: sex, money and helpmate for the trials of life in an often harsh and perverse world. The play is somewhat dark (so many plays are) and is neither flattering to the author nor to Foster.
The joke in Hollywood is: Did you hear about the actress who was so stupid that she dated a writer? One supposes these are aspiring actresses and not established stars with less need for networking for job career enhancement. The tongue in cheek retort would be: Did you hear about the screenwriter who was so stupid that he dated an aspiring actress? Actresses and writers go together like horse and carriage, but this costs money. The subsistence percentage income level for writers wishing to make a living at it is doubtless considerably worse than the 90% unemployment rate for actors, especially when you include non-union wannabes. Perhaps stand-up comics have a harder time. The harvest is small and the reapers many, and so the play is a waste of time from an odds point of view. But writing is its own reward and Foster is not the only girl in town. It beats internet dating. Sure you can write there but it is too ad lib. The actresses write their own dialog. They say writers are no longer allowed on movie sets. Good! Screenplays annoy me. I have one stage direction: long shot, mid shot, close-up. Nobody sticks to the dialog and happenstance changes everything. The first casualty in the cinematic battle is the script. Don't bother me. Except for a short skit involving Foster years ago, I have never even bothered to write one. Some writer!
Hope you enjoy it.
P.S. This would be a much better play if Foster edited it beforehand. I just know she would make a good editor.