The document describes an outline for a play about a meeting of a leftist insurrectionary group called The Everyone that dissolves into chaos. The meeting begins naturally but divisions arise over their plans. As arguments intensify, the space transforms and performers represent revolutionary visions. However, the group cannot understand each other and splinters apart. They reconvene exhausted and disbanded, transitioning to a discussion about the relationship between art and politics.

1. EXPLODE
EVERYONE
AGREES IT'S
ABOUT TO
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
EES IT'S ABOUT TO EXPLODE
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EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
EVERYONE AGREES IT'S ABOUT TO EXPLODE
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2. Structure
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Pt 1: Meeting
Pt 2:
Chaos
Pt 2:
Chaos
Pt 2:
Chaos
Pt 2:
Chaos
Pt 2:
Chaos
Pt 2:
Chaos
Pt 2:
Chaos
Pt 3:
Dissolution

3. Outline
Meeting
a. The Everyone, a leftist insurrectionary collective, plans to hold an illegal meeting in an empty dance studio.
b. Veteran members of the group (the performers) meet new recruits (the audience) at various pickup locations near the
studio. One by one, the groups trickle in to avoid suspicion.
c. The space is huge and dark. Characters have flashlights. They find some lights and chairs and set them up in one corner,
but most of the space is dark and unexplored. We are basically huddled in a corner.
d. The meeting is naturalistic, a little unorganized, a little ineffectual/bureaucratic, but there’s a lot of heart! There are
clearly distinct, informal factions within the group.
e. References are made to a leader. He was here once, but is now gone. Lenin situation. All of the characters seem to
fashion their stances off of his, but they all interpret him differently.
f. A number of topics are discussed, some more heatedly than others. Plans are laid. The audience should feel dropped
into a culture/discussion that’s been developing for months. Some of the signals and symbols and words should confuse
them.
g. A particularly divisive issue takes hold of the group -- perhaps about their next planned “action”, perhaps someone has
been in secret contact with the leader, or something else.
h. Stakes are so high that performers start to jump to their feet. Battle lines are drawn.
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4. Outline
Chaos
a. The space begins to open. Flashlights are used to make more space accessible.
b. Someone turns music on.
c. Arguments totally splinter the group, we now have several camps that are using the language of “us or them”/”starting
our own group” etc
d. We start to transition from diegetic lights/sound to something more theatrical and surreal. The space feels alive with the
energy of revolution.
e. Divisions continue to arise, each performer becomes more stubborn, more irrational, more infuriated, more terrified, etc.
The realism of pt 1 is exchanged for something more expressive and stream-of-consciousness. We move from the
political to the personal.
f. Each character should have a brief moment where they feel like they are in absolute power and can do whatever they
want.
g. The music has become warped and dissonant -- aural dystopia.
h. Performers aside from the main ensemble begin to appear from the darkness: visions of a revolutionary future.
i. Eventually everyone is alone. We peak at 11, and then: a sobering effect as the music shifts. Performers run into each
other. They see each other in pairs and are unable to speak, unable to comprehend. No one’s signs or symbols are
reading to each other. It’s an encounter with the real, it’s agnosia, it’s total dysphoria, it's the tripping horror of seeing
yourself in the mirror and not recognizing the image.
j. Words finally come, slowly, SLOWLY amends are made, not because people agree, but because people are too tired to
continue like this.
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5. Outline
Dissolution
a. The group is hungover, empty. Exhausted, they begrudgingly come back together. Discussion resumes, but it’s a token.
No one believes in this group any longer.
b. Slowly, very slowly, the characters begin to disintegrate and the “actors” are revealed. Are we the group talking or are we
talking about the group? It’s unclear for a bit, but eventually the character are gone, along with The Everyone and the
show itself.
c. We have transitioned from talking about the revolution to talking about the relationship between theater/art and
radical politics. “What can theater change? What are its limits? Where does art end and politics begin?”
d. Audience may have been speaking throughout, but now explicit space is made for the audience voice.
e. The house lights come up, the bar cart rolls out. As the audience engages, the space around them sheds the last
evidence of the show. We are now having a post-show discussion. The discussion is allowed to fracture and dissolve
naturally.
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