Love, Lies & The Doctor's Dilemma

SANDY (Age 45) – Originally Joan’s gardener, but now the love of her life, he is a laid-back, affable man with a seemingly mild demeanor. Reluctantly acquiescing to the deception of being a psychiatrist, he is forced to listen and give misguided advice, which appears to be effective, with all who want a session with him. Pivotal to the plot, he is the glue which holds all Joan’s little white lies from being revealed. Good-natured, likeable, apprehensive, accommodating.

VINNY “THE ENFORCER” (Age 40+) – From his attire to his speech, he epitomizes the classic Italian mobster. Despite his tough exterior and intimidating demeanor, he reveals a surprisingly sensitive side. He becomes interwoven in the plot as his primary objective is locating Joan’s son for the mob, however he becomes captivated by Olivia and requires guidance from Sandy, the psychiatrist. Intimidating, menacing, conflicted, bungling.

OLIVIA ST. CLAIRE (Age 40+) – Joan’s former sister-in-law and a prosperous, aging movie star. Thinking herself well-intentioned, her overbearing, arrogant demeanor exerts authority over everyone, particularly Joan. Captivated by Vinny, she becomes entangled in the intricate web of fabrications, adding hilarious moments throughout the play. Condescending, imposing, dominant, articulate.

RACHAEL (Age 20+) – Joan’s new neighbor resides in her own distinctive world. Curious and whimsical, she has a penchant for overstepping boundaries. Her frequent tales of calamitous incidents leave others to wonder how she effectively maneuvers through life. Despite her shortcomings, she proves to be a sweet, considerate, kindhearted woman. Her clever verbal malapropisms generate many comedic moments. Sincere, innocent, sociable, carefree.

CHRIS (Age 20+) – Joan’s son projects an outward appearance of unemployment and carefree living, when in fact, he is employed by the FBI as an undercover agent to take down the mob. To shield Joan from this reality, he goes along with her little white lie that he is her long-lost daughter Christina, assuming the role, complete with disguise and humorous outcomes. He engages in numerous physical entertaining moments that contribute to the comedy of the play. Secretive, adaptable, caring, playful.

If necessary, the character of Chris could be portrayed as Joan’s brother instead of her son, in case casting a younger actor proves challenging. In this scenario, Rachael’s character would need to be played by an actress who could convincingly serve as an appropriate romatic interest. The author is open to providing word adaptations to accommodate this adjustment.