The play begins in front of closed curtains. The playwright describes the setting thus: _“A curtain with the faded Cross of St George. A proscenium adorned with cherubs and woodland scenes. Dragons. Maidens. Devils. Half-and-half creatures. Across the beam: — THE ENGLISH STAGE COMPANY —“ _ A drum starts to beat, accordions and pipes strike up, and the house lights come down.
A fifteen year-old girl, Phaedra, walks to center stage in front of the curtain. She is dressed like a fairy. She curtsies to the audience and sings, unaccompanied, the opening verses of “Jerusalem”, a poem by William Blake that has music by Sir Hubert Perry. After singing a verse, she smiles, pulls a string attached to her costume that makes her fairy wings flap, and continues her song. As she sings, “And Jerusalem was builded here, / Among those dark satanic --” loud, pounding music rings out, and Phaedra flees the stage. The curtain rises.
A clearing of a moonlit wood in England. It is midnight. At the back of the set stands an old, somewhat dilapidated mobile home. Deafening music is pumping from inside the trailer and through speakers on its’ roof. The stage is dark, save for a pulsating strobe light. A raucous party is occurring. People are dancing inside and outside the trailer in wild, abandoned fashion. They shout to be heard above the music, but the noise is too deafening for anything to be heard.
The stage lights go black as the music continues, and then melts into a bird’s song.
It is now morning. Full stage lights rise on the mobile home. It is evident that trailer is a permanent resident of the clearing. The old flag of Wessex (the Anglo-Saxon kingdom of southern Great Britain that existed during the Middle Ages) flies proudly: a golden dragon against a red background. An old, rusted railway sign reading “Waterloo” is screwed to the trailer’s side. On the trailer’s front porch sits an impressive array of junk: a shabby, moldy couch, an old hand-cranked