In an earlier blog, Mr. Throttlebottom-Smith, a mischievous Capuchin monkey, invaded MOBY DICK.
In this blog, he returns to invade a series of dramas, including Who's Afraid of Virginia Woolf, Long Day's Journey Into Night, The Glass Menagerie, a play about Einstein/1905, Our Town, and Death of a Salesman.
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Provide a retelling of the famous play Who’s Afraid of Virginia Woolf. In the new version, George and Martha have a pet capuchin monkey named Mr. Throttlebottom-Smith. The monkey’s drive for attention is relentless. His amusing antics become a b-plot for the play, and carry on throughout the night. Provide a synopsis.
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Who's Afraid of Mr. Throttlebottom-Smith?
Synopsis:
As evening sets on a small New England college town, George and Martha prepare to welcome a young couple, Nick and Honey, to their home for some late-night drinks. Unknown to the young couple, they're not just the only guests; the couple’s pet capuchin monkey, Mr. Throttlebottom-Smith, is ready to steal the show.
From the very beginning, as the doorbell rings and the young couple enters, Mr. Throttlebottom-Smith swings down from the chandelier, welcoming Nick and Honey in his own amusing, mischievous way. George and Martha's already tumultuous relationship is intensified by their constant need to tend to or scold Mr. Throttlebottom-Smith, as he playfully interrupts the evening’s brewing drama.
While George and Martha engage in their iconic games of "Humiliate the Host" and "Get the Guests", Mr. Throttlebottom-Smith has a few games of his own. He's seen snatching Honey's purse, leading to a hilarious chase around the house. Later, as tensions rise with secrets being spilled, Mr. Throttlebottom-Smith surprises everyone by producing a small stash of baby toys from behind the couch, hinting at the illusion of George and Martha's child. This humorous distraction momentarily diffuses the rising tension but soon the emotional battles resume.
Nick, trying to stay professional, finds himself constantly distracted by Mr. Throttlebottom-Smith’s antics. In a particularly memorable moment, as Nick tries to engage in an intellectual conversation, the monkey cheekily mimics him, causing even the uptight Honey to burst into laughter.
Martha, often amused by her pet's antics, occasionally tries to divert the conversation towards Mr. Throttlebottom-Smith's latest tricks when things get too heated. But even she can't control him when he suddenly begins a raucous dance to the tune of "Who's Afraid of Virginia Woolf?", adding a layer of dark humor to the scene.
As dawn approaches, the toll of the evening's revelations, coupled with the exhaustion of chasing after a spirited monkey, leaves all four characters emotionally drained. The final act closes not with George and Martha's usual banter, but with a rare moment of unity as they watch Mr. Throttlebottom-Smith finally fall asleep in the middle of the living room floor.
In this retelling, Mr. Throttlebottom-Smith serves as both comic relief and a metaphorical representation of the chaos and distraction present in George and Martha’s relationship. His relentless drive for attention echoes the couple's desperate need for validation and acknowledgment from each other and their guests. Despite the chaos, the presence of the monkey adds a layer of absurdity and humor to the otherwise dark and dramatic events of the evening.
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Provide a retelling of the famous play Long Day’s Journey into Night. In the new version, the Tyrone family has  a pet capuchin monkey named Mr. Throttlebottom-Smith. The monkey’s drive for attention is relentless. His amusing antics become a B-plot for the story, and carry on throughout the night. Provide a synopsis.
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"A Long Night's Monkey Business"
In a rustic home overlooking the sea, the Tyrone family navigates their deep-seated tensions and secrets, but there's a new, mischievous element at play: their pet capuchin monkey, Mr. Throttlebottom-Smith.
As the day progresses, James Tyrone, the patriarch, grapples with his fading acting career and the financial strain it has put on the family. Meanwhile, his wife Mary hides a devastating secret about her health and ongoing addiction. Their sons, Jamie and Edmund, each struggle with their own personal demons. But amidst this heavy atmosphere, Mr. Throttlebottom-Smith constantly weaves in and out of scenes, attempting to lighten the mood with his tricks and antics.
During a tense argument about Edmund's health, the monkey snatches Mary's glasses, making her chase him around the living room. This momentarily breaks the tension, making the family laugh, even if it's just for a brief moment.
As Jamie confesses his jealousy of Edmund's talent, Mr. Throttlebottom-Smith mischievously throws a banana peel in his path, leading to an unexpected comedic fall. This act, while funny, serves as a metaphor for Jamie's self-sabotage.
Late into the night, as Mary delves deeper into her addiction and becomes more detached from reality, the monkey tries to draw her attention by juggling items from her vanity table. For a fleeting moment, the monkey's antics ground Mary back to the present, highlighting his role as a temporary escape from the family's woes.
By the end of the play, as dawn approaches, the Tyrone family is mentally and emotionally exhausted. Mr. Throttlebottom-Smith, in one final act, gathers the family together by stealing a family photo and placing it prominently in the living room. The family's laughter and reminiscing, prompted by the monkey's mischief, offers a glimmer of hope for reconciliation.
Despite the sorrow and tragedy of the Tyrone family's story, Mr. Throttlebottom-Smith serves as a reminder that even in the darkest times, there can be moments of levity and joy. The monkey's presence does not negate the play's deep-seated themes of regret, addiction, and familial ties, but rather offers brief respites, reminding viewers of the duality of life's pain and pleasure.
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Provide a retelling of the famous play Glass Menagerie.
In the new version, the family has pet capuchin monkey named Mr. Throttlebottom-Smith. The monkey’s drive for attention is relentless. His Amusing antics become a b-plot for the play, and carry on throughout the night. Provide a synopsis. 
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The Glass Menagerie: Mr. Throttlebottom-Smith's Antics
In this reimagined version of Tennessee Williams’ classic, “The Glass Menagerie”, the Wingfield family is still struggling with the hardships of life during the Great Depression in St. Louis. Amanda, the matriarch, often reminisces about her past as a Southern belle, hoping for a better future for her two children, Tom and Laura. Laura, who is painfully shy and slightly crippled, escapes into her world of glass figurines. Tom, the play's narrator, is frustrated with his life and dreams of adventure.
Amidst these known dynamics, there's the ever-present Mr. Throttlebottom-Smith, their mischievous capuchin monkey.
Act I
The play opens with Tom introducing the characters, just as in the original, but now with an added comedic interruption by Mr. Throttlebottom-Smith stealing his shoe. Amanda, while talking about her past, is interrupted by the monkey making faces, much to her dismay but to the audience's delight.
Laura's crippling shyness is contrasted with the monkey's fearlessness, adding layers to the character dynamics. At one point, Laura tries to teach Mr. Throttlebottom-Smith how to arrange her glass menagerie, only to have him mischievously rearrange them when she's not looking.
Act II
Tom's frustrations with his warehouse job are amplified when he has to deal with Mr. Throttlebottom-Smith's antics like stealing his lunch or playing with his work tools. Amanda's insistence that Laura find a suitor becomes even more pressing when Mr. Throttlebottom-Smith keeps escaping and Amanda believes a man around the house could help keep the monkey in check.
Tom arranges for Jim O'Connor, a coworker, to visit for dinner. As preparations are made, Mr. Throttlebottom-Smith creates chaos, spilling ingredients and tangling up the dinner table set.
Act III
The night of Jim's visit is where Mr. Throttlebottom-Smith's antics reach their peak. He escapes his confinement several times, once stealing Jim's hat, and another time interrupting a dance between Jim and Laura. In the emotional climax where Jim accidentally breaks one of Laura's glass figurines, Mr. Throttlebottom-Smith tries to "fix" it, further complicating the scene.
As the night ends and Jim reveals he is engaged to be married, breaking Laura’s heart, Mr. Throttlebottom-Smith consoles her in a rare tender moment, gently offering her a piece of the broken glass figurine.
Act IV
Tom eventually leaves the family to become a merchant sailor. He narrates the ending, talking about his inability to escape the memory of Laura. In this version, however, Mr. Throttlebottom-Smith has stowed away with him, indicating that while Tom can run from his family, he cannot escape the chaos and unpredictability of life, symbolized by the monkey.
In this reimagining, the presence of Mr. Throttlebottom-Smith introduces comedic relief but also serves as a constant reminder of the unpredictability of life. The monkey's actions, while humorous, highlight the family's vulnerabilities and accentuate their individual struggles in a unique and entertaining way.
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Write a detailed synopsis for the play Einstein 1905, about the year when Einstein struggles with an unhappy marriage, and writes five groundbreaking new physics papers in Switzerland, while working at the patent office. However, in a fictional twist, the Einstein family has a pet capuchin monkey Named Mr. Throttlebottom-Smith, his tireless and mischievous antics and enliven the year.
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Einstein 1905: A Year of Genius and Monkey Business
Setting: Switzerland, 1905. The backdrop of Einstein's home and the patent office intermingle with the vistas of Swiss landscapes.
Act 1:
The curtain rises to a modest living space. Albert Einstein sits at his desk, scribbling furiously, surrounded by mounds of papers. The tension between Einstein and his wife, Mileva Maric, is palpable. Their toddler son, Hans Albert, plays in a corner.
Enter Mr. Throttlebottom-Smith, their capuchin monkey, swinging from a chandelier, drawing laughter from the audience and Hans Albert, but a stern look from Mileva.
Albert and Mileva have a heated argument about their marriage and financial struggles, punctuated by the monkey's antics, which both breaks and exacerbates the tension. By the end of Act 1, despite their differences, Albert and Mileva show signs of coming together for their son's sake.
Act 2:
At the patent office, Einstein discusses his ideas with his colleagues, who are both dismissive and intrigued. In between serious conversations about the nature of light and space, Mr. Throttlebottom-Smith creates chaos, escaping from Einstein's bag, and scattering papers and blueprints.
Back at home, Einstein finds solace in his work, writing his groundbreaking papers. Mileva, a brilliant physicist in her own right, provides critical feedback but also voices her frustration about her overshadowed role.
The monkey, meanwhile, plays a symbolic role, embodying Einstein's restless mind and tireless quest for knowledge. His mischief serves as a metaphor for Einstein's disruptive ideas in the scientific community.
Act 3:
The strain on the Einstein family reaches its zenith. Mileva feels trapped in a life she never envisioned, and Albert is consumed by his work. Their confrontation is emotional, raw, and relatable.
However, a pivotal scene follows where Einstein, while chasing Mr. Throttlebottom-Smith who stole one of his papers, has an epiphany about the nature of relativity. This comical chase scene ends with a powerful moment of realization.
Act 4:
Einstein’s papers begin to gain recognition. As he stands on the precipice of international acclaim, the couple confronts the future of their relationship. Their love for their son and shared passion for physics unites them, even if temporarily.
The play closes with the Einstein family and Mr. Throttlebottom-Smith, sitting together in a rare moment of peace. The monkey, calm for once, nestles into Einstein's lap as he reads one of his papers aloud, signifying that even amidst chaos, there is a place for understanding and unity.
End.
Through humor, heartbreak, and scientific wonder, "Einstein 1905" takes audiences on a journey into the personal and professional struggles of one of history's greatest minds, with a fictional twist that adds a touch of whimsy to a transformative year in the physicist's life.
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Write a synopsis for a reimagined version of the classic play "Our Town." The play is largely as it always was, but the character of the narrator is given a sidekick, which is a playful and mischievous, capuchin monkey who is able to cross back-and-forth between the narrator and the main body of the play, on the stage, which represents the town or ultimately the cemetery. The antics of the monkey Mr. Throttlebottom-Smith, make for a substantial new B plot for the play Our Town.
Title: Our Town: Mischief in Grover's Corners
Synopsis:
In this reimagined version of Thornton Wilder's classic play, the ever-present Narrator, who guides us through the life and times of the small town of Grover's Corners, now has an unexpected sidekick: a capuchin monkey named Mr. Throttlebottom-Smith.
Act I - Daily Life: As we’re introduced to the ordinary lives of the Webb and Gibbs families, Mr. Throttlebottom-Smith the monkey playfully moves between the stage and the narrator, blurring the line between the observational world and the reality of Grover's Corners. He occasionally interacts with the townspeople, causing small and comedic disruptions, like stealing Mrs. Gibbs' freshly baked pie or tangling up the children's jump ropes. Though Mr. Throttlebottom-Smith's antics occasionally steal the spotlight, they amplify the everyday joys and sorrows of the town's residents.
Act II - Love and Marriage: As George and Emily’s love story unfolds, Mr. Throttlebottom-Smith gets involved in their romance in delightful and unexpected ways. When George nervously waits to declare his feelings for Emily, Mr. Throttlebottom-Smith lightens the mood by stealing his hat or playfully pulling on his trouser leg. At their wedding, Mr. Throttlebottom-Smith manages to grab the wedding bouquet, leading to a hilarious chase around the church. However, Mr. Throttlebottom-Smith's antics serve a deeper purpose, highlighting the unpredictability and fleeting nature of love and life.
Act III - Death and Eternity: In the somber third act, Mr. Throttlebottom-Smith's antics are toned down, but he plays a crucial role in bridging the living and the dead.
As Emily revisits her 12th birthday after her untimely death, Mr. Throttlebottom-Smith guides her through her memories, highlighting the importance of cherishing every moment. At the cemetery, Mr. Throttlebottom-Smith interacts with the spirits, acting as a beacon of light in the midst of darkness and helping the audience find solace in the cyclical nature of life and death.
Throughout the play, Mr. Throttlebottom-Smith becomes not just a source of humor but a symbol of life's unpredictable, fleeting, and often playful nature. By adding this new layer to the story, this version of "Our Town" invites audiences to embrace the chaos, find joy in the mundane, and cherish every moment.
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Write a synopsis of a new version of DEATH OF A SALESMAN. The Loman family has a new member, in addition, which is a mischievous and attention-seeking Capuchin monkey, Mr. Throttlebottom-Smith. In the new version, the monkey is actually the central character, and suffers from doubts about his role in the family. Is he really a member, or a sort of simian patriarch, or just a mischievous clown? Ultimately, it is Mr Throttlebottom-Smith who ends it all, by jumping out a window, but since he is a monkey, he survives and scrambles down a tree and into the night.
Include the classic lines, "Attention must be paid to such a monkey," and "He wasn't just liked, he was well-liked."
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Death of a Salesmonkey: A Modern Parable
In a busy New York City apartment, amidst the familiar sounds of a bustling city, a new member has been added to the Loman family – a capricious Capuchin monkey named Mr. Throttlebottom-Smith. The narrative takes a different twist as the spotlight shifts from Willy Loman to this peculiar little creature.
Mr. Throttlebottom-Smith, with his shiny eyes and almost human-like expressions, is an instant sensation in the Loman household. But unlike most pets, he is highly introspective. From the start, he grapples with his role in the family: Is he a true Loman? A patriarchal figure to replace the faltering Willy? Or merely a diversion, a simian jester brought in to distract from the family's deeper problems?
Willy, the aging salesman, views the monkey as an embodiment of everything he wishes he could be - nimble, witty, and at the center of attention. Mr. Throttlebottom-Smith’s antics, however mischievous, earn the admiration of the neighborhood kids and friends. Linda, hearing people gushing about the monkey, says with a hint of irony, "He wasn't just liked, he was well-liked."
But as the days roll on, the monkey's mischief escalates, from swiping food to creating chaos in the neighborhood. The Loman family, especially Biff and Happy, grow increasingly frustrated, often blaming Willy for introducing this chaos into their lives.
Mr. Throttlebottom-Smith, for all his antics, possesses an acute emotional intelligence. He feels the family's resentment, the suppressed anger, and the pervasive sadness. Most of all, he senses his own displacement, the realization that he's neither wholly a pet nor a family member.
One evening, after a particularly heated argument between Biff and Willy, with the monkey's antics as the trigger, Linda cries out, echoing her iconic lines, "Attention must be paid to such a monkey!" She recognizes, perhaps better than anyone, that Mr. Throttlebottom-Smith’s behavior is a reflection of the family’s own dysfunctions.
The play reaches its climax when, after another tumultuous family dispute, the little monkey, overwhelmed and confused, jumps out of a window in an act of desperation and despair. But, leveraging his simian agility, he clings to a branch and clambers down the tree, disappearing into the night, leaving the Loman family to face their issues without the distraction he provided.
The story concludes with the Loman family, bereft of their simian member, finally confronting the underlying issues that have torn them apart. Mr. Throttlebottom-Smith, through his escape, forces them to face their own truths, making him the unlikely hero of this reimagined tragedy.
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AMPHIBIAN
Rewrite DEATH OF A SALESMAN as DEATH OF A SALAMANDER, the play taking place in an amphibian family. Make any other necessary changes so the plot makes sense.
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Death of a Salamander
Set in a vast, damp marshland, the play revolves around Willy Lomander, an aging salamander who has spent his life swimming through various ponds and streams, trying to secure territories and food resources for his family. Once respected and admired for his ability to find the best nesting spots and most nutrient-rich waters, time and the evolving marshland have made him less effective in his pursuits.
Linda, Willy's devoted mate, watches with a heavy heart as Willy struggles. Their tadpoles, Biff and Happy, are now grown, their gills receding, and with legs strong enough to venture on land. Biff, once the most promising of his brood with dreams of owning a vast stretch of marshland, now hops aimlessly from one pond to another. Happy, on the other hand, is more content, finding joy in smaller ponds, but often exaggerating his conquests to impress others.
Willy has always been obsessed with his image in the amphibian community. He often reminisces about a time when he was a young, vibrant salamander, reminiscing about Salley, the legendary amphibian who had territories in all the major ponds and was known to every creature in the marsh. Willy's dream was for his sons, especially Biff, to have territories even grander than Salley.
However, as the marsh changes with human encroachment, and younger, more adaptable amphibians come into the scene, Willy feels the pressure. He recalls an old friend, Bernard, a toad who always seemed to understand the changing environment and advised Willy to adapt. But Willy, stubborn and rooted in his old ways, refused.
Biff discovers a secret that shakes his admiration for his father: during one of his territorial explorations, Willy had ventured into a forbidden pond, which is why he was losing his territories. This revelation creates a rift between father and son.
The climax occurs one fateful night when, after a confrontation with Biff, a heartbroken Willy decides to leave the safety of his pond, venturing onto the land during daylight – a fatal decision for a salamander. He believes his sacrifice will grant his family the territories they need.
The play concludes with a somber gathering of various marsh creatures. Linda, with tears in her eyes, laments, "Attention must be paid to such a salamander." Biff resolves to understand and adapt to the changing marsh, while Happy decides to continue his father's dream, not understanding the true lessons of his father's life.
"Death of a Salamander" serves as a poignant parable about the dangers of not adapting to a changing environment and the cost of holding onto illusions of grandeur.
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CHANCELLOR BISMARCK
Death of a Chancellor
Set against the backdrop of late 19th-century Germany, Wilhelm Loman, formerly known as Otto von Bismarck, reflects on his life's achievements and battles both public and internal. As the "Iron Chancellor," Loman unified the fragmented German states, subdued France in the Franco-Prussian War, and deftly manipulated European politics to elevate Germany to a world power.
At the height of his power, he held court with kings, emperors, and statesmen. Yet, like Willy Loman's obsession with being well-liked, Wilhelm Loman is plagued by an insidious doubt. Was he respected? Was he feared? Most importantly, was he loved by his people?
As he navigates the twilight of his career, overshadowed by the young Kaiser Wilhelm II, Loman becomes increasingly detached from the rapidly changing political landscape of Germany. His old strategies and alliances no longer hold sway. The world around him seems to value youthful aggression over experience and diplomacy.
His family, consisting of his ever-supportive wife Linda and two sons, Biff and Happy (representing segments of German society or political factions), bear witness to his decline. Biff, once the apple of Loman's eye, grows increasingly disillusioned with his father's outdated worldview, while Happy, ever the idealist, clings to the fading glory of the past.
The tension comes to a head when Loman's attempt to stage a political comeback falters. He is unable to rally the support of his old allies, and his strategies are deemed outmoded. In a heart-wrenching confrontation, Biff challenges Loman's legacy, leading to Loman's realization of his own obsolescence.
Despondent and seeking escape from his perceived failures, Loman attempts to salvage his legacy through one final grand gesture. However, the world has moved on, and his influence is no longer what it was.
As the tragedy unfolds, Linda, heartbroken, laments, "Attention must be paid to such a chancellor." The narrative serves as a poignant exploration of the fleeting nature of power, the quest for validation, and the inevitable march of time. It stands as a testament to the personal costs of public life and the weight of a legacy.
