Floating Cherry

No last names. No fixed answers. Memory refuses to hold still.

In Floating Cherry: A Stage Play, Julie and David move through fragmented conversations shaped by memory, paper records, names, ceremonies, education, and events spanning different decades. Around them, Rabbit and Absalom emerge from projected images as the play shifts among classrooms, restaurants, street corners, taverns, and other changing settings. A slideshow forms a recurring visual backdrop, allowing photographs, historical events, and personal memories to appear and vanish as the characters speak.

September 11, school violence, war, identity, language, family, sexuality, religion, education, and the repeated idea of what "stays on file" move through the play without resolving into simple explanations. Words such as "queer," "groom," and "baggage" take on shifting meanings, while names including Smith, Ramone, Solomon, Julie, and Sinead recur and change in significance. Punch Buggy enters unpredictably with slogans, songs, advertising-like refrains, and humor, adding another layer to the play's collage of memory, culture, and performance. 

Influenced by the theatrical and poetic tradition Peter E Bozic associates with Federico Garcia Lorca, including Yerma and Blood Wedding, Floating Cherry uses fractured dialogue, music, projected imagery, and shifting time to create a deliberately unconventional theatrical experience. The play asks the audience to listen closely to what is remembered, repeated, changed, and left unresolved.