Sure Thing By David Ives: A Modern Farce

Understanding "Sure Thing"

Sure Thing is a short, one-act play by David Ives, renowned for its witty dialogue, clever premise, and exploration of communication (and miscommunication) in modern relationships. This play, often performed in college and community theater settings, presents a deceptively simple scenario that quickly unravels into a hilarious and insightful look at how we interact, connect, and sometimes fail to connect with others. The play revolves around two characters, Bill and Claire, who meet at a cafe, presumably for a first date. What makes Sure Thing so unique and engaging is its structure: the dialogue is designed to loop, reset, and repeat, mirroring the awkwardness, hesitation, and the endless possibilities of a first encounter. Bill and Claire find themselves stumbling over their words, restarting conversations, and navigating the delicate dance of getting to know someone new. Ives masterfully uses repetition not just for comedic effect, but to highlight the universal experience of trying to find the right words, the right approach, and the right moment to reveal oneself. It’s a testament to the playwright’s skill that a simple cafe meeting can become such a rich landscape for exploring human behavior. The dialogue is sharp, rapid-fire, and full of relatable moments of social anxiety and the desire to make a good impression. Each restart of the conversation brings a subtle shift, a new attempt at connection, and a renewed sense of hope, only to be met with another conversational dead end or a playful, almost meta-textual, interruption from the unseen stage manager, who acts as a cosmic force guiding (or perhaps hindering) their progress. This element of the stage manager is crucial; it breaks the fourth wall and emphasizes that their dialogue is not entirely organic but also a constructed, almost experimental, process. The repetition allows the audience to see how small changes in phrasing or approach can lead to vastly different outcomes, illustrating the butterfly effect of our words and actions. It’s a play that makes you think about your own first dates, your own conversations, and the intricate ways we try to build bridges between ourselves and others. The humor arises from the characters' persistent, yet often futile, attempts to break free from the conversational loop, to say something original, or to achieve a genuine connection. Yet, despite the endless resets, there's an underlying optimism. Bill and Claire, though trapped in their verbal labyrinth, continue to try, showing a fundamental human drive for connection. Sure Thing is a delightful and thought-provoking piece that, in its brevity, packs a significant punch, leaving audiences chuckling and contemplating the art of conversation.

The Mechanics of Repetition and Miscommunication

*The core brilliance of Sure Thing lies in its innovative use of repetition and its exploration of miscommunication. David Ives doesn't just repeat lines for a cheap laugh; he uses the recursive nature of the dialogue to dissect the very fabric of first-date awkwardness and the inherent challenges of verbal expression. Imagine meeting someone new; you rehearse opening lines in your head, you second-guess your responses, and you often find yourself rephrasing things or wishing you could take back a word. Ives takes this universal experience and amplifies it, creating a theatrical space where the characters are literally stuck in a loop. Bill and Claire are constantly hitting conversational walls, only to find themselves back at the beginning, trying a slightly different approach. This isn't just about forgetting what to say; it's about the struggle to articulate complex feelings, intentions, and desires in a way that will be understood and reciprocated. The play becomes a meta-commentary on the limitations of language. How often do we say something, only to realize it didn't convey what we truly meant? How many times have we initiated a conversation only to have it fizzle out due to a misunderstanding or a poorly chosen word? Ives's characters grapple with this directly. Bill might try to be smooth, but his line comes out stilted. Claire might attempt to be coy, but her response is misinterpreted. Each reset, prompted by the unseen stage manager, is like a cosmic 'undo' button, giving them another chance. But the paradox is that even with infinite chances, achieving genuine connection remains elusive. The repetition also highlights the performative aspect of first encounters. We are all, to some extent, playing a role, trying to present our best selves. The characters in Sure Thing are hyper-aware of this, constantly tweaking their performance, trying on different personas, and searching for the perfect line that will break the spell. This mirrors our own anxieties about making a good impression. The humor, therefore, isn't just in the absurdity of the situation, but in the recognition of our own struggles. We see ourselves in Bill and Claire's fumbling attempts. The play brilliantly captures the feeling of being on the verge of a breakthrough, only to be pulled back by the need to start over. It’s a profound look at how difficult it can be to truly hear and be heard in the initial stages of getting to know someone. The stage manager's interventions, with phrases like "No, that's not it," or "Try again," further emphasize that this isn't just a natural conversation; it's an experiment in communication. It forces the audience to consider the invisible forces and internal scripts that guide our interactions. Ultimately, Sure Thing uses its repetitive structure not to frustrate, but to illuminate the intricate, often comical, and sometimes poignant, journey of human connection through the power and peril of words.

Characters and Their Dynamics

The characters in David Ives's Sure Thing, Bill and Claire, might seem like archetypes of the modern dating scene, but Ives imbues them with just enough relatable humanity to make their repetitive predicament both hilarious and poignant. Bill, often the initiator of the conversations, embodies the hopeful but slightly anxious suitor. He’s trying to navigate the minefield of a first date, armed with a mix of charm, pre-rehearsed lines, and genuine interest. His attempts at wit or suave remarks often fall flat, leading to the inevitable reset. Yet, his persistence is key to the play’s dynamic. He’s not giving up; he’s simply recalibrating, trying a different angle, a different tone. This reflects the universal drive to impress and connect, even when faced with social awkwardness. Claire, on the other hand, often serves as the reactive character, responding to Bill’s advances. Her dialogue, however, is just as complex and fraught with hesitation. She’s trying to decipher Bill’s intentions, gauge his sincerity, and decide whether to open herself up. Her responses can be guarded, playful, or subtly challenging, depending on how the conversation unfolds in its various iterations. The interplay between them is the engine of the comedy. Ives writes their exchanges with a sharp, almost musical rhythm. Lines are delivered, met with a pause, a nervous laugh, or a prompt from the stage manager, and then the cycle begins anew. This creates a sense of a verbal chess match, where each player is trying to make the perfect move, but the board keeps resetting. The humor comes from the audience’s awareness of their situation – they know the conversation is going nowhere, yet they root for Bill and Claire to break free. It’s like watching someone try to solve a Rubik's Cube where the colors keep shifting. Their dynamic isn't just about romantic pursuit; it’s about the fundamental human need to be understood. Each time the dialogue resets, it’s another opportunity for them to potentially bridge the gap between their inner selves and their outward expressions. The unseen stage manager acts as a sort of fate or destiny, intervening to correct their course or to restart the scene, adding another layer to their dynamic. Are they truly making choices, or are they puppets in a cosmic play about communication? This ambiguity adds depth to their characters. Despite the endless loops, there’s a subtle progression. Sometimes, a slight change in Bill’s phrasing leads to a different reaction from Claire, offering a glimpse of what could be. These small victories, or near-victories, keep the audience invested. The characters, therefore, are not just pawns in a linguistic game; they are relatable individuals struggling with the most basic of human endeavors: authentic connection. Their chemistry, or lack thereof, is tested and re-tested with each reset, making their journey, however circular, a compelling watch. The audience sees their vulnerability, their hopes, and their frustrations, making Sure Thing a character study disguised as a farcical romp.

The Theatrical Innovation of David Ives

David Ives is celebrated for his innovative approach to playwriting, and Sure Thing is a prime example of his unique theatrical voice. He is known for his