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Gerard Dunning, Terrigal, NSW 2260, Australia
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A performer whose work delves into the complexities of human nature, blending tension and introspection with moments of unexpected levity.
In the stillness of a desolate bus stop, two strangers meet in a haunting conversation that blurs the lines between reality and introspection. Martin, a man haunted by regrets and unresolved choices, is confronted by The Stranger, a figure whose unsettling calm unravels hidden truths. As the dialogue unfolds, the layers of Martin’s life are peeled back, revealing a man caught at the crossroads of his own existence.
With each scene, tension mounts, and the conversation takes on an almost otherworldly quality, exploring themes of identity, self-reflection, and the weight of unspoken fears. Subtle moments of levity offer brief reprieves from the psychological intensity, only to plunge the audience back into the raw and confronting depths of the human condition.
Ending with a shocking twist that leaves the audience questioning everything they’ve witnessed, The Last Stop is a gripping exploration of the choices we make—or fail to make—and the shadows that linger in their wake.
Perfect for fans of intimate, thought-provoking theatre, this one-act play will resonate long after the final curtain falls.
Adapted for Radio, Read and Produced by Gerard Dunning. Narrated by Rebecca Flint
The Last Stop emerges from my work counselling men grappling with mental health challenges. Over time, I've witnessed how many find themselves at a crossroads, where life feels devoid of meaning, and the allure of ending it all seems like the simplest escape. Contrary to popular belief, this descent isn't always marked by complexity or overt turmoil; often, it's a quiet, pervasive emptiness that erodes one's sense of purpose.
This play delves into that void — a stark exploration of the final destination many men reach when hope diminishes. It's a close-up examination of the psychological transition that occurs in those haunting moments between life and death.
Who is The Stranger? The script refers to The Stranger as "them". We don't know for sure. Maybe Martin's father, his Mother, or even a younger version of himself. The Stranger is a projection of Martin's inner emotions and self-image.
How do Scenes Transition? Scenes flow. However some might be punctuated with some street activity, a passing car, a dog barking, a person walking by. There is a stillness in the scene that complements The Stranger, but contrasts the growing emotions from Martin
Gerard Dunning’s “The Last Stop” is a gripping, intimate one‑act play that artfully blends existential tension with psychological depth. The desolate setting — a flickering, lonely bus stop — serves as a mirage through which two lives intersect, not by chance but by design.
In a tightly composed four‑scene structure (plus an optional epilogue), Dunning introduces Martin, a middle‑aged salesman weighed down by regret, and The Stranger, an enigmatic, probing presence who unsettles Martin’s sense of self. The play’s brilliance rests in its minimalism: two actors, one sparse set, and a tension that ebbs and pulses with every pause.
Language is precise and evocative. The Stranger’s calm menace — “quietly probing yet unsettling” — peels back Martin’s defences until he’s laid bare. This conversational unmasking feels almost surgical, exposing vulnerabilities we all recognise: fear of failure, the ache of unrealised dreams, and the loneliness of unspoken regrets.
Atmospheric tension: The soundscape — distant traffic hums, flickering light, the echo of silence — creates a powerful, cinematic mood.
Character dynamics: Martin’s frustration is visceral, while The Stranger’s inscrutable calm is deliciously unnerving.
Emotional reveal: The moment where Martin admits to doing “everything they wanted” — the payoff is cathartic, yet profoundly unsettling when followed by the Stranger’s verdict: “Stop waiting.”
The play does not shy away from tragedy, but rather embraces it as inevitability. It’s a challenge to the audience — did we see a stranger, or a reflection of ourselves?
“The Last Stop” is small in scale but vast in impact. Its stripped‑back staging makes it perfect for intimate theatres or festivals, while its universal themes—waiting, choice, regret—ensure it resonates beyond its runtime. Dunning’s dialogue is both sharp and poetic, his pacing taut. This play doesn’t just entertain, it confronts — and lingers.
Rating: 4½ out of 5 stars
Ideal for directors seeking a compact yet powerful piece that invites audiences inward, “The Last Stop” is a masterclass in psychological drama. Gerard Dunning has created a work that feels both personal and timeless—an encounter with the mirror we all carry.
This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Please send performance details to: gerard@gerarddunning.com
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