You self sabotage. You're always on your phone. You procrastinate. Your bathroom has mould on the shower. You don't exercise regularly. You don't eat your recommended five a day. But it's not too late - it's never too late! Things can be different! You can make a change - you're the master of your own destiny after all. It's all down to you. Society's not going to change for you, so you need to change for society. A New and Better You asks you to take action, to improve absolutely everything and to become something magnificent. Because that's what you want. This is what you want. There are no assigned characters or speakers in this play. It can be a monologue, or have several speakers, in production.

The Boy on the Swing portrays an individual in the throes of a corporation with intimidating authority and an almost inexplicable leverage to trap and injure. Upon finding a mysterious business card labelled 'Talk to God' in the street, protagonist Earl Hunt comes into contact with the Hope and Trust Foundation which offers the chance to meet God - for a price. After submitting credit card details during a bafflingly threatening phone interview, Earl proceeds to a visit to the Hope and Trust office full of unfathomable power games which alternate between geniality and intimidating menace. The promised meeting with 'God' arrives when, in a dingy room, Earl finally comes into contact with an old man of 85. From the pseudo business-evangelical spiel of the Hope and Trust Foundation to the frugal simplicity of the man presented as God, Joe Harbot's range and pace is cleverly broad and elusive. From a set-up which subtly suggests the mercenary exploitation of the lost and the lonely, the play's arc turns to darker and stranger themes of metaphysical significance. The Boy on the Swing is an enigmatic piece of writing, sometimes baffling and sometimes blackly funny. For all its bizarre and perplexing notes, the play has a smart, dark sense of humour and grapples with abstract, preternatural questions.