A Time to Come is one story in two parts. TIME I concerns itself with finding a reason to perform a play. An old man, Tell, works with a young poet, Bart, to envision a theatre. However, Bart's diary involuntarily ends up in Tell's possession. Tell, in turn, finds different characters to explore the conflicting facets of the young poet's identity, his writings. That is, the diary becomes the play. And the final act is the play within a play - the interpretation of the diary. This question surfaces: is life theater, or, is theatre life? The second question is: does the play work? Has the play within the play been true to the thoughts/writings of the poet? This is not so much a question for the audience to answer. This is a question for the protagonist, Bart, to consider. The audience has but one question: was I entertained?
TIME II, from the outset, has a story, a plot in mind. It begs the question: can we maintain cultural and religious diversity in close proximity with one another without creating serious conflict? A renaissance can only be achieved if and when these antagonistic cultures want to change their ways, not when they are forced? Bart is stuck with his own question: is a belief alone equally as potent as its action? And in the end, an old man, Tell, is awoken to the world. Will his dreams now become real? Are dreams real?