A Note on the Type

The three scripts that comprise Domestic Disturbance were written using Courier Final Draft, a font that is tight but not uptight, and not so casual as to be anal-explosive. Like Man, Courier Final Draft is sometimes blotchy, even in its bluntness. Upon reading the scripts, the actors were heard to mutter, "Arial is better for my carefree days, but when I'm in a dark place, I prefer Palatino, which suits the low self esteem common to artists." Regardless, Courier Final Draft was employed to harness the scattershot brilliance of this goddamned masterwork and, its words channeled by such fine performers, is clearly the best choice for this "piece".

Playwright Alf Turling (Three Domes, The Water Sports) recalls having attended a performance of one of his plays that had been typed using the outrageous font Hoefler Text: "I'd been invited to the debut of Psillium: Husks at the Skank-on-Seep Festival, and I couldn't hear my words as much as I could hear the typeface that represented them... They were all jagged and whimsical. This was not appropriate for the final play in my Cancer Trilogy. I went home and had my intern reformat it in Times New Roman. The next year the cycle won Honorable Mention at the First Annual Sarajevo Hoedown."

Courier Final Draft was invented by the Italian monk Frangelico whilst gathering aromatic herbs by the River Po. The font was popularized by the errant German jagermeisters who hunted the Po Valley every Spring, using the type first to mark their kills and then, more formally, in attempts to establish a code of riparian rights in post-Reformation Europe. From manual typewriters pecking away hoary nights in the Yukon, to whirring "supercomputers" tabulating data in the Blue Nun region of Japan, Courier Final Draft has pretty much secured its place as one of the world's fonts.

The cast and staff of Domestic Disturbance are really happy to have used Courier Final Draft in their process of creating for you. This program was printed in Verdana.