Summary
Victoria Station consists of a radio dialogue between a minicab controller (or dispatcher) and a driver (#274) who is stopped by the side of "a dark park" in Crystal Palace, supposedly waiting further instructions. The stage directions Lights up on office. CONTROLLER sitting at microphone and Lights up on DRIVER in car (45) alternate between these settings.
The controller attempts to instruct the driver to pick up a client from Victoria Station, but the driver declines to move, focusing on his current client (who is apparently unmoving, perhaps even dead, in the back seat). The Controller's mood shifts through various degrees of mystification towards irritation and then possibly compassion masking some more nefarious intention of what to do with this Driver.
Lasting fewer than ten minutes, the play's tone is mostly comic, as the Controller becomes more and more frantic at the Driver's recalcitrance; however, as the play develops, the Controller's orders become increasingly ominous threats: "Drop your passenger. Drop your passenger at his chosen destination and proceed to Victoria Station. Otherwise I'll destroy you bone by bone. I'll suck you in and blow you out in little bubbles. I'll chew your stomach out with my own teeth. I'll eat all the hair off your body. You'll end up looking like a pipe cleaner? Get me?" (58). But Driver reveals that this client is a young female with whom he has "fallen in love" (possibly "for the first time") and from whom he refuses to part, imagining that he will even marry her and that they will "die together in this car", despite the previous admission that he is already married to a wife probably "asleep in bed" and the father of (perhaps) "a little daughter"—"Yes, I think that's what she is" (55).
The play becomes more somber in tone, as the Controller tries to assure the fearfully insecure Driver that all will be fine, finally cajoling him to "stay exactly where" he is, as the Controller prepares to leave "this miserable freezing fucking office"—obsessed in turn by the Driver and the fact that "nobody loves me"—in search of him, saying that he imagines them sharing a holiday together on Barbados (59). In response to the Driver's repeated plea, "Don't leave me" (53–54), the Controller may be prepared to "help" him (as he insists), but one may still wonder if he might actually retain some more menacing possibility (60–62).
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