A white woman has been brutally assaulted and an angry mob is at the jailhouse door demanding the sheriff lynch the accused murderer. The only way to untangle the truth is for the accused, a young black man called "Stranger," to relive the events that led him to the hangman's tree in Athens, Ohio, in the year 1881. Based on historical events. It is the second play in Reginald Edmund's nine-play City of the Bayou Collection.
After 14 years of marriage, Britt and Joe called it quits, so Joe is surprised when three years later, Britt asks him to try again. Cheater Joe still loves his ex and their boys, so he’s willing to go along with date nights and counseling—until he realizes that Britt has a very specific agenda.
Mrs. Harrison is about two women and one story. At their 10-year college reunion, Aisha and Holly meet by chance. Is this the first time or has it just been a long time? They can't agree. Aisha is a black, successful playwright; she's on the cover of the alumni magazine. Holly is a white, struggling stand-up comedian; she's here for the free drinks. Aisha's most successful play bears a striking resemblance to a tragic event in Holly's life. Is it a coincidence or is it theft? As a rainstorm interrupts the outdoor reunion, they find themselves trapped inside, together. They both have a story that they've been telling themselves about what happened all those years ago and they're both willing to fight for the truth in the present.
Something is not quite right with Donna: She's a loving mother, a devoted wife, and a minor celebrity to all the bake sale planners in town, but something is making her spacey, and she's not sure what it is. Therapy is out of the question and church isn't the place to share one's distress. Donna will need to pass through space and through time—all the while listening to an unlikely voice—and try to break free from her gravitational pull to learn just how she can land.
Klaus Kinski is one of the most celebrated and controversial actors in the history of world cinema. The reckless abandon with which he approached both life and art left him tortured, demonized and worshiped. Before his famed collaborations with director Werner Herzog ("Aguirre," "The Wrath of God," "Nosferatu," "Fitzcarraldo"), Klaus Kinski was a tortured B-movie character actor who had become a touring sensation for his livewire theatrical performances. It was during this time that Kinski starred as Jesus Christ in a one-man show that had taken him a decade to write. Audiences were outraged at Kinski’s audacious portrayal of Jesus and heckled him mercilessly. After only two performances, Kinski canceled the tour. It’s now 2018, and actor-writer Andrew Perez (David Miscavige in "My Scientology Movie") does battle with Kinski’s demons in an effort to resurrect him and finish the job in one last command performance, THE SECOND COMING OF KLAUS KINSKI. People will tell you he is dead. Don’t believe them!
Elevator Girl was never meant to be more than an urban legend, a sexual revenge fantasy created by Vanessa and her graphic illustrator boyfriend. But when the comic superhero unleashes her boyfriend’s darkest fantasies, as well as a flesh-and-blood copycat, Vanessa must stop EG in her tracks—with the truth.
Where do you draw the line between eugenics and the desire of every parent to give his or her child the best possible start? If the answer seems pretty simple, just ask Gwen, Allie and Tom, three parents whose children were conceived at a prestigious donor insemination program, specializing in donors with IQs over 180. It is now five years later, and the parents of these exceptional children are discovering that the answer is anything but simple.
British Suffragette Emmeline Pankhurst championed the fight for women’s right to vote as the most important of all causes, declaring: “We are on the greatest mission the world has ever known: to free half the human race, the women, and through that freedom to save the rest.” The women of Britain claimed the vote in 1918, with the United States Congress granting it the next year. Using Pankhurst’s own words to explore her personal battles and her fierce commitment to the women’s “suffrage army in the field,” this one woman play probes the deeper issues behind women’s militancy against a world of governance by and for men. The challenges the suffragettes faced a century ago hold a mirror up to women’s continuing struggles to claim their full measure of human rights.
In their fifteen years together, married actors Michael and Corinne have stood by their decision to focus on their respective careers and each other, and to not have children. When Michael is suddenly confronted with a heretofore unknown seventeen-year-old daughter begotten from a one-night stand, their years of meticulous planning are rendered useless. They must revisit the decision they made long ago and figure out how to assimilate a nearly grown-up child into their kid-free family dynamic, without losing each other in the process.
Is there one defining principal that underlies the behavior of all physical matter? Does it also underlie the behavior of emotional matter? Will Rainbow get to the pre-party? Should dinner be held or served? Is David cheating on Millie? Is Kent really a visitor from a different world? What does the baby make of all this? And where’s Andy? The answer to all of these and more–questions you didn’t even know how to ask–are held within the physics of a fluxon and the heart of a Rainbow; especially the question as to whither we are headed.
Mark, a respected moral philosopher, is convinced that people are fundamentally good. Ben, who investigates intellectual property theft, is equally convinced that every seeming act of kindness is simply a more indirect route toward self-gratification. They have maintained an unlikely friendship since childhood. When Mark derides Ben's belief that unrestrained self-interest is the truth of human nature, Ben proposes a bet to prove it by tempting an unarguably ethical, socially conscious scientist into betraying the people who desperately depend on him. As it soon becomes clear, Ben is really out to prove that he can get Mark himself to do anything--however unconscionable--simply by making the cost of maintaining his humanity too high.
Every second Sunday of the month, four women meet at Marge’s Santa Cruz Mountain cabin for a hike and lunch. Today is different, very different. Marge has asked to paint her friends’ portraits. Marge paints only using fugitive pigments, colors that fade in time. Katherine and Alicia are intent on talking Marge into moving to assisted living. Marge tells them she has made her own plans. Kimberly, a young friend of Katherine’s daughter, has joined the group. She is making her own difficult decisions. Kimberly works in Silicon Valley and if she didn’t know these three women, she wouldn’t know anyone older than herself. The women have history with each other and have formed a family of sorts. As with all families, they love each other despite their differences and disagreements.
This play is a farce about tragic people. Zacharia Smythe, assistant professor of art, has come to Madrid to take a short sabbatical and study a painting by Fernando Rafael Vasquez de la Cruz, whom Zach considers one of the greatest Spanish artists of the last 100 years. The artist has been missing and those who are familiar with his work believe he is dead. Enter an astonishingly brilliant and beautiful Spanish woman full of secrets and rage. Teresa Flores gradually reveals truths about herself, including a claim to have actually met Fernando, and the game is afoot. Through further revelations, sexual encounters, scholarly collaboration, a theft, knife attack, and an encounter with a mysterious gun-wielding Blind Man in a bar, Zach and Teresa finally meet the great Fernando, which leads to an act previously unimaginable.
Willy Shotz is a brilliant and successful Hollywood screenwriter. Producers kill for his stylish violence and ironic sci-fi. But late-stage cancer has graced him with a new vision of art and cinema and a screenplay to go with it. Can he pitch to his old nemesis, Gabe Weiner, and maintain his self-respect? Can he remember his own name in spite of the medical marijuana?
Nina Dalton is a major movie star performing in a new play by her older, Pulitzer Prize-winning husband, Brian Bartov. Their world is shaken by the return of Gar Jackson, Nina’s former love, who has spent the past 20 years creating a work of staggering beauty and epic proportions...for Nina.
New mom Nina has a healthy baby boy, a loving husband...and is struggling with terrifying nightmares and anxiety attacks. Her therapist, Bonnie, is trying to help her discover how she can be a better mother to her infant son. In the meantime, Bonnie's estranged daughter, Mary, arrives home with some life-changing news. When Nina and Mary become friends, Bonnie's professional and personal lives get a lot more complicated.
When Millicent needs a time-out from her life, she ends up subletting Sparky’s grunge-infested apartment while he’s out on the road. She organizes his home and puts his life under a microscope as a distraction from her own demons. When he returns, she won’t leave. Her constant probing makes the mild-mannered roadie snap, and he unleashes some observations of his own. As the two strangers reach a détente, they help each other in unexpected ways.
A lab assistant discovers that the prominent neurobiologist he works for has fudged data on a major scientific paper. As Peter contemplates his next move, he seeks the advice of his closest friend and fiercest rival, Max, whose recommendations are uncompromising: rat on Greta Mendillo before she rats on him. Punch or be punched; knock her out or get knocked out yourself.
Sheriff Ben Holmes arrests and ultimately hangs Robert Day for first-degree murder in this drama based on actual events of 1891-92. During eight months in jail, the talkative, emotional prisoner and the bashful, quiet sheriff develop an unlikely friendship and ultimately share secrets each has been carrying since the Civil War. Holmes helps Day find the courage to die, and Day helps Holmes find “the harder courage” to take his life.