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222 W. 23rd St. is a play about a woman who, on the brink of homelessness, lands at the Chelsea Hotel, unaware of its famed history, seedy reputation, and colorful residents. Unable to get her life "together," her rent becomes in arrears, and her whole existence morphs into keeping the hotel manager, Stanley Bard, from kicking her out.
Conversion is an original piece that takes place in 1980 and 1982. Both timelines follow a teenage girl named Scout, who is placed in antigay conversion therapy by her family. This is devastating enough, but soon Scout befriends a dead person, hears voices from nowhere, and finds a young boy in a mysteriously hidden library.
Tood, Weetsie, and Sybill are brides in rural Louisiana in 1943. Each married a Cliffert brother. The men are off to war, and a local news story about these young wives keeping the home fires burning intrigues Henry Luce. He decides that they belong on the cover of Life magazine and assigns Kate Miller to the story. She has been covering the war in Europe and, though she views doing a "women's piece" as a career setback, she accepts because it will be her first cover story. Kate spends a week with the Cliffert women, and her haughty urban attitude gives way to sympathy as she begins to understand them while coming face-to-face with her own powerlessness in a man's world. Filled with charm and fun, The Cover of Life is a deeply affecting story about the struggle for self-worth.
Michel de Montaigne once said, "To practice death is to practice freedom. A man who has learned how to die has unlearned how to be a slave." This show takes Montaigne's fearless perspective into the theater. We invite the audience to journey with us on an exploration of life's ultimate reality: death. Through movement, music, text, and humor, we awaken the audience and ask them to reconsider mortality. Laugh, cry, whatever. Walk away without fear of death.
At Lucy's Burger Joint, young waitress Grace comes face to face with spiraling events that force her to choose between what's right and what's easy. Constantly at odds with her mother, Miriam — fierce, opinionated, and legal guardian of Grace's son, Jeremy — the two get caught in a fiery dispute between who deserves to have custody. Tommy, Grace's regular at the restaurant, provides insight and help with his detective background in guiding her down the path to victory against her mother, but at what cost when love gets involved? And if not love, then lust from Tommy's big-shot lawyer friend, Stan, who forces Grace into a corner, testing her desperation. Will Grace win custody of her son? How far will she have to go, and will she be pushed to revisit her dark past?
Inventive, timely, and modern, Ashley L. Calderón gives a close look at dysfunctional family relationships, the meaning of overcoming obstacles, and the sacrifices we must make to achieve our goal.
After a series of unfortunate events, the world has been thrown into chaos. What was once the United States is now The People's Kingdom for the Coming of Christ. Ruth, Anna, and Caleb, illicitly queer twentysomethings work in a video tape recycling center — erasing sins from another time for the Wall's surveillance cameras. One morning Anna is unexpectedly replaced by Esther, arousing fear, suspicion, and heartbreak.
Following up our successful run of Robin Hood, What Dreams May Co, in partnership with Queens Shakespeare, are pleased to present Henry VI by William Shakespeare (all three parts combined into a two-part repertory production). Join us as we continue our season of badass women, boys who play at kings, and politicians who would be kings…oh, and did we mention swords? Lots and lots of swords?
Directors Stephan Bloo Rodriguez (Part I) and Christina Sheehan's (Parts II and III) modern dystopia-inspired design transports audiences to a land at war with itself — an England torn apart by personal squabbles and petty jealousy, a place where ineffectual leadership, incompetence, and a lack of compassion lead to a people divided by greed, lust, and hatred and give rise to the worst of humanity's nature.
We invite you to stare through the looking glass with us at a world burning unawares as we play witness to Henry's fall, Richard's rise, and what triumphs only when good people do nothing.
Federico García Lorca's The House of Bernarda Alba (La Casa de Bernarda Alba) is a tragedy set in a cloistered world of women in 1930s Spain. A tyrannical mother dominates her five unmarried daughters, all of whom harbor a secret passion for one man. Their repressed environment leads to an explosion of passion, jealousy, hatred, and despair.
Note: The play is performed in Spanish with English subtitles via Simultext In-Seat Captioning System. At matinee performances, subtitles are provided only by request.
Luscious Lips is a one-act reality drama exploring the motivation and impact of catcalling, male privilege, and the female experience. Jo, an up and coming journalist, is on her way to work when she's catcalled. Hungry for a story, she decides catcalling will be her next subject. Jo sets out to interview this man and others to better understand why they do it. However, as boundaries are crossed, the subject gets personal, revealing new and vital perspectives beyond the intention of the initial interaction for both parties involved.
On the eve of the winter solstice, jaded and cynical New Yorker Jeremy Hays finds himself returning to his hometown, Piney Crest, after his beloved and wisecracking grandmother suffers a snowbound accident. There, he is reunited with the zany citizens of the Rocky Mountain town as they prepare for the annual winter fete and tree lighting ceremony, organized by none other than his former high school sweetheart, JL Montpelier. What starts out as a simple trip home becomes a heartfelt journey as Jeremy rediscovers the light of love in the darkness of winter.