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Life is, like, really hard. It’s tough being the gorgeous woman desired by all but understood by none. Or the homely girl with a heart of gold. Or the middle-aged man insightful enough to see the cavernous depth of his own failings. A quirky and deeply human new installment in the Chekhov cycle from the playwright of Stupid F*cking Bird – full of all the delight and charm that love and longing can inspire.
"Altogether wise, profoundly humane, hilarious, quirky, endearing and, in countless clever ways, brilliantly faithful to its source"- Chicago Sun-Times
Misty Riggs is a nobody. No, really, she is - that’s an undisputed fact. But just as she’s starting sophomore year, she gets the notion she should try to stand out somehow before it’s too late. Misty’s gambit only cements her loserdom, and after one blow too many, she makes a final, desperate bid for glory - the terrible culmination of her burning desire to be recognized for something, anything, no matter how she achieves it.
Winner of the 2016 Southwest Playwriting Competition
A slouchy, foul-mouthed young comedian and an overwhelmed middle-aged man embroiled in a nasty divorce are unexpectedly brought together when their cancer-stricken mothers become roommates in the hospital. Tensions rise and gauntlets are thrown, but appearances may be deceiving. Through confessions, fights, and uproariously inappropriate jokes, these two unwittingly invest in each other and help to pick up the pieces of their broken lives. A boisterously brazen story of the strength it takes to learn to laugh through pain.
“A play that is as deeply felt as its name is long.” - The New York Times
After returning from the wars, Isaac arrives at his childhood home to discover that the house and family he knew have been upended. His once-timid mother is on a whirlwind crusade to subvert the patriarchy, his sister is now his genderqueer brother who refers to hirself in gender-neutral pronouns. Meanwhile, his stroke-ridden father slumps on the couch in a muumuu and clown makeup. As Isaac attempts to reclaim structure in a household that refuses to be tamed, the family is forced to confront what it is to live in a new world when one is stuck in the past. (Hir is pronounced like /here/. It is a gender neutral pronoun.)
"A remarkable, audacious, uproarious black comedy with a daring combination of realism and madcap absurdity." - New York Times
Hilarity and hijinks ensue when Bernard invites his mistress over for a weekend romp while his wife Jacqueline is meant to be away. But when Jacqueline discovers Bernard’s friend Robert is also coming over, she decides to stay. Robert is supposed to be Bernard’s alibi for the weekend, but he is also Jacqueline’s secret lover. By the time the mistress and the cook show up, trysts and sweet-nothings are postponed as marital treachery, mistaken identities, and madcap chaos take hold in an evening of adulterous mirth.
"Hurtling along at the speed of light, this breathtaking farce is a near faultless piece of theatrical invention.” - The Guardian
The Terrebonne plantation is in upheaval - the Master has died. His naïve young nephew tries to hold things together, but the evil neighbor is out to buy the land. Meanwhile, the slaves chat and gossip, and the beautiful, young ward of the estate has a secret that will change everything. Based on a controversial classic, this Obie Award winning play is part period satire and part meta-theatrical middle finger - it’s a provocative and moving challenge to the racial climate of "the land of the free" in both the antebellum South and today.
“Hilarious and harrowing... This decade's most eloquent theatrical statement on race in America today.” - The New York Times