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Includes Revised Broadway version of AppropriateA double-volume containing two astonishing breakout plays from one of the theatre's most exciting and provocative young writers.In Appropriate, strained familial dynamics collide with a tense undercurrent of socio-political realities when the Lafayettes gather at a former plantation home to sift through the belongings of their deceased patriarch. An Octoroon is an audacious investigation of theatre and identity, wherein an old play gives way to a startlingly original piece.Also includes the short play I Promise Never Again to Write Plays About Asians...

Hailed as the world's first Deaf musical--told entirely in American Sign Language and Signed Music--The Black Drum revolves around Joan and her journey to healing after the death of her wife, Karen. Since Karen's passing, Joan has been unable to share her music with the world, anguish snatching her desire to perform. Joan's grief pulls her into a bizarre, black-and-white world where her two beautiful tattoos come to life as guides and together they confront a monster called the Minister. But the only way to defeat the Minister and begin to heal is for Joan to embrace her own voice.An epic fantasy about grief and healing, The Black Drum questions the concept of music we are conditioned to believe, suggesting that music is not just something you hear, it is something you see and feel.

You can call him Cockroach, or Roach for short. He's a catnip-smoking city slicker living in the dark corners behind the toilet. After diving into the diaper of a Chinese baby, Cockroach watches the boy grow up to lose his sense of identity. Understanding what it means to live in a world not built for outsiders, he attempts to help the boy reclaim his culture. But when the Bard himself makes a surprise appearance in hopes of influencing the boy with the "superior" English language, Cockroach finds himself caught in a collision of linguistics, longing, and lobsters (who sometimes burp).A unique exploration of xenophobia and the dangers of language erosion, cockroach (曱甴) is a coming-of-age play about the stories we tell ourselves to comfort, to survive, to resist, to overcome, and to be.

Revived from a coma after a traumatic event, Megan's injuries leave her capable of great violence, forcing her desperate physician Cassandra to recruit Alison, an Indigenous clinician, as her consultant. Alison uses an innovative form of technologically enhanced expressive arts therapy to augment the rehabilitative effects of speaking Lenape, their shared (and almost extinct) language. However, this reminder of cultural expression and identity triggers Megan, putting herself into a life-threatening situation. With Megan's safety in jeopardy, Alison must internalize a life-changing lesson to save her: pain is often unjust, but it also reminds us that we're alive.Everything I Couldn't Tell You is a potent reminder of the healing and rehabilitative power within Indigenous languages.

From escape rooms to TikTok to Tim Horton's "Roll Up the Rim to Win" to DIY everything, participatory performance is ingrained in the very fabric of our contemporary society. Written in a series of alphabetical, standalone mini essays that activate the reader as a participant who chooses their own path, PLAY: Dramaturgies of Participation collects, describes, and analyzes live performances in which the audience become participants in the piece itself.Jenn Stephenson and Mariah Horner explore the parallels between participatory theatre and the interactive phenomenon where the passive consumer is now engaging with their content. In a world where participation is key to our social interaction, Stephenson and Horner find a unique approach to understanding our relationship with theatre, and by extension, each other.

In October 2013, Scott Jones was leaving a bar in New Glasgow, Nova Scotia, when he was attacked, stabbed in the back, and left paralyzed from the waist down. In the months following his attack, Scott Jones's story garnered international attention, not only for its brutality, but also for his uncommonly early decision to forgive his attacker. Furiously researching restorative justice practices and success stories, Jones sits down to ask himself the hardest question he's ever had to answer: Does he have it in him to not just forgive his attacker, but to accept his new life as a disabled man?Based on the incredible true story, I Forgive You explores the complexities of forgiveness, privilege, recovery, and self-love in Scott's own words backed by a live children's choir performing the music of legendary Icelandic band Sigur Rós.

Freedom: A Mixtape is a soulful artistic response to recent and historical violence on Black bodies, presented through a collection of original songs, stories, poems, anecdotes, spoken-word pieces, and musical instrumentation from folks living in the Niagara Region. A community conversation about our complicated relationship with emancipation and the human right to be free, Freedom: A Mixtape is a compilation album that is part protest and part celebration. It is history and the present moment all at once, a reminder that this moment is part of a larger, ongoing movement. Familiar pains are felt deeply in moments both bygone and bitingly present, setting the tone--and stage--for action.Analog field recordings and soothing talk-radio energy give voice to the residue of intergenerational trauma, the depths of colonialism, resilience amidst oppressive conditions, and a clarion call that joy is a birthright for everyone. With emotional precision and softness, Freedom: A Mixtape offers a radical reminder that in our bleakest moments, we rise up through love of self and community.

Exploring reconciliation and connection through a story that spans seven generations, Frozen River (nîkwatin sîpiy) tells the story of two eleven-year-olds through the eyes of Grandmother Moon. Eilidh and Wâpam are born under the same blood moon, but Eilidh was born in Scotland and Wâpam in Kihci-Manito kâ ayapit, now known as Manitoba. After sailing across the ocean in hopes of a more prosperous life, Eilidh meets Wâpam deep in the forest, and the two become instant friends. Coming from vastly different worlds, Eilidh and Wâpam decide to teach each other about their ways of life. But when a sacred promise between them is broken, the relationship among cultures becomes jeopardized for generations to come.Frozen River (nîkwatin sîpiy) shows audiences that an openness to learn from those who have protected and honoured the waterways for centuries can lead to healing and reconciliation.

A poetic, heartbreaking story of intergenerational queer history in Lebanon, The Green Line weaves together civil war Beirut with a contemporary nightclub, following one family's journey to discover their past.In the present day, Rami, a twentysomething queer Lebanese Canadian, has returned to the Lebanese mountains to bury his father. To cope with the weight of his grief, Rami, carrying a necklace in the shape of a phoenix left to him by his father, finds himself in a queer Beirut nightclub, where he catches the attention of a powerful drag queen named Fifi, who just so happens to be dressed as a phoenix.In 1978, in the midst of the Lebanese Civil War, Naseeb is attempting to get himself and his sister Mona out of Beirut and into the safety of the mountains. Mona, however, is secretly in love with her classmate, a woman named Yara, and refuses to leave the city. When Naseeb becomes swept up with the descending political culture of the war around him, he creates a rift between himself and Mona greater than the line that divides the country itself.

From the Marrow Vol. 1 collects five ritual/jazz performance texts by Sharon Bridgforth, including lovve/rituals & rage, no mo blues, dyke/warrior-prayers, blood pudding, and con flama. Rooted in blues and bristling with the voices of ancestors, lovers, aunties, neighbors, and friends, these texts document the first decade of Bridgforth’s thirty-year practice, including the founding of The root wy’mn Theatre Company. Shapeshifting, polyvocal, multi-gendered, genre-bending, nonlinear, Bridgforth’s writing innovates form the way the ocean carves the coast: with sensuality, salty humor, aching grief and rage, and with vast, various, and invariable love. This volume—the first of two—includes essays, interviews, and witnessings by Alexis Pauline Gumbs, Sonja Parks, Stacey Karen Robinson, Sonja Perryman, and Robbie McCauley.

Collecting five plays by the German Israeli playwright Yael Ronen—including Third Generation, A Walk on the Dark Side, Roma Army, Slippery Slope, and Planet B—Digging Deep and Getting Dirty is an essential introduction for English-speaking readers to the work of one of the most renowned theater-makers in Europe. Ronen’s collaborative and caring methodologies and rigorous, mordantly funny, and eclectic aesthetics have shaped and transformed German-speaking theater over the past decade.

For each edition of the Occasional, guest editors invite artists, thinkers, and members of our community to consider questions that we have and topics that move us. For Occasional No. 3, playwrights Lucas Baisch and Emma Horwitz have invited Liza Birkenmeier, Theresa Buchheister, Lisa D'Amour, dots, Diane Exavier, Zoë Geltman, Miguel Gutierrez, nazareth hassan, Orlando Hernández, Julia Izumi, Imani Elizabeth Jackson, Kate Kremer, Lisa Kron, Shayan Lotfi, Sam Max, Kate McGee, Eli Nixon, Marissa Joyce Stamps, reid tang, Jesús I. Valles, Noah Weinman, and Bailey Williams to respond to the question, “What are you obsessed with? And how are you holding it?”

How does the experience of loss alter the ways that we love? How Gross My Séances is a theatre of the imagination, and it takes place in "a world of wounds", a body of grief. The characters are precariously intertwined—memories are animate tattoos (flash sheet included), a chorus of crumbling statues consult and console, and a talk show host interviews our moody antagonist. This is a psycho-drama that interrogates subjectivity, grief and its embodiments, discourse around dispossessed persons, responsibility within and outside romantic love, and the efficacy of language itself.

It's 1970s Winnipeg--a time of revolution and radical possibilities--and an apartment building of Indian immigrant friends is about to be transformed by their latest arrival. A young Bengali Muslim woman, Nuzha, has just married Qasim over the phone at his mother's insistence, and can't wait to start her new life with him. But Qasim struggles to let go of his true love, a Canadian nurse named Abby, making him an emotionally and physically distant husband. Broken-hearted but full of pluck, Nuzha finds comfort and adventures on her own terms by exploring everything her new community has to offer. From braving the bus schedule to building close relationships with Qasim's friends, Nuzha's discoveries are thrilling, enriching, and crack open new possibilities for everyone.From the creator of the powerful solo show Crash, Pamela Sinha's New is an evocative, emotionally-astute comedy about the complex nature of love and sacrifice, joyful togetherness and piercing loneliness, and what it means to create entirely new ways of life through our willingness to tread uncharted territory.

Grocery-store clerk Beth has had a hell of a week. A hell of a life, actually, full of people squashing her soul. And after pushing back at life--stabbing a steak to her boss's desk and lighting a magazine rack on fire, for instance--freshly unemployed Beth regroups at her mom's suburban home. Just when Beth starts to think she's to blame for systemic limits, the gift of a bird feeder sparks a relationship with a talking Crow who reconnects her with her true power.This sly chamber piece from new voice Caleigh Crow turns post-capitalism ennui on its head with a righteous fury. It unearths the subtle (and not so subtle) ways we gaslight the marginalized, especially Indigenous women, people living with mental-health afflictions, and anyone struggling to make ends meet in low-income service jobs. There Is Violence captures the vivacity and humour of one truly remarkable woman not meant for this earth, and brings her to her own glorious transcendence.

throughout 2016 joseph parker okay kept notes on his phone of every time he pet a dog. at the end of the year he fleshed out each note into a journal entry of the day that was centered around petting the dog. he also recorded what phase the moon was in each day because the moon can be tricky and it seems good to keep track of it.

Quiara Alegría Hudes’ stage adaptation of her much-lauded memoir is a joyous celebration of Puerto Rican womanhood in 1990s West Philadelphia.In this memoir-turned-play, Hudes showcases a handful of key life moments that mark subtle changes in her sense of self and her place in the world. Interlaid between these vignettes are moments of song, dance, and ritual that evoke her boisterous girlhood in a house run by the Perez women. Through this piece, we come to understand the collaborative art that was Hudes’s coming of age, and the communal nature of autobiography.

A heartrending yet hopeful play about two men’s parallel desires to build a secure foundation for their families even as everything around them is falling apart.At first glance, Ryan and Keith are two men in Twin Falls, Idaho, who have nothing in common. Ryan, a factory worker in the throes of financial instability, seeks help from Keith, a mortgage broker, to secure a loan. The two bond over their love of their daugh­ters, as well as “a specific kind of sadness” that lives in the gap between their dreams and realities. Affecting in its seeming simplicity, Hunter’s play ultimately affirms, if not the existence of God, then at least the possibility that something sacred can come from the connection between two people.

WINNER OF THE PULITZER PRIZE FOR DRAMA: EnglishIn this two-play volume, Pulitzer Prize–winning playwright Sanaz Toossi explores the emotional toll of migration, both for those who leave and those who stay. Taken together, English and Wish You Were Here offer a moving portrait of the complex effects of the Iranian diaspora.

A double-volume of plays by acclaimed playwright Will Arbery that explore communities of outsiders who strive to help one another persevere in the face of despair.In this two-play volume, acclaimed playwright Will Arbery explores the dynamics within tight-knit communities of outsiders working together to persevere against despair, whether intimate or cosmic. From wildly different angles, Corsicana and Evanston Salt Costs Climbing both examine the shape-shifting specters of grief, the pull of desire and dreams, and the universal human need for receiving and giving care.

Landmark summary of 13 meetings that brought together more than 120 artistic directors from the nation's leading nonprofit professional theatres.

On the morning of the 5th gibbous moon, Ovelia Otter attacks and kills Pennstin the young wolf at Bear Chondra's Mix Flow Get Up And Go exercise class. That same afternoon, Ovelia Otter is brought before a jury of her peers, Judge Bodon Boar presiding. Prosecutor Lynx believes she should be expelled from animal society immediately, while Defense Squirrel S. argues animal instinct ought not to be prosecuted at all. Witness after witness are called to the stand and the forest's animals hang on the trial's every word—most more interested in the spectacle than its outcome. One part crime procedural and one part fable, Stephanie Barber's Trial in the Woods is a bold new play about ethics, the efficacy of punitive justice, and our (human, American) criminal justice system. It's also very, very funny.

Wheelchair, by Pulitzer Prize finalist Will Arbery, follows the shifting lives of cities, apartments, objects, and a man named Gordon. Even though he's being evicted, Gordon believes himself to be one of God’s thirty-six chosen people. In this play, which teeters between comedy and tragedy, people and refrigerators speak of their despairs and fantasies.

A stunning collection of plays from Pulitzer Prize-winning playwright Suzan-Lori Parks that captures the societal rupture of the early days of the COVID-19 pandemic.On March 13, 2020, as theaters shut their doors and the worldwent into lock­down, Suzan-Lori Parks picked up her pen and set out to write aplay every day. What emerged is a breathtaking chronicle of our collectiveexperience through­out the troubling days and nights that followed. Parks’sgroundbreaking new work bears witness to what we’ve experienced and offersinspiration as we look ahead.

2023 Tony Award winner for Best Musical!Now on Broadway: Kimberly Akimbo opened fall 2022 at the Booth Theatre on Broadway.Winner of Numerous Awards: Awards for Kimberly Akimbo include the New York Drama Critics’ Circle Award, the Drama Desk Award, the Lucille Lortel Award, and the Outer Critics Circle Award.Reunites the Tony-nominated creators of Shrek The Musical: Lindsay-Abaire and Tesori’s previous collaboration Shrek The Musical was nominated for numerous Tony and Drama Desk Awards, as well as the Grammy for Best Musical Show Album.Awards for Lindsay-Abaire and Tesori: David Lindsay-Abaire has won the Pulitzer Prize, the New York Drama Critics’ Circle Award, The Horton Foote Prize, and The Edgerton Foundation New American Play Award. Tesori has won the Tony Award for Best Musical, and has been the composer of four other Tony-nominated musicals. She has twice been nominated for the Pulitzer Prize.

From the author of Bears comes two dark comedies that expose the effects of disturbing the natural order and what we're capable of when pushed to our breaking point.Set in the aftermath of the disaster that nearly destroyed Fort McMurray in 2016, After the Fire centres around two couples whose lives have been deeply affected by the ruin. Sisters Laura and Carmell have been channelling their devastation after the disaster into their daughters' hockey team . . . maybe a little too much. Their Indigenous oil-worker husbands Barry and Ty are fighting their own demons as they try to sort out how to move on, while digging a very big hole.In The Particulars, a week's worth of daily routines for an insomniac is disrupted by a mysterious home invasion. Gordon battles his invaders on two main fronts--in his home, where he believes he is dealing with vermin, and in his yard, where insects have taken over his garden. By day, Gordon forges ahead, in control of every aspect of his life. But by night, the scratching he has begun to hear in his walls is unravelling him, driving him to the edge of cosmic desperation.The sharp commentary in these two plays will shock and satisfy the temptation of taking matters into your own hands.