Our inaugural season is packed full of new and exciting work! New, queer adaptations of familiar works along with brand new drag based performance. Check out what we have in store for 2019! Sign up for our newsletter to be the first to hear when tickets become available.
The julie cycle
Miss Julie by August Strindberg has been performed every year since its inception, in spite of its actively misogynist preface where Strindberg said “[women] will always be born stunted and can never catch up to [men] in the lead.” The Julie Cycle reimagines the play as a cyclical purgatory nightmare, where Julie finds herself living multiple lives as multiple characters, and struggles to discover a way to escape the tragedy that awaits her at the end of the play. Can we ever really overcome the epigenetic and societal trauma that sculpts us? Can we find a way to challenge the systemic burn of sexism and class to see each other as equals? The Julie Cycle is an adaptation sure to have Strindberg rolling in his grave.
Most likely when Patrick Hamilton set out to write Angel Street or as it has more commonly become known Gas Light he intended to write a riveting thriller about a grizzled detective saving a poor ingenue from her dastardly husband. As the play has aged, its portrayal of its central heroin Bella Manningham has become almost comical in its sexism. Embracing this brokenness, "Gaslit" is a solo drag parody performance that finds Bella Manlyhands lost in vivid retelling of her experiences with her abusive ex-husband, a mysterious and oddly familiar Detective Gruff, and the mystery that shrouds them all. Can a damsel save herself from distress? How does our perception of memory shape our story? And how many times can someone comment on how sickly you look before you've had enough?
troilus and cressida
Adapted from a poem by Chaucer, Shakespeare's Troilus and Cressida has been labeled one of his "problem plays." Due to the constraints of the Elizabethan stage, the vivid representations of its central female characters fall sadly second fiddle to the blusterings of male characters debating how to best commodify and manage these women. Poltergeist's production place the least societally empowered characters in the play at its center, and reframes the actions of Helen, Cressida, and Cassandra as women working their way towards being seen as human and equal to the impetuous boys around them. In what ways do we fear women who claim their own power? How does gender shape our perspectives of power and control? What right do we have if any to each other's heart and bodies?