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"Scientists know that space-time is more fluid than we think. If only we mere mortals could harness this energy, we might be able to change a few things in our pasts that we regret. And if we desire it enough-think about it just hard enough-would it happen? That's the premise of LOST IN TIME, the astonishing play by Tony Pasqualini. Danny is completely disoriented when he wakes up, not in his comfortable San Francisco home, but back at school with his rather dippy roommate, Robert. When he finally realizes he's somehow transported back to his college years, he sets out to alter a few key, regrettable incidents in his life, by making different choices. Alas, nothing goes as planned. His future wife spurns him when he makes an early entrance in her life; his father dies unexpectedly, and, in a completely new development, his future sister-in-law becomes insistent that he should date her.... Does Danny manage to bring his life back around after turning his future on its head? I'll leave it to you...to see how all this gets sorted out."Leigh Kennicott, showmag.com "When the past becomes the present, can you change the future? In Tony Pasqualini's new play, LOST IN TIME, Danny finds himself transported 40 years into his own past. In an attempt to rectify the wrongs he committed in his marriage, he tries to use this unique opportunity to make things right. However, the more he gets lost in this new life, the more the future he left behind becomes distant and irretrievable. When he wakes up 40 years in his past, Danny is understandably stunned.... We are then introduced to his roommate, the slightly immature, yet instantly lovable Robert.... When Danny makes the trek from Boston to Vermont to meet his not-yet wife, Gwen, he encounters Gwen's rebellious older sister, Amy. Witnessing Gwen struggle against her inexplicable attraction to Danny (remember, in this alternate version of the past, he's practically a stranger) is fascinating; what is particularly endearing, however, is watching the budding friendship between Robert and Amy, and the obvious crush he develops on her after she comes up to Boston for a visit. LOST IN TIME puts a wonderful twist on a classic trope. This thought-provoking text..."Julia Stier, Stage Raw

Henry Sullivan, 27, single, gay, and autistic, lives his life vicariously through the heroes and heroines of the 19th Century British novels he devours. But no marriage plot has prepared him for dating as a contemporary gay man. When he meets a potential match in Joseph, every romantic notion of his will finally come true-or will it? Hilarious and heartbreaking, LIGHT SWITCH tells the story of one remarkable young man's journey toward love and acceptance over the span of twenty years. LIGHT SWITCH is a vital and important theatrical piece. Dave Osmundsen, a gay, autistic playwright, weaves his personal experiences as both child and an adult into a passionate tapestry of loving relationships and insights into the autistic mind. LIGHT SWITCH will have you on the edge of your seat with riveting humor as well as deeply felt emotional moments, portrayed in a manner that is engaging, entertaining and educational. Its messages go well beyond the world of autism and LGBTQ relationships, and will be meaningful for those whose lives are touched by autism as well as those whose lives are not (or not yet).Barry M Prizant, author of Uniquely Human: A Different Way of Seeing AutismWith LIGHT SWITCH, Osmundsen has created one of the great central characters of contemporary theater in a beautifully written story existing at the intersection of neurodiversity and queerness. The play is a classic example of the specific being universal. What defines us as individuals differs in the details, yet we are all after the same things in life. Just like the main character Henry, we all seek love. I highly recommend this play for theaters with young ensembles and for people interested in sitting down to read a fantastic play that will entertain and move them.Brian James Polak, playwright and host of The Subtext podcastIts intersectional importance aside, LIGHT SWITCH is simply a magnificent, skillfully-written play. It tells the story of a challenged, often challenging, but always endearing young man who is learning how to love.Michael John Carley, Founder, GRASP, Director, the Connections Program for New York University's global Autistic Students, Author, The Book of Happy, Positive, and Confident Sex for Adults on the Autism Spectrum...and Beyond!With LIGHT SWITCH, Dave Osmundsen has deftly written a beautifully poignant play of first love and self-acceptance through an Autistic lens. The relationships in the play are painfully complicated and fully realized by the playwright's keen observations of young people colliding in a world of love, sex, intimacy and intellectualism. It's a world I didn't know, but a world that I'm grateful Dave gave me a tender glimpse of.Gary Garrison, playwright, and author of Perfect 10: Writing and Producing the 10-Minute Play

Frank West reunites with three Army buddies who have not seen each other since being seriously wounded in Vietnam on the same day by artillery "friendly fire" more than fifty years ago. Sharing their memories of what happened, they struggle to make sense of their experience and their lives since Vietnam. When their focus shifts to their well-respected squad leader, Joker, Frank is forced to admit to his buddies and to himself his role in Joker's death.

Neil LaBute brings a rich theatricality and his provocative way with language and story to the world of Count Dracula, Van Helsing, Jonathan Harker, and his beloved Mina-this time, with very much a mind of her own-infusing the classic gothic tale of terror, obsession, and pathos with a modern edge. Chilling yet stylish in its atmosphere, dark yet deeply human in its emotional impact, Neil LaBute's DRACULA is a tribute to both LaBute's dramatic vision and the timelessness of Stoker's novel.

"BLIND DATE, Rogelio Martinez's playfully titled and altogether amusing geopolitical romp...might very well be described as a "Ron-com." Ron as in Ronald Reagan, the actor, California governor and 40th President of the United States whose military and foreign policies some say helped bring the Cold War to an end (at least temporarily). Whatever the long-term historical assessment of all that might be, there can be no doubt that one of the most notable events in late 20th century U S-Soviet relations occurred during two days in November, 1985: Reagan, (who seemed to have bounced back from a 1981 assassination attempt, but as always was somewhat indecipherable), met for the first time at a summit in Geneva, Switzerland with Mikhail Gorbachev, who had only recently been elected to serve as General Secretary of the Soviet Union, and was something short of secure in his position. As with all blind dates, the "couple"...arrive in a state of both apprehension and hopefulness. And their actual meeting ("truthy" as it might or might not be here, and without the presence of translators who are always essential elements in the room) is marked by all the nervous humor, misunderstandings, game-playing and awkwardness of such encounters. The two men also arrive with their respective wives... Also in attendance are the all-important advisors: U S Secretary of State George Shultz, and the sophisticated Eduard Shevardnadze, the Soviet Minister of Foreign Affairs, whose introductory lunch cannily reveals much about both men. Dancing around the edges of it all is Edmund Morris, the British-American historian whose much-anticipated biography of Reagan ultimately became what he described as "a work of nonfiction by an imaginary author" -largely the result of Reagan's impenetrability. Most crucially, given the moment in which audiences are now watching BLIND DATE, there is a fully "meta" quality about the play, with the decorum and diplomatic interplay of the historical event free of the social media contagion of the moment, and with the press corps very much of a long-gone era. In fact, if you tend toward nostalgia, you also might delight in the witty, zestful way in which Larry Speakes, Reagan's Mississippi-bred acting Press Secretary, handles his job. Yet more than anything, there is a sense of constructive peace-making and future-building (if far from naive "trust") here-one that might just keep mutually assured nuclear destruction at bay. To be sure, BLIND DATE...is no documentary. But the Cuban-born Martinez, who has riffed on the Cold War era in several other plays, captures both the personalities and issues in play, including the Reagan administration's "Strategic Defense Initiative," which raised the hackles of the Soviet Union, a nation already suffering from the fallout of its war in Afghanistan, a flailing economy, and Gorbachev's untested leadership. Two more wildly different personalities than "Ron" and "Misha" could not have been put in a room together. And yet, for whatever reasons (a mutual wish for a sane approach to major differences), they managed to find some common ground. And now, seen with the power of hindsight, a sort of melancholy overlays the farcical aspects of the play simply because we know Gorbachev's short tenure ultimately led to the arrival of Vladimir Putin, that Reagan's legacy was laced with a diagnosis of Alzheimer's disease and that nuclear war is no longer a matter of just two sides..."Hedy Weiss, Chicago Sun-Times

"What does it take to become a charismatic spiritual leader, one who has people questioning and empowering their own faith? Is it possible in our media soaked society to grab the attention of millions of people simply by speaking your mind and sharing your faith, ultimately proving the power of positive thinking? In...the complicated and timely play THE POWER OF DUFF by Stephen Belber, TV anchor Charlie Duff begins to sign-off each Rochester news broadcast with a prayer from his heart about a situation in his own life. His co-workers react negatively, but when a growing crowd of believers becomes glued to their TV sets wondering when their prayers will be answered, the jump in ratings quickly changes the minds of his co-anchors Sue Raspell, sports co-anchor John Ebbs, and sufficiently slimy station boss Scott Zoellner. The play is ultimately about a person who is fundamentally ambivalent about religion, even about spirituality-who undergoes an emotional transformation, which in turn leads him to a position of being a suddenly looked-to spiritual leader even as his ambivalence continues. But what his on-air prayers do-and don't do-to those closest to Duff tests the news anchor's own beliefs. Can he inspire others to help each other when he has trouble doing just that in his own life? Stephen Belber's sharp new play asks if there is anything more vital than the faith we have in ourselves and one another.... Playwright Stephen Belber['s]... ability to look inside the hearts and souls of his characters always shines through even the most difficult situations. You will walk out questioning your own life and how you can change it for the betterment of yourself as well as all around you."Shari Barrett, broadwayworld.com

The story of a younger generation grappling with the actions and inactions of those who came before. When Beau, a directionless 19 year-old, discovers that his mother was involved in a decade-old unsolved crime during her time as a military contractor, he seeks out the Afghan victim's daughter in California. As the web of the past widens, we see how a single, largely forgotten evening is still affecting people-and politics-throughout the country and world. A series about how people move forward when the past refuses to fade. "Rather than sensationally ripped from the headlines, the play's dilemmas grow organically. And then there's a strong post-play half-life, leaving you debating your emotional allegiances. Although figuring out what happened provides the machinery of the plot, WE ARE AMONG US isn't exactly a mystery. It's more about figuring out its people, including the "us" of the title. Its half-life is vivid, like that of war, where figuring out the facts can't remotely relieve the pain.... It's remarkable how this seemingly predictable small play becomes big and how quickly it forced me to invest in its three central characters. This is even though (this is at the heart of the play's power) it's a zero-sum story where what we wish for each character complicates what we can wish for the others. No, make that a negative-sum story in which each revelation further contracts the options. We're forced into a pattern of tightening choices, just as the people the play dramatizes."Pittsburgh Post-Gazette

"Free and responsible for myself... It all changed when I could choose."Ellida, ACT FIVE "The first play in which Ibsen entirely abandons social satire and devotes himself to pure psychology."William Archer (1907)Ibsen's rarely performed play, THE LADY FROM THE SEA, was written just before HEDDA GABLER. It is a powerful expression of a woman's search for her own identity, in a world where women are defined by who they are with, instead of who they are or who they could become. Richard Nelson's translation was commissioned and produced by Court Theatre in Chicago.

"A masterpiece of deft, taut, economical writing. Hardy introduces, defines and develops characters with laser-like precision, creating sympathetic, likable folks the audience can't help caring about and a fast-moving and engaging story with a good dose of humor."Milwaukee Journal Sentinel "Showrunners take note. Hardy...takes the best elements of contemporary cultural references, social media, and pop science and turns them into something more than the sum of those parts-an out-of-this-world, all-ages celebration of nerdiness, empowerment, and love."DC Theatre Scene "An adventure that takes you to the very edge of existence and back.... An intimate story about the potential that lies in all of us... you'll find yourself stargazing."Broadwayworld.com, DC "The cool thing about Hardy's script is how it falls in the in-between. The journey of Annie Jump would mean as much to a teen as it would a grown-up, and we need more theater like that. ANNIE JUMP AND THE LIBRARY OF HEAVEN aims to bridge the gap in theater-going age groups and link up fresh, youthful audiences to that mysterious, perhaps-undiscovered universe of the stage."Broadwayworld.com, MKE "...positively jaw-dropping... It's not often that science fiction makes it to a local stage. Thanks to Hardy and Renaissance, the genre is ushered to the Broadway Theatre Center with wonder, respect and a great deal of genuine emotion."The Small Stage "Playwright Reina Hardy writes with economy and authority. She is an excellent storyteller who has the audience rooting for Annie and her father throughout the production... A show like this doesn't come along all that often. "Totaltheater.com

This collection contains three full-length plays: CRAZY PLAYS, THE ENDLESS ADVENTURES OF M C KAT and TOMORROWLAND.

A black comedy touched with absurdity and a philosophical bent that puts the torch to middle-class complacency. "...Lock's ideas lend tangy new flavor to an old form... HOUSE OF CORRECTION is first, last and always a superior mystery-comedy-thriller... He has written a fast moving, absurdist piece of neo-realistic suspense of the sort that works best only in the theater. It is a tribute to his talent..." Sylvie Drake, Los Angeles Times "...Norman Lock's treatment of the evils of psychotic schizophrenia versus the even more ugly aspects of pretentious armchair liberalism is nothing short of hilarious in this outing. It's offbeat and loony with a sitcom flare..." Teen., Daily Variety "...it's very funny, and very scary like a nightmare that wakes you up shaking, forcing you to reassess your life... Lock's weapon is words and he uses them well...his imagery is vivid, his dramatic momentum strong..." Tom Jacobs, L A Life "This is a delightfully dark, beautifully acted suspense comedy...a script that balances outrageous farce and human tragedy... It is Lock's gift for concocting eccentric characters and devilishly comic situations that propels the play." Downtown News (Los Angeles) "This rollercoaster of a play may well turn out to be one of the most significant new plays at this year's Fringe...a gripping, individualistic piece." The Stage (Edinburgh) "We are kept on the edge of our seats as events move toward a climax beyond expectation...makes us laugh our way up a mountain of suspense." The Scotsman "HOUSE OF CORRECTION moves from sitcom to Hitchcock, mingling the two so neatly that sometimes you don't know which you're watching." Naked (Edinburgh) "The play remains ingenious in identifying those essential American tenets and dragging them screaming and skewed to their conclusion." The Guardian (Edinburgh) "...entertaining but rigorous in its approach to important moral issues... This is the first chance for British audiences to see the 'absurdist comedy-thriller' that has played across America, but the questions it raises are bound to be relevant here as they are across the Atlantic." Glasgow and Edinburgh Events Guide

Trapped by a storm in the office of the environmental organization for which they work, Antony and Janna find that their conflicting views on race and the environment have the power to send them back in time to discover how closely related they really are.

"Run GLENGARRY GLEN ROSS through a Monty Python spin cycle and you might get Brian Parks's kinetic farce ENTERPRISE, an absurdist express train of comic corporate-speak… Four ambitious businessmen in a skyscraper-the bespectacled Weaver, the fresh-faced Sanders, the somewhat dim Owens and the experienced Landry-entertain big dreams of impressing the unseen chairman of their imperiled company with a proposal that will send profit margins into the stratosphere. But over a night the men spend collaborating, then pairing off into two rival factions, their hopes rise and fall in a stream of bluster, invective and recriminations. Their exchanges arrive in a succession of 45 rapid-fire blackouts, many introduced with pings and other audio snippets that suggest, say, a text alert, or a news-radio bulletin, or an office copier. Among the many concerns preoccupying these fatuous climbers are the suspiciousness of uncentered mimeographs; the "smell" of diminishing value; the Depression-era allure of jumping out a window; and the perceived vulnerability of office toilet stalls. Conspicuously absent from the discussions are mentions of home, family or women-as spouses, relatives or colleagues. ("Astrology is astronomy for girls", says Landry dismissively.) No surprise there: These men live only to compete with and impress one another (and their boss). No one else has any place in their displays of would-be brainpower and self-consuming testosterone. …The true star is Mr Parks's dialogue: If a joke doesn't hit its mark (and some are simple non sequiturs), another one lands before you have time to notice. Mr Parks, a former theater editor at The Village Voice and an ex-chairm an of the Obie Awards, is noted for the fast pace of his work. ENTERPRISE comes off a 2017 run at the Edinburgh Festival Fringe, where it won a Scotsman Fringe First Award. The playwright's hapless executives may not qualify for a raise, but his ENTERPRISE merits a promotion." Andy Webster, The New York Times

"The great joke of the universe-well, there are lots of great jokes of the universe. But one of them, certainly, is that human beings can't be trusted with the things they're capable of creating. We build combustion engines and choke on them, split atoms only to irradiate ourselves. Brett Neveu's new farce does a fine, crazed, funny job of telling that joke. Chris is an inventor who's come up with something astonishing. He takes it to Britt, who develops and markets astonishing inventions. Trouble is, some of Britt's previous astonishments have wreaked so much havoc that his corporate headquarters is under violent siege from all sides. Chris's sit-down with Britt turns into something out of Jurassic Park-assuming the park were run by General Jack Ripper from Dr Strangelove."Tony Adler, Chicago Reader

"Henrik Ibsen: Ahead of his time. Father of modern drama. Often considered an early male feminist for confronting the constraints on women in the 19th century. The title character of one of his plays has a bone to pick with him, though. Hedda Gabler has had enough of being strong and uncompromising yet given just one means of independence at the end of her story: by killing herself. So she's been bursting…to try to wrest control of HEDDA GABLER and chart a new course. She's winning audience after audience to her side in Jon Klein's boisterous new comedy RESOLVING HEDDA… One of the pricklier characters in the dramatic canon, Hedda-introduced to the world in 1891-has never had a problem speaking her mind, and that quality is only intensified here. She glares at the heavens, heaping scorn on the Norwegian master as she tries to think of ways to circumvent his precision-crafted plot, which piles indignities on her while blocking avenues of escape - `the perfect killing machine', as she bitterly describes it. Ibsen gives her plenty of qualities to help her along: fierce intelligence, bravery and tenacity. Other traits must be fought. `I'm bored and willful and perverse', she says ruefully, `at least according to Wikipedia'. Yes, Wikipedia. For all of her Victorian trappings, Hedda is very much a woman of 2017. She's been keeping current these last 126 years and drops offhand references to Oprah's Book Club and phone apps, as well as uttering the occasional curse word. The other characters don't know what to make of her as she restlessly paces her elegant drawing room. Her ineffectual academician of a husband, George, is flustered even more than usual; still, he and the others keep following the paths that lead toward her usual fate while she tries to steer them elsewhere, all while she battles props-pistols, a sole-copy manuscript-that keep playing into the action exactly as Ibsen wrote them. The comic tone spreads to the others, however… Klein, the author of such previous Victory hits as T BONE N WEASEL and WISHING WELL, delivers laughs at a steady pace… Pure entertainment is its own reward, though, and RESOLVING HEDDA, by its very existence, makes a larger statement. However much Hedda might abuse him, Ibsen deserves her-and our-admiration for writing so forcefully about issues that perpetually bedevil us… It's good to have him still at our side." Daryl H Miller, Los Angeles Times "Henrik and Hedda, a hilarious pair… Its author is the brilliantly clever and witty Jon Klein…Klein's hilarious script." Cynthia Citron, Santa Monica Daily Press

Christmas Eve, 1932. Three New York wise guys on the run from a hotheaded racketeer journey from a Manhattan speakeasy to a swanky Long Island mansion to a ramshackle barn in Pennsylvania, inadvertently spreading holiday cheer everywhere they go. Based on two short stories by Damon Runyon (GUYS AND DOLLS), this effervescent comedy fizzes with laughter and heart. "Funny, sweet, and thoroughly charming… The voices here are unalloyed, cartoon New York, with a 'guys and dolls' locution that earns laughs as much from sentence structure as from the jokes themselves. In Runyon's universe, unlawful activities are mitigated by a deep but grudging moral code. And his characters, like all good gangsters, occasionally break out into impeccable barbershop harmonies." The New Yorker

"Water is a vivid metaphor in Los Angeles. We live in a desert beside an ocean, an existence of simultaneous want and plenitude. Another, lesser-known water source inspires The Ballad of Bimini Baths, a trio of plays by local playwright Tom Jacobson. Bimini was a popular swimming and spa complex at the site of hot springs one block east of Vermont Avenue between 1st and 2nd streets, operated from 1903 to 1951. Jacobson makes this the nexus of a wide-ranging tale that pulls together events in L A history, some of which occurred at the baths, others not. His theme is sins in need of being washed away-racism as well as other moral failings. The intriguing result is being staged by three small theaters, all running different plays ranging from 55 minutes to 1¿ hours. The final play is an inspiring tale of people working together to try to redeem the past and re-chart the future… Bimini, like many places in the early 20th century, was racially exclusive. People of color were admitted just one day a month, the day before the pools were drained and cleaned." Daryl H Miller, Los Angeles Times "Only a playwright as daring and talented as Tom Jacobson could imagine and achieve a project as mind-blowing as his fascinating, informative Ballad Of Bimini Baths trilogy. MEXICAN DAY is the most accessibly crowd-pleasing of the bunch." StageSceneLA "Highly effective. This is a thought-provoking and powerful play…humor alternates with seriousness." LA Splash "Tom Jacobson's insightful script intimately, intricately interweaves ethnicity, class, sexuality and more in his story depicting a landmark Civil Rights struggle in late 1940s Los Angeles." Hollywood Progressive

"Water is a vivid metaphor in Los Angeles. We live in a desert beside an ocean, an existence of simultaneous want and plenitude. Another, lesser-known water source inspires The Ballad of Bimini Baths, a trio of plays by local playwright Tom Jacobson. Bimini was a popular swimming and spa complex at the site of hot springs one block east of Vermont Avenue between 1st and 2nd streets, operated from 1903 to 1951. Jacobson makes this the nexus of a wide-ranging tale that pulls together events in L A history, some of which occurred at the baths, others not. His theme is sins in need of being washed away-racism as well as other moral failings. The intriguing result is being staged by three small theaters, all running different plays ranging from 55 minutes to 1¿ hours. The final play is an inspiring tale of people working together to try to redeem the past and re-chart the future. The first two, though, take on disturbing topics that can be difficult to watch and aren't easily resolved in brief, short-story-like formats… Jacobson's fascination with mercurial/chameleonic human nature-seen in such plays as TAINTED BLOOD, OUROBOROS and THE TWENTIETH-CENTURY WAY-takes daring forms in these first two Bimini plays… The theme of racism begins to well up in the middle play, TAR… …Dread builds as events progress through a number of sharp turns… What resides under the skin of each person in the room: A pure heart? Or pure evil?" Daryl H Miller, Los Angeles Times "It's Los Angeles in 1939. Count Basie and his band are scheduled to play at the Palomar Ballroom-one of the first African-American groups to perform there. Next door, at Bimini Baths, two employees, African-American Amen and Mexican-American Zenobio have been given the onerous job of cleaning up the tar-covered body of a drunken white man who has tumbled into the La Brea Tar Pits. Playwright Tom Jacobson has laid the groundwork for a host of racial conflicts before a word is spoken. As the two men scrub the tar-covered figure down with kerosene, they discuss ways of getting in to see Basie at the Palomar, which does not admit blacks or Latinos. Slowly the man, whose name is Donald, regains consciousness. A xenophobic German-American, he immediately proves intransigent. Amen, a former Pullman Porter turned actor, enjoys baiting him, whereas Zenobio tries to play peacemaker. Eventually they learn that Donald's wife has died that very day, and their suspicions are aroused. Did he kill his wife? Was she unfaithful? And was it with a black man? When Zenobio finds a shocking piece of evidence in the pocket of Donald's tar-covered pants, these suspicions seem confirmed. And as the conflicts mount, there may be dark secrets in Amen's past as well." Neal Weaver, Stage Raw

"Water is a vivid metaphor in Los Angeles. We live in a desert beside an ocean, an existence of simultaneous want and plenitude. Another, lesser-known water source inspires The Ballad of Bimini Baths, a trio of plays by local playwright Tom Jacobson. Bimini was a popular swimming and spa complex at the site of hot springs one block east of Vermont Avenue between 1st and 2nd streets, operated from 1903 to 1951. Jacobson makes this the nexus of a wide-ranging tale that pulls together events in L A history, some of which occurred at the baths, others not. His theme is sins in need of being washed away-racism as well as other moral failings. The intriguing result is being staged by three small theaters, all running different plays ranging from 55 minutes to 1¿ hours. The final play is an inspiring tale of people working together to try to redeem the past and re-chart the future. The first two, though, take on disturbing topics that can be difficult to watch and aren't easily resolved in brief, short-story-like formats… Jacobson's fascination with mercurial/chameleonic human nature-seen in such plays as TAINTED BLOOD, OUROBOROS and THE TWENTIETH-CENTURY WAY-takes daring forms in these first two Bimini plays. The introductory piece, PLUNGE, introduces [Everett C] Maxwell [a historical figure: the first art curator at what was initially known as the Los Angeles County Museum of History, Science and Art] on a night of triumph in his curatorial career in 1916. …he is brainy, inquisitive and flirtatious as he encounters a priest in a quiet corner at a garden party. Sensing a shared attraction, Maxwell suggests they retire to a private spa room at Bimini, but after he's eagerly swapped his tuxedo for bathing togs, a chill sets in as the priest hints at a dark event. Here is another historical figure, Father E V Reynolds, who disappeared after the 1908 drowning of a 15-year-old boy at the baths. Reynolds was suspected of having propositioned the youth. …his calm, ministerial demeanor turns cold and slippery. …a taut sense of mystery… Reynolds' identity eventually comes into doubt, and reality keeps shifting. As dark memories replay, the actors slip into character as the young victims. After witnessing what's perpetrated on the boys, the audience feels in need of cleansing-but that relief is withheld." Daryl H Miller, Los Angeles Times "Long-buried secrets of power, passion, and perversion propel PLUNGE, the first installment of Tom Jacobson's concurrently running Bimini Baths Trilogy, as provocative a World Premiere play as you're likely to experience any time soon." StageSceneLA "Jacobson has created an intricate puzzle of a play, a matryoshka doll where one truth lays nested within another, only to find another nested within that." Stage Raw

"I cannot take human beings seriously. They seem to me to have been created solely to amuse those who regard them in a certain way." Eugène Labiche "We love these tremendous farces of a formidable joviality and an absurd comic spirit… They constitute an original, spontaneous and profoundly French art." Théophile Gautier "The characters of Labiche, like those of classic comedy, are men of forever, as well as the permanent reflection of their era, their milieu… He doesn't lose his temper; he laughs with precision and intelligence." Jacques Crépineau "With a force, an insistence, an exactitude which shows the care Labiche took in tracing this portrait, the author of ME, ME, ME succeeds in pinning down his man… ME, ME, ME is one of the best things Labiche ever wrote, one of those in which he shows his true strength…" Philippe Soupault "A universe in which everything is computations, calculations and frantic cynicism. ME, ME, ME scratches where it itches most: happiness, immoral but ineffable, is to be selfish to one's fingertips. Fie on innocence, fine feelings are to be mocked… This is a celebration of uncompromising selfishness. Cruel. Abominable. But ever so delightful…" Didier Mereuze

"…Y York's THE IMPOSSIBILITY OF NOW is all about words: the way they work, they way they don't. The way they delight us and sicken us and confound us and please us. The premise is straight out of an Oliver Sacks book: a bestselling science writer named Carl suffers a brain injury that renders him amnesiac. Carl's wife Miranda, a poet, learns that Carl has a different relationship with words than he used to. Where once he ghostwrote biographies for astronauts and wrote scathing critiques of anthropologists, now he simply delights in the miracle of words: their sounds, their meanings, the way they look-which he envisions as a flurry of snowflakes drifting through the air. As Carl wanders around his Las Vegas home, trying to remember his past life, Miranda has to deal with the shambles of their marriage from before Carl's accident. She's having a complicated affair with a dentist named Anthony, but suddenly Carl doesn't at all resemble the Carl who made her so miserable. Where before he was withholding and unhappy, now Carl is joyful and content. He's eager to see his wife, and desperate to please her. Is it too late to turn the marriage around? Is it possible to find new meaning in the words they've been using our whole lives? THE IMPOSSIBILITY OF NOW is…funny and touching and endearingly sweet-a thoughtful study of the way different people interact with language, and each other" Paul Constant, Seattle Review of Books "…York's rich dialog and characters…this sweet…romantic comedy is a delight." Jay Irwin, Broadway World "…Utilizing a highly original plot, outstandingly witty dialogue…interesting recognizable stereotypes, who go through profound character development…this romantic…delivers the goods. And how!" Marie Bonfils, Drama In The Hood "A new play can make me giddy, especially if I can't guess where it's headed and its subject area is "about" the human condition in a new and interesting way… Y York's The Impossibility of NOW is an unexpected delight, a delicious and magical moment." Miryam Gordon, Seattle Gay News