A scientist seeks understanding in an art gallery but doesn't find it.

A female American journalist is held captive in a foreign country after interviewing local women who are victims of rape. During her interrogation by a male captor, she re-tells the American news story that triggered her ambition to understand sexual assault around the world. The news story unfolds in between interrogation sessions as a play within the play: Jo, a vigilante cop, murders an alleged child molester only to find the molester’s step-daughter (and alleged victim) wants to now live with her since she has no where else to go that’s safe. As the interrogation intensifies, the journalist dives deeper into the fantasy world of the news story and learns how she might finally escape her abuser. In the end, she reaches to the audience for help.

This play explores how rape culture permeates the female psyche and the tools women of all ages use every day to cope with the specter of sexual assault. It’s also funny. Because what better tool than humor to understand the absurdity of how women are still assaulted in all corners of the globe by all types of cultures and by all kinds of men.

A researcher at a civil rights museum collects oral histories from the ancestors of those who saved Jews during the Holocaust. She also collects the stories of those who were saved. But when she uncovers that one hero family’s legend is a lie, she must not only break the news to all involved and shatter the myth but also come to terms with her own need to find heroes and good intentions among regular people.

Seventy-five years in the future, an all-female crew and their male captain depart on what appears to be a routine mission to Mars ... until the captain is murdered and the real mission comes to light. 4G examines relationships between women under extreme duress. Part murder mystery, part space thriller, 4G's science fiction world asks questions about power, leadership, responsibility, and ultimately, sacrifice.

Vee works hard to be a nice girl. She currently lives with her best friend and free-spirit, Bista, after walking out on her cheating boyfriend. Kevion, Bista’s over-sexed and food-obsessed lover, is a constant fixture in Bista’s apartment and eventually makes his move on the uptight Vee. As Vee careens toward developing real feelings for Kevion—based on one night of really outstanding, badly needed sex—she learns of Bista’s involvement with yet another man, an older and rather dangerous man named Bard.

Bista, pregnant with Bard’s baby, learns of Kevion’s tryst with Vee and convinces Kevion the baby is his, re-staking her claim on Kevion’s affection. Unfortunately, Bard has his own concerns about Bista having his baby and returns to kill her, making it appear as a botched, self-inflicted abortion. When Bard returns to the scene of the crime to retrieve an over-looked piece of evidence, Kevion stumbles upon the murderer and is also killed. As Vee attempts to reconcile her roller coaster of love, sex and betrayal…she eventually goes insane.

Stylistically, the play starts as a broad farce (it could even have a TV laugh track) then shifts into a bloody, slasher-B-movie complete with blood and the walking dead who terrorize Vee and push her over the edge. The play investigates the relationship between humor and fear using suspense, dramatic irony and sexuality.

Vicious dark humor chronicles an affair under the influence. The Man struggles with sobriety; The Woman is dependent on his affection. Scenes unravel between realism and absurdism, and the line between acting in the play and reality is relentlessly blurred, just as addiction blurs a healthy relationship. From The Scotsman's review at the 2011 Edinburgh Fringe Festival: “Tofte utilizes poignant monologues to contrast comedic double acts, helping to create tenderly strong characters who drag the audience into the disorder.”