Class C

by Chaz T. Martin

FULL LENGTH.
Mr. Warren "fixes" cars deep in the woods. Unfortunately, he's out hunting right now. So Agent Bliss of Homeland Security will have to sit and wait until he's back before anyone takes a look at his car. Luckily, Allie is there to keep him company. She says she's Mr. Warren's wife, but Bliss suspects that may not be the whole truth. A violent interruption thrusts their careful interrogations into...

FULL LENGTH.
Mr. Warren "fixes" cars deep in the woods. Unfortunately, he's out hunting right now. So Agent Bliss of Homeland Security will have to sit and wait until he's back before anyone takes a look at his car. Luckily, Allie is there to keep him company. She says she's Mr. Warren's wife, but Bliss suspects that may not be the whole truth. A violent interruption thrusts their careful interrogations into hyper speed, and both realize they're in more danger than they thought.

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Class C

Recommended by

  • Jenny Connell Davis: Class C by Chaz T. Martin
    “

    A dystopian reality that feels disconcertingly close to our own, with finely drawn characters and a plot that kept my pulse rate up from beginning to end. I can't stop thinking about this play, and can see the set when I close my eyes. Truly, truly, a riveting piece.

    A dystopian reality that feels disconcertingly close to our own, with finely drawn characters and a plot that kept my pulse rate up from beginning to end. I can't stop thinking about this play, and can see the set when I close my eyes. Truly, truly, a riveting piece.

    ”
  • Straton Rushing: Class C by Chaz T. Martin
    “

    This play is the most effective use of dystopia I have read for the stage. Martin introduces what at first feels like a familiar hypothesis for (fascist near-future USA a la Handmaid's Tale) and then continues to expand it in all directions, giving it a new spin. The play is wryly funny at times but largely manages to keep you at the edge of your seat with constant distrust and tension.

    This play is the most effective use of dystopia I have read for the stage. Martin introduces what at first feels like a familiar hypothesis for (fascist near-future USA a la Handmaid's Tale) and then continues to expand it in all directions, giving it a new spin. The play is wryly funny at times but largely manages to keep you at the edge of your seat with constant distrust and tension.

    ”

Character Information

  • Allie
    a cis woman in her 40s. Always cool, always collected.
    40s
    Any Race/Ethnicity
    a cis Female
    Can be played by:
    • Actor Age
      40s,
      50s
    • Actor Gender Identity
      Female
  • Bliss
    a cis man in his 30s. White. Militant but easily spooked.
    30s
    White
    a cis Male
    Can be played by:
    • Actor Age
      30s
    • Actor Race/Ethnic Identity
      White
    • Actor Gender Identity
      Male
  • Warren
    a trans man in his 30s/40s. Any race. In delirious pain, but still funny.
    This role must be played by a trans man. Not a nonbinary actor, not a cis man, not a masc woman. A trans man, full stop.
    40s
    Any Race/Ethnicity
    A trans man
    Can be played by:
    • Actor Age
      30s,
      40s
    • Actor Gender Identity
      Male
  • Hen
    Trying. Too young to be so confident.
    20s-early 30s
    Any
    Nonbinary