L.A. Times Best Bet ("A literate meditation on the boundaries of art and social responsibility")
Praised by former Pulitzer Prize Jury Chair and L.A. Weekly Theatre Critic Steven Leigh Morris as "a beautiful, intricate, and important new play . . . [and] descendant of Tom Stoppard's Arcadia")
ATHE Award for Excellence in Playwriting - 2nd Place Winner, top 21 (from a field of over 1300) for the Moss Hart and Kitty Carlisle Hart New Works Project, Eugene O'Neill NPC Semi-Finalist, PlayPenn - Top-12 Finalist, Julie Harris Award - top 5, Official Selection for FutureFest, HRC Showcase;
Theatre 503 (London) - International New Play Award - Semi-finalist

A committed atheist inherits a collection of rare and extremely valuable illustrated Hebrew manuscripts, including a prayer book from fourteenth-century Spain. A moral dilemma, historical mystery, and matters of the heart converge following the discovery that the books, which bear witness to overlapping Jewish and Islamic traditions, were stolen, some six-hundred years after their creation, from a library in 1940s Berlin. Inspired by true events and a late twentieth-century court case, and using projected images from the books themselves, the play explores the allure of sacred manuscripts, the ethical issues generated by cultural treasures displaced during wartime, and the power of art to forge human connections.