Mark Shapiro

Music: Mark Shapiro; Book & Lyrics: Andrea Shapiro and Mark Shapiro
DIONYSUS, god of wine, is throwing a party at Nashville’s Parthenon, replica of the ancient Greek temple in Athens (“PARTY AT THE PARTHENON”). In attendance are ZEUS, king of gods, HERA, his wife and goddess of marriage; ATHENA, goddess of wisdom; APOLLO, god of truth; APHRODITE, goddess of love; half-goat-half-man PAN, god of wild things; and half-horse-half-human centaurs ALPHA and OMEGA as the Greek chorus. Not invited is ERIS, goddess of discord. Miffed, she leaves a present gift-wrapped as an apple. Alpha and Omega recount that once before Eris gifted an apple-of-discord resulting in the Trojan War (“PATTER”). This time, Eris’ offering is a sculptured Nashville GOO GOO candy with the inscription “for the sweetest.” The goddesses each insist it belongs to one of them (“GOO GOO SWEET”). When the gods learn they must choose, they accuse Eris of treachery (“BEWARE OF GREEKS”) and flee.

Apollo and Dionysus shame Zeus into making the choice. However, his resolve is shaken when sexy Aphrodite approaches (“DITIE’S DITTY”) and Hera catches them (“NO SECOND FIDDLE”). After Zeus disqualifies himself in favor of Apollo, Eris instructs Pan to play the goddesses against each other. He’s conflicted but belongs to her (“’NO SECOND FIDDLE’ REPRISE”).

The scene shifts to Apollo and Athena (“IMMORTAL DUET”). Because of their mutual attraction, Hera and Aphrodite demand Apollo likewise recuse himself. Noting that laughter’s the sweetest brew he knows, Dionysus proposes whomever tells the funniest joke be awarded the prize (“KNOCK! KNOCK!”). Unable to choose, he’s about to close his eyes and pick the winner when Eris summons Pan. If a choice is made, that goddess’ aspect will rule the mortal world, not hers. Intervene and she’ll grant his freedom. Pan then proposes a rule change. The three gods must reach a unanimous verdict. In “’BEWARE, MINE IS THE SWEETEST’ REPRISE”, the immortals bemoan their fate as Eris and Pan shake hands.

Two weeks later, Alpha, Omega and Pan set the scene with “OH, WHAT FOOLS IMMORTALS BE”. The gods have reached a verdict: “DON’T ASK US!” If they can’t decide, who can? Pan points out the one sacred institution whose integrity is above reproach: the Country Music Association and its annual CMA awards. A special Parthenon category has been added; the immortals could enter the competition. The goddesses sing “WHAT COUNTRY MEANS” and Alpha and Omega comment with “’OH, WHAT FOOLS’ REPRISE”. Meanwhile, outsiders Eris and Pan croon “THE LONELY PLACES”.

It’s CMA Awards’ Night (“AND THE WINNER IS …”). In a surprise upset, Eris is victorious. She encourages the others to wreak vengeance on the mortal world. When they refuse, Eris pleads for inclusion (“HALF PAST NEVER”). Zeus explains he can change Eris’ aspect but the others must change as well. They agree (“HARMONY”).

Alpha and Omega insist that Pan is not alone, he belongs to their club (“BROTHERHOOD OF THE HOOVES”). In the final scene, all prepare to celebrate (“’PARTY AT THE PARTHENON’ REPRISE”) Curtain.

Music: Mark Shapiro; Book & Lyrics: Andrea Shapiro and Mark Shapiro
ACT ONE
A bumbling magician and an ancient vendetta fuel this zany musical where contemporary guests at a run-down Las Vegas hotel meet renaissance commedia dell’arte characters stranded in the present era.

In the opening number, DOTTORE recounts how he, PANTALONE (hotel proprietor), CAPITANO, HARLEQUIN, COLUMBINA and PIERROT became marooned in “LAS VEGAS!.” Their only way back to 1492 Venice requires magic words — chanted from a gondola — in the presence of Pantalone’s nemesis. When contemporary characters JOHN, FRAN and ELOISE arrive, Pantalone learns that John is his enemy’s descendant. After the magic formula fails, Pantalone orders the others to learn all they can about his guests.

John, a retired real estate magnate, longs for one more business score, while Fran hopes to repair their marriage. They challenge each other to “CHOOSE YOUR BATTLES.” Observing Eloise’s attraction to Pierrot and Pierrot’s unrequited love for Columbina, Fran urges Eloise not to “SETTLE FOR SAFE.” Harlequin objects to Columbina flirting with John. She defends her coquettish nature (“CHE BELLO”), before accusing Harlequin of lacking ambition. He protests, proclaiming himself to be “GOD OF DRUM.” As Capitano tries to seduce Fran (“LA BELLA LUNA FORTUNA”), Eloise confronts him. The commedia characters explain they have no choice but to follow their “CONVENTIONS.”

Meanwhile, Dottore speculates that the circumstances of 1492 must be replicated in order for his magic to work. When Pantalone discovers that John’s “game” is flipping real estate (“NAME OF THE GAME”), Dottore concocts a scheme to trick John into purchasing Pantalone’s hotel and flip it to a non-existent tycoon (“AL”). After they succeed in this con, the commedia characters rush to their gondola. Dottore utters the magic words. Curtain.
ACT TWO
Once again, Dottore’s formula doesn’t work. Equally dire, John now owns the hotel — and therefore the gondola — the commedia characters need to transport themselves back to Venice. “THE SWITCH” dance is a botched attempt to steal John’s copy of the contract so they can alter it.

“STUCK” in the twenty-first century, Columbina and Harlequin embrace modern times without regret, while Pantalone, Dottore and Capitano bemoan their fate. Fran and Eloise have issues they must resolve. Fran opposes John’s purchase of the hotel and questions the future of their marriage. Eloise hasn’t acted on her attraction to Pierrot. They ask the “SLEEP PEDDLER” to help them decide. Eloise then confesses her feelings to Pierrot (“WHAT LOVE WANTS”) and is rewarded when Pierrot’s finds “THE VOICE BEHIND THE MASK.”

Pantalone and Capitano berate Dottore (“NOW YOU SEE IT”) for their situation. Dottore has a revelation: the only common denominator in their numerous attempts to return to Venice is the vendetta. What if it were ended? He warns Pantalone that he must admit to John that Al doesn’t exist and return his money.

The next morning, John and Fran end their marriage amicably (“COFFEE, CRULLER AND TEARS”). Before Pantalone can confess, John tells him he’s giving the hotel to Fran. When John boasts he could out-Medici the Medici, Pantalone offers to take him back to 1492 Venice. All relationships resolve (“NOW I KNOW”). In “DON’T MISS THE BOAT,” Fran finds places for Eloise, Pierrot, Harlequin and Columbina at her hotel. The magic formula is chanted. John, Pantalone, Capitano and Dottore return in triumph to Venice. Curtain.

The Internet, fake news, alternate realities. What happens when a song-and-dance man promotes his stage persona at the expense of his identity and confuses the two? Norman Lipshitz owes money to everyone. Ace L’amour, his doppelganger, can’t find an audience outside of bar mitzvahs and rest homes. Enter Manny Manischewitz, a pioneering blogger and …
ACT ONE
SCENE ONE: Hoboken Happy Home For Adults. Noon. NORMAN LIPSHITZ, aka ACE L’AMOUR, 45, performs a song-and-dance number. As Ace, he sports an orange Afro wig and fedora over Norman’s bald head. Reaction to the act is tepid.

SCENE TWO: Ace’s dressing room. Immediately following. SIDNEY GOTTLIEB, 45, a laid-off newspaper ad executive and Norman’s brother-in-law, is waiting. ARNOLD LEVINE, 68, the rest home’s owner, enters. He complains that Ace owes money to everyone including loan shark Vito Capomaggo. For his part, Arnold is in hot water with Vito because he made himself responsible for what Ace borrowed. Arnold exits. Norman enters and Sid confronts him with his debts. Removing his wig and fedora, Norman blames Ace, his doppelganger, for forcing him to live up to the image of a high-rolling gambler. Sid floats the idea that Norman go into hiding to avoid Vito. They would then create a fictional biography and market Ace on the Internet with the help of legendary whiz kid Manny Manischewitz. Arnold is persuaded to go into partnership with Norman (believing him to be Ace) and Sid.

SCENE THREE: Manny’s Manhattan studio. Four months later. Ace has become an Internet sensation. Sid is interviewed by MANNY MANISCHEWITZ, 22. Preposterous claims are made about Ace’s history.

SCENE FOUR: Norman’s Manhattan hotel room. That night. Norman is bitter over Ace’s newfound popularity and jealous of his success. KITTY, 21, a paid escort, arrives. She’s a Goth in fashion, makeup and outlook. When Norman learns she’s turned on by Ace, he attempts to arouse her by performing one of his songs. Kitty’s ardor cools when she insists that Norman “can’t do it” like Ace. Norman tries to convince her he is Ace — only to have Kitty flee the room. Norman calls Sid. He wants his identity back. When Sid refuses to help, Norman turns himself into the police.

ACT TWO
SCENE ONE: Interrogation room, New York police station. Next afternoon. SEAN O’MALLEY, 62, a cynical detective, confronts Norman, Sid, Arnold, Kitty and Manny. Norman insists that Ace doesn’t exist, Sid maintains he’s disappeared and Arnold contends he’s actively doing business with him. Meanwhile, Kitty claims she was terrorized by Norman — while Manny confesses he never met Ace and doesn’t recognize Norman. In the end, Sean asks Norman to perform as Ace. Manny is flabbergasted — Norman is even better than Ace! He offers to underwrite a new career for Norman as an Ace impersonator. Pressed by Sean, Sid concedes that Norman was impersonating Ace without Arnold’s knowledge when they convinced him to go into business with them. However, Arnold benefitted from the arrangement, so no harm was done. Sean, who’s been offered a gig of his own by Manny, agrees to drop the investigation if Norman will only admit to a publicity stunt. When Sid points out to Norman that he’s free of Ace and can finally be his own man, Norman shrugs: what’s in a name? He never liked the son-of-a-bitch to begin with! CURTAIN

ARES, 30s, God of War, believes himself to be the most venerated of deities. To prove it, he points to the example of Agamemnon and the invasion of Troy. It’s 1190 B.C.E., and the Greek fleet is assembled off Aulis. Helen, wife of Agamemnon’s brother, has run off with a Trojan prince. Present at a banquet are: AGAMEMNON, 45,Commander in Chief, CALCHAS, 60, his seer, ODYSSEUS, 50, the seasoned soldier, PROTESILAUS, 26, an untried warrior, ACHILLES, 22, the heroic son of a mermaid, and PATROCLUS, 30, Achilles’ friend. Spirits are high even as Calchas warns that rash words and the sin of pride beget deadly consequences. Calchas is aghast when IPHIGENIA, 16, Agamemnon’s daughter, enters to toast her father. As she pours wine, she flirts with Achilles. Asked why he fights, Patroclus covers Achilles’ hand with his own, explaining they belong to a brotherhood of arms. Unaware of the double-meaning contained in his answer, Iphigenia blurts out she too wishes to be a man so that she might fight. As the evening progresses, Odysseus’s doubts over Agamemnon’s qualifications as General are echoed by the others. In the end, Agamemnon swears on Iphigenia’s life he’ll have only one standard: the Army first and foremost.

Weeks later, the fleet languishes, unable to sail. Calchas informs Agamemnon that he’s offended the goddess Artemis through an idle boast. Calchas tells Agamemnon he must sacrifice his daughter for the wind to change. Days later, Agamemnon offers Iphigenia one excuse after another as she pleads for her life. A ray of hope appears when an outraged Achilles confronts Agamemnon: his name was used without his knowledge to lure Iphigenia back to Aulis. He will not allow her to die because of it. However, when Patroclus learns that Achilles is determined to wed Iphigenia, he refuses to support him. Even as she’s led to the slaughter, an indecisive Agamemnon argues with himself. Iphigenia’s scream rends the air. When Agamemnon hears that his prayers have been answered — a new wind is blowing — he’s comforted by Ares.

1911. Jewish philanthropist Jacob Schiff and activists Louis Marshall and Lillian Wald (among others) conduct one of the first nationwide campaigns on behalf of a civil liberty. In doing so, they not only take on the Czar of Russia but a President of the United States.
ACT ONE
SCENE ONE: LOUIS MARSHALL, 55, attorney with the American Jewish Committee, addresses audience. He explains that in 1832 the U.S. and Russia signed a treaty permitting travel and commerce in each others’ territory. Russia began to violate that agreement by initiating a religious test — refusing to honor the passports of all Jews, Catholic priests and Protestant missionaries. The effort to force Russia to live up to the treaty — or end it — would become one of America’s first campaigns for a civil liberty. “The year is 1911 and the audience is the jury …”

Early February. The White House. WILLIAM HOWARD TAFT, 54, President of the United States, and mining engineer JOHN HAYS HAMMOND, 56, a longtime friend, are meeting. Taft tells Hammond that he’s agreed to see philanthropist Jacob Schiff and other Jewish representatives to discuss the passport question. Hammond is skeptical. WILLIAM W. ROCKHILL, 57, Ambassador to Russia, enters. Rockhill is adamant that the Czar’s government will not change its interpretation of the treaty. He, himself, opposes ending it and details the damage it would do to U.S. commercial interests should that occur.

SCENE TWO: Same day. Schiff’s office. Activist LILLIAN WALD, 44, lobbyist SIMON WOLF, 75, JACOB SCHIFF, 64, and Marshall meet in preparation for the conference with Taft. Wolf favors a behind-closed-door approach while Marshall advocates a confrontational stance. Guided by Wald’s advice, Schiff supports Wolf. Marshall worries that Taft will succeed in using the conference to delay meaningful action.
Schiff does not believe that will happen.

SCENE THREE: February 15. The White House. The conference is a fiasco. Taft reads a prepared statement outlining his decision not to abrogate the treaty. His guests attempt to make their case but are rebuffed. Act One concludes with Schiff vowing to spend his own money on a public campaign to force the President’s hand.
ACT TWO
SCENE ONE: December 6. Carnegie Hall. The public campaign reaches its zenith with a massive rally. As Schiff takes a bow, we learn just how successful the effort has been to shape public opinion. Meanwhile, Wolf and Marshall continue to argue over its effect. Wald insists the movement demonstrates Americans are willing to place a civil liberty over that of economic gain.

SCENE TWO: Action shifts back-and-forth between Schiff’s press conference and a dinner party where Hammond is the guest speaker. Schiff accuses the Russians of trying to buy influence with Taft by offering Hammond business concessions. Hammond angrily denies this, accusing Schiff of worsening the plight of Russian Jews trapped inside the Pale of Settlement. Schiff responds by attacking Ambassador
Rockhill for downplaying the passport issue to favor Hammond with the Russians.

SCENE THREE: December 13. The White House. Rockhill and Hammond defend themselves before a distraught president as the vote to end the treaty takes place in the House. When the results come, Taft is overwhelmed by the loss.

SCENE FOUR: Epilogue. Each character summarizes his/her case before the jury/audience. In the end, Marshall notes, Taft did the right thing. Faced with certain loss in the Senate, the President confined his efforts to softening the language of the resolution to end the treaty. Wolf agrees that the battle over the passport had to be waged. However, he sees the glass as half-full. He explains that not two years later, the world exploded in war and the Czar and his evil Pale of Settlement disappeared. Wald views the treaty campaign as an unqualified success. Noting that it would become the blueprint for future move-ments, she contends that Americans stood shoulder-to-shoulder and said, “no to prejudice and yes to equality.” Rockhill takes the opposite position. He points out that no material gains were made as a result of abrogation. On the contrary, the Czar chose not to negotiate a new treaty, Russian Jews suffered reprisals and U.S. commercial interests were sacrificed. Hammond concurs. Contending he was unfairly targeted, he complains that he lost his business concessions in Russia. Taft is philosophical. He believes he did the best he could and can’t understand what victory there is in picking a fight for the sake of argument. Schiff couldn’t disagree more. In the final analysis, he argues, the lack of a Russian response was irrelevant. The world has gates in which freedom is held captive. As human beings, we have a moral duty to stand up and say — to demand — to pray … OPEN THE GATES!

Dreams. The Immigrant Dream. The American Dream. The dreams of our parents; the awakenings of their children. Manfredo Gutierrez Reyes is a self-made Cuban refugee, his children are American-born. What happens when their dreams collide?
ACT ONE
SCENE ONE: MANFREDO REYES, 58, is celebrating the upcoming birth of a grandchild. Present are CONSUELO, 24, and HECTOR, 22, his children, as well as CARLOS, 58, a friend, TERESITA, 55, his girlfriend, and CHESTER BAXTER, 57, a banker. We learn that Manfredo has succeeded in purchasing an entire beachfront and plans to expand his grocery into a department store. The first lots were originally bought by Manfredo’s wife’s parents and have been left to Consuelo and Hector by their now-deceased mother. We learn also that Manfredo, Carlos and Teresita are refugees of Fidel Castro’s Cuba; Consuelo and Hector were born here. Over the years, Manfredo has achieved the American Dream. Still, he’s nervous when his long-time friend at the bank is replaced by Baxter who must decide whether to lend funds for the store’s expansion. We also find out that Consuelo’s husband, Roberto, is in the Army and that Hector dreams of becoming a professional dancer. The scene ends when word comes that Roberto has been killed in action. Consuelo blames Manfredo for insisting he enlist as a condition of their marriage. Now, the baby she’s carrying will have no father.

SCENE TWO: A month later. With Manfredo at work, Teresita attempts to bridge the gap between father and daughter. Carlos shows up, concerned Hector’s been using him as an alibi for absenting himself from the store. Hector arrives, ecstatic: Cuba’s National Ballet has accepted him. He plans to sell his lot to Manfredo and move to Cuba.

SCENE THREE: That night. Consuelo and Hector break the news to Manfredo. He’ll have none of it. Cuba is an anathema to him. He refuses to purchase Hectors’ land and tells his children both their lots are worthless except as an access and a utility easement.
ACT TWO
SCENE ONE: Night, three days later. Teresita comforts Manfredo. He confesses his feelings of alienation from his children and fears for the future. He’s heard from Carlos: the bank is now holding up his loan. What if Baxter turns him down?

SCENE TWO: Two days later. Hector and Consuelo meet with Carlos. They’ve both accepted an offer for their land and want to know if it’s a fair price. Carlos is incensed: how could they sell behind their fathers’ back? They reply they don’t believe the bank will lend the money to Manfredo and have sold their property in order to move to Cuba.

SCENE THREE: An hour later. Manfredo and Baxter meet. Baxter refuses to approve the loan. Instead, he has a proposition: Manfredo could sell his land to a developer, so low-cost housing can be built there. Manfredo’s adamant: he didn’t come to America to become a slum lord. Even if the bank forecloses on his already mortgaged property, it won’t be able to proceed since his children’s lots are outside of the bank’s control. Without them, he argues, the main property becomes useless for lack of access. Baxter discloses Hector and Consuelo have accepted an option from the bank to sell their land. Baxter exits. Alone and betrayed, Manfredo has a heart attack.

SCENE FOUR: Five days later. Does the bank succeed? Will Hector and Consuelo leave America’s promise for Cuba’s dream? The final scene resolves the play.

What is the human face of politics? When State Senator Sandy Mumford votes to support his Party and a Medal of Honor winner takes his own life, where does the responsibility lie? Action takes place at the Mumford home located in the suburbs, today.
ACT ONE
SCENE ONE: Morning. ADEL MUMFORD, 20, and her mother, CLAIR, 48, talk. We discover that Adel’s been in a car accident and hasn’t told her father the full truth of what transpired. We learn also that Sanford “Sandy” Mumford is in the Legislature and considering a run for the U.S. Senate. WAYNE NORRIS, 50, BILL JONES, 45, and WILLA JONES, 45, arrive. They want to meet with Sandy. Bill and Willa are the parents of Army Corporal Russell Jones, a Medal of Honor winner who recently committed suicide. In the course of the scene, we find out they blame Sandy for the loss of the family store and subsequent suicide of their son. They attribute this to Sandy’s support of Weatherby Enterprises, a chain-store conglomerate notorious for its anti-competitive, anti-labor practices. The scene ends as Sandy arrives.

SCENE TWO: SANDY MUMFORD, 50, is initially sympathetic to the Jones’. This changes as he’s confronted with his vote and failure to respond to either Russell or Bill when they pled with him to oppose Weatherby’s entrance into the State. We learn also that Wayne is with America Yes!, a populist organization dedicated to exposing politicians. Bill and Willa want Sandy to reconvene the Legislature and revoke Weatherby’s license. When Sandy hedges, Wayne threatens to publicize Sandy’s alleged connections to the conglomerate.

SCENE THREE: Sandy maintains his innocence. He mounts a spirited defense of his actions while disclaiming responsibility for them. The Scene portrays the extreme disconnect between elected officials and the electorate. Tensions boil over. Unable to get answers or any meaningful corrective action, Bill puts a gun to Sandy’s head as the Act One curtain falls.
ACT TWO
SCENE ONE: Try as he might, Bill can’t pull the trigger. Willa maintains he’s not a “killer” like Sandy. This prompts Sandy once again to defend himself — this time implying Bill and Willa may be partly responsible for their son’s suicide. When Willa warns that one day someone Sandy doesn’t even know could strip him of all he holds dear, Adel’s had enough. She divulges the secret she’s kept from her father. Despite their own pain, Willa and Bill are deeply affected by Sandy’s personal loss resulting from Adel’s confession. They exit with Sandy’s promise to set things right. Wayne is incensed. Adel confronts him: while she knows what he’s against, what does Wayne stand for? “You poor, scared little man,” she concludes. He exits. When Sandy appears to step back from his promises to Bill and Willa, Clair and Adel shrink from him as the curtain falls.

U.S. Senator Jedidiah Kane will do anything to locate an Army base in his state. SPIDER
is a character study of the ultimate Capitol Hill insider.
ACT ONE
AGATHA KANE, 68, wife of U.S. Senator Jedidiah Kane, is showing off Jed’s office to his niece, ELLIE CAMPBELL, 30, and Ellie’s husband, TOM CAMPBELL, 34, a U.S. Army Major. JEDIDIAH KANE, 68, enters. He and Ellie barely know each other. Nevertheless, she accepted his job offer when Tom is stationed at the Pentagon. Jed needs her expertise as an environmental lawyer. After decades in Congress, he has a once-in-a-lifetime chance to do something meaningful for his constituents: locate a two billion dollar Army base in the poorest section of his state. Assured by the White House that it will support him, Jed must clear four hurdles: (1) CONGRESSMAN EARL LAWSON, 68, needs to pass a companion bill in the House; (2) approval must be obtained from the ranking member of Jed’s own committee, SENATOR LOWELL “THE REVEREND” AMON, 55; (3) Jed must gain the support of the state’s junior senator, HARRISON CAULDER, III, (43); and (4) he must “neutralize” CONGRESSMAN MASON ECKERT, 62, a handicapped veteran who opposes the base’s location on environmental grounds. Jed is confident he can overcome all obstacles but Eckert’s. He tasks Ellie with bridging the divide between them.

With the help of Jed’s secretary, BONNIE, 26, and the promise of campaign contributions, Jed works his charms on Earl. Appealing to religious patriotism and a pledge of support for a besieged nominee, Jed convinces The Reverend. Caulder, on the other hand, is wary of Jed’s reputation. Because of his propensity to spin webs, Jed’s nickname in the Senate is The Spider. Eventually, Caulder, who has higher political aspirations, is won over by Jed’s offer to credit him with the base. However, his vote is conditioned on securing the approval of Eckert. This doesn’t seem likely. Despite Ellie’s best efforts, there’s always one more objection. Added to that, Eckert is under attack by a shadowy PAC, Veterans For Military Service, which accuses him of being weak on defense. Ellie schedules a meeting between Eckert and Jed. Tom arrives. He worries that Jed is changing Ellie — she’s become a power junkie. Tom
urges her to quit before she crosses a line. They argue. As the curtain falls, he storms out of the office.
ACT TWO
The meeting with Eckert is off to a rocky start — he’s convinced that there will be environmental damage. Jed points out that Eckert is playing into the hands of Veterans For Military Service. Eckert is at a loss as to why he’s being targeted by the group. Jed assures him that he’s determined to unmask the PAC but needs Eckert to support the base and deny them the ammunition to go after him. He manages to persuade Eckert, pledging to include environmental safeguards in the bill. Jed and Eckert leave. Agatha shows up. In talking to Ellie, she let’s slip the identity of Jed’s biggest backer. Horrified, Ellie recognizes the name — Vince Kincaid is both the head of Veterans For Military Service and the largest landowner who will benefit from the proposed base. Ellie confronts her. Agatha, who has her own demons to fight as the wife of a politician, pleads for understanding. She points to the greater good a base will mean to the state’s economically disadvantaged constituents. She begs Ellie not to do anything rash.

Two weeks later, the base authorization has passed Congress. Jed, Eckert, Lowell, Caulder and Earl are celebrating. The pats-on-the-backs come to a halt when Jed is told that a copy of the bill he voted on won’t be released until after the President signs it. As the scene progresses, he finds out that the bill’s language was changed at the last moment and the base location moved. The others have somehow become aware of Kincaid’s involvement. Working together, they’ve scuttled his plans. Jed still thinks he can win if he can only reach the President. It’s too late. As he’s on the phone to the White House, Jed is informed that the bill with the modified language has become law.

A month later. Ellie is pregnant. She’s decided to leave politics and enter private practice. It’s her last day and she stops by to say goodbye. Jed let’s her know he connected the dots and is aware she told Caulder about Kincaid — thereby costing him his dream. He doesn’t understand what she accomplished. The base would have benefited so many people. Jed does concedes that he miscalculated by underestimating her. “There’s a bit of the killer in you,” he tells Ellie. She’s not intimidated. There’s nothing he can do to her — she doesn’t work for him any more. Ellie leaves. Bonnie is sorry to see her go. Still, she confides to Jed, the job was a strain on Ellie’s marriage. Now that Ellie’s pregnant, Bonnie adds, Ellie is relieved that Tom extended his tour in Washington. Ellie was afraid he’d be stationed overseas. That’s it — Jed will have his revenge yet! As Bonnie shrinks away from him, Jed contacts Tom’s commanding officer and has him transferred to the Philippines.

What is the sum of an artist’s life? Why did America’s First Dramatist set fire to the centerpiece of his life’s work? Eugene O’Neill battles ghosts, demons and Parkinson-like symptoms against the unforgiving seascape of Point o’ Rocks.
ACT ONE
It’s November 1948. Legendary playwright EUGENE “GENE” O’NEILL, 60, and actress-wife, CARLOTTA, 60, have purchased an abandoned lighthouse at Point O’ Rocks, Massachusetts. Gene, who suffers Parkinson-like symptoms affecting his ability to write, has recently received hopeful news of a possible cure. Throughout the play, Gene confronts his past, present and future as he attempts to come to terms with both his legacy and the possibility that his writing days are over. Front and center is an eleven-play “Cycle” Gene believes will make up for his failure as a son, parent and husband. ALFRED “FRED” DIDONATO, 50, is the O’Neill’s Italian-born barber — the only other person outside of a doctor, to visit them in their forced isolation.

Gene’s past is represented by the ghosts of his famous actor-father, JAMES, 76, drug addicted mother, ELLA, 65, and wastrel brother, JAIME, 45. As Gene struggles to complete his Cycle, we learn how he lost his Catholic faith, what his jealous brother has against him, and why Gene, Jaime and Ella hold a grudge against James.

Gene’s future is represented by his children — EUGENE JR., 40, a classical scholar, OONA, 23, the pregnant wife of comedy king, Charlie Chaplin, and SHANE, 30, a drug addict. All three have distant relationships with their father. Eugene Jr., who made a name for himself at Yale is on a downward spiral, unable to compete with his father’s reputation. Oona has been disowned by Gene, in part, because of her May-December marriage to Chaplin. Weak and neglected, Shane is a lost soul. All blame Gene for the disappointments in their lives.

Past and future merge. Gene attempts to deal with a tempestuous present represented by Carlotta. Act One ends as Gene’s hope for a cure is dashed.
ACT TWO
Three months have passed and Gene’s symptoms have increased markedly. He can no longer hold a pencil and has begun to act out his paranoia, terrifying both Carlotta and Fred. Meanwhile, as his children (“future”) beg for acknowledgement, Gene’s parents and brother (“past”) urge him to accept his fate. As the play progresses, Gene and Carlotta argue. She threatens to leave him, pleading that she can’t watch while he destroys himself over a Cycle he’ll never finish. Gene maintains that the partially written plays will be his memorial. Carlotta is adamant — one day, someone else will fill those pages. He won’t give permission, he fires back. But he’ll be dead, jeers Carlotta. Gene has sacrificed every relationship he’s had and someone else will reap the rewards! Goaded beyond reason, Gene sets fire to the Cycle. Carlotta joins in.

Gene and Carlotta sleep while his children, parents and brother, perform an eerie Last Rites ceremony over his talent as a writer. When Gene and Carlotta awaken the next day, he’s calm. They’re intimate for the first time in years. Having devoted his life to a work that no longer exists, Gene is now reconciled to the life he lived. Contending that his search for answers has led him to believe that nothing stays the same, he concludes that maybe the sea is all there is — the wind, the waves … the everlasting deep!

Rain. Flood. Noah’s ark is about to run aground in the mountains of Ararat. The animals are in revolt, Noah’s family is planning a mutiny. Then, on the 40th day … A zany commentary on faith, optimism and the ultimately precarious nature of the human predicament.
ACT ONE
SCENE ONE: Morning. Noah’s ark. JAPHETH, 23, wakes his brother, HAM, 20. We discover that Noah has convinced his family to enter the ark on the promise of a reward or covenant. Both sons are unsure of what that means. Japheth is concerned the ark is sinking while Ham resents taking care of animals. MIRIAM, 23, their sister-in-law, enters. She’s had it. Instead of a honeymoon, she’s trapped with her husband, Shem, and her in-laws on a crowded ark. SHEM, 26, tries to make the best of it, reassuring his bride while trying to persuade his mother, Naama, to wrest leadership from his father. NAAMA, 65, doesn’t need much convincing. She blames herself for falling for another of Noah’s pipedreams. She pleads with the newlyweds for understanding. She explains that it’s not Noah’s fault he’s cursed with bad luck. After all, his ancestor-cousin Cain, was a marked man. Shem points out that Noah assured them land would be sited in forty days. If it doesn’t materialize today, they must turn the ark around and head for home. NOAH, (65), appears. A gentle, if vague man, he’s perplexed by his family’s lack of faith. Naama questions him on the exact makeup of his promised reward. Noah is not the least bit curious. He has faith in the Voice which spoke of a covenant. The family is outraged. How many times has Noah been swindled by voices? Facing a mutiny, he seeks solace “amongst” the four-footed beasts.

SCENE TWO: Immediately following. Ark. GEORGE, (40), a sea-sick lion, MORRIS, (24), a non-too-bright bull, SINDEY (60), a crotchety snake, and DORIS, (30), a plaintive dove, are housed together. Each relates his/her tale of woe as to how they came to be on the ark. Convinced Noah’s a madman, they’ve decided to take matters into their own paws/wings/hooves. There is a crash — land is sited.
ACT TWO
SCENE ONE: Ararat. All is sunshine and light. All is forgiven. Animals and humans alike are delighted to be on dry land. As animals scamper off, Noah and his family set out to “collect” their covenant.

SCENE TWO: Some time later. Animals are disgusted. The land is not flowing with milk and honey. The ark was better. Bitter at what they perceive to be human trickery, they vow vengeance on any human who ventures into their mountain province. Noah and family reach the prophetic spot. Expecting riches, they’re confronted by the sign of the new covenant — a childlike Marc Chagall rainbow. Wife and children believe they’ve been duped. Noah asks the heavens why he’s being punished and what this new sign means. Suddenly, he knows! Colors comprising the rainbow convince him there’s a pot of gold at it’s end. “Follow that rainbow,” he shouts as he and his family ascend into the mountain province of the animals. An offended lion’s roar is heard as curtain falls.

Judah Kramer is fourteen when he learns that his family is on the next day's “selection” list at Auschwitz. Twenty-two years later (1965), he’s visited by a strange man determined to strip “Jud” of all he holds dear. This includes his gentile wife, his career, and ultimately, his life. RETRIBUTION deals with seldom-discussed aspects of the Holocaust: costs of survival … remembrance versus victimhood … forgiveness for whom? Its central theme echoes well beyond the Jewish street: while we dare not forget what happened, we must not allow the past to warp us. If we do, those who would destroy us will have won. The play is based on Daniel Stern's award-winning novel, "Who Shall Live, Who Shall."
ACT ONE
SCENE ONE: October 1965. CARL WALKOWTIZ, 41, addresses audience. Do murderer’s believe themselves innocent, he asks? Carl visualizes the central office at Auschwitz. Noting that inmates, as well as S.S. men, work as clerks, he explains it’s taken him twenty years to track down his quarry. Scene shifts to a Manhattan apartment. JUDAH “JUD” KRAMER, 36, is a theatre director staging a play on the camps. MARIANNE KRAMER, 30, his wife, is a successful film actress. Every time she brings up his past, the “silence curtain” comes down between them. Carl arrives. Although Jud doesn’t remember him, he’s impressed by his knowledge of the camps and hires Carl.

SCENE TWO: Next afternoon. Theater. Carl and Jud reenact an S.S. interrogation. Violence is imminent when Marianne appears. She tells Jud she’s worried about him and thinks she should cancel an upcoming film role. After Jud leaves, Marianne accuses Carl of keeping Jud’s trauma over his past alive. Carl disagrees — Jud’s a forgetter — isn’t it Marianne who wants to know?

SCENE THREE: That night. Apartment. Carl meets producers PAUL ROVIC, 70, and JOE QUINN, 45. Carl makes them uncomfortable. As the scene progresses, Marianne confesses to Carl that she feels helpless and shut out when it comes to the Holocaust. An urgent phone call alerts Jud, Paul, Joe and LARRY ELGIN, 40, press agent, to a column attacking Jud for “cashing in.” Joe wants to replace him. Paul supports Jud — Joe is forced to relent.
ACT TWO
SCENE ONE: Month later. Apartment. Marianne and Carl argue about Jud. When she starts to leave, Carl plays upon her fascination with the camps, drawing her back with his own horror story. Why does Carl hate Jud, she inquires? Ask him, Carl retorts, ask him about those giddy days at Auschwitz when men were gods! Stripped emotionally, Marianne is overwhelmed. She gives herself to Carl.

SCENE TWO: That night. Apartment. Jud tells Carl and Marianne he’s under pressure to revise his vision of the play. Jud believes the protagonist (Avrum) collaborates with the Nazis to save lives. He steps over the line when he has to choose between two inmates. Jud believes Avrum must accept responsibility by committing suicide as an act of redemption. Carl asks: suppose Jud learned such a thing about himself, would he be able to pass judgment and carry out the sentence? Jud says he hopes he would.

SCENE THREE: Carl believes he’s found the means to destroy Jud. Scene shifts to theater. Carl informs Paul there’s an anti-Semite on his staff and Jud is reluctant to fire him. Paul, who has a father-son relationship with Jud, suffers a mild heart attack.

SCENE FOUR: Week later. Ballroom. A theatre benefit for charity is a disaster. Marianne tells Jud she’s decided to take the movie role. Meanwhile, the story of an anti-Semite on the payroll has been leaked to the press. Jud puts two and two together — Carl has contacted the newspapers!

SCENE FIVE: Theater. Jud attacks Carl. As Marianne pleads for understanding, Carl becomes the prosecutor: when Jud was a clerk-inmate at Auschwitz, he substituted Carl’s family for Jud’s on the next day’s “selection.” Handing Jud a pistol, Carl reminds him of his admission that he hoped he could pass judgment on himself. Jud refuses to take the bait. Instead, he points out that it was the Nazis who killed their families. He accuses Carl of turning into what he most condemns. Unable to live with his pain, Carl commits suicide.

SCENE SIX: Two days later. Cemetery. Marianne and Jud are awkward with each other. Jud tells her that Carl has forced him to face his demons. He can now mourn his own dead. If Jud could say something to Carl, to Marianne, to all of them, it would be I forgive you … can you forgive me?

Musical revue. Comprised of twenty-four numbers, it encompasses various styles of music from a satire on rap, to tap; from ballroom to show tunes; from blues to neo-classical, climaxing in a twelve-minute modern-dance ballet. The plot showcases various New York subway stops utilizing a “circus” motif, i.e., the City is a three-ring circus.
ACT ONE
Action begins at Grand Central where SONNY, 50, sings “NEW YORK RETURN.” CONDUCTOR, 30-50, explains that it may seem like any other train station. People come, people go … something always happens at the Grand. Enter the subway world — he sings “MANHATTAN LOVE SONG,” suggesting the audience ease their heads and see the sights with him instead.

First stop, Little Odessa via Brighton Beach. KARENYA, 40, the reluctant Russian Bear, remonstrates with her transplanted countrymen (“RUSSIAN TONIGHT”). Next stop is Fifth Avenue where it’s suggested to a distraught ANNE, 30, she “TEACH THAT LOW-DOWN, NO-GOOD MAN” what’s it’s like to be mean. Action now shifts to an Upper Westside eatery where Anne and NETTIE, 30, in green strapless mini-sheaths, dance to JERRY, 30, and KATE’S, 50, rendition of “SUSHI.”

Train heads for the theatre district and “BROADWAY TIMPANI.” There, HARRY, 70, and BELLA, 70, recall a youthful romance “AT THE DIPLOMATIC BALL.” It’s two a.m., the graveyard shift. Far away, a motorman applies the brakes. A herd of giraffes? A lion’s roar? Or is it the echo-scream of loneliness which winds like a river through the underground canyons of desperate urban dreams? “WONDERING,” a song of loneliness and longing, follows. Is “love” the elephant in the room? Could it be as basic as a change in the weather or just a question of geography?

We’re at the 59th Street Fountain with Karen and JACK, 40, and “MANHATTAN IN THE RAIN.” “THERE MUST BE MORE TO LOVE” follows as Anne and TED, 30, struggle with incompatibility. Conductor notes that New York is not the only three-ring circus. Kate, Anne and Nettie in elephant hats, rage against a casual kind of love (“GOT NO TIME”), Jealous Jerry predicts a high-stakes’ crash for tightrope-walking Nettie (“WHEN YOU FALL”), while “clown” Karen, explains why she suffers Jack’s infidelity (“WHEN THE LAUGH’S ON YOU”).
ACT TWO
Opens at the 125th Street Station. Kate, Nettie and Jerry are each confronted by insulting passengers. As they stare inwardly, Conductor notes that one has merely to stand next to subterranean tracks and feel the electric whine, the hypnotic pulse-flash of passing cars to be transported to that secret, half-conscious place where anything’s possible. Geek-like Jerry dreams himself to be the cool “MEPHISTOPHELES,” waitress Nettie, an irresistible “SWEET TEMPTATION,” while Salvation Army Kate prophesizes a fiery “JUDGMENT DAY”.

Conductor muses: to view the plague of urban blight, one might conclude Judgment Day has already arrived. However, he argues, Gotham, like the clown’s painted smile, masks another face — Eastside, Westside … could we but trip the light fantastic? We’re in lower Manhattan. Harry and Bella revisit “OLD NEW YORK.” Scene shifts. Sometimes, a dream of the past wakens to a future as desperate as that of a human rocket shot out of a circus cannon. We glimpse another New York. How to withstand the steep fall from grace of the brotherhood beneath the tracks? Homeless men battle demons and each other in “… IS HERE!”

We’re back at Grand Central — except instead of arriving, the disillusioned are “LEAVING THIS TOWN.” Song transitions to a twelve-and-a-half minute modern-dance ballet: Part I. NEWCOMERS knock on doors of OPPORTUNITY, SUCCESS & HAPPINESS only to be threatened by a dancing human train. In Part Two, NEWCOMERS are paired with CITY ASPECTS in a sensuous midnight dance. In Part III, Newcomer CONNIE, 20, attempts to give New York another chance but is buffeted by WINDS OF CHANGE. Unable to cope, she decides to end it all. Connie leaps into oncoming train but is caught by GEORGE, 20. “Look! She’s saved,” someone cries, “it’s gonna be alright!” Finale: lights dim to CIRCUS ANIMALS & CLOWNS-ON-STILTS SILHOUETTE as company sings and dances “SUBWAY CIRCUS.”

It's 1942 and the Germans have invaded the forests of Volhynia. Ablaze with the fire of Tchaikovsky's musical genius, ROMA ROMANI is an epic tale of Partisan resistance and Gypsy lore — of love and courage and a people determined to survive outside time and history. Unlike other theatre pieces about gypsies, ROMA ROMANI seeks to tell its story from their viewpoint. It is, in a sense, a FIDDLER ON THE ROOF of the Rom — complete with acrobatic dancing, fiery music and a plot interweaving gypsy lore with fact.

ACT ONE: Russian forest. 1946. ZOLTAN, 20, addresses audience. What do the eyes see? Everything but themselves! Gaje (non-gypsies) have armies and gold — Gypsies have only Rom (their people), baxt (luck) and lungo drom (the long road). To explain a gypsy saying — where the wagon rolls, a trace is left — Zoltan recalls the legend of Yanush: once upon a time, two caravans met in the forests of Volhynia for the purpose of matchmaking. Zoltan, SHEBAROS, 20, SHEBARIS, 17, SOFIA, 17, GINA, 23, BABA, 60, BOKU,25, GORO, 60, and GHILBARO, 25, perform “ROMA ROMANI.” Zoltan and Sofia hope to marry. Gina pines for Ghilbaro, a mute, who “speaks” through his violin. Song ends. YANUSH, 50, and SHANDORI, 50, discuss the fact that German troops are hunting partisans in the woods nearby. A patrol approaches. CONSTABLE, 50, INSPECTOR, 50, LEUTENANT, 28, and SOLIDERS, 20, ransack the camp searching for Sasha and his partisans. Leutenant favors rounding up the gypsies. Inspector is more interested in shaking them down when he is informed that many other caravans will arrive. The patrol leaves. Although the forest is surrounded by soldiers, Yanush is optimistic his people can escape. Noting that luck or fate is predetermined, he and Shandori sing (“BAXT”). Sofia finds a favorable omen and sings “GYPSY SIGNS,” which becomes a duet-dance with Zoltan.

SASHA, 30, the partisan, approaches Zoltan. While at a German death camp, Zoltan’s father overheard Sasha planning an escape and gave him a ring for his son. Sofia takes this to be a sign that gypsies and partisans are meant to work together. Yanush is skeptical. When Sasha tells him that the partisans need help to destroy an ammunition plant, Yanush sees a way for the Rom to get away. Invoking a famous ancestor, he persuades them to support an audacious plan (“BUMBULO’S WAY”). The plan: Yanush believes that the Inspector will order his troops to surround the campsite after the other caravans arrive. While the gypsies put on a “show,” the partisans can safely attack the ammunition plant. Once the plant blows up, the troops will be drawn towards the partisans, allowing the Rom to escape. As the Act One curtain falls, Shebaris and Shabaros perform “DANCE.”

ACT TWO: A week later, the caravans gather. The gypsies put on the celebratory “PATISHIVA,” complete with dance and a violin duel between Ghilbaro and YOJO, 20. Everything goes according to Yanush’s scheme — when the ammunition plant blows up, the Germans leave in pursuit. However, Zoltan, Sofia and the young people use this opportunity to slip away and join the partisans. Goro and Baba persuade Yanush to lead the caravans to safety. They will go after the young people. An escape dance follows during “SCENE CHANGE.”

Evening. Baba and Goro meet up with the young people and sing the tender “GYPSY LULLABY.” A breathless Sasha shows up. Things have taken an ominous turn: German reinforcements are arriving and the caravans are heading into a trap. Zoltan and Sofia leave to warn Yanush. Sasha agrees to follow and protect them. In another part of the forest, Yanush worries about the fate of his daughters (“DANCING MOON”), and Gina confronts Ghilbaro over their relationship (“GINA’S LAMENT”). In “AMBUSH BALLET,” Zoltan, Sofia, Sasha and Partisans clash with Leutenant and Soldiers. Sofia is killed in the crossfire. Zoltan stabs Leutenant before he can execute Sasha.

Afternoon, next day. “AFTERMATH.” The gypsy camp is in shambles. Ghilbaro has been killed. Zoltan arrives with a stretcher bearing Sofia’s dead body. Yanush mourns his daughter. When he learns that Sasha was severely wounded trying to protect Sofia, he persuades a reluctant Zoltan to go into hiding with Sasha. Yanush and the Rom will shield them. When Inspector arrives, Yanush convinces him that he and the other gypsies — not Sasha — were responsible for Leutenant’s death. The ruse works. As the Rom are marched off to Babi Yar, they sing the defiant “LUNGO DRUM.” Zoltan concludes: where the wagon rolls, a trace was left …!

The 1992 recession. Third-party grassroots movements. The politics of disillusionment. Harry and Bea grew up patriotic. They believed that if they worked hard and played by the rules, it would count for something. Instead, their son was reported missing in action in Vietnam (1972), and Harry’s afraid of being laid off from a company he once owned. In short: he’s a perfect match for Ross Perot's People's Movement. When Perot drops out of the presidential race, Harry and Bea are forced to confront their past loss, present trauma and the promise of an uncertain future.
ACT ONE
May 1992. PEG, 32, stops by to visit Bea, her mother. Peg is disturbed when she learns that her parents are considering voting for billionaire-businessman Ross Perot in the upcoming presidential race. Their support, she learns, is based largely on Perot’s advocacy of Vietnam POW/MIAs. Neither parent has accepted the death of their son. Added to that, Harry is increasingly depressed about the economy. When he arrives home, it’s clear a strained relationship exists between father and daughter which Bea constantly tries to bridge. Harry’s three friends show up: SID, 62, WALT, 64, and LESTER, 63. They inform Harry that the Perot people want him to join their volunteer organization. Sid, who recently opted for early retirement, believes Perot can turn the economy around. Lester, whose own son went missing in Vietnam, supports Perot on patriotic grounds. Walt, who met Harry when they were soldiers in the Korean War, points to the lack of opportunity facing veterans. Harry agrees to become active with the Perot campaign.

Three months later. Harry is the State volunteer coordinator and turns his home into a mini-campaign headquarters. His depression has vanished, replaced by a cocky confidence in Perot and his movement. Bea is distraught. Not only does Harry cash in an insurance policy to help defray campaign expenses but he’s fired from his job. When Walt and Lester present Harry with a signed photo of Perot shaking his hand, Peg takes issue with them. When they criticizes candidate Bill Clinton’s anti-war record, Peg has enough. She accuses her father of forcing Andy to enlist. He’s dead because of Harry! Scene climaxes as Sid arrives with the shattering
news that Perot has dropped out of the presidential race.
ACT TWO
Three months later. Harry and Bea argue over his angry apathy. Harry has refused to speak to Peg since the night Perot dropped out of the race. Harry lashes out at Bea when she questions, aloud for the first time, whether Andy is still alive. Bea accuses Harry of taking her for granted. It’s the story of their marriage — Harry does what he pleases and she’s expected to go along. Feeling betrayed, Harry storms out of the house .

A few hours later, Harry is at Walt’s Tavern. He goes from laughing-loaded to nasty-drunk. Walt, Lester and Sid try to ease Harry’s growing alienation. He won’t listen. A fight ensues when Walt takes Harry’s car keys to keep him from driving. Maybe they’re ready to roll over and play dead, Harry snarls, not him! He escapes into the night.

3:30 a.m. Bea is asleep at the table when Harry arrives by taxi. He’s changed. Harry tells her that when he left Walt’s Tavern, he dreamed he saw Andy. They were in Vietnam and Andy looked so young in his uniform with the torn sleeve and bullet holes. In the dream, Harry pleads with Andy — they have so much to say to each other, will it always be this way — unresolved? Andy won’t answer. Harry knows now that his son is dead. As Harry and Bea comfort each other, they re-establish a closeness they shared in the early years of their marriage. Peg show up, alerted previously by Bea to Harry’s disappearance. Father and daughter reconcile. There are sounds of commotion — car horns blaring, etc. Walt and Sid arrive. Perot is back in the race! Although Lester refuses to join them, Harry, Walt and Sid convince themselves to give Perot another chance. The women shake their heads in disbelief. Walt, Sid and Peg leave. After Bea goes to bed, Harry continues to make campaign plans. Suddenly, Harry stops. Reality sinks in — Andy’s dead and Perot has feet of clay — has Harry learned nothing? He gazes at the portrait of his dead son and asks plaintively: what do we do now?