Amanda Keating

Overnight in the waiting room of the Veterinary Emergency and Large Animal Vet Services of Hamden County, a group of strangers gathers together to wait for news of the creatures they hold near and dear. While Richie tries to find answers in the TV, Amy learns to love something, Sue and Arlene learn to lose, and Robbie, Dr. Ben, and Kayla learn to say goodbye. The TV volume is fucked, the vending machine is out of diet coke, and tonight’s a new moon. But the sun should come up. Eventually.

WITH FELLOWSHIP bounces back and forth through time, between: The present day – when a team of scientists in a German lab study the fossilized dental plaque found in the jawbones of women buried at a medieval nunnery – and the 11th century – where a German nun is hard at work illuminating manuscripts in collaboration with a nearby monastery. How does the work of these women artists and women scientists support, inspire, and combat each other across the bounds of time?

WITH FELLOWSHIP is under commission from the Sloan Foundation.

The Hilltown Community Choir is back, and they’re preparing for their first concert in months (years? years). Everything has changed and nothing has changed as these old friends (friends? friends) return to the old place where they used to sing but with new songs that are harder than anyone thought they’d be. Joined by newcomer Henry, and cheered on by their single audience member Jan, the HCC want to find themselves in music again, but find something perhaps more difficult and more beautiful than they expected. HOW CAN I KEEP FROM SINGING is a story about survival in the face of unspeakable strangeness, and the need to sing together, even when it might be impossible.

After the death of her mom and her roommate, Mare has taken up the "grief piano," aka lessons with local piano teacher Larry, who is faking his way through teaching after his band decides to take a "hiatus." Week after week, they meet at Larry's apartment and play, cheered on by their best friends – Lucie the roommate and Lucie the cat – who watch Mare and Larry's progress with a mix of joy and trepidation. A quiet journey through grief, TEACH/TEACH finds its characters at the edge of loss, and sees them through it with a piano, a cell phone, and a bathroom.

23 writers (Susan and Barry couldn’t come) settle in for a weekend by the sea. They expect walks on the beach, breakfast tacos, board games, and late nights in the hot tub, but on this unseasonably warm winter weekend they find something else. You might say they’re boring (they’re not), and they might say they’re just trying to figure shit out, but anyone who really knows them would say they believe in bold choices and doing what they want.

It’s the end of Wyman Public School as we know it, and five lost souls are hired to clean it out : scraping gum off the desks, washing the floors with whatever old cleaning supplies they have around, and locking it up when they’re done. Ken, Ackley, Meg, Cole, and Roger come together to get the job done, but when Helen appears in Wyman – with her dog in her Subaru and a fire for the school in her heart – the group faces questions they never expected to ask, with people they never expected to ask them with. Armed with an old copy of the Bhagavad-Gita, a nonstop supply of coffee, and a love of place so deep nothing can survive it, the cleanup crew does the duty they set out to do, and renounces everything else along the way.

Three estranged siblings find a letter from their even more estranged father and decide to take a road trip with their friend. As they drive across America, they’re forced to sift through everything that’s piled up between them over the years, and they start to see each other for the first time in a long time. When they get to where they’re going, it’s not what they expected, but maybe that’s a good thing.

Moliere's classic TARTUFFE was newly adapted and translated from the French – becoming a Reagan-era romp contemplating what happens when we blindly accept a hapless leader into our homes. Faithful to the original play in language and structure, this adaptation plays with character and time, grounding the play in an American-as-apple-pie 1980s commentary on present day politics.