Trish Cole

Adam and Eve are created and suffer innocent urges. A high-school cheerleader wants to go to the homecoming dance. An old Jewish woman tells the story of her family's migration to America. And somehow, through religious imprinting and generational stories, they are all connected through this thing without words.

A mother in prison seeks refuge in an imaginary wildflower field filled with self-defined beauty when pushed to confront the chilling memories of her relationship with her transgender child.

This play has two versions: a lyrical one-act and a thoughtful, beautiful full-length.

A lesbian fugitive spends her final twenty minutes on Earth waiting in shackles to board the last penal transport to Mars.

A mother and daughter have "the talk;" an assimilated American Jew recalls the origin of her family's generational trauma; and Adam and Eve go on a first date. As they each attempt to name and understand the systemic and perhaps divine forces defining and encumbering them as secondary human beings, they reveal a never-ending cycle of experience among women, generation after generation, since, and because of, Eden.

On a March morning, while haunted by their own catastrophic nest failure, Kari and Mark wait for the migratory return of the osprey to Horseshoe Bend on the St. Mary's River for the nesting season.

A bed on casters allows for stage migration to mirror tonal chapters and field guide chapters, informed by the environmental crisis in the 1960s when the North American osprey nearly went extinct.

MCTF Outstanding Original Script. Sam French Off Off Broadway Festival participant.

If looking to explore this work with lesbian couple characters, please inquire about my work "Migration Route."

Four dictionary definitions attempt to literally find their meaning and their place in the dictionary, as Woman herself struggles to hold onto her identity in a changing world filled with revision. In examining their relationships to the word "woman," the definitions demonstrate that gender definition and self-definition are a living and fluid process.

Four actors playing Martha, George, Brick, and Maggie take the stage simultaneously at the start of two different plays. As the actors vie for control of the stage and the limelight, they each begin to reveal themselves--not as their characters, but as vulnerable human beings.

Original material is re-purposed from Tennessee Williams' "Cat on a Hot Tin Roof" and Edward Albee's "Who's Afraid of Virginia Woolf?."