Lane Anthony Flores

The first in a trilogy of queer'd Greek tragedies.
This exploration of identity and the forces of love and hate reinvents the myth of Hippolytos and Phaidra with a new perspective centering the queer experience. An experiment in queer theatremaking, the playwright requests that casts be comprised of all-queer storytellers to play a variety of gender identifications across all three plays.

Ella's stuck in the forest. Aside from her father and her best (read: only) friend, Maeve, she's almost completely alone. Until she finds the Book - and things get witchy. Spanning 10 years and multiple sabbats, this generational story uses a unique mythos to examine the subculture of paganism and the queer experience.

In a future where genetic modification is the next frontier of self-actualization, a couple struggles to find common ground as one partner prepares for a drastic transformation.
Developed for the Broken Nose Theatre - Bechdel Fest, this play features an all-femme identifying cast.

Madame Aupick is looking for a suitable sanitarium where she can commit her beloved son. In the Paris of 1866, it's slim pickings - especially when your son is the most famous poet of his generation.
A 10-minute play for two women about the nature of evil- and poetry.

A meditation on the 2nd branch of the Mabinogion, the oldest surviving tetralogy of Welsh myth. After a brutal war with her former husband (a war which claimed the lives of her son and her oldest brother), Branwen, Princess of Briton and Queen of Ireland, has a long-awaited homecoming. Alongside Branwen's story is woven that of Rhiannon of the Birds, her friend and the mother of the great Welsh hero Pryderi; once a princess of Faerie, Rhiannon seeks to find her footing in a world of mortals. This verse reimagination of the mythic characters veers wildly away from the traditional story, seeking instead to illuminate the human darknesses of grief, family trauma, and legacy with a focus on the women of the Mabinogion.