Ada A.

**Last updated 05/05/2024** Amy, Rose and Stevie -three Chinese adoptees – gather at Amy's for Stevie's going away party. Stevie decided to move to China. Having not seen each other since Covid-19, a lot has changed in their personal lives. Amy has married a black man, Rose is Twitter famous, and Stevie has remembered she's Chinese. Finally in a room together, they butt heads as they are no longer able to understand each other’s life direction. Sisterhood unravels into antagonism as ideas of family, belonging, and the trauma of being adopted become irreconcilable points of no return.

There’s only one open “diversity” analyst position at this start-up. And the minorities must duke it out to access the sweet privilege of employment. A wicked satire about the modern-day job search and scarcity mentality, Ada A.’s new play exposes the inherent competition in employment that leads us to forsake our humanity out of necessity and survival.

As five teenage girls congregate regularly on the holy steps of twitter.com as OG One Direction stan accounts, the girls’ fandom gradually devolves into righteous fanaticism. Being One Direction fans exposes the girls to their first confrontations with racism, classism, and overt sexism. In this cyber coming-of-age story, where memories are both ephemeral and archived, Dada-our narrator-, welcomes us into the world of One Direction Twitter™.

Teenage girls stage an uprising in a weight-loss correctional facility. Through revolution and liberation, these girls begin to take back their image and who they are from the mirrors and people who have oppressed them. Last updated: 11/28/2024

Pauli Murray's queerness is brought to the forefront of her identity as Kalina, an undergrad, questions her professor's assessment of a recent essay that she wrote for his class. However, when Kalina's essay-version of Pauli is confronted with Pauli, herself, Kalina is forced to ponder the many ways that by upholding Murray's legacy she is denying Murray of her humanity.

This one-act play explores the tensions and limitations of exploring the past using the words of the "present."

After Chioma publishes a scathing article in her college newspaper's opinion section about the apathy among first-generation African Americans, her friend Ogechi calls her to task for throwing "her people" under the bus.

As two first generation Nigerian-Americans, Chioma and Ogechi argue over what it means to be in solidarity with Black Americans as they relentlessly interrogate what blackness means for diasporic people and the historical constructions of blackness.