It is set in the 1840’s, about people who actually existed: a remarkable woman, Margaret Fuller, and her relationships with many of the great literary figures of her time—Henry David Thoreau, Ralph Waldo Emerson, Nathaniel Hawthorne—men whose works we know well. But the past is an invention, and therefore the characters glide between worlds: they live in and out of history, in and out of the past.

The play is about writers, people who made worlds out of words. The language of the play is rich. It is also full of anachronisms. Margaret Fuller was a woman ahead of her time, and so she sometimes uses the language of our time, and dreams our dreams.

On another level, CHARM is about several famous men, and one forgotten woman. It is a play about who history remembers and who it forgets, and why.

It is a surreal comedy of manners, a play about what men and women want from each other, the difficulties of communication, and how we are inhibited or freed by the manners and conventions of our time.

It’s also about American Transcendentalism, the belief in the freedom of the human spirit to transcend the confines of history and time. I believe great writing can free the soul. The writings of the Transcendentalists continue to inspire me, and I believe we need them more than ever now, as our towers of greed crumble around us.

This is a love story. Ein Stein means “one stone” in German.

In ONE STONE by Kathleen Cahill, a young Serbian woman named Mileva Maric addresses the audience directly to tell the story of how she overcame two great handicaps -- having a limp caused by a childhood bout with tubuculosis, and being a genius at mathematics -- to become the only woman in the physics department at the Zurich Polytechnic in 1897. There, she first notices the antics of an iconoclastic over-confident outsider named Albert Einstein, who is about to be kicked out of class. She’s attracted by his imagination and he’s attracted by her nerve and genius at mathematics. They fascinate each other, intellectually. This fascination evolves into a passionate physical love, which becomes so mutually co-dependent they believe they are “one stone.” Mileva, the physicist, describes imaginative theories of time as tales of emotional possibility – or catastrophe --as this singular relationship comes to determine the course of both their lives. When she becomes pregnant before marriage, she bravely faces the ostracism of having a baby while being unmarried, and imagines, if time is multi-dimensional, three possible directions for her life. Until her love for Albert Einstein wins out – even when he demands that she give up the child. After their marriage, Mileva holds her own against an increasingly arrogant and entitled man. They live and work together in the crucial year, 1904, developing the equations that change the world. They have detailed discussions about whose name or names should appear on the papers they submit for publication. But because a woman’s name is considered a liability, only his name appears. Success and renown follow, and with the arrogance of fame, Albert Einstein cuts his wife, Mileva Maric, out of the equation. She is never given any credit for her contributions. Until now. She has never existed as a person in history, until now.

This is a true story about the secrets of a sexual, emotional and intellectual relationship between a powerful man and the brilliant woman he loved and abandoned. Is it easier for women in science today? Does gender still affect the success or failure of talent?

This untold story of Albert Einstein’s first wife is a love story of passion, genius, and tragedy for our time.

An imaginatively told story based on actual events in the 19th century. Plumy Gray, a girl working in a cotton mill in Massachusetts is unknowingly, but intimately connected to a slave in Virginia. A song is the thread weaving the characters together like a piece of cotton cloth in this theatrical American tale of lust, greed and redemption.