Chris Harder

WILLIAM FRIEDKIN'S BASEMENT is a solo(ish) show that's part memoir, part critique of the homoerotic thriller, "Cruising," directed by William Friedkin in 1981 and starring Al Pacino. I first discovered the film at age 14, the summer I went to live with my dad in his small North Dakota town in the hopes I might absorb a "strong, male presence." Instead, I watered lawns all day while my father watched football scrimmages. During a late night bout of bored channel surfing, the small screen of my wood-paneled TV was suddenly filled with male bodies hungrily groping at one another on a hazy dance floor. All at once, my body felt as if a key had been turned. Upstairs my father slept, perhaps dreaming of a son he actually wanted to know, but downstairs, the men in William Friedkin's basement smoldered back at me in their smoke filled club. It was an invitation, a challenge, an introduction to a desire I was just beginning to find language for; I crossed their threshold and haven't looked back since.

In a world where stages have been reduced to coffee tables and a single rhinestone costs a handful of blue pennies, Dick Moves dreams of becoming the first King of Travestease. But does he have what it takes to claw his way to Paradise, even if it means out-clomping his lover, Francois C’est Quoi? And who is the mysterious Galina bent on revenge against the domineering Bella d’Buttercups? And where is Beverly Kaye Winters, god’s gift to Travestease? And what the hell is a Travestease anyway?! Fire up your glue gun and grab a fistful of rhinestones, because baby, it's time to SPARKLE!

MY AJAX follows Jacob, a burnt out porn star-turned-playwright whose disastrous career as Jax Steel haunts him even as he tries to write himself a fresh start. Coerced to perform in a scantily clad, sheep-ish version of Ajax, Jacob's grip on reality quickly begins to slip as the boundaries between the present, past and rehearsal room blur in this Greek adaptation meets gay porn fever dream. Inspired by Sophocles' Ajax.

In a world where sex work is less like the Viennese waltz and more like the Macarena and "Pretty Woman" is constantly on rerun, Michael will have to decide if his fairy tale romance is really a role worth playing after all.

On the edge of a deserted playground and offline from their parents, three 'tweens cast a spell to summon back their missing classmate. Esther wants to fix Ashely, Dennis wants to apologize and Maple just wants to know how she can be a werewolf too. But even if Ashley does appear, what are they going to do about the other beast watching them from the woods?