In 1985 Ana Mendieta, Cuban performance artist, 36 years old, plunged 34 stories to her death from a SoHo apartment tower. Her husband Carl Andre, the famous Minimalist sculptor, was tried and acquitted of her murder, a verdict that polarized the New York art world: The establishment rallied to Carl's defense while Ana became a cause celebre for feminists, convinced of Carl's guilt.

"Silueta" imagines Carl Andre, 35 years later, riddled by frustration at the loss of his artistic potency and a gnawing suspicion about his complete innocence. The ghost of Ana, meanwhile, haunts him relentlessly at the scene of her death, the apartment they shared and where he still lives today. They are both obsessed with the same question, what really happened that fatal night? Would even knowing the truth set them free?

We’re in the French Riviera, 1962. Four former comrades-in-arms and their respective loved ones gather for a birthday bash. Unbeknownst to the guests (that’s you) the party’s a ruse. Underlying the reunion of old friends is a nefarious scheme, including: a priceless set of jewels, an insurance scam, blackmail, and one charming, if reluctant, hero.

Threatened with blackmail if they do not cooperate, the former army buddies are infuriated and panicked. Suddenly, Hank is taken ill. Frances is hysterical; Charity cold. Family tensions implode. Guests are relieved, suspicious and intrigued. Perhaps there is a way they can turn Hank’s threats and Frankie’s jewels to their own advantage? Tiptoed visits are made to the Ackerman suite. When the jewels turn up missing and Hank turns up dead it’s up to you to take the lead unraveling this tangled web of disaster…

This rollicking musical combines the backstage turmoil of Phineas K. Fossilbottom’s 19th century troupe of medicine show performers with their own hapless production of Mark Twain’s “scandalous” novel, The Adventures of Huckleberry Finn.
With a simple backdrop of colorful quilts hung on a clothesline, and boxes, barrels, and platforms creating locations, Dr. Fossilbottom guides us through the musical story, pausing intermittently to hawk his Restorative Remedy, deal with missing actors, assuage disgruntled customers, console lovelorn thespians, and escape the law. In the end, we are treated to two adventures: one with Jim and Huck and another with the actors who portray them.
A rascally 19th century pitchman, PHINEAS K. FOSSILBOTTOM, presents an adaptation of the scandalous novel, “Huckleberry Finn”. One actress short, Phineas recruits the terrified Stage Manager to perform.
A motley crew of actors tell the story using nothing but boxes, cloth and cleverness.
HUCK FINN, adopted by a pair or spinster ladies, is dying to get away. As he escapes he is kidnapped by his drunkard father.
Huck, seemingly murdered, meets up with runaway slave Jim, (Played by an Afro-English Shakespearean.). They ride on Mississippi and thrive, until their raft is commandeered by the KING and DUKE (played by Dr. Fossilbottom himself!). The duo know Jim is an escaped slave and force Huck to go along with their schemes.
Act Two opens, an uproar. One actor short, Fossilbottom enlists the reluctant Stage Manager to play the part.
At the funeral of wealthy landowner the King and Duke enter, disguised as the landowners long-lost brothers.
Jim has been sold and is about to be turned in for the reward money. Huck rescues him. Miss Watson, Jim’s owner, guilty for accusing Jim of stealing, grants him freedom. Huck unable to bear civilized ways, escapes to more adventures.
The play ends, Fossilbottom passes the hat around for donations and is informed that the sheriff is ready with tar and feathers to run the medicine show out of town.