The Anastasia Trials In The Court Of Women

A play with intense audience participation! Engrossing, controversial courtroom drama, where the audience must serve as judge and jury, deciding motions and verdict, in a case against the five women who betrayed the Grand Duchess Anastasia Romanov, the last surviving daughter of the Tsar of Russia. Complex ethical questions on a set of folding chairs. The Anastasia Trials is a farcical, but profoundly engaging excursion into the hidden world of ethics for women who are both survivors and perpetrators of abuse toward women. The format is a play-within-a-play, where a radical feminist theatre company comes together in order to perform a courtroom drama. The play is shaped by the audience decisions to overrule or sustain the attorneys' motions, and every night's audience sees a different play. In presenting the play, the Emma Goldman Theatre Brigade has instituted a new system to insure equal opportunity for the actors: a lottery. As the women assemble to draw their roles from the hat for the evening's performance, sisterhood is put to the test. The performance itself is a conspiracy trial against five women accused of denying a woman her identity. The plaintiff is none other than Anastasia Romanov, sole survivor of the massacre of the Russian imperial family in 1918. "Elegantly conceived...A feminist Noises Off." - Washington City Press "Powerful." -San Diego Lesbian Press "Farce, social history, debate play, agitprop, audience participation melodrama, satire [that] makes the head reel!" -San Diego Union Tribune "Wild... It's lively and moves quickly... Very funny yet poignant." -Washington Blade "Carolyn Gage's raucous, multilayered script explores issues of empathy, loyalty, and betrayal among women..." --The Washington Post. "Verdict: An unexpected delight... " --Miami Herald, FL. "... farcical humor, imaginative plot twists, and just pure theatrical fun..." --South Florida Sun-Sentinel, Ft. Lauderdale. "... fascinating and complex play..."--Fresno Beehive.com "I am constantly amazed at Carolyn's ability to make complex social issues not only accessible but also irresistibly fascinating... the play... [The Anastasia Trials ] touched us, made us laugh and gripped us in a white-knuckle intensity usually found only in Hitchcock films." --R.J. McComish, Literary Manager of the Portland Stage Company, Portland, Maine. "... fabulously interesting, brilliantly thought-provoking and exquisitely funny... masterpiece of feminist theater..." --off our backs, Washington, DC. "Each performance could potentially have a different result and many students saw every performance just so they could see how the show ended."--At Oldfields, Glencoe, MD.

"The Anastasia Trials is a farcical, but profoundly engaging excursion into the hidden world of ethics for women who are both survivors and perpetrators of abuse toward women. The format is a play-within-a-play, where a radical feminist theatre company comes together in order to perform a courtroom drama. The play is shaped by the audience decisions to overrule or sustain the attorneys’ motions, and every night’s audience sees a different play. In preesenting the play, the Emma Goldman Theatre Brigade has instituted a new system to insure equal opportunity for the actors: a lottery. As the women assemble to draw their roles from the hat for the evening’s performance, sisterhood is put to the test. The performance itself is a conspiracy trial against five women accused of denying a woman her identity. The plaintiff is none other than Anastasia Romanov, sole survivor of the massacre of the Russian imperial family in 1918"--Concord Theatricals.

Documenting the explosion of contemporary gay and lesbian theater, this bibliography provides a single reference for American gay and lesbian plays, playwrights, and companies, containing listings for more than 700 plays whose primary characters or themes are gay or lesbian. In addition to authors, titles, and synopses, the entries include information about acts, characters, settings, and music. Appendices provide data on how the plays can be obtained, a list of theaters that produce works with gay/lesbian themes, names and addresses of playwrights and agents, a list of related references, and a matrix for the quick location of plays that meet certain criteria. Indispensable for repertory companies, producers, directors, actors, and scholars.

Full Length, Comedy Characters: 5 female Bare stage with chairs Written to be performed by five actresses, this sequel to Jane Martin's last monologue play picks up where VITAL SIGNS left off - in these funnier, stranger days of the 21st century. Reveling in virtues of brevity that include hilarity, surprise and homespun philosophy, these monologues roam the range of contemporary perspective on everything from sexual harassment to sleeping in theaters to the erotic appeals o

Dramatic Comedy Characters: 6 male, 3 female Unit Set After a scathing review 15 years ago, a once-celebrated painter faded into impoverished obscurity. Can one chance encounter resurrect this volatile artist from obscurity and re-launch him to overnight success? Theresa Rebeck skillfully compares the gritty urban realities of lives lived on the edge with the capricious intrigues of the uptown gallery scene where fame might just be a matter of who you know and re

Documentary of scenes and articles about racism in America prior to the Civil Rights Movement.

In this non literal series of exercises for actors, performers enter every ninety seconds or so to substitute (as in a basketball game). The enjoyment is in technique - pure virtuosity is required. Vignettes include a husband and wife eating breakfast in bed, a female bank robber and a woman who plays the God of Abraham.

Backstage and global politics unexpectedly collide during an amateur production of Oedipus. This powerful, timely play investigates the contemporary meaning and relevance of tragedy, launching a surprisingly funny, sharply pointed salvo directly at the heart of a generation.