Breaking Character In Real Life
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Out of Character
Dumplin’ meets Geekerella in debut author Jenna Miller’s queer, body-positive love story that explores online and offline relationships in all of their messiness. If you asked seventeen-year-old Cass Williams to describe herself, she’d happily tell you she’s fat, a lesbian, and obsessed with the Tide Wars books. What she won’t tell you—or anyone in her life—is that she’s part of an online Tide Wars roleplay community. Sure, it’s nerdy as hell, but when she’s behind the screen writing scenes as Captain Aresha, she doesn’t have to think about her mother who walked out or how unexpectedly stressful it is dating resident cool girl Taylor Cooper. But secretly retreating to her online life is starting to catch up with Cass. For one, no one in her real life knows her secret roleplay addiction is the reason her grades have taken a big hit. Also? Cass has started catching feelings for Rowan Davies, her internet bestie . . . and Taylor might be catching on. As Cass’s lies continue to build, so does her anxiety. Roleplaying used to be the one place she could escape to, but this double life and offline-online love triangle have only made things worse. Cass must decide what to do—be honest and risk losing her safe space or keep it a secret and put everything else on the line.
This Murder Was Staged
It's opening night of a brand-new mystery play, but just as the killer is about to be revealed, the body of the play's director falls onstage instead. In that moment, the theater becomes an active crime scene, and everyone from cast to crew to even the audience becomes a suspect. But how is the intrepid detective supposed to find the killer when everyone and their mother (literally) has a motive to want the demanding director gone? This Murder Was Staged is a fast-paced, backstabbing, backstage comedy from two of the writers of The Alibis and Rogues' Gallery. Mystery Comedy Full-length. 100-120 minutes. 8-25 actors
No Mother, No Future
No Mother, No Future investigates how theatre and performance use pregnancy loss to represent a lost future. Spanning the twentieth and twenty-first centuries, this book analyzes performances that challenge dominant cultural scripts linking motherhood with futurity and nationhood in Canada and the United States. Combining intersectional feminism with theories of reproductive justice and reproductive futurity, this work interrogates how pregnancy loss—especially when experienced by those excluded from white, heteronormative ideals of motherhood—is often portrayed as a societal failure. It examines reproductive loss not only as a dramatic device but also as a political reality shaped by systemic violence, including slavery, forced sterilization, and child welfare policies that disproportionately target Indigenous and Black communities. Through in-depth analyses and original interviews with playwrights, directors, and actors, this volume offers a critical framework for understanding how performance stages reproductive loss as a site of resistance. As the first book-length study of motherhood and reproduction in Canadian theatre, it is essential reading for scholars and students in theatre, performance studies, feminist theory, cultural studies, and reproductive justice.