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FIVE OF US deals with the parallel lives of New York tenement dwellers, who live next door to each other but whose paths do not cross until one fateful moment, which spells disaster for them all. One apartment is occupied by Mark, a young writer who churns out pornography while planning the “big novel” he will someday write, and his live-in girlfriend, Lee, an anthropology grad who works as a waitress. Their next-door neighbor is Herman, a mentally deficient messenger who speaks in a language all his own and amuses himself by calling 800 numbers to make hotel reservations he has no intention of keeping. When Lee is offered a chance to join an anthropological expedition to Sri Lanka, Mark is faced with a crisis — the loss of both her companionship and her income. With the connivance of his ex-con buddy, Eddie, a street-smart would-be mercenary, Mark decides to prop up his finances by robbing Herman's apartment, in the misguided belief that the poor eccentric has been hoarding money. But, instead, what they find is the bizarre detritus of a stunted life — a life which is abruptly ended when Herman, coming upon them, is startled into a fatal epileptic fit. Fearful and guilt-ridden, Mark and Eddie try to cover their tracks — but as the play ends it is also clear that no matter how far or fast they flee they will never escape the spectre of the lonely misfit whose pathetic world they have so thoughtlessly and fatally shattered.

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Four businesspeople — Landry, Owens, Sanders, and Weaver — arrive in the morning at their skyscraper office and soon learn that their company is on the brink of collapse. At first upset and panicked at the news, they decide that this can instead be a chance to finally prove themselves — they'll come up with a proposal, a new business plan that will impress the company chairman and save both the business and their careers. What follows is an antic all-day, all-night effort, as the four race to complete the proposal by the next morning. At first they all work together. But after that effort collapses amid acrimony and finger-pointing, they break into two competing teams, each trying to outdo the other and win the chairman's final approval as they work feverishly all through the night. ENTERPRISE is fast-paced, edgy, semi-surreal comedy about business, ambition, skyscrapers, and office bathrooms.

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Uncle Sam was a novelties salesman who died one night, alone and broke, in a Pittsburgh hotel. But he was also a larger-than-life figure, a mythic hero, to his nephew — who now seeks to discover his uncle's true story. His quest is a quixotic and picaresque one, involving a seductive nightclub singer who promises to marry Sam if he can locate his ne'er-do-well brother (who absconded with the proceeds from a robbery), and developing into a series of sometimes funny, sometimes hair-raising episodes as the nephew “becomes” his uncle in his youth and journeys to a remote lighthouse, a rather sinister university laboratory, an opium den, the clinic of a Mexican quack, and a very odd miniature golf course — all intriguingly distorted, as though viewed through a funhouse mirror. In the end it is really the landscape of the mind that is explored and illuminated, as the trail leads back to Old Sam and the disquieting knowledge that dreams and reality are, in the final essence, often one and the same, with the “truth” still remaining tantalizingly out of reach.

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A roller-coaster ride through the American scene, from the Fascination Parlor to Leroy Smiles the Crab-boy, and from the movie set to the tattoo parlor to Frankie the Finn. A concert for actors.

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In WOLF IN THE RIVER, Adam Rapp explores love and neglect, the challenges of poverty, the dangerous cost of shiftlessness, the simple notion of leaving a place behind, and the value of a girl.

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