Play Description

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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O LOVELY GLOWWORM is about the history of the world as perceived by a stuffed goat who remembers his life from his perch at the edge of a domestic trash heap behind a derelict cottage in rural Ireland, circa 1918. It’s an exploration of consciousness through a lens as myopic as Mr. Magoo’s, as slapstick as the Three Stooges, as intelligently raucous as the Marx Brothers, and as lyrical as the yearning Irish tenor of John McCormack. “It’s about how very small in the end we are — that seen in regard to the whole huge universe, we and our struggles are so endearingly pathetic it’s laughable.” —from Glen Berger’s Journal

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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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In the first play in LIMBO TALES, HIGHWAY, a man suddenly decides to drive to his girlfriend’s house, which is 200 miles away. He becomes obsessed with the thought that each car that passes may be his girlfriend coming to visit him — and as he begins to lose touch with time and place he becomes convinced that he has moved back to another century, another civilization. In the short INTERMEZZO, a Master of Ceremonies announces, in hilarious detail, all the exotic acts that will not be on the bill that evening. In the final play, HOTEL, a down-on-his-luck encyclopedia salesman sits in a flea-bag hotel room, eating Chinese food which is delivered by a disembodied arm, while listening to the squabbling of his neighbors and contemplating the aridity of his limbo-like existence.

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