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An emigration interview grows darkly menacing as it turns into an interrogation by government bureaucrats."Throughout history words have been man's most eloquent and efficient tool of progress. Words have transported the knowledge that has set men free; they have framed concepts of liberty and propelled righteous revolutions. The pen may be mightier than the sword, but, like a blade, it cuts both ways. Tyrants, too, have used words to perfume their evil intentions. Recall Adolph Hitler's fiery speeches that held Germany enraptured and led the world toward horror and destruction. In a dramatic demonstration of this power, INTERVIEW/ENTREVISTA illuminates oppression with the same weapons used by the play's government-sanctioned thugs - words. 'They use language as a form of torture,' says Jonathan Moscone, who directs the play for the Dallas Theater Center's Big D Festival of the Unexpected, 'There's no physical violence, no guns in this play, but ultimately there's a real brutality. Playwright Gil Kofman uses the language itself to create a visceral experience. The action of the play moves as quickly and intricately as the mind does.'" -Joy Dickinson, Dallas Morning News"Gil Kofman's INTERVIEW/ENTREVISTA examines a grueling and mischievous interrogation of a Latina, who's seeking her emigré brother, by two bureaucrats from some unnamed government agency." -Steven Mikulan, L A Weekly

Three boys meet in the worst way: fleeing the horrors of war. And as they team up on a perilous journey to a refugee camp, they exchange heroic survival stories, song and even laughter. Thus begins an extraordinary passage that eventually takes three boys of the Dinka tribe to, of all places, Fargo, North Dakota, where drought, crocodiles and guerrillas are replaced by malls, video games, and Skittles."Much as, say, Sofia Coppola's Lost in Translation was an excellent movie about jet lag, this is an excellent play about culture shock. And about making your way as a stranger in a strange land. Like the Coen brothers (who love this same human and physical landscape), Carter satirizes the good people of the Upper Midwest while celebrating their fundamental decency " -Chris Jones, The Chicago Tribune"Several tall, young, slender African men bearing beaming smiles and the slightest hint of ritual scars on their foreheads strolled through the lobby of the Victory Gardens Theater on Sunday night. They were the real 'lost boys' of Sudan - victims of the horrific civil wars that raged in that enormous, oil-rich country from 1983 to 2005, leaving the population decimated. Now twentysomething, and residents of Chicago, the men had come to watch playwright Lonnie Carter's immensely imaginative, linguistically dizzying, tragicomic rendering of their history. To be sure, it's a fantasia rather than a documentary, but one that captures the essence of their experiences in a uniquely theatrical way." -Hedy Weiss, Chicago Sun-Times"THE LOST BOYS OF SUDAN turns out to be more joyous than the title might suggest ... theater sometimes can do what documentaries sometimes can't - tell stories with the power of poetry, metaphor and music ... all the musical language in Lonnie Carter's script. There's a palpable sense of magical realism in his play." -David Hawley, Pioneer Press (Minneapolis)"Playwright Carter says that his script is 'hip-hop infused,' and it is, at times. But mostly, I felt it was in the great tradition of English verse that moves from Shakespeare and Marlowe to Ntozake Shange and beyond." -Paul Thompson, BroadwayWorld.com

A brutal account of the effect of the Iraq war and past wars on soldiers and military families. What is the legacy of war on the home front? How do we best serve our country?"Does anyone remember David Rabe's STICKS AND BONES? ... The play was a hard-hitting commentary on the then-raging Vietnam War ... Before anybody mounts a revival that would comment on our own times of war and the serious injuries that present-day soldiers sustain, they should take a look at Lydia Stryk's powerful new drama AMERICAN TET ... In these times, we need a hard-hitting play like this one ... It's the finest drama I've seen in months." -Peter Filichia, TheatreMania.com"AMERICAN TET ... treats the Iraq war much as MACBIRD, OH, WHAT A LOVELY WAR and Platoon did Vietnam. It's as subtle as napalm." -Michael Kilian, Chicago Tribune"Stryk's AMERICAN TET is as raw and discomforting as a frequently chafed sore ... and brings reality to a career military family grappling with the special self-sacrifices, denial, acceptance and questioning that goes with serving in our country's armed forces during an unpopular war." -Pittsburgh Tribune-Review"Juxtaposing one American generation's experience in Vietnam with today's involvement in Iraq makes an emotionally affecting statement about the impact of public policy on private lives. Lydia Stryk raises issues without pretending that there are simple answers." -Brad Hathaway, Potomac Stages

A renegade investigation of endangered post-September 11 civil liberties."... Kofman's renegade investigation of endangered post-September 11 civil liberties ... Kofman's profanity-laced voice is didactic, but it's purposeful didacticism, unrepentant and self-assured ... Kofman's ferocity is frequently hysterical and finally unsettling. AMERICAN MAGIC ... casts a lingering spell." -David C Nichols, Los Angeles Times"... a smart production ... something between Richard Foreman's Ontological-Hysteric Theater and an extended Saturday Night Live skit." -New York Times"... With his cerebral and absurdist script, Kofman interrogates the assumption of the Patriot Act: that increased security must come at the expense of civil liberties. The play addresses the converse ¿ illustrating that the sacrifice of civil liberties does not necessarily bring safety, and may, in fact, create an apocalyptic climate of fear and violence ... AMERICAN MAGIC has its moments of black humor and scathing political critique ..." -Nicole Citron, Show Business"Gil Kofman's new farce, AMERICAN MAGIC, has the look and feel of kinky political satire. Not only is this tweaked fable a refreshing antidote to all the post-9/11 paranoia we've been tube-fed by the government and media, it also exhibits a sexy chaos not often glimpsed onstage ..." -L A Weekly

Lord Loveworthy has a problem. His only daughter is soon to be married. And the only way to pay for her wedding is to blackmail the vicar who's seducing his wife. But how does a Victorian pornographer commit extortion, without inordinate discord, at tea?"Jeff Goode's deeply silly, thoroughly enjoyable period satire on sexual hypocrisy. Goode can tease the bejesus out of a comic premise, and his gleeful dismantling of the British gentry's corseted mores spins into an unhinged anarchy that would please past masters Wilde and Coward." -Los Angeles Times"Few fellows have found fancier, funnier ways to turn a phrase than Jeff Goode, who with his new work pays homage to the humorous plays of the Victorian era and injects a healthy dose of modern edge to the clever dialogue, loaded with alliteration." -Backstage"Jeff Goode has fashioned a faux British Victorian farce that is linguistically bracing. A capable ensemble serves up arched barbs and ripostes." -Variety"A perfectly calibrated send-up of English gothic literature ... Goode's clever writing comes marbled with alliterations and a well-sculpted structure ... Funny stuff!" -L A Weekly"Ingenious wordplay drives ... verbal virtuoso Jeff Goode's ... playful homage to drawing room comedy!" -Houston Chronicle

Human spontaneous combustion is not something that most people worry about, but Amalia Parker does, and that's why she won't sleep with Rob. Sex with someone she doesn't care about might not be so dangerous, but with the man she truly loves? A definite possibility. This is the kind of logic that only makes sense in the Parker household, where Mom cooks obsessively, Dad has turned the house into an 18-hole golf course, and ancient maiden Aunt Emily does laundry and practices the family art of selective sight. A sweet, quirky comedy.The critics on Sherry Kramer's plays:DAVID'S REDHAIRED DEATH: "Sherry Kramer's extraordinary play ... is like a puzzle: after slowly and painstakingly connecting a series of dots, one uncovers an integrated image out of what appeared to be chaos." -The Chicago ReaderTHINGS THAT BREAK: "... a terribly difficult, painfully beautiful play ... This is a wildly imaginative piece of work." -Nelson Pressley, The Washington TimesTHE WALL OF WATER: "THE WALL OF WATER quickly bursts through the dam of conventional theater for two hours of the kind of inspired and breathtaking chaos so rare on America's stages that we may have forgotten the word for it. The word is farce." - Margaret Spillane, New Haven IndependentWHAT A MAN WEIGHS: "... its view of sexual politics becomes more and more complex, funny, and biting." -TimeWHEN SOMETHING WONDERFUL ENDS: "As timely as it is revealing, and as witty as wise." -Austin Chronicle

Nikolai Gogol's classic and hilarious satire of bureaucratic ineptness and corruption in a first-class translation by Laurence Senelick."The emperor deigned to attend the premiere with the heir apparent: he was extremely pleased and laughed heartily. The play is very entertaining but an intolerable insult to the nobility, the civil service, and the merchantry." -Khrapovitsky's diary, 1836"Everybody got his and me first of all!" -Tsar Nicholas I (allegedly), 1836"The audience, struck by the novelty, laughed enormously, but I expected a better reception ... One of my friends explained the reason jokingly. Says he, 'How can you expect them to give a better reception to this play, since half the audience is made up of those who are 'getting it,' and the other half those who are 'giving it.'" -Mikhail Shchepkin, 1838"The comedy was accepted by many people as a liberal manifesto ... a political bombshell flung at society under the guise of a comedy." -Prince Pyotr Vyazemsky, 1836"I decided to gather into one heap everything in Russia that I was aware of at the time, all the injustices committed in those places and on those occasions where justice is especially required of humanity, and, at the same time, to laugh at it all. The effect, as everyone knows, was astonishing. Behind the laughter which had never before spurted from me with such force, the reader can notice sorrow ..." -Nikolay Gogol, 1847

Before Ebenezer Scrooge learned the true meaning of Christmas, another old miser was haunted by the ghosts of his past, present and future. What happened to Jacob Marley, in the seven years since his untimely death, that could convince him to sacrifice everything to save the one man he despises most?"... [a] rich new holiday confection, MARLEY'S GHOST. Jeff Goode's play is a smart, engaging prequel to A CHRISTMAS CAROL that stirs in some wicked whimsy a la Lewis Carroll and ultimately conveys the same inspirational message of hope and forgiveness as the original ... Theatergoers ... will witness a rather exquisite blend of foolery and feeling." -Los Angeles Times"... Jeff Goode's bizarre take on A Christmas Carol and a Dickens of an update it is ... The often tongue-in-cheek/often poignant slant on the holiday classic is ... enough to make this an annual event." -Backstage West

A disillusioned young woman traveling with her hippie mother's ashes. A disillusioned TV star hitch-hiking across America. A Russian dissident turned motel owner. A lovesick farmer and a kidnapped beauty queen. Conjoined twins escaping a cult once led by a dead Senator reincarnated as a real-estate developer. THE LIFE AND TIMES OF TULSA LOVECHILD is a freeway fantasia about love and hope."Aside from some beautiful dialogue and a delightfully optimistic spirit, the greatest strength of this play is that its characters confound all stereotypes. Most plays about misfits in motels go for easy archetypes. By contrast, Owens's piece of rural Gothic not only respects the human spirit ... but also celebrates the romance of the interstate." -Chris Jones, Chicago Tribune"TULSA LOVECHILD straddles the delightfully absurd and painfully real without cracking at the seams." -Robin Rauzi, Los Angeles Times"What Owens has given us is a post-Jack Kerouac look at the forces that can go bump in the night in this country ... every wise, wistful, whimsical, darkly comic, quasi-tragic note of Owens's script is played with truth and wit. There is a cartoonish quality to the way all their fates coalesce, but there also is truth and genuine sentiment in it. And therein lies the gentle magic of this play." -Hedy Weiss, Chicago Sun Times"With tongue-in-cheek, but with generosity of spirit, author Greg Owens concludes that goodness and decency survive in unexpected nooks and crannies and souls, even as the forces of hypocrisy and darkness constantly are reborn." -Jonathan Abarbanel, Windy City Times"... oddly intoxicating road story, a bittersweet comedy that will likely have particular resonance for baby boomers who grew up during the flower-child era and witnessed its aftermath ... the play is breezily amusing and very intelligent ..." -Les Spindle, Backstage West

This classic and hilarious French farce commences when a customs official barges into newlyweds Robert and Paulette's train compartment at a most inopportune moment on their wedding night, rendering the poor fellow impotent. His parents-in-law demand that he consummate the marriage or it will be annulled, and Paulette will marry La Baule instead. Enter Mademoiselle Zeze, a courtesan, and let the games begin."Panic is the chief ingredient of ANYTHING TO DECLARE?, a 1906 French farce ... as the emergencies mount for a bashful bridegroom, his hypocritical father-in-law, a frustrated former suitor and a de-pantsed camel dealer. Farce, which requires absolute conviction in the face of increasingly absurd circumstances, may be the most fragile of theatrical forms. ANYTHING, by Feydeau contemporaries Maurice Hennequin and Pierre Veber, puts the players through some demanding paces [in] Laurence Senelick's gleefully euphemistic translation ..." -Steven Winn, San Francisco Chronicle