Part of the "Things I've Learned Reading Script Submissions" series
a cranky post
by Gina L. Grandi, director
I used to be in charge of hiring teaching artists for an arts education non-profit here in NYC. I would get up to 300 applicants for sometimes as few as three open positions. We asked applicants for a few specifics, including that they let us know why they were interested in our organization.
What I learned pretty early on? If an applicant doesn’t follow directions, don’t consider them for the position.
If an applicant sent their generic cover letter and didn’t answer that “why” question, I had no way of knowing they knew us, liked us, and actually wanted to work for us. We were a specific organization working in a specific way with a specific population of young people. Interviewing a candidate only to find they weren’t really interested in the work we were doing? It happened. And it was a waste of everyone’s time.
Also, if you don’t follow directions on an application, why would I assume you’ll follow through at work? An application is an introduction – you’re putting your best foot forward. If your best foot is careless, I don’t want you working for me.
Now I have this little theatre company, and I’m reading scripts. Lots of scripts. Hundreds of scripts. And everything that drove me batty when I was reading teaching artist resumes are the same things driving me batty now.
Being a playwright is tough, people. There are a lot of us out there, and it’s hard to get your foot in the door. It’s hard to keep your foot in the door. It’s hard to get feedback, to get a production, to get someone to notice your work. So of course we’re sending our work towards any opportunity we can. I know that.* We all know that. But I’ve seen and heard playwrights chat - on social media, at events, at workshops – about submission opportunities their work doesn’t really fit, and hear the response, “What can it hurt? Send it anyway.”
What can it hurt? Well, it hurts my cats, because they’re the ones I’m ranting to and they are, frankly, sick of hearing about it. But it also hurts you, because you’re wasting time. You’re wasting your own, and you’re wasting that of whoever is on the other end is reading your submission that in no way matches what the organization wants and needs.
I can’t speak for larger theatre companies, or other individuals inside smaller companies. This is purely my own, busy, cranky, exasperated point of view. That said, I’m pretty confident there are plenty of others like me: people who maybe aren’t getting paid (or paid much) but who love their work, who love reading scripts, talking about scripts, and finding fabulous scripts, and who are irritated by the sheer number of people who don’t seem to have any idea who it is they’re sending their work to.
If I may (and I may, since I’m the director and I have the password to this site), I would like to take this opportunity to howl into the void about those things that I am finding so irksome:
Number One: the .docx
Our submission form says – very clearly and in bold – ‘please save and upload your script as a pdf.” And yet! And yet. Out of the – what, 70? scripts I’ve read just this past week, I’d say 10 of them have been a doc (or docx).
Petty, you say. Does it really matter?
Well, yes, it does. It matters to me, which is why I’ve asked writers not to do it.
First, sometimes a doc(x) shows up on my desktop and the formatting’s gone all wonky. That’s not serving the playwright’s work, and it’s all kinds of annoying.
But also, a pdf opens in a new tab and I can read it from there. Handy! A doc(x) I have to download. And then, after I read it, it’s sitting there on my desktop and I have to delete it. (Are you about to email me, telling me some work-around? I have already found one, thanks – reading pdfs.)
Again, petty? Maybe. But I’m reading a good 50 scripts a month and those extra clicks can wear on a person. Also, I don’t want to! And I’ve asked you not to make me!
Plus, I don’t want to open your doc(x) on my computer – I do not know where your doc(x) has been.
Also, come on. This is a basic direction. Like I said before, I don’t trust much else if I can’t trust you to follow the basics.
Number Two: the playwright questions
The questions we post on our submission form tell us a lot, and we pay attention to them. The first question is, “Why did you choose to submit this script to the Bechdel Group? What do you hope to get out of this reading?” We have a very clear and specific purpose for existing, and if we can’t tell you’re excited about us, it’s harder to get excited about you. Sometimes it’s difficult to tell if a writer even knows what it is we do, and sometimes it’s clear they think we do something we do not.
Each of our questions has a purpose and we read them carefully - not only do we get a sense of a writer and where they are with this particular piece of work, but we get a pretty clear idea about who knows who we are and genuinely wants to be a part of our series.
Number Three: ignoring the submission guidelines
Just typing that made my shoulders seize up. For the love of Marvin my Petulant Kitten, read those guidelines. READ THEM. Ours are pretty clear: we ask that submitted scripts pass the Bechdel Test and be in development. We include some other notes and tips, but that’s the bar. I have been sent scripts with all-male casts. I have been sent scripts with one female character. I have been sent scripts where the women are unidentified except by their hair color or breast size. Sometimes it’s clear that the writer has no idea what it is we do. Sometimes it’s clear they read our tagline and stopped. (I’ve gotten a number of male/female two handers where the writers have assured me the females are “strong, complex, layered” characters. Maybe they are, but I didn’t read the scripts. Because they don’t meet our guidelines.)
The first thing I do – after reading the form responses – is look at the character list. Does the character list have more than one female character? No? Done. Does the character list seem disproportionately male? I’ll skim the script to see where the women speak to each other. Not for 40 pages? Done. Only for four pages? Done.
But wait! A writer somewhere is crying. Those four pages are magnificent! My female characters are the most amazing ever!
And you know, writer, you might be right. Your script might be all kinds of awesome and do all kinds of awesomeness for women, but our guidelines are clear. We’re interested in exploring boundaries, but we’re also getting a whole lotta scripts, and plenty of them are giving us what we ask for. We’re just not interested in male centered stories. Plenty of other companies are. We’re not interested in scripts where a woman doesn’t appear for over half an hour. There are plenty of companies who are.
Are you chewing your lip, thinking of that script you submitted but weren’t quite sure about, the one you thought it fit the ‘pushing the envelope’ category? Chances are, if you’re worried, you’re one of those writers who wrote thoughtful responses to the playwright questions on the submission form. That’s one of the reasons they’re there! Some scripts absolutely dance around the edge – tell us about that! Let us know you’re not just sending us any old thing you’re working on, that you’re sending THIS script to US for a reason.
Is it a perfect system? It is not. Am I missing scripts that could lead to some interesting conversations that very much support our mission? I may be. But I’m doing my best. All of us at Bechdel genuinely, deeply care about supporting writers and supporting new work, and we are doing our darndest to give as many writers a workshop as we can.
So writers, all of you – even those of you who only describe your female characters by levels of attractiveness, although I wish you’d cut that shit out – I truly, very much want you to find success and fulfillment doing this thing that you care about. So for the love of the company directors, interns, and producers – and more importantly, for the love of your fellow writers who are thoughtful about where they send their work** – do your research. Send that work you love to someone who wants the kind of work you’re creating. Read the guidelines. Follow directions.
* Dear Red Bull Theater: I am so sorry. You know the script I’m talking about.
** Shout out here to the many, many super fabulous writers we’ve gotten a chance – even on this limited submission scale – to read. It’s consistently heartbreaking that we have so few reading slots. You are amazing and doing amazing work. Please keep writing.
This weekend, we celebrated our THREE YEAR ANNIVERSARY. On June 30th, 2014 The Bechdel Group held its inaugural workshop reading, featuring Chisa Hutchinson's Somebody's Daughter (which just closed off-Broadway!).
Since then, we've workshopped 49 scripts by 41 playwrights that included more than 200 new roles for women. Our 24 Hour Writing Challenges have produced 40 new ten minute plays. And our third annual staged reading is scheduled for late August of this year.
A Call for Help ...
We are thrilled to have come this far, and now it's time for more. We are preparing to file for official non-profit status, so that we can continue to offer our free workshops, produce staged readings, and host special events like our Write-Ins and 24 Hour Challenges.
In September, we'll be Running a 5K – that is to say, we’re launching a fundraiser to raise $5,000 in order to meet our goals. We are putting together our fundraising team, and are putting out the call for Team Leaders. Love us? Want to help us promote our fundraiser? Email Gina at firstname.lastname@example.org and I'll give you details. It's fun. It's easy. I promise.
A Call for Actors and Playwrights ...
Our bi-annual 24 Hour Challenge is upon us!
On Monday, July 24 from 6-9pm we will present up to 10 short plays written in a mere 24 hours!
We will be taking:
Here's what will happen:
Have a fabulous week, and hope to hear from all you potential Team Leaders soon.
by Gina L. Grandi, Director
It's almost summer! You know what that means ... the Summer Bechdel Season! Yes indeed, it is time for the Board Takeover, the 24 Hour Writing Challenge, and our annual Staged Reading. But before we talk about that, let's talk about our May Reading!
Our last Spring Workshop Reading will be on Monday, May 22nd. We're delighted to be working with David Valdes Greenwood and Eugenie Carabatsos. We'll be hearing and discussing selections from David's The Last Catastrophist and Euegenie's We Will Not Describe the Conversation.
In The Last Catastrophist, a harassed climate scientist finds that her final remaining peer has tracked her to a hide-out in Iceland. A game of cat-and-mouse ensues -- with global consequences.
Inspired by a missing scene in Crime and Punishment, We Will Not Describe the Conversation follows a massage therapist whose newest client has come with the news that her estranged brother has committed a heinous crime--killing and elderly woman with an axe--and is nowhere to be found. The women try to piece together how this happened, while also uncovering their own dark desires and the fear that they will one day turn out like him.
Join us at the Back Room at Jimmy's No. 43 (43 E. 7th Street in the East Village) from 6-9 pm.
In Other News:
There are some tremendous things happening here at the Bechdel offices, and by offices we mean my living room. Last night our fundraising committee had a surprisingly festive meeting to chat about our soon-to-be non-profit status, an exciting new partnership, a major fundraising event, and The Bechdel Group's upcoming foray into the world of published anthologies.
Want to know more about these exciting developments and our Summer Events? Check this space June 6th! Our June News Post will have details! In the meantime, enjoy the weather and we'll see you on the 22nd.
by Gina L. Grandi, Artistic Director
A lot is afoot with The Bechdel Group! We're coming to you fresh off our March reading - one of our most engaging to date. Mari, our Digital Communications Director, and I spent a weekend with some of our favorite Bechdel actors recording episodes of our podcast - keep an eye on this blog for links to the audio of some of the 10 minute plays from our 24 Hour Writing Challenges. And last night's board meeting included talks of benefit galas, staged readings, and the kind of tedious paperwork that makes a theater company official.
The April Reading!
We're just a few weeks away from our monthly reading! Mark your calendars for Monday, April 24th. We'll be at The Back Room at Jimmy's No. 43 (43 E. 7th Street in the East Village) from 6-9pm. Come hear and discuss selections from Brenda Foley’s Fallen Wings and Marcus Scott's Tumbleweed.
Fallen Wings tells the story of a woman who comfortably resides on the sidelines of life and is forced to confront her capacity for resilience as she embarks on a road trip to discover the truth behind a childhood friend's murder.
Following an interracial family living in a townhouse within the Morningside Park area of NYC's Upper West Side over the course of a weekend, Tumbleweed is a slice of life drama about a young girl whose natural hair and blooming womanhood causes controversy in the household.
Call for Submissions!
We're currently reading for our Fall 2017 Workshop Series. Have a script you've been working on? Does it meet our submission guidelines? Submit! We'll be reading until June 15th.
News That is Sad
Well, it's sad for us, but not for her. Our co-founder Alexa Fitzpatrick has left New York for new and fabulous opportunities, and has stepped down (in an official capacity) from The Bechdel Group. If you'd like to keep up with her or send her a loving message, you can find her on Twitter at @alexa81611.
Some Statistics! (For those who like numbers)
Did you know that since The Bechdel Group's first reading in June, 2014, we've
Want more? We'll be brining them to you.
Happy April, everyone. See you soon!
by Gina L. Grandi, Artistic Director
Happy ... spring? It's snowing outside as I write this, so I'm not sure where we are, season-wise.
Our Winter/Spring Season has been amazing thus far. In January, we had the long-awaited rescheduling of October's reading, and were able to hear and discuss some very fabulous work by Lavinia Roberts and Brooke Berman. With Lavinia's short screenplay The Will we discussed tropes of horror storytelling, and what writing for women as a woman means within this genre. Brooke's play Hurricane tells the story of now 40 year old former punk bandmates "navigating motherhood, friendship, and the changing landscape of a neighborhood once known for its Bohemia, now known for affluent, Liberal, Prius-driving hipsters."
In February, we held our always-fabulous bi-annual 24 Hour Writing Challenge. This round, we asked the writers to create (in just 24 hours) 10 page scripts that in some way incorporate the theme, idea, or word of "love" - but without including romance. Stories ranged from characters rebelling against their playwright to a quitting addict to sisters attending a cat's funeral. Keep an eye on this page: we'll be featuring some of our 10 minute scripts on our Podcast.
In the meantime, prepare yourself for our March 27th Reading, because we have some amazing new work to show you. Yusef Miller's 'TASHA re-imagines Antigone within the context of Black Lives Matter, and Callan Stout's you do not look asks us to think on trauma, survival, and knowledge as we travel the streets with Gerda, a young woman from the Czech Republic selling encyclopedias door to door. There will be a lot for the 'audience' to do this month - so we hope to see you there.
by Patricia Veconi
I’m guessing that a lot of my fellow playwrights out there have made resolutions – or maybe just set some goals – about script submissions in the new year. While I consider myself to be a new playwright, (or maybe, more accurately, a part-time playwright…or maybe just an enthusiastic playwright hobbyist?), I’ve learned a few things over the last two years that I’ve been writing and submitting my work to festivals, theatres, reading groups and competitions. I hope you find these observations helpful as you plug your work in 2017.
First of all, it helps to remember that you are part of a big, big community and most of the people you meet (usually electronically) are fellow artists who will be supportive, encouraging and kind. They will share the opportunities and resources they have heard about and you should do the same.
Join or subscribe to a playwright’s service group: There are quite a few out there and they provide lists of opportunities and various resources and links to all kinds of helpful stuff. Some of them will charge for a subscription, but others are free. You will also find a fair amount of overlap among them, so don’t feel like you need to be checking five different lists every day.
Organize your writing so it’s easy to download quickly and you can spend more time writing than submitting: You’ll need those plays to be in pdf files with separate versions that are blind. Keep a current copy of your bio and resume handy, too, along with a jpeg of your bio picture.
Write for yourself, but plan ahead, too: Most 10-minute submissions really do insist that your script be only 10 pages long and use only 2-4 actors. For one-acts, a maximum run-time of 40 minutes with 2-6 actors is typical. These aren’t hard and fast guidelines, of course, but if you want to submit often, you may want to keep them in mind as you are writing.
Keep a spreadsheet of all your submissions: It’s very easy to set up and keep current – and you’ll thank yourself when you can’t remember whether or not you submitted to that festival in Iowa last year.
Don’t submit if your work isn’t appropriate and relevant! This should go without saying, but really, read what the opportunity is carefully. If they want something that speaks to the LGBTQ community or the African diaspora or experiences on the Staten Island Ferry and your script doesn’t, then move on.
Lastly, let it go: You won’t hear back from about 90% of the companies you submit to. It’s not personal, they’re just busy people. But when you do hear back, it will be pleasant or even downright encouraging and kind. It will make you feel validated. ALWAYS thank those people and let them know how much it means to you to get feedback and that you appreciate their having considered your work.
Happy writing this year!
by Gina L. Grandi, artistic director
Unfortunately, our roundup today starts with not-great news: due to outside circumstances, we've had to cancel our October 24th reading. But! Those of you who have been looking forward to Brooke Berman’s Hurricane and Lavinia Roberts’ The Will (in other words, all of us) never fear – we’ll be featuring both in our Spring Series. Stay tuned!
Speaking of the Spring Reading Series, as of today, we have well over 100 scripts submitted for the consideration – a seasonal record! We’re pretty excited to finish reading all the submissions, and we’ll be letting you know what’s on the calendar for the new year in December.
In the meantime, we’ll be back at Jimmy’s on December 12th (mark your calendars!) for our final Fall reading. We’ll be hearing and discussing selections from Kristine M. Reyes’ Eggs on Ice and John Barrow’s Lillian Paula Carson. We’re thrilled to be working with these two playwrights, and can’t wait for you to hear their work.
Happy October! See you all soon.
by Alexa Fitzpatrick, executive director
As the executive director of the Bechdel Group, you’d think that everything I write would be female driven, test passing, lady power, right? Not the case.
Last month three of us took over the show. We made a pact that we were going to have Bechdel approved scripts ready to go for the August reading. (August being a month that’s harder to get a crowd as people slowly get their heads back into go mode.)
I had an idea and I knew it was going to be great. All about this guy who has this kid who follows him around. Oh, the kid is a guy, too, but only fifteen. A boy. And then it’s also about the main guy’s interaction with his father, a guy, whose medical practice he’s taking over. And his brother is a super hot, world-class athlete. And then there’s his best friend, also a guy.
Are you noticing the Bechdelian problem?
It started innocently enough. I have this friend on whom I have always had a monster crush and I wanted to write something for him. But the sausage fest spun out of control and eventually my five primary characters were all male.
Yeah, even my blog about the script is about men and my crushing on one of them. Romance is a big part of our lives, but it’s not the only part and it shouldn’t be the only part in our scripts… even when that’s what our scripts are about… still, every time I sat down to write, for some reason my brain went blank on everything else.
I couldn’t see how to pull myself out of it, so I tried to write myself in. I threw in a couple of quirky and cool female side characters and awkwardly wedged in a scene about yoga. The women started talking about Ashtangas, but then those crafty lady characters started to go off about the hot yoga instructor, (still attractive, even with a man bun – no offense to my follicly gifted brothers). I cut them off.
“Stop betraying me,” I yelled at my computer screen. “I created you!”
I know that, as a woman, I talk about lots of other stuff. Why can’t I think of any of those other topics?!?
I struggled and tossed and turned and cast the play and printed the pages and showed up at the reading and hoped someone in the group could help me make sense of what I was going through.
The reading happened and all of the actors were great (especially the one who got handed the script at the last moment without even the warning that they were coming to act – Gib, I’m looking at you) and I got some great suggestions and some fun feedback, but nothing that jumped out at me in the moment.
Someone said it would be more interesting if the kid were a girl. Interesting, but then does that get creepy with a forty year old man being followed around by a fifteen year-old girl? I’m not trying to channel Nabokov.
Inside I was panicking. I’m a fake. I run a group that’s all about strong roles for women and I’m struggling to write them. Why is this so much harder than I thought.
Back to the feedback: what if the kid is female? Well, okay, then what if the main character is also female? That’s a start.
The ideas marinated and the characters got dressed and I sat down at the computer again. The only two things I kept from the original script were the idea of a kid following around and sabotaging the main character and a surprise 40th birthday party gone wrong. I started writing and it started to fall into place. Suddenly my script went from five strong male leads and five female support characters to four female leads and one male lead with potential for lots of other rotating male and female supporting roles.
Suddenly I was the main character in my story instead of a supporting character dancing around on the sidelines.
I went back through my past scripts and realized that, of the six screenplays I’ve completed, everyone single one has a male protagonist. I also noticed that every single one has a spunky female sidekick whom I would love to play because on some level or another she’s based on me (even my kung fu for hire script set in 16th century China, which is most likely the reason I got rewritten out of it). I’m also pretty sure that every one of those scripts would be more interesting if they were rewritten from that woman’s perspective.
Two other fun stats of the old versus the new:
37% of the lines were spoken by female characters in the first script; in the second script it was 87%. Which is especially interesting to me as it relates to the second fact.
Both complete scripts had casts (main to under-fives) that were split equally down the middle with five men and five women in the first and eight men and eight women in the second. I had an equal number of women there, I just wasn’t giving them anything to do.
Is it possible that all this time I was just waiting for permission to write about me and, when I finally got that permission through this group, I turned into the deer in headlights with no idea where to go? And what does it says about me psychologically that I am always writing myself as a supporting character instead of a lead?
These are the questions that we are trying to address with this group. Being women shouldn’t mean that we have to sit on the sidelines of our own stories and I, for one, am about to do some major POV rewrites. #beyourmaincharacter
by Gina L. Grandi, artistic director
You may not be aware that I am the tri-state expert on young adult dystopian romance trilogies. Now you know.
Books and trilogies along the Hunger Games lines tend to be classified as young adult, due to young adult protagonists, but that classification can feel arbitrary. I mean, who doesn’t like a good dystopian adventure?
There are a slew of books that aren’t technically or necessarily dystopian, but somehow have that same feel to them, that appeal to the Hunger Games crowd. Today, I bring you one of these, for the readers and young readers out there who appreciate a strong female protagonist.
Rae Carson’s Girl of Fire and Thorns series has three books: The Girl of Fire and Thorns, The Crown of Embers, and The Bitter Kingdom. The premise: princess Elisa is a godstone bearer, a chosen one. She is married off on her 16th birthday to a neighboring king, whose country is falling apart. There’s politics. There’s magic. There’s kidnapping and scheming and travel.
This is not a dystopian series, technically. It does have that flavor, as it takes place in an alternate world, similar to our own but with significant differences. It could be in the past, it could be in the future.
Let me tell you why this series is one of my favorites.
1. The third book doesn’t suck.
I call this The Mockingjay Problem – weak/terrible/disappointing third installments of an otherwise delightful series. Characters behave totally out of character. Love triangles are wrapped up in annoyingly convenient ways. Everything feels a little flat. Sometimes it feels like the author was rushed. Sometimes it feels like there just wasn’t enough story to last for three books. For whatever reason, it’s a common issue. The Mazerunner series. The Selection series. The Uglies series. The Divergent series. All, in my opinion, rushed, flawed, disappointing third books.
The third book in this series, The Bitter Kingdom, brings all kinds of new information and situations, after a second installment cliffhanger. It’s real story, not just a stretching out of what we’ve heard before. Questions and relationships are resolved, and satisfyingly so.
2. Elisa is a great.
Elisa is a strong protagonist. She’s not beautiful; she’s heavy and not traditionally attractive. The author does have her lose a significant amount of weight in the first book (as a result of a month long march across the desert), which makes sense in the circumstances, but feels like an unnecessary nod to beauty norms. While I could do without Elisa’s sense of self-worth and confidence having a weight correlation, I do like that she never becomes traditionally beautiful, and never ‘thin’ or ‘slender’. What she does become is muscular, and strong. She takes enormous pride in her ability to walk for days on end and for being able to defend herself. She is clever and shrewd, studies strategy and politics, and is the one who pretty much saves everyone’s butts, in both action sequences and political maneuvering. She is not perfect, either. As queen, she struggles, and makes decisions she later regrets. But she’s capable and doesn’t need saving. When she does lean on someone – be it a friend or a love interest – it feels real, not a girl-needs-help trope. Much of this story is Elisa’s journey to trust her own abilities and instincts.
3. There are a whole lot of strong women, and Elisa has actual relationships with them.
Almost all the powerful rulers in this series are women. I love that, when she becomes queen, Elisa’s gender is never an issue. Her age, experience, and personality are all questioned at some time, but not her gender. This feels like a big deal – other writers, I think, would fall quickly into that plot device, and Elisa would have to battle the patriarchy. This world has no issue with strong women. This world relies on strong women. It’s not even a question.
While there is a (heteronormative) romance contingent to this series, Elisa’s relationships with the women in her life feel like the most important relationships in the book. From her sister to her nurse/guardian to her best friend/lady-in-waiting, she discusses politics, power, strategy – every aspect of her life. They speak about relationships and love, but these women are more than a sounding board to forward the romance. They are integral to the plot. They have personalities, strengths, and flaws. They are well-rounded, and Elisa’s relationship with them is complex and layered. The Bechdel Test is passed, no problem.
4. Elisa is a woman of color.
And it’s made clear that the majority of the main characters are. We can surmise from the names and language (Elisa’s full name is Lucero-Elisa de Riqueza, other characters include Ximena, Humberto, Conde Treviño, and Cosmé; Elisa’s home country is Orovalle and the country she comes to rule is Joya d'Arena) that this fictional world has Latin roots. Elisa is described as being dark skinned, dark eyed, and black haired, and this is described as the norm.
All around, this is a good read, and Elisa is the kind of character I wish there were more of.
So if you’re a fan of alternate/dystopian worlds, strong women characters, books with magic that don’t feel like fantasy novels, this is your series.
by M.J. Moneymaker, digi comms director
Last week, Alexa shared what she's learned reading script submissions to The Bechdel Group. I was struck by number two on her list: 18% of the scripts she's read do not pass the test.
Attention to the details of submission guidelines are important. You never know who will be a reader for your screenplay or stageplay and your submission form is your first impression.
At least, that is how I look at it when judging for the New York Festival International TV & Film Awards, Scenarios USA, and Webby Awards. The titles, descriptions, and the criteria are what I have to go by before watching video submissions.
This month's podcast is a ten-minute play that we feel passes the test. But what do you think? It is from one of our 24hr Writing Challenges which happens twice a year. Our challenges are a little different because we invite writers first and then they write the scripts within twenty-four hours for our reading night.
So, let's review the test's criteria before you listen to this play:
Please comment below and let us know what you think...
"Getting The Cat Jar" is written by Eddie Emma about a dream to inherit a cat jar after Mom's death.
The three women who play The Father, The son, The Holy Ghost:
Gina L. Grandi
Alex Sapozhnik reads stage directions