A new comedy & winner of the 2017 Smith Prize for Political Theater
A talking stork, lesbian moms, and the power to build your own baby... In this version of a near future society, prospective parents learn within the first weeks of conception which traits their child will have and what behaviors it is likely to exhibit. Based on these test results, they are either issued a PRE certification which legally guarantees the baby will be a "good" person or not. Without the certification, the child will be limited in what it is allowed to do.
Two couples, both early in their pregnancies, collide over whether or not to open the “PRE” certification test results, and what to do once they know the results. With rapid advances in reproductive technology, modern eugenics is science’s Wild West. What will we do to “civilize” it and ourselves? How far will we go when playing God?
Special Thanks to Catherine Randazzo, Florida Studio Theatre, the Smith Prize, and the National New Play Network
(Image courtesy of Diego Manuel Rodriguez on Flickr Creative Commons)
4 F, 1 M
Winner of the 2017 Yale-Horn Drama Prize for Emerging Playwright, Bottle Fly is set in a bar in the Florida Everglades, this biting, brutally funny multigenerational family drama concerns a Gulf Coast couple, their disabled young ward, two lesbian tenants, and the bonds that bind them all together. It is a powerful story born out of the playwright’s own experiences with the rapidly changing social environment of rural Florida, where long-standing traditions and beliefs can collide, sometimes dangerously, with new ideas of personhood, identity, and self-realization.
(Pictured: Reading at PlayPenn New Play Conference featuring Catherine Slusar)
3 F, 2 M
One click can change your life.
This fast, bright, darkly humorous play follows a group of college students involved in a frat rape that goes viral.
As we spin forward in time over a decade, the characters create virtual reality identities that blur time and space; designing new technologies to erase a past that's impossible to forget, and grappling with the consequences of real life that can't be shifted, no matter how fast you code.
It's a uniquely theatrical Sherlock-ian thriller that explores questions of consent, technology and the shifting moral boundaries between the two.
The Playwright would like to offer special thanks to:
JT Rogers, Marissa Wolf, Lisa Dillman, Rudy Ramirez, Katherine M. Carter, Melisa Bensussen, Carrie Chapter, Emerson Stage Residency, Cristina Alicea, Drama League Residency, Sara Marnich, Viv Chace, Nell Bang-Jensen, Jeremy Gable, MJ Kaufman, Maybe Burke, Finn Lefevre, Ashley Rogers, Jessica Bashline, David LaMacchia, The Producer’s Fund, Allison Heishman, WOAR (Women Organized Against Rape), and Rebecca Wright.
(Pictured here: Staged Reading of "Click" by director Katherine M. Carter at Westport Playhouse; Front page picture: Thanks to Elba Fernandez on Flickr Creative Commons)
1 F, 1 M
When starting over means setting fire to what you know and love.
This play sprang from my experience with an aging father, and a health scare he had about two years ago. It got me thinking about what's going to happen when he's no longer with us. What about his life will we celebrate? What will we forget, or choose not to remember? I decide to write a love letter, from a daughter to a father, filled with the laughter, fear, joy, hope and eternal love we have for our parents, both in this life and in whatever comes next. That love letter became a play, and that play is "The Arsonists."
The Arsonists is a lyrical Southern Gothic tale inspired by Electra in which a father and daughter – singers, storytellers and arsonists - on the run from the law must say goodbye as they set their final fire.. It's a provocative journey from grief to redemption that delves into the primal bond between parent and child, and explores if that bond can ever truly be broken.
"Jacqueline Goldfinger’s spellbinding new play...The Arsonists, put me in mind of a kind of gender-reversed Sam Shepard—especially Shepard’s early collaborative work with Patti Smith...As in Shepard, there is a sense that love, loss, and betrayal are inseparable...What makes The Arsonists so extraordinary is in part its contradictory oddness. It’s realistic and gritty, but also beautifully poetic; epic in scale, but it runs only 70 minutes...There is a sense here that the playwright honors a history of theater (the Greeks, Shepard, also Eugene O’Neill’s Mourning Becomes Electra), but it’s also contemporary. Best of all, Goldfinger’s voice is distinctly, wonderfully her own." -Philadelphia Magazine
Short excerpt of Archival Recording (NOT for sale or general use): The Arsonists
(Pictures of Know Theatre, Azuka Theatre, Capital Stage, and Perseverance Theatre Productions)
3 F, 4 M
When racial tensions come to a boiling point in a Florida town, the smallest actions can have paralyzing consequences; Slip/Shot is a heartbreaking drama about fear, unconscious bias, and our need to move forward.
“A remarkable new play…go to Slip/Shot and be dazzled by Goldfinger’s perceptive dialogue, by characters who are intelligently and distinctly drawn, and by finely detailed observations that make the sparsely lit and designed play seem uncommonly vivid.” -Talkin’ Broadway
Short excerpt of Archival Recording (NOT for sale or general use): Slip/Shot
(Pictures from Flashpoint Theater Company and Seattle Public Theater productions)
The Terrible Girls
3 F, 1 M
Where did Mr. Witherose go? How do you properly dispose of a skull in the pantry? And who wants to go to the Happiest Place on Earth anyways? The Terrible Girls is a Southern Gothic horror-comedy that explores the duality of human nature and the murky line between friendship and obsession.
“Suspenseful and provocative…a refreshing new story admirably written…What makes this play different than a mundane portrait of the modern South is its mythic quality. the terrible girls forces us to reflect on the duality of human nature and witness how deceit, desire, and obsession can lead to transgression.” -NYTheatre.com
(Pictures from The Azuka Theatre and New York International Fringe Festival Productions)
5 F, 1 M
A wandering preacher is embroiled in the passions and politics of a swampy Florida outpost ruled with a macabre sense of justice by two rival sisters during the Great Depression. The Oath is a darkly comic look at balancing ambition and ideals in a time of crisis.
“Outstanding drama…Wonderful, thought-provoking…Goldfinger marvelously unfolds the story with great dialogue and sympathetic characters.” -Theater Talk (NYC)