DIRECTED BY COURTNEY SCHUSTER
At the intersection between two worlds—a coastal home at once sheltered and safe and also broken, slipping into the sea—an enchanted couple, artist and scientist, evolve into prophet and monster, seer and dream. As the drama drifts between times, a feckless fairy godmother hovers, her spells abortive; buzzards shadow windows with angel wings; and a nine-lived sloth plays housecat. Inspired by the poetry of John Keats, the paintings of Henry Fuseli, mythology, and neuroscience, Don’t Kill the Angels leads its audience on a journey through the haunted mind.
DIRECTED BY ARABELLE POLLICK
Sarah escapes the grit and loss in her life by spending most of her life at the airport, watching the world pass by, pretending to be someone else, but never going anywhere. After a janitor, Carlos, attempts to befriend her, she discovers she isn’t nearly as invisible as she’d hoped. The messiness of Sarah’s real life follows her to the airport, when she calls the police on her neighbor, Terry, who has been beating his wife. Terry’s daughter is taken away by social services, and he’s convinced that only Sarah can help him get her back. His pursuit of Sarah turns the airport into a refuge with little room for escape. As the security of the airport becomes critical, Sarah’s deception is spotted by a TSA supervisor, Marlene, who threatens to come down hard on Sarah. As she takes refuge in a secret room in the bowels of the airport, Sarah becomes increasingly dependent on Carlos for her safety. Sarah, Carlos, and Marlene end up entwined in a precarious web that is shattered when Terry sneaks into the airport to force Sarah to help him retrieve his child. As the danger grows more intense, Carlos’ desire to protect Sarah has deadly consequences. Ultimately, Sarah must choose a path that weaves between truth, friendship, and an end to hiding. Flight is about people lost in a place that’s not really anywhere, trying to salvage lives torn apart by loss. Only by daring to leave the airport can Sarah find a path to back towards real life.
DIRECTED BY A.D. TIMMS
Three scientists - enduring the vast tundra, close quarters, and three hundred beached whales on a melting glacier - are faced with questions of gender, biology, identity, climate change, and faith.
TAY, a scientist specializing in Phytoplankton, is a genderfluid person trying to quietly organize and understand their place on the ice while their presence cracks every foundation. HERMAN, a scientist specializing in Glacial Disintegration, builds an arc to get the team off of the melting glacier while struggling to keep his relationships afloat. TERRA, a whale biologist, is overwhelmed by the deconstruction of her faith and her identity as the world threatens to swallow her whole.
DIRECTED BY HANNAH DEWING
Olivia quit her job teaching preschool to become an actor, giving herself a year to make it as a professional in Columbus, Ohio—a.k.a. “C-Bus.” Inspired by his kid sister, Olivia’s hotdog-vending brother Ralph hitchhikes from Los Angeles to C-Bus in the hope of achieving show biz fame himself. Thanks to a healthy dose of serendipity, both are fortunate to obtain not only the support of Barbara Moss, the Midwest’s top talent agent, but also promising roles—Olivia as the on-camera spokesperson for Salute Chemical, a local industrial lubricant company, and Ralph as Good Time Charles, the central character in a proposed advertising campaign for Moose & Goose Beer, the Canadian brewery that owns Salute Chemical. Olivia finds herself in a compromising position when she gets wind that Salute Chemical is using her spokesperson character to promote false environmental product claims. Remaining true to her values, Olivia takes a dramatic stand, and remaining true to his sister, Ralph joins her. The repercussions aren’t pretty. But as comedic luck would have it, another dose of serendipity and their newfound self-knowledge give the siblings exactly what they need to carve out separate singular niches in C-Bus, a city where tinsel town dreams—or a variation of those dreams—can and do come true for both.
DIRECTED BY ERICA JO LLOYD
Based on Charlotte Perkins Gilman’s “The Yellow Wallpaper,” The Paper Hangers takes a modern look at Me’s struggle to deal with postpartum depression when society, particularly her mother and husband, expect a new mother to embrace motherhood and domesticity. Me’s husband John, brings her to the country so that she can recover from childbirth. It’s clear that she can’t be near her child and Me’s Mother takes care of the baby, but both John and the Mother want her healed. Me isn’t sure she can return to normal. Countryside seems to be improving Me’s mood, but when she’s in her bedroom, Yellow—the personification of wallpaper—seems to haunt her with visions of who she should be, what societal expectations are, and how her own mental health might be unraveling. Me continues to fight against all these things and in the end frees herself, but at the loss of her child, husband, and sanity.