Intersecting Identities
"Adventurous theater in Astoria"

-- The New York Times


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Intersecting Identities

A series of readings of new work in collaboration with Beehive Dramaturgy Studio

Feb. 21, Feb. 23, and Feb. 27, 2018


The Zukor Theatre at Kaufman Astoria Studios
(Entrance on 35th Street, between 34th and 35th avenues)

Race, gender, sexual orientation, physical ability, religion, and country of origin offer different ways to define ourselves and affect our access to history, to power, and to community. In February 2018, APAC and Beehive Dramaturgy Studio will present a series of readings that explore how friction among overlapping cultural identities can complicate how we interact with the world and understand who we are.

APAC is proud to partner with Beehive as we continue our commitment to supporting writers. A core member of Beehive will work with each writer on the development of a new work, which will then be shared with audiences.

 Presenting readings of these works in development:


By Phillip Howze

Directed by Ed Sylvanus Iskandar

Dramaturgy by Jeremy Stoller

February 21, 2018

7 P.M.


A lot of people are dying lately, but no one wants to take responsibility. To break the silence of normalized grief, a small community stages an epic intervention. But as willful ignorance and strange indignities mount, the toxicity of forgetfulness gives way to a feast of comic, calamitous consequences.

About the Playwright

Phillip Howze is a playwright whose work has been developed at Bay Area Playwrights Festival, BRIC-Arts Media, Clubbed Thumb, PRELUDE 2015, San Francisco Playhouse, SPACE at Ryder Farm and Yale Cabaret. A graduate of Yale School of Drama, he is a 2015 Fellow of the Sundance Institute Theater Lab, a member of the 2016 Emerging Writers Group at the Public Theater, and a Resident Writer at Lincoln Center Theater. His play Frontieres Sans Frontieres premiered at The Bushwick Starr in 2017.


By Andrea Thome

Directed by Elena Araoz

Dramaturgy by Natasha Sinha

February 23, 2018

7 P.M.


Purgatorio explores migrations and journeys between worlds, nations and peoples, and the space between life and death. It’s influenced by migration tales (of children coming from Central America, of refugees on boats), by childhood poems, and by the journeys through the underworld and paradise in Dante’s Purgatorio and Mohammed’s Night Journey (which inspired Dante). In the play, purgatory is a place of migrants, trying to make their way through a dangerous limbo that holds many layers of history, crossings, and buried stories. Pilgrim -– a child -– journeys through this landscape, led by a guide who may be a poet, a trickster, or a figure from the child’s imagination.

About the Playwright

Andrea Thome is a Chilean/Costa Rican-American playwright whose work navigates multiple languages and landscapes. Recent plays include Pinkolandia (INTAR, Two River Theater, Salvage Vanguard, 16th Street Theater; translated into Russian) and Troy (collaboration with the Public Theater’s ACTivate Ensemble). In development: The Necklace Of The Dove (Mabou Mines, New Georges), a “translation” of Shakespeare’s Cymbeline (OSF), and an EST/Sloan commission about an astronomer from Muslim Spain. Her translations include Guillermo Calderón’s Neva. Andrea directs the Lark’s México-US Playwright Exchange program and co-directs satire collective FULANA ( Residencies include: MacDowell, Keen Company, SPACE on Ryder Farm, and New Dramatists resident playwright.


The More They Stay

By Ricardo Pérez González

Directed by Danny Sharron

Dramaturgy by Molly Marinik

February 27, 2018

7 P.M.


The More They Stay is the final chapter in the Belonging Trilogy, which follows a pair of lovers, one black and one white, from the 1950s to the present day. After a lifetime spent surviving segregated gay bars, the AIDS crisis, and each other, Tom and Russell have made it to the tail end of their 80s. And while they’re still getting frisky in their in-home hospital bed, Russell is suffering from a debilitating illness that can only end one way. This evening they’re hosting a dinner for their adopted son and his boyfriend. It’s a dinner to say goodbye, but on whose terms? The play unfolds as multiple generations reflect on the way things have changed, the ways they’ve stayed the same, and what it means when death isn’t something forced upon us, but something we choose.

About the Playwright

Ricardo Pérez González is a loud-mouthed maricón who writes to make his tataratía proud. Plays include On the Grounds of Belonging, the prequel to The More They Stay (NY Public Theater), Don’t Eat The Mangos (Primary Stages reading), Neon Baby (book writer/co-lyricist, Pregones), Ashé (UP Theater, Repertorio & Labyrinth readings), and his BDSM drama R.A.C.K. Screenplays include his short film Losses and Gains and his features The Tender Peel (Sloan Foundation Award), The Rest of Us (premiering fall 2018), We (adaptation), and I Believe in Angels. For more information about his writing for stage, film, and TV visit


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