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Everything Is Wonderful

Full-length drama • One Intermission • 3M, 3W

“[A] bruising story of rage and absolution within an Amish community… the distance between art and life collapses.” — The New York Times

“Thought-provoking, often beautiful, and in a quiet way, inspiring… It should not be missed.” — Broadway World

Airness

Full-length comedy • Optional Intermission • 4M, 2W, 1 any gender

“The most fun you will have at the theater this year … to call this play a “crowd pleaser” is a drastic understatement.” – Insider Louisville

“Unmitigated pleasure… filled with dignity and delight.” – Chicago Reader

“Takes the surface ridiculousness of air guitar and embraces it, amplifies it, and then reveals the yearning, magic, and — yes — artistry beneath the veneer.” – WFPL.org

Airness : High School Edition

Full-length comedy • Optional Intermission • 4M, 2W, 1 any gender

“Watching this joyous physicality, we understand how these oddball characters find fulfillment and catharsis in rockin’ out on nonexistent frets and strings.” — The Washington Post

“In a word, dazzling … the most talked-about production of this year’s Humana Festival.” – LEO Weekly

“A fabulous play about the joy of pretending … both funny and filled with heart.” – Milwaukee Journal Sentinel

Tiny Houses

Full-length comedy • No Intermission • 3M, 2W

“[An] irresistible, tartly sweet romantic comedy about finding a home. Marcantel takes on the tiny-house movement and uses it as a vehicle to get inside the heads and hearts of young adults whose dreams and schemes, failings and foibles reveal something about all of us. The perfect, timely comedy … This blueprint is bulletproof.” — The Plain Dealer

Saint Joan

Full-length drama • One Intermission • 4M, 4W

“Worthy of Shaw. Marcantel seems to fear no peril. Like Joan facing those seemingly insurmountable powers, she has thrown herself quite successfully up against Shaw. Her adaptation adds exposition that clarifies what British audiences would have known about 15th-century warfare and politics. While cutting an hour off the original, she retains much of its effective dramaturgy… that humanizes the long-ago characters. And she deftly inserts new (contemporary) dialogue into Shaw’s classical prose.” — Broad Street Review