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In this saucy farce, Adams weaves a tale around Aphra Behn, 17th century spy-turned-playwright, King Charles II, her erstwhile employer, and Nell Gwynne, the most accomplished and notorious actress of her day. While war rages, Aphra and her friends celebrate free love, cross-dressing and pastoral lyricism. A passionate, joyful look at
all kinds of freedom: sexual, spiritual, artistic, and political.
Or, had its world premiere in New York at the Women’s Project in 2009.
Liz Duffy Adams is a recipient of a New York Fellowship of the Arts Award (2006–2007), the Weston Playhouse Music Theatre Award (2008), the Frederick Loewe Award for Music-Theater (2006), and the Will Glickman Award (2004). An MFA graduate of Yale School of Drama, she got her BFA at NYU’s Experimental Theater Wing. Plays include Neon Mirage (2006 Humana Festival anthology play with six other playwrights); A Wrinkle in Time (commissioned/produced by Syracuse Stage); and A Fabulous Beast (One Dream Theater, starring Edie Falco). Her work has been written, produced, or developed at the Humana Festival, SPF, Portland Center Stage’s JAW/West, Portland Stage Company’s Little Festival of the Unexpected, Syracuse Stage, Bay Area Playwrights Festival, MacDowell Colony, Djerassi Resident Artists Program, Millay Colony for the Arts, Shotgun Players, Clubbed Thumb, and Crowded Fire among other organizations. Publications include Poodle with Guitar and Dark Glasses in Applause’s Best American Short Plays 2000-2001, numerous short plays and monologues in anthologies from Heinemann and Smith & Kraus, and several plays published by Playscripts, Inc. Adams is a New Georges Affiliated Artist, an alumna of the Women’s Project’s Playwrights Lab, and a recipient of a Children’s Theater Company/New Dramatists “Playground” commission. As profiled in American Theatre magazine by Jean Schiffman, “To Adams, we’re all endangered and slightly mad; the world’s a quasi-menacing, topsy-turvy place; and the mysteries of the future—and the past—beckon. Her plays unfold in expansive, often post-apocalyptic settings. They’re vibrantly theatrical, textually thick, compact and comical…. Adams’ language is an assured and often hilarious blend of the formal, the lyrical and the colloquial. Hers is an utterly unique and captivating voice.”
Special thanks to our media sponsor, KUHF Public Radio,
for its generous support of this production.
