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EDNA MAE: Bruises always look so much more shockin' on white skin.

EDNA MAE: You leave that woman be, Lucille. You ain't go no right to her stories, and neither do I. Just 'cause you're tired of your boring life ain't no reason to go picking other people's scabs.

Dialogue
Sample

In the Shadows

this play is currently in development

In a run-down tenement house, under the shadow of the Brooklyn-Queens Expressway, lives an unlikely group of survivors. Two elderly black women from Georgia, a middle-aged Italian woman and her son, and an ancient Jewish man from the old country live in a delicate world where the walls are too thin for secrets and their neighbors are the only family they have. They have long since gotten past their prejudices and have become, by default, each others' keepers.

When Peace Johnson and her young daughter move in, they bring more than their share of secrets. Peace, who is, by all appearances, too educated and wealthy to be living in this neck of the woods, seems to be using the tenement building as a safe-house or hide-out. Her presence divides the tenants and pulls at the tenuous strings that hold their cloistered community together. When money falls from the sky, they discover that they're all hiding from something and if they don't protect one another they are all lost.

In the Shadows is a full-length two-act drama, with a cast of nine, and a single-unit set. It has not been previously produced.

VINCENT: Never knew people was making things in there. I figured art was only in museums. I didn't know it was something you could touch or make or be a part of.