Fabulous Creatures, a play in 5 parts and 21 acts
Part 1: Paddy Wagon / Part 2: Scarecrow Tin Man Lion / Part 3: Trickledown / Part 4: Morally Sick Wretches and the Spite House of Astoria Blvd / Part 5: It Is So Ordered
with director Emily Moler
developed with the support of Fresh Ground Pepper and The Tank
A multi-year project, likely to be finished in 2020.
A found family epic spanning the length of the gay rights movement that mirrors the process of coming out. Part 1, Paddy Wagon, is set during the Stonewall Riots, where we meet a young black transgirl named Cary looking for a home. Her found family, a caring and gorgeous queer family in the Lower East Side, welcomes her in. Part 2, Scarecrow Tin Man Lion tells the story of Naval Officers forced out of the closet as a new day dawns to reveal the AIDS epidemic. Part 3, Trickledown, set during the AIDS crisis, looks at the grieving process, as Cary experiences the loss of a friend of a friend to the epidemic and resolves to live for those who can’t. Part 4, Morally Sick Wretched and the Spite House of Astoria Blvd, is the story of a teacher in the Radical Lesbian 1990s who sued the hospital that wouldn't let her visit her in-patient wife, and, against all odds, won. The play closes with Part 5, It Is So Ordered, all at once a celebration of the marriage equality ruling in 2015, a funeral for those lost on June 12, and a searing indictment of our current administration for allowing hate to thrive. Cary has settled into middle age quietly, living a peaceful and relatively happy life, the matriarch of her own caring and gorgeous queer family. In the wake of Orlando and in the advent of 45, she finds herself shaken. She’s fought for peace for the kids. She didn’t fight for them to fear.
Kev is creating this project because he's been frustrated. So much of the work he's seen on stage over the last season or two has been about straight people. New works, too, even. Plays and musicals that take place today, when we’re supposed to be living in a liberal and accepting society. So many of these shows have been made and performed by queer people. And yet, there are so few queer stories being told onstage for an audience wider than storefronts and garages in the outer boroughs of our cities. Kev wants to create a project that is too big to be ignored and relegated to those tiny little houses. He wants to create a project that welcomes an incredibly large and diverse audience into its arms and tells a story in which anyone can find something to which they relate.
In the current political climate, there is so much hateful rhetoric surrounding women, LGBT*Q+, and non-white folks. Right now, we need stories that treat those people with respect, stories that will hopefully somehow reach the hearts of those spewing that same hateful rhetoric and instill in them a sense of compassion for people different than themselves. We need stories that don’t just focus on hardship as negative. We need stories that focus on what comes after the hardship, the growth and hope that comes with endurance.