Twelve jurors are sent to deliberate a murder trial. They must come to a unanimous vote before they can return to their lives outside the jury room. They all come with their own preconceived notions and biases that affect deliberations. As they reexamine the case and evidence, tensions rise, and their prejudices become the driving forces of heated exchanges. The play examines due process, the concept of a fair trial, and the great responsibility that lies with those given the charge to decide.

Twelve jurors are sent to deliberate a murder trial. They must come to a unanimous vote before they can return to their lives outside the jury room. They all come with their own preconceived notions and biases that affect deliberations. As they reexamine the case and evidence, tensions rise, and their prejudices become the driving forces of heated exchanges. The play examines due process, the concept of a fair trial, and the great responsibility that lies with those given the charge to decide.

Twelve jurors are sent to deliberate a murder trial. They must come to a unanimous vote before they can return to their lives outside the jury room. They all come with their own preconceived notions and biases that affect deliberations. As they reexamine the case and evidence, tensions rise, and their prejudices become the driving forces of heated exchanges. The play examines due process, the concept of a fair trial, and the great responsibility that lies with those given the charge to decide.

Join us at the Carriage House for this amazing holiday tradition filled with music by local artists hosted by Pat Tomsovic.

After a dishonorable discharge from the military for drug-related offenses, Isaac returns home from Afghanistan, expecting to confront his abusive father, protect his mother and sister, and relax into his old bedroom. His expectations are dashed, as he walks into a different kind of chaos. Father Arnold, having suffered a stroke, has turned into a helpless, childlike creature. Mother Paige, excited by this overthrow of the patriarchy, refuses to clean, and feeds Arnold a milkshake mixed with estrogen to keep him docile. And little sister Max, having come out as transgender, has begun to grow a beard. Paige welcomes Isaac home to the “new regime” with eager, if not open, arms, more than willing to educate him on the brave new post-gender world -- even though in the process, she is appropriating the experience of her child Max. Isaac, however is on shaky mental ground, scarred by his years in Mortuary Services, and reacts badly to the changes in his family, desperate to exert control and rebuild something resembling the life he knew -- even if this means reinstating Arnold in his place of prominence beside the television. When waning male privilege and PTSD collide with clown makeup and radical Faerie commune dreams, the result is explosive. Taylor Mac’s hilarious and terrifying Hir is a dysfunctional family dramedy for a new era, a highly intelligent, tenderly heartfelt, and deeply, darkly humorous portrayal of a family in crisis, in which domestic abuse, the trauma of war, and the acceptance of gender neutrality are illustrated in a nearly absurd, emotionally gripping, intensely real dynamic. With shadow puppets.

After a dishonorable discharge from the military for drug-related offenses, Isaac returns home from Afghanistan, expecting to confront his abusive father, protect his mother and sister, and relax into his old bedroom. His expectations are dashed, as he walks into a different kind of chaos. Father Arnold, having suffered a stroke, has turned into a helpless, childlike creature. Mother Paige, excited by this overthrow of the patriarchy, refuses to clean, and feeds Arnold a milkshake mixed with estrogen to keep him docile. And little sister Max, having come out as transgender, has begun to grow a beard. Paige welcomes Isaac home to the “new regime” with eager, if not open, arms, more than willing to educate him on the brave new post-gender world -- even though in the process, she is appropriating the experience of her child Max. Isaac, however is on shaky mental ground, scarred by his years in Mortuary Services, and reacts badly to the changes in his family, desperate to exert control and rebuild something resembling the life he knew -- even if this means reinstating Arnold in his place of prominence beside the television. When waning male privilege and PTSD collide with clown makeup and radical Faerie commune dreams, the result is explosive. Taylor Mac’s hilarious and terrifying Hir is a dysfunctional family dramedy for a new era, a highly intelligent, tenderly heartfelt, and deeply, darkly humorous portrayal of a family in crisis, in which domestic abuse, the trauma of war, and the acceptance of gender neutrality are illustrated in a nearly absurd, emotionally gripping, intensely real dynamic. With shadow puppets.

Truvy Jones runs a successful beauty salon in Chinquapin, Louisiana, where all the ladies in the neighborhood have a standing Saturday appointment. Along with her anxious and eager assistant, Annelle, Truvy styles the hair of many of the women about town: wealthy widow and former first lady of Chinquapin, Clairee Belcher, local curmudgeon Ouiser Boudreaux ("I'm not crazy, I've just been in a bad mood for forty years”), intelligent and compassionate career woman M’Lynn, and her daughter Shelby, the prettiest girl in town. Shelby’s engagement is the talk of the town, but the joy and excitement of her wedding quickly turn to concern as she faces a risky pregnancy and a myriad of health complications. Eventually, when Shelby dies from complications related to her diabetes, M’Lynn has to deal with the most difficult of life’s challenges: the loss of one’s only child. As the women of Chinquapin makes their ways over life’s many hurdles together, they find comfort (and a fair amount of verbal ribbing) in one another. “You have no idea how wonderful you are,” M’Lynn tells the ladies at the end of the play. Truvy responds, with a smile, “Of course we do.”

Truvy Jones runs a successful beauty salon in Chinquapin, Louisiana, where all the ladies in the neighborhood have a standing Saturday appointment. Along with her anxious and eager assistant, Annelle, Truvy styles the hair of many of the women about town: wealthy widow and former first lady of Chinquapin, Clairee Belcher, local curmudgeon Ouiser Boudreaux ("I'm not crazy, I've just been in a bad mood for forty years”), intelligent and compassionate career woman M’Lynn, and her daughter Shelby, the prettiest girl in town. Shelby’s engagement is the talk of the town, but the joy and excitement of her wedding quickly turn to concern as she faces a risky pregnancy and a myriad of health complications. Eventually, when Shelby dies from complications related to her diabetes, M’Lynn has to deal with the most difficult of life’s challenges: the loss of one’s only child. As the women of Chinquapin makes their ways over life’s many hurdles together, they find comfort (and a fair amount of verbal ribbing) in one another. “You have no idea how wonderful you are,” M’Lynn tells the ladies at the end of the play. Truvy responds, with a smile, “Of course we do.”

Truvy Jones runs a successful beauty salon in Chinquapin, Louisiana, where all the ladies in the neighborhood have a standing Saturday appointment. Along with her anxious and eager assistant, Annelle, Truvy styles the hair of many of the women about town: wealthy widow and former first lady of Chinquapin, Clairee Belcher, local curmudgeon Ouiser Boudreaux ("I'm not crazy, I've just been in a bad mood for forty years”), intelligent and compassionate career woman M’Lynn, and her daughter Shelby, the prettiest girl in town. Shelby’s engagement is the talk of the town, but the joy and excitement of her wedding quickly turn to concern as she faces a risky pregnancy and a myriad of health complications. Eventually, when Shelby dies from complications related to her diabetes, M’Lynn has to deal with the most difficult of life’s challenges: the loss of one’s only child. As the women of Chinquapin makes their ways over life’s many hurdles together, they find comfort (and a fair amount of verbal ribbing) in one another. “You have no idea how wonderful you are,” M’Lynn tells the ladies at the end of the play. Truvy responds, with a smile, “Of course we do.”

Neil Simon’s revision of his hugely successful play, The Odd Couple, sees the lead characters transformed into Olive Madison and Florence Unger. Olive and their group of girlfriends are enjoying their weekly Trivial Pursuit night in Olive’s messy and ill-equipped apartment. As the game continues, Florence arrives, fresh from being dumped by her husband. Fearful that the neurotic Florence might attempt suicide, Olive invites her to move in as her roommate. However, Olive and Florence have VERY different personalities. Where Olive is messy, untidy, and unconcerned about the state of her apartment, Florence is obsessively clean, tidy, and obsessed with hygiene. Olive’s easy-going outlook on life soon clashes with Florence’s highly-strung neurotic tendencies, testing their friendship to the limit. When Olive organizes a double-date with the Costazuela brothers, their differences come to a head and sparks fly.

Neil Simon’s revision of his hugely successful play, The Odd Couple, sees the lead characters transformed into Olive Madison and Florence Unger. Olive and their group of girlfriends are enjoying their weekly Trivial Pursuit night in Olive’s messy and ill-equipped apartment. As the game continues, Florence arrives, fresh from being dumped by her husband. Fearful that the neurotic Florence might attempt suicide, Olive invites her to move in as her roommate. However, Olive and Florence have VERY different personalities. Where Olive is messy, untidy, and unconcerned about the state of her apartment, Florence is obsessively clean, tidy, and obsessed with hygiene. Olive’s easy-going outlook on life soon clashes with Florence’s highly-strung neurotic tendencies, testing their friendship to the limit. When Olive organizes a double-date with the Costazuela brothers, their differences come to a head and sparks fly.

Neil Simon’s revision of his hugely successful play, The Odd Couple, sees the lead characters transformed into Olive Madison and Florence Unger. Olive and their group of girlfriends are enjoying their weekly Trivial Pursuit night in Olive’s messy and ill-equipped apartment. As the game continues, Florence arrives, fresh from being dumped by her husband. Fearful that the neurotic Florence might attempt suicide, Olive invites her to move in as her roommate. However, Olive and Florence have VERY different personalities. Where Olive is messy, untidy, and unconcerned about the state of her apartment, Florence is obsessively clean, tidy, and obsessed with hygiene. Olive’s easy-going outlook on life soon clashes with Florence’s highly-strung neurotic tendencies, testing their friendship to the limit. When Olive organizes a double-date with the Costazuela brothers, their differences come to a head and sparks fly.