When Luke and Jess decide to allow their 10-year-old Morgan, who was assigned male at birth, to identify as female, they relocate in order to give the family a clean start. Luke takes a job at the local waterpark, where he meets Gaby, the girl in the mermaid tank. With money tight, Jess starts working at a local coffee shop where she meets Will. These new relationships provide an escape from an already complicated family life. But when an accident threatens to expose the truth about Morgan, tensions run high. Luke finally admits the real reason they moved, a confession that could potentially destroy their family. Faced with losing his child and his family, Luke must decide what’s worth fighting for.
Starting at $17 - $53
Executive DirectorKappy Kilburn
Artistic DirectorKevin Moore
Directed by Kevin Moore ^
Scenic Designer Tamara L. Honesty
Lighting Designer John Rensel ^
Costume Designer David M. Covach
Sound Designer Jay Brunner ^
Produced by Tara Lail & Kevin Moore
Everything That’s Beautiful is produced through a special arrangement with the playwright.
Developed and Produced at The New Conservatory Theatre Center, March 25, 2016 – Opening Night, San Francisco, CA, Ed Decker, Artistic Director
Everything That’s Beautiful was further developed at Red Mountain Theatre Company’s Human Rights New Works Festival in Birmingham, Alabama. Keith Cromwell, Executive Director
Time: The Present
Place: A backyard, an apartment, a coffee shop, and a mermaid tank
Elyzabeth Gregory Wilder’s plays include Gee’s Bend, Fresh Kills, The Flagmaker of Market Street, The Furniture of Home, White Lightning, Provenance, and Everything That’s Beautiful. Her plays have been produced at the Royal Court (London), Alabama Shakespeare Festival, Denver Center, Cleveland Play House, KC Rep, Northlight, the Arden, B Street Theatre, and Hartford Stage, among others. Her one act, “Santa Doesn’t Come to the Holiday Inn” was featured in the Marathon of One Act Plays at the Ensemble Studio Theatre.
New work includes The Light of the World, which explores our relationship with Confederate iconography. It was workshopped at the Alabama Shakespeare Festival’s Southern Writers’ Festival in 2018. Her play, Looks Like Pretty, which explores racial bias and the development of color photography, was a co-commission from the Geva Theatre and the Sloan Foundation. It will premiere at Geva in the 2019-2020 season.
Other plays include A Requiem for August Moon (Pioneer Theatre workshop), The Bone Orchard (Denver Center commission, Great Plains Theatre Conference), and a short play for the acclaimed My America, Too project (Baltimore Center Stage), as well as four commissions from the Alabama Shakespeare Festival.
Elyzabeth is the recipient of the Osborn Award given by the American Theatre Critics Association and is a graduate of the dramatic writing program at New York University. In 2018 Elyzabeth traveled with the Alabama Shakespeare Festival on their State of the South tour where they hosted town hall discussions in 12 cities throughout the South as they explored the changing face of Southern identity.
Elyzabeth is the current Tennessee Williams Playwright-in-Residence at Sewanee: The University of the South where she teaches playwriting.
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