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Three closely related Americans find themselves lost in Venice, Italy. Soon, time bends around every corner, and the floating city works its mysterious wonders on the trio who encounter lost luggage, the patron saint of heartbreak, street musicians, an almost magical 1950s Brownie Box camera and a self-proclaimed “travel guider” named Marco who is terrible at his job but impossible not to love. This is a play about longing and grieving and ghosts and heartbreak, all set against the funny and tender path toward healing. Sometimes you have to get lost so that you might get found.

A psychological riddle set in the world’s most explosive region, Miranda is the mind-bending, existential crisis of a CIA operative who goes by many names. Who is she? What keeps her working in the Middle East after all these years? Why can’t she leave? Whose war is she fighting?  Who are her friends and who is the enemy? Miranda is in pursuit not only for answers to those questions—but also for what those answers might mean about who she was and who she’s become. This is a play that humanizes the CIA while not sugarcoating the moral ambiguity in which it does its job. Miranda weaves a taut, layered story of what happens as operatives become emotionally intertwined in the intimate lives of their assets against the high stakes of the agency’s work.

A family gathers for Thanksgiving in Vermont just as they always gather for Thanksgiving in Vermont. Some of them fly thousands of miles to be there; others simply walk across the pasture. But it turns out that both trips require their own kind of bravery, and sometimes the people who are missing are just as present as the people who gather around the table. The House That Jack Built is a clash of old traditions and new love; empty chairs and the people who threaten to fill them; and a family who prizes open arms, the sweet pursuit of happiness and the mysterious heartbreak that comes with getting what you think you want.