Three More Plays
by Peter Carlaftes



In TEATROPHY: THREE MORE PLAYS, critically-acclaimed playwright/author/poet Peter Carlaftes offers a trio of brilliant and intense modern plays that inspire on both page and stage. In “Anti,” Carlaftes explores a frightening future—in which government surveillance and data mining is the norm—through the eyes of a theater director on the verge of giving up hope. The chilling psycho-sexual drama “Closure” examines the relationship between a woman whose sister was abused a child, and the rapist-murderer that stalks her outside her therapist’s office. In the tender and humorous “Inside Straight,” characters must confront their lovers’ sudden shift in sexual orientation as a gay man and a lesbian woman discover they are attracted to each other. The plays share a passion for beautifully drawn, full characters and powerful moments that force them to expose the true identity they work so hard to hide. As the SF Weekly raves, “As with Strindberg, Beckett or even Sartre, Carlaftes’ message seems to be something we intuit, like music.”

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High Praise for TEATROPHY

“The three joyously absurd plays in Peter Carlaftes’ new collection Teatrophy won’t worry Eugene O’Neill, but Ionesco and Adamov might raise an eyebrow or two. And Kerouac will surely smile.” —Israel Horovitz, playwright (The Indian Takes the Bronx), director (My Old Lady)

“If Dr. Moreau fused the ungovernable souls of Beckett and Genet, he’d have created ?Peter Carlaftes. These plays read like bomb instructions to blow up the status quo.” —Michael Puzzo, playwright (The Dirty Talk, Lyric is Waiting)

“Challenging and cerebral work . . . A great addition to any collection.” —John Clancy, playwright, League of Independent Theater

“In each play characters speak in a fast-talking, spare language as if the sky is about to fall and flatten them at any moment. And everybody seems to be in a rush knowing that they have a damn good chance to be a goner. Spiked with dark humor, wise-cracks and moments of deep caring it’s hard not to appreciate and actually relish the sense of dread in every scene in all three plays.” —Richard Vetere, playwright (Caravaggio)

Imagine a drunken Samuel Beckett staging Escape from New York as a futuristic romp among the cultural ruins.” —SF Weekly

“Cries out Ultramodern—and that it delivers with unflinching scrutiny. . .” —Bay Guardian

“A comedy of eros! . . . A restive heart knows no logic or permanence.” —Guardian

“As with Strindberg, Beckett or even Sartre, Carlaftes’ message seems to be something we intuit, like music. —The Weekly