We already observe Women’s History Month.
Now it’s time to celebrate Women-Loving- Women’s History Month.
Pride Films and Plays presents HISTORY LEZONS, a showcase of nine short plays about women who refine,
define, and redefine the expression “out with the old.”
Whether spotlighting women once considered yester-gay’s news or reminiscing of days gone bi, these
pieces pay homage to the formidable fortitude of our foremothers, both factual figures in history and
fictional figures of the playwrights’ own creation.
The HISTORY LEZONS festival is curated by Allison L. Fradkin, Literary Coordinator of Pride Films &
Plays’ LezPlay Contest, in collaboration with PFP Company Members Iris Sowlat and Alex Dauphin.
Performances will take place on March 18, 20, and 21, 2018, at Pride Arts Center’s Buena Theatre, located
at 4147 N. Broadway.
Tickets are pay-what- you-can and available at www.pridefilmsandplays.com.
Biscuits & Bacon by Sharece M. Sellem: It’s Spring of 1929 in Harlem, a season before the stock market
crashed and the world suffered what would be known as the Great Depression. The streets are filled with
lights and glitter, and to an innocent Daisy, who only wants to find her sister, three very different women
show her how to grow in concrete. (Directed by Brianna Buckley)
Le Fruit Dèfendu by Asia Nichols: Based on the romance of artists and activists Frida Kahlo and
Josephine Baker in Paris of 1939, this fable-like rendezvous takes place in Kahlo’s painting “Two Nudes in
the Forest,” where there lives a bothersome beast who refuses to keep its intrusive trunk out of
Josephine’s tomato garden. (Directed by Denie Yvette-Serna)
Girl, You Know Its True Colors by Allison L. Fradkin: The Very Gay Cosmetics company not only takes
pride in their products; they put pride in them. But ever since Pearl Gaily, a supposedly Sapphic customer,
began wearing Very Gay make-up, she’s been…well, keeping a straight face. Can Pearl’s pals solve the
mystery of the disappearing dykedom? And, if it turns out that the only part of her that’s lesbian is the b-i
in the middle, will they still stay “bi” her side? (Directed by Charlotte Drover)
In Transit by Robin Rice: In a Chicago retirement home, a lonely woman has given up on life. She is
headed home—at least in her head—on a train bound for New Orleans. But a new resident is determined
to derail her plans, sparking rebellion against the system—not to mention a geriatric showdown—in the
process. (Directed by JD Caudill)
Madrigal in Black and White by Pat Montley: A chance encounter between two young women—one black,
one white—escalates into the beginning of a relationship, despite their own awkwardness and the
warnings of their uncensored alter-egos bearing the burden of history. (Directed by Taylor Craft)
S’more by Shelley Hobbs: Charlie is about to crumble like a graham cracker. Alma, on the other hand, is
considerably more composed—despite the fact that she’s confined to a hospital waiting room. As the two
women vent and lament, their conversation sparks a lot of burning questions. (Directed by Nemo Serges)
Standard Practices by Shellen Lubin: Ida Tarbell was an American journalist best known for her
pioneering investigative reporting. Tarbell exposed unfair practices of the Standard Oil Company, leading
to a U.S. Supreme Court decision to break its monopoly. Her traditional conceptions of gender roles put
her at odds with the suffragist movement of the era—as did her relationships with women. (Directed by
Alyssa Vera Ramos)
Virginia and Orlando & Vita by Natalie Meisner: Inspired by the literary lives and love of Virginia Woolf
and Vita Sackville-West, this play imagines the private scenes between the two literary lionesses implied
by their lifetime of romantic correspondence. (Directed by Iris Sowlat)
Who Are You? by Lena Wilson: When the Daughters of Bilitis hosted meetings in the mid-1950s, they
were seeking community during the height of governmental persecution—thanks to Eisenhower’s
Lavender Scare. At one such meeting, a young new member and an older hostess share an unexpected
connection that goes beyond sexual identity. (Directed by Elizabeth Swanson)