wYRd     

A man and woman sitting on a beige couch, having a conversation. The woman is wearing a red dress and black tights, while the man is dressed in a light-colored plaid shirt and khaki pants. He is gesturing with his right hand, while she listens attentively.

A witchy play for hard times…

Three ageless, timeless, deathless sisters in a basement in Bushwick
One of them falls in love
Another falls in hate
The third tries to keep the other two from falling

wyrd is a potent fable, funny and quirky, full of monstrous magic, and of course a love that is out of this world. Right now, when it is far too easy to despair, wyrd is a spirit-lifting battle-cry, reminding us hope is not a delicate bird; it is something entirely more fit for survival.”

SOLEIL RODRIGUE, CHICAGO THEATRE REVIEWS

“★★★… wyrd is sometimes charming, often scary, but quite entertaining. Director Robinson moves a lot of action in minimal space—a small studio theater. Tinlin, Manuel, and Flynn are solid performers as the three sisters, as are Prince and Fowler as their foils.”

NANCY S BISHOP, THIRD COAST REVIEW

“…as I got into it and watched the reactions of those around me (they were much younger, for sure) they found the humor contained within and felt the feelings of Snow, who truly was searching for love. ”

ALAN BRESLOFF, AROUND THE TOWN CHICAGO

Two women are facing each other in a kitchen; one is wearing a white dress and a bandana, and the other is in a white tank top and jeans. They are having an intense conversation near a fridge with notes and magnets.

When I first read wyrd in 2022, I was struck by how perfectly Matt had already captured a moment in time that seemed too recent to be nostalgic for: the “Pre-Covid Years.” Published in 2018, the play, informed by Trump’s first term and the frighteningly rapid onset of hardcore MAGA ideology, was still clearly written in the before-times. In the wake of Covid and the thousands of deaths that could have been prevented by an administration who instead preferred to fund murderous police departments rather than hospitals, wyrd was one of the first works I had read that made me genuinely wonder, “Could there have possibly been a reason for this? Could it have been worth it for what comes after?”

Now, even more than at the ultimate height of Covid, it feels easier than ever to despair. wyrd showed me plainly that ultimate despair can’t exist without our consent. Choosing to build a better world from the rubble is possible, even when it’s much harder than lying down in the ashes.

DIRECTOR’S NOTE

CAST & CREATIVE

*- DENOTES A LAZY SUSAN THEATRE CO. COMPANY MEMBER

A young woman with short, dark hair, light skin, and blue eyes, wearing a black top and gold necklaces, looking at the camera.
Portrait of a young man with curly brown hair, blue eyes, and a beard, wearing a red and black plaid shirt, standing in a warmly lit indoor setting.

Snag Flynn
”Red”

Layke Fowler
”Stuart”

Portrait of a woman with curly black hair wearing a denim jacket and a black necklace with a heart-shaped pendant, against a green background.
Close-up portrait of a young woman with braided black hair, wearing gold hoop earrings, a gold necklace with a pearl pendant, and a black shirt, indoors with soft natural light.

Maria Ines Manuel
Snow”

Blaire Prince
”Jan”

A young woman with wavy brown hair wearing a sleeveless burgundy top, smiling softly at the camera.

Nealie Tinlin*
”Iras”

Sonya Robinson
Director

Matt Minncinio
Playwright

Madeline Meyer
Fight & Intimacy Director

Amina Gilbert*
Lighting Designer

Celine Berger
Asst. Lighting Designer

Hannah Loessberg*
Prop Designer

Alex McCaskey
Asst. Stage Manager

Jon Yawn*
Stage Manager & Technical Director

Pierce Julian Howard*
Sound Designer

Elly Burke*
Scenic & Costume Designer