On the docks of late 18th-century Rhode Island, two runaway slaves find love and a near-drowned man. With a motley band of sailors, they plan a desperate and daring run to freedom. As the mysteries of their identities come to light, painful truths about the past and present collide and flow into the next generation. Acclaimed playwright Naomi Wallace’s newest work brings to life a group of people whose stories have been lost in history. Told with lyricism and power, The Liquid Plain was commissioned through OSF’s American Revolutions: the United States History Cycle and is the winner of the 2012 Horton Foote Prize for Promising New American Play. (Contains strong profanity, explicit sexuality and vivid descriptions of the violence of the slave trade.)
 
Development of The Liquid Plain supported in part by a grant from The Harold and Mimi Steinberg Charitable Trust.

 
The Story
 
It’s 1791 in Bristol, Rhode Island, and Adjua and Dembi, lovers and former slaves who survive by foraging for scraps and odd jobs on the docks, have just found the body of a drowned white man. As they remove his clothes in order to sell them, he returns to consciousness, though he is still confused about who and where he is and how he ended up in the water. The man also shows signs of infestation with the Guinea worm parasite in one of his legs.
 
The stranger—named “Thomas” by his rescuers—joins Adjua and Dembi in fixing sails on the dock and learns their history. Adjua, captured in Africa, escaped when the slave ship returned to Bristol. There she met Dembi, a runaway from a plantation in Charleston, South Carolina. The two have hired a vessel, which will arrive shortly to return them to Africa. As Thomas sings sea shanties, they are interrupted by Balthazar, an Irish sailor, who informs Dembi and Adjua that Liverpool Joe, the English-born black captain they hired, has been lost in a shipwreck.
 
Balthazar also informs “Thomas” that his real name is John Cranston and that Balthazar himself had been responsible for the botched drowning—a murder-for-hire ordered by a “gentleman” whose name he did not know. Balthazar agrees to locate a new vessel for their planned voyage as he and Cranston reach an uneasy truce.
 
Tensions mount between Dembi and Cranston over the latter’s attraction to Adjua. After an altercation where Dembi strikes Cranston’s head, Cranston begins to remember more details of his time at sea. Liverpool Joe appears, very much alive. Along with stories of recent slave uprisings in the Caribbean, he fills in a hole in Cranston’s history: The sailor had, just two months earlier, testified to a grand jury against prominent Bristol citizen Captain James De Woolf, of the Polly, a slave ship.
 
The five “shipmates” make preparations to sail from Bristol together. On the night they plan to leave, Dembi abruptly announces plans to stay on the dock, forever altering the relationships among the five and the course of their history.
 
The second act jumps to 1837 in Bristol. Cranston now runs a seedy dockside tavern. Bristol, an educated, free black woman, pays him a visit from England. She is on a mission to clear up a mystery and needs his help. She discovers far more than she bargained for about her history and about the nature of justice and vengeance.
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.

 
Hermia loves her schoolmate Lysander, but her father wants her to marry Demetrius—who’s also the heartthrob of her best-friend-forever, Helena. Threatened with death or a convent if she doesn’t do what Daddy wants, Hermia and Lysander ditch school and head for the woods. With Helena and Demetrius in hot pursuit, they—and some well-meaning, artistically challenged faculty members—run right into a magical free-for-all between Oberon, the Fairy King, and Titania, his Fairy Queen. It’s a wild night for lovers and lunatics, swirling with Elizabethan flourishes, in this family-friendly comedy.
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The Story
 
Duke Theseus rejoices at his upcoming wedding to the Amazon Hippolyta four days hence. Instead of festivity, however, the royal couple is greeted by strife: A local man named Egeus complains that his daughter, Hermia, refuses to marry Demetrius, his choice for her. She loves Lysander instead. Egeus wants Theseus to uphold an Athenian law that states that a girl who refuses her father’s choice of suitor must face death. Not wanting to blight his own marriage with this gruesome prospect, Theseus gives Hermia another option—to live ever after as a virgin and worship the goddess Diana. He gives her four days to decide: death or nunnery.
 
Neither choice appeals to Hermia. She confides in her friend Helena about her plan to elope with Lysander to a neighboring forest. Helena, recently rejected by the man of her dreams (who happens to be Demetrius), decides to use the information to try to win him back. Predictably, this strategy backfires—Demetrius, intent on winning Hermia, pursues her into the forest, trailed by a lovelorn Helena.
 
In the forest, Titania and Oberon, the King and Queen of the fairies, are squabbling over possession of a changeling boy. Angry Oberon orders the fairy Puck to wipe a love potion over Titania’s eyelids while she sleeps, so she’ll fall in love with the first vile creature she sees.
 
The two plots converge when Oberon witnesses Demetrius cruelly spurning Helena. He attempts to correct this unkindness by commanding Puck to apply his potion to Demetrius. But Puck gets the wrong man—Lysander. He tries again, and soon both young men are pursuing Helena, while Hermia is now the outcast. Exhausted, the lovers fall asleep on the forest floor, and Oberon orders Puck to undo his mistake.
Meanwhile, a motley crew of woodsmen rehearse a tragedy they hope to perform for the Duke and his bride at their wedding. Puck mischievously contrives for one of them, Bottom, to wear the head of an !@#$%^&*. Titania awakens, and, behold! She is in love with an !@#$%^&*! Eventually, the potion is used to heal the harm it has caused.
 
When Theseus and Hippolyta come to the forest for a morning hunt, they awaken the young lovers. Since the lovers are now united with their appropriate partners, Theseus overrules Egeus’ edict. At the wedding feast, they jibe at the woodsmen’s ridiculous performance of the tragedy of Pyramus and Thisbe. The play concludes with the lovers musing on just how “comic” this tragedy is.
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.

Can a hood become a hero?

 
All is not well in Nottingham. A cruel prince is terrorizing the countryside, the poor are up to their quivers in taxes, and Robin Hood has learned to steal from the rich—but hasn’t figured out the other part. To the rescue comes a sword-wielding, sharpwitted Maid Marion, who sets out to show Robin and his scary men that there can be honor among thieves. David Farr’s funny, fast-paced swashbuckler will surprise you with anew spin on a story you think you know.
 
The Story
 
On a stormy night in Sherwood Forest, Robin Hood and his merry men ambush a carriage. They spare the passengers and welcome the driver, Little John, into their fraternity. One strict rule: no women allowed.
At the palace in York, Marion receives a letter from her father, the Duke. He’s away on a Crusade with King Richard, who’s left his brother, John, in charge. When Marion’s servant, Pierre, mentions Robin Hood’s latest hold-up, Marion decides to elude John’s grasp by joining the outlaw’s band.
 
Marion finds Robin and his men literally shaking down a friar for money. When she asks to join the outlaws and won’t take no for an answer, Robin beheads the friar and she leaves, aghast. He’s not the noble outlaw she thought.
 
Back at the palace, Prince John has two aims: doubling taxes, ostensibly to fund the Crusades, and wedding Marion. She and Pierre again escape to the woods, with Marion dressed in his clothes and calling herself Martin. That gives her another idea.
 
In Castleton, John’s enforcer, Guy of Gisborne, threatens two peasant children, Sarah and Jethro, over their father’s unpaid taxes. In Sherwood Forest, the merry men find carriages already robbed by a mysterious new rival, Martin of Sherwood, and his sidekick, Big Peter.
 
Robin and his men ambush Martin/Marion and Peter/Pierre. But a peasant approaches seeking Martin’s aid against Gisborne; Martin’s reputation for helping the poor has spread. Even Robin’s men are moved to action when they hear that children are to be hanged. They rescue Sarah and Jethro from John, who has frightened the children with their father’s corpse.
 
Meanwhile, Marion’s father writes a letter to say he’s heard of Prince John’s plot to usurp his brother, King Richard, and plans to return to England to intervene.
 
In the forest, Robin and Martin/Marion discuss women, and Robin confesses he likes one he’s seen—the undisguised Marion.
 
The Duke’s counselor, Makepeace, challenges John: Are the taxes for the Crusades, or to fund a coup against King Richard? John admits the latter—and has Gisborne cut out Makepeace’s tongue.
 
John then orders Gisborne to use pigs’ blood to make icons in local shrines appear to bleed. Townspeople suspect the devil’s work and blame Jethro and Sarah. As a Tickets for the general public go on sale November 26, 2012, they can be purchased here.mob closes in on Sherwood Forest, Marion goes to accept John’s marriage proposal in return for sparing the children. John agrees, then secretly orders Gisborne to kill them. Gisborne finds them with Pierre, who awkwardly defends them. They escape.
Robin fights Gisborne to the death, then uses Gisborne’s head to impersonate him and enter the castle, bringing his merry men along as “prisoners.” The ruse is discovered and John seizes them, but Pierre, disguised as a lord, frees them.
 
Robin and his men disrupt the wedding and defeat John’s soldiers. The Duke of York arrives to arrest John and all is made plain, including Marion/Martin’s single identity. Robin and Marion are wed in Sherwood Forest.
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.

Princess Imogen’s stepmother wants to kill her. Her father, King Cymbeline, is no help. Meanwhile, Imogen’s banished love, Posthumus, thinks she’s cheating on him. What’s a wronged royal to do? Swap the skirts for pants and run away disguised as a boy into the magical wilds of Shakespeare’s ancient Britain, that’s what. In true fairy-tale style, the improbable becomes probable in an epic, adventurous romance filled with kind strangers, dastardly villains, ghosts, gods and lost princes. The high road to happily-ever-after awaits.
 
The Story
 
Twenty years before the play begins, King Cymbeline had three children, two boys and a girl. Cymbeline mistakenly believed his officer Belarius was a traitor and banished him. In revenge, Belarius kidnapped the two sons, Guiderius and Arviragus, renamed them and settled in the mountains of Wales. Posthumus Leonatus was an orphan of common birth who was brought up in Cymbeline’s court. After Cymbeline’s first wife died, the king remarried a beautiful woman with a son named Cloten.
 
As the play opens, Cymbeline’s daughter, Imogen, has secretly married Posthumus. The furious Cymbeline, spurred on by his overly ambitious wife (who hopes to have Cloten marry Imogen), banishes Posthumus. Before he leaves for Italy, Posthumus exchanges tokens with Imogen—a diamond ring for him and a bracelet for her.
 
In Italy, the rogue Iachimo, hearing Posthumus extol his wife’s virtues, bets 10,000 ducats against Posthumus’ diamond ring that he can bed Imogen. First, Iachimo tries unsuccessfully to trick Imogen into believing her husband false. Next, he asks her to keep a trunk of valuables safe in her room—and then hides in the trunk. Once she is asleep, he creeps out to get a look at her bedroom and her birthmarks and steals the bracelet.
 
The Queen, meanwhile, is convinced that Imogen will never give up her husband and marry Cloten. So she gives Imogen’s servant, Pisanio, a box containing what she thinks is poison, hoping to kill either Pisanio, Imogen or both. But the Queen’s doctor, Cornelius, suspecting her motives, has given her a less harmful herb.
 
Iachimo returns to Italy, and by describing Imogen’s body and bedroom and displaying the bracelet, convinces Posthumus that he has won Imogen’s virginity. Angry, Posthumus writes to his wife that he has returned and asks her to meet him in Milford Haven. He also orders Pisanio to kill Imogen. On their way, Pisanio tells her of his master’s intent and devises a plan: Imogen shall disguise herself as a boy and get a position serving the Roman ambassador Caius Lucius, who, after Cymbeline’s refusal to pay the traditional tribute to Rome, will be sailing for Italy.
 
Imogen, now disguised as the boy Fidele, loses her way in Wales and stumbles upon a cave where she finds food. The cave’s inhabitants, Morgan (formerly Belarius) and his two sons, Polydore and Cadwal, return. The sons adopt Fidele as a brother.
 
Back at court, Cloten learns of Imogen’s flight. He decides to dress himself in Posthumus’ clothes (since Imogen had said that even those garments were a better thing than Cloten himself) and go to Wales to kill Posthumus, rape Imogen and bring her back to court.
 
Morgan and his sons go out to hunt. The ailing Fidele stays behind. She takes some of the drugs Pisanio gave her, which put her into a death-like sleep. Cloten arrives in Wales and loses his head in a fight with Polydore. The Welshmen return to discover Fidele “dead” and lay her to rest next to Cloten’s body. When Imogen awakes, she discovers the headless body dressed in her husband’s clothes and assumes the worst. Caius Lucius arrives and takes her on as a page.
 
The Roman troops, including Iachimo and Posthumus, arrive to force Cymbeline to pay the tribute. Cymbeline is captured and the British forces put to flight. Morgan and his two sons come to their aid, along with Posthumus, who, out of guilt at his hasty orders, is fighting on the British side. Together they rescue Cymbeline, capture Lucius and rout the Romans. Posthumus changes back into his Roman clothes and is captured.
 
Triumphant, Cymbeline knights Morgan (whom he doesn’t recognize as Belarius), Polydore and Cadwal (his long-lost sons) for their service. Disguises are thrown off, secrets revealed and confessions made, and the play ends in a blaze of peace and reunion of families, lovers and nations.
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.

It’s 1969, and change is in the air. But for the owner of a threadbare diner in a dying Pittsburgh neighborhood, the civil rights movement may just be an impractical dream. Torn between whether to gamble on an urban-renewal buyout or sell his building to a predatory businessman, he finds himself caught between idealism and brutal reality. August Wilson’s searing portrait of African-American life in the ’60s tells a complex story of the inner lives of ordinary people at an explosive turning point in American history.
 
The Story
 
It is 1969, four years after the assassination of Malcolm X. In a Pittsburgh diner, the owner, Memphis, and frequent customer Wolf discuss the dearth of economic opportunities for the city’s residents for whom gambling on numbers offers the best chances of getting ahead. Memphis’ wife recently left him, and the city wants to take his building through eminent domain and tear it down as part of an urban renewal project. He is engaged in legal proceedings with the city and says he won’t take less than $25,000 for his property. At every opportunity, Memphis barks orders at Risa, the diner’s sole employee.
 
Holloway enters, bringing news of people lined up to pay respects to Prophet Samuel, a recently deceased local leader whom some believe was sent by God to deliver justice to blacks. The prophet is laid out for viewing at West’s Funeral Home across the street from the diner. Hambone, unable to forget an injustice done to him in the past, enters, repeating his demand for recompense. Sterling, recently released from the penitentiary, comes to the restaurant for a meal and job prospects, and finds himself attracted to the reclusive Risa. Holloway proclaims that a visit to a local wise woman named Aunt Ester can resolve Hambone and Sterling’s problems. Aunt Ester, whose age equals the number of years that Africans have been in America, never appears in the play, but the air is thick with her presence.
 
In fact, the play is as much about absence as it is about presence. A rally to celebrate the would-be 40th birthday of Malcolm X looms over the play, as does the death of Prophet Samuel, the lack of opportunities and daily negotiations with injustices. Past events figure prominently as the narrative unfolds and each character tries to decide how to move forward with so much broken history behind them.
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.

Ambition is thicker than blood

King Lear is ready to turn his realm over to his three daughters. His plan is simple: Give the biggest piece to the daughter who loves him most. But honeyed words and hubris blind Lear to the true motives of those around him, plunging king and kingdom into a hell of treachery, madness and unspeakable acts—with consequences that reveal the worst and best in human nature.

This contemporary staging of Shakespeare’s greatest tragedy features actors Jack Willis and Michael Winters playing Lear at alternating performances (schedule below; subject to change).

This production of King Lear is part of Shakespeare for a New Generation, a national theatre initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest.

The Story

Weary of his duties, the aging Lear has decided to abdicate and divide his kingdom among his three daughters. Each must publicly proclaim her love for him; the one who shows she loves him best will get the largest share. Cordelia, the youngest, refuses. Unlike her sisters, she will not turn her feelings into flattery. Incensed, Lear disowns his former favorite and banishes the Earl of Kent when he defends her. Cordelia departs to marry the King of France. Kent, anticipating trouble, resolves to return and serve Lear in disguise.

Though he’s rid himself of kingship’s cares, Lear still expects its privileges. He and his train of rowdy knights soon exhaust the (slender) patience of his remaining daughters, each tasked with keeping him in turn. Goneril and Regan collude to strip him, bit by bit, of his dignity and welcome. Increasingly distraught, Lear finally flees into a fierce storm, accompanied only by his Fool and Kent.

In a parallel story, the Earl of Gloucester is tricked by his illegitimate son, Edmund, into believing that his “trueborn” son, Edgar, means to kill him. Edgar disguises himself as a mad beggar and escapes onto the heath, where he eventually encounters Lear in the storm.

Gloucester finds Lear and sends him to Dover, where Cordelia will land with an invading army. Edmund reports his father’s actions to Regan and her husband, Cornwall, who captures Gloucester and blinds him before being killed by a horrified servant. In a final act of cruelty, Regan tells Gloucester it was Edmund who betrayed him. Despairing, Gloucester contemplates suicide, but Edgar, still disguised, comes across him and foils his attempt. Edgar then guides his father to Dover, where Gloucester and Lear reunite.

Cordelia arrives and is reconciled with her father, who begs her forgiveness. However, her army is defeated by her sisters’ forces, and she and Lear are captured. The newly widowed Regan declares she will marry Edmund, with whom she’s secretly been having an affair. But Edmund has been two-timing Regan, having also schemed with Goneril to kill her husband, Albany, so the two of them could wed. Aware of the plot, Albany forces Edmund to fight an anonymous challenger: Edmund’s brother, Edgar. Edgar mortally wounds Edmund, then tells him that their father died after Edgar revealed to him his true identity.

More deaths ensue. The jealous Goneril poisons Regan, then takes her own life. Before he dies, Edmund confesses that he has ordered Lear and Cordelia’s execution. Just as Albany sends soldiers to their rescue, Lear enters with the dead Cordelia in his arms.

Tickets for the general public go on sale November 26, 2012, they can be purchased here.

Don’t lose the song

A musical pilgrimage through uniquely American genres delivers five prisoners to salvation — or at least keeps the terror at bay. Facing an uncertain end, they bring to life the story of Big Joe, a tough bartender who risks everything to save the armless courtesan Rae from a deadly plague. Combining the heat of a gospel revival
with the sweet sorrow of the blues, “The Unfortunates” convinces us that any great challenge can be faced with dignity, grace, and compassion.
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The Story

As prisoners of war languish behind bars, they sing “The St. James Infirmary Blues” to steel themselves for death. Guards periodically come in and drag prisoners away. With only two left, reality slips away as they get sucked into the story of the song:

Big Joe was the boxman for craps games with giant fists who oversaw King Jesse’s barroom/brothel/gambling-house until Jesse died of the plague. Jesse had been a powerful, immoral racketeer who used his own daughter—the beautiful, armless Rae—as collateral on bets. There was no risk of Jesse losing because Joe (who was and is in love with Rae) would pound his huge fists to ensure a favorable roll of the dice.

Once, Joe forgot to pound and lost, and Rae had to give herself to the gambler Stack-O-Lee. It was the beginning of her life as a prostitute. After Jesse’s death, Joe takes over the bar and gets rid of the gambling and prostitution—freeing Rae.

But Joe cannot protect Rae from contracting a plague that has reached pandemic proportions. The Doctor at St. James (followed by his cronies, the ever-hungry scavenger Rooks) purportedly has a cure, but it is expensive.

Joe resorts to playing craps to win the Doctor’s fee, but before he can pay, Rae offers her body to the Doctor in exchange for the medicine. Joe finds Rae dead on the operating table. He hunts down the fleeing Doctor, who admits that there is no cure and it was all a scam.

As Big Joe buries his love, the world of the song fades out and the jail cell reappears. Having gained courage from the story of “St. James Infirmary,” the remaining prisoner defiantly faces the guards who have come to execute him.

Tickets for the general public go on sale November 26, 2012, they can be purchased here.

Steamy Showdown

 
Southern aristocrat Blanche, down on her luck, is reduced to living with her sister Stella and Stella’s pugnacious blue-collar husband, Stanley. Life with them in their tiny tenement apartment is unnbearable until a kindly suitor appears and seems to offer Blanche a ticket to a better life. But Stanley, bristling at Blanche’s highhanded dismissal of him, sets out to dismantle her genteel façade, hurtling them toward an epic battle in Williams’ Pulitzer Prize–winning classic.
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The Story
 
On a May evening in New Orleans, Blanche DuBois arrives at the decaying apartment that her sister, Stella, shares with her domineering husband, Stanley Kowalski. Blanche, whose arrival is unexpected, confides to her sister she is on a leave of absence from her teaching position in Laurel, Louisiana, due to exhaustion. She also tells her that their ancestral home, the mansion Belle Reve, has been lost to creditors.
 
Devastated, Stella invites her sister to stay. Later, Stanley interrogates Blanche about the repossessed house and questions her trunk of furs and fine dresses. Blanche dodges his questions and even flirts with him, until Stanley stuns her with the news that her sister is pregnant.
 
At a wild poker game, Blanche meets Stanley’s young, unattached coworker Mitch. The two bond over the story of Mitch’s lost sweetheart. When he delays returning to the game, Stanley erupts in fury, hitting Stella. The two sisters escape to the upstairs neighbor’s apartment, but Stanley bays his wife’s name in the street until she returns.
 
While preparing for a date with Mitch, Blanche seductively kisses a newspaper boy who has come to collect payment. After dinner, Blanche tells Mitch about her husband, who committed suicide when she caught him with a man and confronted him with disgust. Mitch vows to take care of her.
 
On Blanche’s birthday, Stella plans a small dinner that includes Mitch. But while Blanche takes a bath, Stanley reveals to Stella that Blanche was run out of Laurel because she seduced a student and, after being fired, became promiscuous. Stanley has told Mitch what he’s found out, but Stella begs him not to tell Blanche he did so. Mitch never shows up. During dinner, Stanley’s temper flares, and Blanche suspects something has happened. She tries to call Mitch just as Stella goes into labor.
 
While Blanche waits for news from the hospital, Mitch arrives drunk. He confronts her with what Stanley told him. Blanche pleads forgiveness, but Mitch tells her that while he wants to sleep with her, he no longer wants to marry her. He leaves. Some hours later, Stanley arrives with the news that Stella has delivered a baby boy. Blanche claims Mitch has asked for her back, but that she has decided instead to go on a cruise with a wealthy benefactor who, she says, invited her with a telegram. The showdown that has been brewing between Blanche and Stanley finally bursts forth.
 
Weeks later, Blanche takes one more, final journey.
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.

The perfect musical

 
Professor Henry Higgins loves language. Cockney flower girl Eliza Doolittle yearns to speak like a lady. Sparks fly when his curiosity and her passionate determination launch a daring social experiment designed to turn a lower-class ugly duckling into a high-society swan—with unexpected results for both of them. Lerner and Loewe’s effervescent adaptation of George Bernard Shaw’s Pygmalion is one of the most exquisite musicals ever written. This intimate, two-piano version, approved by composer Frederick Loewe, promises to illuminate the story in ways you haven’t heard before.
 
The Story
 
The chill in London’s Covent Garden on a March night in 1912 doesn’t deter Professor Henry Higgins from notating the Cockney cacklings of flower girl Eliza Doolittle. When Eliza protests, the pompous linguist grows indignant, bemoaning her mangled pronunciation of his native tongue.
 
Higgins encounters fellow phonetician Colonel Pickering, just arrived from India, and invites him back to his home on tony Wimpole Street. “Wouldn’t It Be Loverly,” Eliza muses, if she had a small room with some comforts. On her way home, she encounters her reprobate father, Alfred P. Doolittle (Alfie), who’s scraping by “With a Little Bit of Luck.”
 
Eliza calls on Higgins, offering to pay for elocution lessons. Intrigued, Higgins wagers with Pickering that, by changing this guttersnipe’s speech, he can pass her off as a duchess. When Pickering questions Higgins’ intentions, the professor pooh-poohs his concerns, saying he’s an old bachelor, content with his solo life.
Doolittle shows up, expecting to be paid for Eliza’s indenture. Eliza storms in, frustrated at Higgins’ shoddy treatment of her and vowing revenge. But Higgins works relentlessly, wearying the entire household, until Eliza can properly pronounce “The Rain in Spain.”
 
Higgins tries out Eliza at his mother’s box at the Ascot race track. She blunders badly. But she does win the admiration of young gentleman Freddy Eynsford-Hill. Next, Higgins and Pickering take Eliza to the Embassy Ball, where she’s so convincing that even Higgins’ suspicious former student believes she is of royal blood. The men celebrate their triumph.
 
When Eliza returns to the streets of Covent Garden, her old comrades don’t recognize her, either by sight or voice. She realizes she doesn’t know where she belongs anymore.
 
Mean while, Doolittle gets an unexpected windfall, causing his common-law wife to insist on actual marriage. Resigned, all he asks is to “Get Me to the Church on Time.”
 
Discovering Eliza has bolted, Higgins rails against the female sex. He confronts her at his mother’s home, where a newly confident Eliza proclaims that she can now do without him. Higgins leaves, only to realize, “I’ve Grown Accustomed to Her Face.”
 
One question faces him: Is it too late?
 
Tickets for the general public go on sale November 26, 2012, they can be purchased here.