2026-2027 Season

With the crack of a bat, Marcenia Lyle rounds the bases with ease and slides into home. Catching the Moon, a blues-infused musical, tells the spirited story of a young Black girl who grew up to become “Toni Stone,” the first woman to play for an all-male professional baseball team.

As a kid in the 1930s, Marcenia could outrun, outplay, and outshine anyone on the field—but she had to fight for every inning she got. When opportunity knocks in the form of a summer baseball camp run by the legendary Gabby Street, she faces a new challenge: proving she belongs in the game, no matter what the rules say.

Bursting with rhythm, drive, and heart, Catching the Moon celebrates the power of determination, the thrill of the game, and the courage it takes to change it forever.

A MUSICAL FOR ALL AGES - PERFECT FOR KIDS 4+UP!

Crossroads & Cyphers is an immersive theatrical and live music experience developed by Atlanta-based artists Alex Acosta and ANON The Griot. The production explores the evolution of Black musical expression, tracing the lineage of rap music from enslaved African work songs and Southern blues traditions to contemporary hip-hop freestyle culture.

Through live performance, storytelling, historical reflection, and audience engagement, the show examines how music has long served as a tool for survival, resistance, healing, and community building.

Led by artists from Soul Food Cypher, the production blends spoken word, live instrumentation, freestyle performance, and theatrical narrative to create an engaging and educational audience experience. Crossroads & Cyphers seeks to preserve cultural memory while introducing audiences to the historical roots and social significance of hip-hop through an innovative live performance format.

This loose adaptation of the Hansel and Gretel story follows two recent college grads and wannabe internet-famous friends who fall into the temptations of a job that promises them everything: a decent paycheck, health insurance, and a chance to actually use their degree.

But they will soon have to ask how much of themselves they are willing to give up to live their dreams.

At her husband’s memorial service, one woman finds herself with a new role to play: widow.

The trouble is, no one gave her the script.

Looking for direction, she turns to the great widows of black-and-white cinema—women who seemed to know exactly how to mourn, how to carry on and, most importantly, how a widow was supposed to behave. As she tries their roles on for size, memory and movie fantasy collide with the complicated realities of a thirty-year marriage.

Funny, sharp and deeply personal, The Black-and-White Widow plays with the distance between the stories we inherit and the lives we actually live—and what happens when an unfamiliar role calls for a rewrite.

What can a lifetime of kindness teach you about how it actually works?

In Kindness: An Instruction Manual, Lee Nowell looks to her own life for the answer. Through a collection of true stories—including the remarkable day a dog saved her family’s life—she revisits the kindness she has received, witnessed and carried with her, following the connections between moments that might otherwise seem unrelated.

Part storytelling, part investigation, Kindness: An Instruction Manual takes something we tend to think we understand and gives it a closer look: where kindness shows up, what it sets in motion and why some acts stay with us long after they’re over.

In My Daughter, My Karma, choreographer Hiroko Kelly explores intergenerational relationships and cross-cultural identity by combining contemporary dance and spoken word with original dialogue.

Rooted in the second-generation immigrant experience, the work examines how cultural memory, care, and inherited values move through the body across generations. The piece questions how our ancestors' choices can influence present-day karma.

By examining these relationships, My Daughter, My Karma highlights the humanity and resilience of the immigrant experience and considers how cultural practices serve as a tether to identity across time and place.

What happens when the woman asking for help and the woman deciding whether she deserves it have more in common than either is willing to admit?

The Welfare Queen is a two-person play set inside a worn Department of Family and Children Services office in the contemporary South. Through humor, confrontation, and spoken word, the play follows Idea Jasmine, a whimsical young woman applying for food stamps while pursuing her dream of opening a hair studio, and Masque Hollow, a blunt, rule-hugging caseworker nearing retirement. As their meetings unfold, both women are forced to the stories they've been told about poverty, motherhood, and success. When Idea publicly exposes Ms. Hollow's remarks, the backlash threatens to close the very office serving families like her own, forcing both women to reckon with the consequences of their choices.

One woman. A lifetime of unexpected currents—and a lesson she first learned long ago.

Rip Current moves through the moments that leave their mark: financial hardship, professional struggles, health battles, family obligations and grief. With wit, honesty and the clarity that can come from looking back, it’s a journey that traces the experiences that taught her when to push forward, when to change course and when to stop fighting the current altogether.

Then a memory surfaces. As a child caught in a rip current, she survived not by fighting harder, but by trusting herself and finding another way back to shore. Years later, facing a very different kind of current, that lesson takes on new meaning.

Born in Mississippi to Egyptian-Muslim parents, Suehyla El-Attar Young grew up learning how to read a room—and how much of herself to adjust to make everyone else comfortable.

Nope. That’s Just My First Name. turns that calculation into a solo performance about self-compromise and the decision to stop making it. Moving from kindergarten roll call to a Mississippi traffic stop, Suehyla traces the moments when her name, religion, politics and identity became things to soften, explain or negotiate.

But the path through the story isn’t entirely hers to choose. The audience decides which stories are told and in what order, creating an evening that can unfold differently each time.