In the custody of a physician as sinister as they are, the Blood Brothers fill their last days feeding on the surreal stories of their fellow inmates. A wedge driven between them by the cunning Doctor Queen, the Brothers wrestle with life in Hospital One.
The execution of the Blood Brothers races closer and their captor, Doctor Queen, has vowed that she will break their minds before she destroys their bodies. So while she's away, that means exposing the boys to some of the ugliest, most rancid stories the hospital has to offer.
Mariah MacCarthy's work has been presented and developed at Rattlestick, Primary Stages, EST/Youngblood, Culture Project, New Dramatists, La MaMa, HERE Arts Center, Theater for the New City, Jimmy's No. 43, Players Theatre, site-specifically around New York, and in Austin, Chicago, Fort Lauderdale, San Diego, Baltimore, and Fringe NYC. Plays include Mrs. Mayfield's Fifth-Grade Class of '93 20-Year Reunion, Magic Trick, The Foreplay Play (two NY Innovative Theatre Award nominations: Outstanding Production and Outstanding Full-Length Script), Lysistrata Rape Play (developed at The Theatre Project and Filling the Well), Ampersand: A Romeo & Juliet Story (winner of 20 Looking Glass Forum Awards and FringeNYC “Outstanding Performance”), The All-American Genderf*ck Cabaret, and A Man of His Word (winner, California Young Playwrights Contest), as well as the short plays "You'll Have to Wait," "The Avenging of Kruppcake," "A Drop of Cream," "Go Away Come Here," "All About a Boy" (Best of Week, FronteraFest 2013), "You’ll Thank Me Later," "l’esprit de l’escalier," "Three Sisters New York," "Dismemberment," and multiple plays in the NY and NJ One-Minute Play Festivals. Winner of the Doric Wilson Independent Playwright Award, Lotos Foundation Prize winner, 2012 nytheatre.com “Person of the Year,” Executive Artistic Director and founder of Caps Lock Theatre, curator of Pussyfest and Sex With Robots, Filling the Well resident artist, San Diego native, Skidmore graduate, and a member of Youngblood, the Propulsion Lab, and Lather, Rinse, Repeat.
More About Mariah MacCarthy
Meet the Playwright: Mariah MacCarthy [April 15, 2012]
Mariah MacCarthy talks about THE FOREPLAY PLAY, why she writes about sex, and much more.
Dixon Place workshop of my new play SAFEWORD [January 22, 2016]
Lisa & Damien have a young son together, but live separately. She’s left their child with a sitter & invited Damien over tonight without telling him why. When she tells him she wants to enact a rape fantasy together, he’s hesitant at first, but soon warms up to the idea. What begins as a kinkier Who’s on First (‘‘Stop!’’ ‘‘Really?’’ ‘‘No, not really!’’) gives way to a night of lust, trust & excavated trauma—with devastating consequences. A workshop directed by Evan Caccioppoli.
MAGIC TRICK at Theatre Row [August 27, 2015]
MAGIC TRICK a story of heartbreak and burlesque by Mariah MacCarthy directed by Christina Roussos Featuring: Kim Gainer* Ethan Hova* Chet Siegel* Stage Kitten: Gina Doherty Lights: Lois Catanzaro Sound: Gerry Marletta Costumes: Allison Dawe Set: Tim McMath Dance: Sidney Erik Wright Fights: Jesse Geguzis Stage Manager: Laura Hirschberg* Production Manager: Tzipora Kaplan ASM: Julia Veeh Producers: Leta Tremblay and Mariah MacCarthy Associate Producers: Sarah Matteucci and Daniel John Kelley Mariah MacCarthy (NYtheatre.com’s 2012 “Person of the Year”) reunites with director Christina Roussos on their 2012 New York Fringe festival hit Magic Trick (winner of the Lotos Foundation Prize in the Arts and Sciences and the Doric Wilson Independent Playwright Award). A three-hander as surprising as it is sexy, Magic Trick subverts audience expectations we don’t even know we have. Bana, a beautiful paraplegic who everyone falls in love with, is missing. Eric, her (ex?) boyfriend, can’t find her. Clara, that burlesque dancer they almost had a threesome with, gets naked and won’t leave his apartment. And just when he thinks it might all be over, Eric finally finds Bana…on the burlesque stage. Magic Trick is a nonlinear story of heartbreak and burlesque, jumping time in the tradition of Eternal Sunshine of the Spotless Mind and The Last Five Years. With characters that are complicated, funny, and above all human, MacCarthy paints a portrait of people figuring out what it means to be in love while also staying true to oneself.
Adam Szymkowicz: I Interview Playwrights
Visible Soul: People You Should Know