Paris is Dead is by far my best play. In fact, if I ever see it produced properly, it might very well be a “so long and thanks for the fish because my work is done here” moment. There are lots of plays I want to write but this play is the only one I needed to write. Once produced, I might call it a day and retire to the beach. Again.
The play is divided into three single-scene acts. In the first act, via three interwoven monologues, ANDREW, THOMAS, and PATRICK (played by women) independently offer accounts of an event that took place in a Paris hostel that deeply affected all of them. The second act presents a drunken debate between CALEB, ANDREW, and PATRICK that occurs on the night of the event discussed in the first act. In the third act, three siren-like women discuss and clarify the events recounted in the first act and they articulate the perspective of a woman who, until this point, has only been described by others. The play concludes with a piece of movement between MALE and FEMALE which expresses a solution to the problem with which the play wrestles. The play is a challenging and original examination of personal identity, power-relations between the genders, and love.