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Lascivious Something - Full Length Play, Drama

Lascivious Something

Sheila Callaghan

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Full Length Play, Drama

1m, 3f

ISBN: 9780573699252

"Definitely worth spending an undeniably tense evening with, right through an unexpected twist at the end." - Associated Press

"Sheila Callaghan has created a great premise and fascinating characters, her writing intertwining wine and bloo…

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Minimum Fee: $75 per performance


Full Length Play



Bare Stage/Simple Set

Sheila Callaghan is the 2007 recipient of the Whiting Award for Drama
On a secluded Greek island, an American ex-pat pursues his passions: winemaking and his breathtaking young wife. Then, on the eve of Reagan's inauguration, the first tasting of the new wine is interrupted by the unexpected arrival of August's former lover. Inspired by Greek tragedy, Lascivious Something combines evocative language with sympathetic yet deeply flawed characters straight out of Euripides.


"Definitely worth spending an undeniably tense evening with, right through an unexpected twist at the end." - Associated Press

"Sheila Callaghan has created a great premise and fascinating characters, her writing intertwining wine and blood and sex as painful but necessary life forces." - Back Stage

"Sometimes dreamlike, often shocking, Lascivious Something is at once both fraught and languorous, its most powerful moments found in the quietest revelations or silent stares. Go with an open mind and you are certain to find that your cup runneth over with ideas by the final bow." - The Collective Magazine

"Callaghan, whose previous work might be described as post-feminist punk incursions into the poetic turf of early Sam Shepard, here employs a more linear narrative line to push her personal-is-political agenda." - LA Weekly

"Blown Away...Honest, captivating from beginning to end. I can't recommend it enough" - CBS News

Lascivious Something premiered at the Circle X Theatre in Los Angeles, CA in March 2010 under the direction of Paul Willis.



1m, 3f

Sheila Callaghan

Sheila Callaghan

Sheila Callaghan's plays have been produced and developed with Soho Rep, Playwright's Horizons, Yale Rep, South Coast Repertory, Clubbed Thumb, The LARK, Actor's Theatre of Louisville, New Georges, The Flea, Woolly Mammoth, Boston Court, and Rattlestick Playwright's Theatre, among others. Sheila is the recipient of the Princess Grace Award for emerging artists, a Jerome Fellowship from the ... view full profile

Now Playing
Ellen Joffred 4/21/2013 8:10 PM

    Set in 1980s’ Greece, Lascivious Something presses upon possibilities until they burst.  The world of the play is one of legends, where the past, present, and future collide.  With echoes of Greek Theatre as well as nods to the Absurdist’s, the play is stuffed with love triangles that explore violence and vulnerability.
    The protagonist August is torn between his lost love Liza & his stunning, young Greek wife Daphne.  News that Reagan has just been elected as President ominously permeates the play, reminding August of his politically active youth.  A BBC radio announcement pulls time like taffy and awakens the audience by explaining how Reagan’s deregulatory approach will later lead to world wide financial crisis. Callaghan’s writing is culturally current, thick with thought.  She also sprinkles the dialogue with Greek allowing for mystery to occur, and letting theatre transcend language.  
    As more wine is poured, secrets snap; stakes grow higher as the play investigates family bonds. Daphne is pregnant; August learns that he unknowingly fathered a child years ago with Liza.  This adolescent son committed suicide.  The play ends with August walking towards the actress who played Boy/August Jr.
    There is so much wine within the world of the play that the structure of the play itself seems to gets tipsy.  Extremely heighted and horrific moments occur, biting and stabbing for example, but then the characters retreat, repeat, and end the moments differently.  Do these original super passionate moments actually happen?  What is dreamed, what is drunk? As August Jr. reads from his suicide letter, “ … if all the different outcomes for every single tiny things are endless, how can ANYTHING be real?” Riffing with repetition, Callaghan is a master DJ of her text. The veracity of the play is constantly un-anchored, which makes the play thrilling and unsettling.

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