Morning Was Safe, written by Gabriel Nathan, is a one-act play about two detectives who, although partners for a long while, are possibly in denial about their subliminal relationship, explored through innuendo and subtlety through the rhetoric of dialogue. Although the apparent jargon is pedantic police lingo, the connotative meanings reveal another relationship between the two machismo-oriented men, perhaps one that challenges gender identities and eventually, their own ideas of who they really are – as singular individuals as well as “partners.”

Icarus and Amina, was written upon reflection of the existence of an out-of-status teenager following deportation. As an ESL teacher for the past twenty-five years, I have witnessed the journeys my students and their families have taken in their quests to live an “American life”. Their paths have led some to success, while others to pain and rejection. Though many of my students have remained in the United States, some have returned to their home countries, and others have been forced to return to their countries of origin. I was inspired to write this play after reading the stories of family separations throughout the United States, including New Jersey which has a prominent Bangladeshi population that has also endured separation and deportation. I was curious about what comes of these families after returning.  In this play, Amina and her family have spent years in the U.S. How will they be received when they return “home”? As a playwright, I focus on identity and home.  Although this play culturally identifies its two characters, the play's themes are intended to transcend nationality and connect with anyone and everyone who has been questioned or has questioned one's role and purpose.  ~Yasmine Rana

This production of Icarus and Amina stands as a synecdoche for personal experiences which become the indelible mark upon our identities. The actors are metaphors for a most powerful perspective that is overlooked as a tool of negotiating presence, the character of the Everyman.  

The original script described the characters as East Asian, reflecting the author’s heritage. The two actors do not in any way represent this cultural group. They are metaphors for one moment in the evolution of the script as a living entity that will continue to adapt on its future journey. Postmodernity encourages us to view our world in suspended images, that, once placed together, become a collage from which we create meaning, but this meaning is not absolute. We are four women in search of meaning; we understand the limitations of our experiences and our bodies; we are an ensemble, sharing the heartfelt desire to create a space within which people can learn about the “other,” a necessary part of ourselves.

Ryan Repertory Company seeks to collaborate with singular artists as well as companies to partner on projects that celebrate diversity in age, gender identity, ethnicity, and ideology.  Our goal is to embark on artistic journeys to interrogate the familiar and to discover new approaches and emerging genres of theater performance. Ryan Rep provides a safe, inclusive space for a myriad of artists who are examining poignant issues for both marginalized social groups as well as mainstream artists who are reinventing themselves.