Jen Silverman’s hilarious play, which The New York Times called “a fult-tilt lesbian/bi-curious/genderqueer/Shakespearean comedy for everyone,” explores anger, sex, love and the “thea-tah” through the the experiences of five women named Betty.

Betty is rich; Betty is lonely; Betty’s busy working on her truck; Betty wants to talk about love, but Betty needs to hit something. And Betty keeps using a small hand mirror to stare into parts of herself she’s never examined. Five different women named Betty collide at the intersection of anger, sex, and the “thea-tah.”

Merril has been spending more time with her sister, Angie, but she isn’t ready for anyone to know about it. At least, not until Merril has decided that Angie is ready to see other people – but it is going to take a little more finessing, and definitely less fighting. After Angie, without permission, arranges for Merril’s ex Raquel to come over, the truth comes out: Angie is an A.I. creation that Merril has developed to cope with her sister’s death. But as the virtual Angie begins to demand more presence in Merril and her mother’s lives, reality and consciousness blur, and new moral questions arise about the right, safe, and acceptable ways to grieve.