Three months have passed.  The former Prime of Asbury now sits a sheltered, mad puppet crown, refusing all suitors and resisting all efforts to create a viable heir for the shaky throne.  The nascent revolution attempted by her late brother has curdled into infighting, inertia, and self-doubt.  The ruling class is ineffectual and decadent, abusive to its slaves and neglectful of its duties.  The Rbiter is tired and distracted, and the Auctioneer seems to be slowly losing his grip and his talents, and possibly his sanity.


Into the turmoil steps Alarum, a mysterious figure who flits effortlessly amongst the classes and factions, slowly and patiently sowing the seeds of discontent.  Lesser, a naive and idealistic young revolutionary, is manipulated into becoming a figurehead for the cause and a symbol for the anger and frustration of the masses.  As the nobles drink and sleep and the royalty crumbles, as the religious orders grow complacent and greedy, the fire begins.  As the Auctioneer rants and rumbles and the young charismatic builds his following, the fire builds.  As the festival for the New Year commences, the fire spreads out of control, and in one awful, final conflagration, the sins of generations descend upon the whole of society.  No one, not even the master manipulator, can possibly put out the flames of revolution... and finally, pure chaos.

A direct continuation of the themes, characters, and world of the cult classic Bitch Macbeth, Divine Asbury is the first new work from playwright/director Frank Cwiklik in nearly a decade, and forms the second chapter of the epic Triptych cycle.  Set against a backdrop of revolution and intrigue, this disturbingly relevant work shows the frightening ease with which societies can be dismantled, and how the sins of a culture can provide the seeds of its eventual downfall.


Chilling, compelling, and terrifying, Divine Asbury documents both the slow corrosion of the world we discovered in Bitch Macbeth, and the horrific and sudden events of its final, fateful night of existence, before mayhem and confusion reign supreme.  Claustophobic and relentless where Bitch Macbeth was sprawling and seductive, Divine Asbury is the dark middle chapter of the Triptych cycle, a story of good intentions gone bad, bad intentions gone awry, and the dreadful tumult of a world spun utterly out of control.



Proposed for a 2016 production launch, with performance dates beginning in late 2016/early 2017, funding and backers' information will be appearing on this site in the coming months.  For proposal imagery and synopses of the two other plays in the cycle, as well as info on past productions of Bitch Macbeth, click the logos below.  For performance/production enquiries or casting info, go to our Contact page.




CAST for proposal photos:


RBITER -- Cedric Jones


AURORA -- Ivy Hong

ALARUM --  Patrick Horn

LESSER -- Zachary Small

COPPER - Lauren Hart

WIRE - Alison Preece

AUCTIONEER -- Duncan Pflaster

CHORUS -- Ori Bitter, Andy Dispensa, Dianne Kaye, Jessie Krebs, Robin Friend Stift, Allison Wick