Newly elected congresswoman Sydney Millsap arrives in DC armed with her ideals and sense of duty, and refuses to play by the rules of special interests—or her own party. Kate’s a lobbyist who backs winners. So when she crosses paths with Representative Millsap, she dismisses her as a one-term neophyte…but ends up hearing a call to conscience she thought she’d left outside of the Beltway. A lacerating comedy about money, power, and what democracy actually looks like by Alexandria native Sarah Burgess.
Awfully funny... the pace is snappy and the intellect is sophisticated...[a] savvy process play about the sausage-making of politics.
Entertaining and thought-provoking in every sense.
It’s a sensational performance...one of the year’s best.
[Burgess’] rapid, acid-tongued dialogue is cleverly strewn with...smart humor and focuses on up-to-the moment political issues.
Sarah Burgess spoke with Vogue earlier this year about the play's inspiration and its DC connections: "The one thing about this play is it’s not a fairy tale about how great Washington is."Read More
The carried interest tax loophole, despite its name, has nothing to do with carrying interest over from year to year. The name comes from sixteenth-century Italy, when ship captains “carried” physical goods and took a 20% cut from that cargo. In practice today, carried interest is the percentage of investment gains that venture capital partners, hedge fund managers, or private equity executives take as compensation (usually above their management fee). This class of investors get “two and twenty”—2% of the total assets and 20% of the fund’s profits, which can amount to tens or hundreds of millions of dollars. This 20%, however, is taxed at 23.8%: 20% from capital gains, and 3.8% on the increase due to investment.Read More
In Kings, one of the characters appears on the cover of Washingtonian after she and her wife make the list of "Top Gay Power Couples Under 45.” After learning of their plot cameo following the play’s premiere last winter, the lifestyle magazine’s staff published their own real-life version of the list.Read More
Sarah Burgess’s plays air-drop their audiences into byzantine worlds. Fueled by a fascination with systems and hierarchies, her plays don’t just pay attention to power dynamics—they revel in the granular details and insider jargon of the individuals controlling the levers, demystifying the greater mechanics without sacrificing the complexity.Read More