A fairy tale ending
Beauty never showed up. After centuries under the curse, the Beast and his one remaining magical servant have moved into a shabby apartment near a 7-11, hoping for a lower cost of living and better luck with girls. Their building manager, a fellow immigrant with a taste for gingerbread and children, offers help in navigating this threatening, impossible, completely mundane world, but all her gifts come with a price. When an eligible maiden moves into the second floor apartment, the servant (a relentlessly cheery lamp) colludes with the landlady to kidnap the girl. The servant finds herself assimilating the girl’s identity, her name, and bookstore job. As she becomes increasingly human, and the Beast becomes increasingly lost, she discovers what– and who– must be sacrificed for an ordinary life.
“…an offbeat, mature riff on the classic “Beauty and the Beast” fairy tale… Reina Hardy’s updating of the fairy tale is a charming and thought-provoking success.” –DC Theatre Scene
“Reina Hardy’s eerie, melancholy Glassheart sets itself apart … more than just a love story… seductive and dangerous.” –the Washingtonian
“Hardy has a flair for off-key insights… funky, poetic… the romantic “Glassheart” certainly has music in its voice.” –the Washingon Post
“Reina Hardy… has created a text featuring a beautiful matrimony between contemporary dialect and snippets of heightened language. The play drips with heart and ingenuity without being overly sappy or sentimental. Hardy has a gift for telling a story through a feminist and current lens minus beating social commentary over the head.” –Theatre Pizzaz
“Fans of speculative fiction will appreciate the simple question at the core of Glassheart,.. Hardy’s take on the fairy tale is intriguing and seems to relish in its own magic.”- Austin Chronicle
“Hardy retells the familiar tale with a feminist slant: it’s the desire of the women that drives the story… Glassheart is a study of opposites, tracing the fine line between the ordinary and extraordinary… the language is lyrical and conversational. The Beast waxes poetic about despair one minute, while Only describes an infomercial the next.” –Theater is Easy
“Hardy’s moving, clever writing is a delight… The dialogue moves fast and includes some brilliant one-liners—allowing the women in this story to own both the comic relief and the cathartic struggles behind it. … you’ll feel the emotions and existential questions raised by the play for days afterward. What’s in a name? What makes a life? What makes us human?” –MD Theatre Guide
Only: Female, intermediate age, spry. A lamp.
The Beast: Male, intermediate age. A beast, you know?
The Witch: Female, older, smooth motherly air.
Aiofe: Female, mid-twenties.
A low-rent apartment on the north side of Chicago. Nowhere else.