FUCK MARRY KILL
A Jacobean Revenge Comedy
By James Presson
Set in suburban Connecticut , we track the wild, twisted, and deeply intertwined lives of the teens of Greenport High as they grapple with loyalty, lust, narcissism, and nihilism, all while preparing for the biggest night ever: Prom!
. . .
Production at New Ohio Theatre, October-November 2017.
Presentation at Playwrights Horizons, May 2017.
Workshop at Lincoln Center Director's Lab, August 2016. Director: Sash Bischoff.
Produced by Less Than Rent Theatre and Horse Trade Theater Group, April 2013.
(Formerly titled Words, Razors, and the Wounded Heart)
Frontier Psychiatrist ‘Best Off-Off-Broadway Play, Spring 2013’
"In Words, Razors and the Wounded Heart, a group of beautiful young people halfway between high school and Hell drink, smoke, and screw their way out of their parents’ comfortable upper-middle class fortunes and into buckets and buckets of blood. Think Beverly Hills 90210 meets Hamlet, only more lachrymose and twisted. Playwright James Presson is young, but his skills representing the angst of the most recent generation of lost youth are already prodigious. The Force is strong in this one."
"Terrific! Pulls off the seemingly impossible... Overwhelming, fresh, and exciting...could not get more raw and real"
- Yes Broadway
"Dynamic, unapologetic, and in-your-face!"
"I strongly urge all parents reading this review to check in on your children—because the kids are not all right. They are absolutely, one hundred percent not okay… Words is uncomfortable to watch for a number of reasons. It forces us to look upon the result of a rejected generation. They’re not Generation X, Y, or Z…they’re Generation Zed. They’re impulsive, horny, overdramatic, immature, and have no conception of the consequences their actions reap… Presson’s dialogue is hilariously authentic and contains some of the most wonderfully vulgar language I’ve heard in quite a while."
Show Business Weekly
“A blaze of brilliance… Truly remarkable”
"Like the playwrights he emulates, Mr. Presson is passionate about the poetry spoken by his characters. The dialogue is not only almost anthropologically precise in its realism, it transcends the “realism” of mumble-core by allowing its speakers to sing in a dialect that is clearly their own and simultaneously clearly artificial."
“Its controversial themes will make you gasp, but the well-placed humor will keep you laughing.”
Theatre is Easy