What goes in the place of a Confederate monument in a Black Baltimore neighborhood? Chelle, an artist, has recently purchased her childhood home in Upton; her brother Willard is working on refurbishing it. The place is stunning, honey, but the neighborhood is more weed than flower and out her front window Chelle can see an empty pedestal that until recently was home to a statue of Robert E. Lee. An eyesore. And an opportunity. Willard is determined to focus on the present, preparing for a Juneteenth festival in the park that used to house the monument, as Chelle starts building a new monument to take the old one's place. This is a play about liminal spaces, about the in-between, the tenuous, the fragile and the things on the cusp of exploding. Will a reckoning come? And after that, well, what then?

What goes in the place of a Confederate monument in a Black Baltimore neighborhood? Chelle, an artist, has recently purchased her childhood home in Upton; her brother Willard is working on refurbishing it. The place is stunning, honey, but the neighborhood is more weed than flower and out her front window Chelle can see an empty pedestal that until recently was home to a statue of Robert E. Lee. An eyesore. And an opportunity. Willard is determined to focus on the present, preparing for a Juneteenth festival in the park that used to house the monument, as Chelle starts building a new monument to take the old one's place. This is a play about liminal spaces, about the in-between, the tenuous, the fragile and the things on the cusp of exploding. Will a reckoning come? And after that, well, what then?

What goes in the place of a Confederate monument in a Black Baltimore neighborhood? Chelle, an artist, has recently purchased her childhood home in Upton; her brother Willard is working on refurbishing it. The place is stunning, honey, but the neighborhood is more weed than flower and out her front window Chelle can see an empty pedestal that until recently was home to a statue of Robert E. Lee. An eyesore. And an opportunity. Willard is determined to focus on the present, preparing for a Juneteenth festival in the park that used to house the monument, as Chelle starts building a new monument to take the old one's place. This is a play about liminal spaces, about the in-between, the tenuous, the fragile and the things on the cusp of exploding. Will a reckoning come? And after that, well, what then?

What goes in the place of a Confederate monument in a Black Baltimore neighborhood? Chelle, an artist, has recently purchased her childhood home in Upton; her brother Willard is working on refurbishing it. The place is stunning, honey, but the neighborhood is more weed than flower and out her front window Chelle can see an empty pedestal that until recently was home to a statue of Robert E. Lee. An eyesore. And an opportunity. Willard is determined to focus on the present, preparing for a Juneteenth festival in the park that used to house the monument, as Chelle starts building a new monument to take the old one's place. This is a play about liminal spaces, about the in-between, the tenuous, the fragile and the things on the cusp of exploding. Will a reckoning come? And after that, well, what then?

What goes in the place of a Confederate monument in a Black Baltimore neighborhood? Chelle, an artist, has recently purchased her childhood home in Upton; her brother Willard is working on refurbishing it. The place is stunning, honey, but the neighborhood is more weed than flower and out her front window Chelle can see an empty pedestal that until recently was home to a statue of Robert E. Lee. An eyesore. And an opportunity. Willard is determined to focus on the present, preparing for a Juneteenth festival in the park that used to house the monument, as Chelle starts building a new monument to take the old one's place. This is a play about liminal spaces, about the in-between, the tenuous, the fragile and the things on the cusp of exploding. Will a reckoning come? And after that, well, what then?