A giant picnic basket (think Yogi Bear) sits on an otherwise bare stage. A young person sleeps in front of it. Three other young people enter the scene, then split into two couples and mime lovemaking while intoning churchy songs. A woman in a diaphanous dress emerges from the basket. She says she’s the ghost of an aborted fetus who’s come back to haunt the young woman, as well as the other three, for the choices they’ve made.

Suz Evans’s Ghost Fetus , directed by Anna Klos in its world premiere at Trap Door Theatre, is a series of disconnected scenes meant to evoke the struggles of queer couples in a small, intolerant Christian community. These are performed through song, movement, and occasional dialogue.

I have no doubt of the sincerity of the playwright and admire the commitment of

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