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The climax of the piece is terrifying and she follows it perfectly by an almost ballet like moment of silence watching the clean-up aftermath. Artistic Director Michael Dove briefly spoke after the first piece and mentioned that he was putting this together under the prospect of the nation's first female president.

We raised our fists in solidarity for abortion rights. “Well,” he said “you’d put one foot in front of the other.” Back on the train, in seats this time instead of squished against our fellow travelers, it was one last chance to smile at the ladies in pink hats, the kids with Girls Run the World temporary tattoos on their faces, and the man whose sign read I SUPPORT WOMEN BUT I HATE CROWDS.

We called out in agreement at the speaker who said that every mother trying to get a good job knows that the economy is a woman’s issue, and every mother trying to keep her family together knows that immigration is a woman’s issue. We wiped away tears at 6-year-old Sophie Cruz, daughter of two undocumented immigrants, who brought down the house when she said: “I also want to tell the children not to be afraid, because we are not alone.” We ate granola bars and nibbled raw almonds and we pledged to go back home and keep working. A helpful official at the Smithsonian metro station asked where we were headed, and gave us options for getting to the red line. Soon my daughter and I will head back to Philadelphia, back to a world where we’re not surrounded by like-minded ladies in pink hats. And doctors who despise Obamacare, and women who hate Hillary Clinton, and disgruntled white guys who look at a world in which they no longer feel at home and voted for the man who pledged to put them back on top. This is not business as usual or politics as I’ve ever known them.

Rich portrays Ester's naivety with strong determination. Lockard all repeat their stellar technical aspects on this piece as well.

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Thais Menedez provides some much needed relief from tension in an outstanding cameo. I purposely used a lot of horrific metaphors here to underscore the uneasiness I felt watching this piece.

This second part is just as horrifying but on a completely different level. Spiegel's piece sits on the edge of uneasiness and does so perfectly.