In the afterlife, Henry Ford invites Robertson to present his screwdriver.

Amalia critiques the two screwdrivers and chooses the Robertson.

Wandering in a big box store, Amalia dreams of what can be accomplished with hardware.

Amalia critiques the two screwdrivers and chooses the Robertson.

Robertson, still sad, hopes his screwdriver will still be of use to others.

Allegra has lost her engagement ring.

Raoul still hasn't paid off his debt. Allegra arrives and tells him she has lost the ring, not knowing that he is also Hernando.

The Shadow arrives to haunt Raoul.

The Shaman explains the end of the couple's tale.

Traumatized by her experiences, Alessandra reflects on her work as a translator in an American military prison.

Colonel Crane, Alessandra's supervisor, tersely tells her to lose what her perceives as her naive sense of morality: "We are just here to win."

Queen Liz imagines what it would be like to be free.

Drag performer Charlie sings a number in the persona of the Virgin Mary.

The Virgin Mary explains to Charlie why he has been chosen to carry the child of God.

Charlie sings gently to his child, the Messiah, who he has been chosen to bear.

Charlie performs the first number of his act: Mother Mary in the nativity scene, with the worries of a new mother carrying the son of god.

The performer sings a poem by Aphra Behn (1640-1689) about an androgynous queer lover.

La Maupin introduces herself to the audience, sharing some of the gossip that has been spread about her.

Maupin takes to the stage of the Paris Opéra.

Maupin challenges a rude nobleman to a duel.

Maupin remembers her romance with the Countess de Florensac.

The performer echoes lines poetry from the Prologue, reflecting on the meaning of Maupin's story.

Medusa sings from beyond the grave, reaching out to her children and her two sisters. She tells the story of her rape by the god Poseidon and murder by the hero Perseus.

Pegasus recounts a dream in which their mother Medusa asks them to find her severed head. They reflect on the harrowing circumstances of their birth and their relationship with their brother Chrysaor and father Poseidon.

Qu Yuan wanders into the southern wilderness. As he travels, he composes a lament for himself and his lost position in court. In the present, Xiao Lian’s Father senses his end is near. Summoning up his strength, he joins with the spirit of Qu Yuan to tell the final chapter.

The Mother appears at the window.  She shares memories, loving praise and admonishments.  The development of her child's talent and success has been her life's focus.

Louise is ready.  She chooses a climb, exploring and unleashing her own full voice as she travels upward.

The Goddess of Music reconciles the tribe of the arco violin players with the tribe of pizzicato players, inviting them to make music together.

A father comforts his son as he encourages him to end his life, rather than waiting for him to die of a terminal illness.

Bess asks the church elders for permission to marry Jan.
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Bess’s sister-in-law Dodo sings a toast at Bess’s wedding to Jan.
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Doctor Richardson addresses Bess after her husband's accident.
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Jan commits Bess’s body to the ocean after stealing it from Calvinist Elders, who would have condemned her to hell.
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Miles, an adolescent boy, reflects on the meaning of home as his family struggles and fails to build a homestead.
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Miles saddles up his horse, Nore, and sets off on his own hero’s journey, determined to help his family “prove up” and attain the title to their land. His youthful optimism is counteracted by the inhospitable environment and the presence of mysterious supernatural elements.
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Johannes Zegner, an alcoholic homesteader in drought-ridden 1870s Nebraska, tries to convince his son to make a dangerous journey that will help the family obtain the title to their land.
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Johannes Zegner sings of the “queer little trees” at a neighbor’s abandoned homestead. These trees are actually gravestones – crosses made of human bones.
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A deranged, dirt-covered man sings obsessively about the infinite promise of westward expansion. He speaks of his family and how they couldn’t make it, but that doesn’t seem to matter to him because he has fulfilled all the requirements of the Homestead Act. It’s possible that he came to see his family as an impediment to “proving up” and has ki...

Ma Zegner sleepwalks to the graves of her daughters and sings about what ties her to the land.
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Ma Zegner, after doing all that’s required of her as stipulated by the Homestead Act, confronts the deaths of her children and rails against fate.
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