After rushing to work, Akakiy is bullied by his coworkers. He’s too good at his job, and it’s making the rest of them look bad.

Petrovich declares Akakiy’s coat is completely unfixable, but also that this is the chance for Akakiy to choose something new. Of course, he’ll have to pay.

Akakiy gets caught in rush hour and arrives late to find the head the department telling a sad story about encountering a homeless vagrant. Annoyed at being interrupted, the head of the department grills Akakiy on his little notebook of numbers. Akakiy explains he was using it to find ways to save money, which gives the head an idea. He’ll cut c...

Measuring Akakiy becomes a ballet of awkwardness. Petrovich and his wife muse on what really makes a man: how he appears.

The name day party. Everyone is dressed to the nines, but Akakiy adds up to at least an eleven. They fawn over his coat, going so far as to toast to it. Akakiy forgets to count his drinks, and ends up completely drunk. He gets lost on the way home, winding up in the rough part of town. Akakiy asks two men for directions, but instead, they knock ...

After days of near catatonia in his cold apartment, the landlady asks Petrovich to repair Akakiy’s old coat, to no avail. Even his coworkers arrive to check in, but by then, Akakiy is unreachable. Akakiy is committed to a mental hospital. Once he arrives, the other residents encourage him to look at things a little differently. It turns out he h...

Robertson demonstrates the new “automatic spiral ratchet spring-loaded screw driver,” affectionately called the “Yankee.” The demonstration is cut short when the driver slips off the single slot screw, injuring Robertson’s hand.

Robertson in his shop, Amalia (present day) in her bathroom with her antique vanity, Phillips in his workshop, also injured by a screw driver slip.

Phillips sings the praises of his new screwdriver.

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

Robertson in his shop, Amalia (present day) in her bathroom with her antique vanity, Phillips in his workshop, also injured by a screw driver slip.

In the afterlife, Henry Ford invites Robertson to present his screwdriver. Ford is rapturously impressed, and offers Roberston a deal - but with the catch that Ford would then own the rights to his invention (as Ford puts it, he demands "complete submission"). Phillips reveals himself and makes a sales pitch. Ford is less attracted, but offers t...

Ford and Phillips celebrate while Robertson is chagrined and depressed by his failure to get the contract. Amalia finally finds the screwdriver aisle in the store.

Amalia critiques the two screwdrivers and chooses the Robertson.

Phillips realizes he will not get rich in his deal with Ford, but Ford will.

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

Amalia at home, mounting her vanity. She praises the Robertson's screwdriver as he observes from heaven.

All sing the praises of the Robertson screwdriver.

In pain after being raped by Tassi, Artemisia tries to understand what just happened, while Tassi justifies himself.

Two women watch and worry as the church elder walks through town with a telegram carrying news of a soldier son's death.

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

Irish pirate Chieftain Grace O'Malley sneaks into the bedroom of Queen Elizabeth I of England, and convinces the Queen to give her back her ship and free her lover. In return Grace will attend the Queen's birthday celebration and cause a sensation - which delights Liz.

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 tells the story of a scandalous love affair from her youth, culminating in a daring escape from a convent.

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.

Paul begs his rocking horse for more luck for the Derby. Ava decides Paul’s been too agitated lately, and the distance between them grows wider. Ava leaves his room and bemoans Paul’s lack of understanding. She deserves luxury now and then, and Paul robs her of comfort. As if on cue, she hears Paul noisily riding his rocking horse again. While s...

Ava is disappointed in her birthday celebration, and Paul asks her why she isn't happy.

Louise, a young talented artist, arrives and prepares for her first climb.  She is seeking excellence, precision, and beauty.  It is a quest toward attaining perfection in her art.  Louise connects with her inspiration, support and icon: Glenn Gould.  Their journey together begins.

Louise encounters The Teacher at the window.  The Teacher instructs on the development of rigorous, meticulous technique.  Discussion of artistic philosophy is included in the training.  Glenn recalls his own teacher.

With a sense of freedom, Louise discovers daring, new musical terrain with Glenn's encouragement.

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.

The Celebrity is hosting a party.  He calls out to Glenn and persuades him to play the piano with him for his guests.  The guests gossip about the past performances and bad reviews while simultaneously applauding the artist.

Glenn tells Louise that applause should be banned.  The Housewife shares the profound impact of witnessing Glenn's performance.

Both Louise and Glenn are tired.  They share stories about their nightmares.

Louise and Glenn talk about their daily rituals.  Re-energized, Louise wants to get back to climbing again.  She starts muscling her way upward, urged on by thoughts of fame.  Glenn's focus turns to his various medications and need for isolation.  Glenn feels a sharp pain and struggles to support Louise.  Both start to lose their grip, and Louis...

Glenn is lost in a painful memory of The Mother in hospital.

The Girl calls out to Glenn.  She asks him for help with a piece of music.

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

Four Victorian women sit down for a most unusual tea time. The women have two things in common: their dislike of the other women and of their husbands. Each woman refuses to drink tea for one reason or another while brainstorming ideas such as poison, prison, bee-stings or drowning. But who are they plotting against– their partners, or each other?