IN THE PRESS
I love just about everything about this play (Passing Over). The dialogue never feels on the nose or over-expository, which is quite an achievement given that there’s a tremendous amount of world-building going on. Scenes in which the recent history of the Lepidoptera and Heron religions advanced are excellent examples of how characters can exchange key, story-advancing information in a dramatically purposeful way. The play is bold but not impossible in its pushing of the envelope regarding what is possible in the environment of a live theatrical staging. I haven’t read anything quite like this in a long time and enjoyed its audacity immensely. Nothing in this play feels false or extraneous, which is a tremendous accomplishment given that there are many scenes where the play chooses to take its time and advance character slowly and judiciously (i.e. Malthy’s attempt to find a prayer suitable for the destruction of the Heron statue). The dramatic tension escalates incredibly with the passing of the dark cloud, and culminates perfectly in the final scenes with the appearance of who may or may not be Boris and Nigel in the final pages. I would love to see this play staged.
Austin Film Festival
Oh, this is SO unique. Unlike anything I've ever read. When speaking about perspectives, the Author is able to show a fluidity of perspectives - using these different voices to narrow down the broad questions identity and life give us. "Adolsy" effectively hits the nail on the head regarding proper exposition, a clear conflict that wonderfully uses a theatrical occult presence to draw us into a very 'human' story. And the ending monologue that Adolfo gives is cathartic as hell - the change and growth of his arc is one of the best I've ever read for a Protagonist. The structure of this play is impeccably done. First, it surprises you - one world almost effortlessly slips into another. Those two worlds interact with ease. There is no dragging here, just propelling forward. Fluidity is really THE term to use for this play - it is The Theme through and through. This piece has such a rich exploration of identities - especially regarding sexuality. From dom/sub relationships, degradation, exploration of trans-radical desires that far exceed any binary. It's fucking rad stuff. Very honest and really interesting. And that's on top of the occult factor. The dialogue is brutal, sharp, exciting, and moves the plot rapidly forward - almost steps ahead, enticing the Reader to catch up.
Austin Film Festival
The community of national and local readers for the Bay Area Playwrights Festival in 2021 enthusiastically recommends ADOLSY as a Semi-Finalist at Playwrights Foundation out of 755 plays. We highly enjoyed the plurality the characters are navigating and appreciated the combination of gritty dialogue as well as raw & tender moments. We were compelled by the play's promise as a queer narrative. We hope this play is widely read, finds dedicated collaborators, and moves swiftly towards production. #BAPF2021
Bay Area Playwrights Festival
Geu's rich imagination quickly caught the attention of Heelan writing teacher Elizabeth Dalton. "Taylor uses me as a sounding board," Dalton said. "He'll ask me if he wrote a story on a certain subject, would he creep people out? When I say, 'Yes,' he'll say, 'Good.'"
Sioux City Journal
Taylor Geu was born in Yankton, South Dakota. Her first publication was a weekly comic book they passed around the playground in 4th grade. Geu learned general audiences were philistines. Since then, she’s become passionate about gender abolition and social justice, centering them in her scripts for stage and screen. A surrealist and fantasist, she’s interested in using the weird and spectacular to aid audiences in reconsidering what it means to be human beyond the usual societal script and norms.
Geu’s play Adolsy was produced as part of the “Dream Up Festival” at Theater for the New City in September 2022, was a semifinalist for the 2023 National Playwrights Conference at the Eugene O’Neill Theater Center and the 2021 Bay Area Playwrights Festival, a Second Rounder in the 2020 Austin Film Festival Playwriting Competition, and was virtually produced as part of PEA Fest 2021 by the Breaking & Entering Theatre Collective in April 2021.
Her play Passing Over was a semifinalist for the 2020 Blue Ink Playwriting Award and for the 2019 National Playwrights Conference at the Eugene O’Neill Theater Center. The Problem Play was a finalist in the 2019 Tennessee Williams/New Orleans Literary Festival One-Act Play Contest, and The Wolf at the Door was a finalist for the Primary Stages Einhorn School of Performing Arts 2018 Drills Program. Some Sorta Queer was Zoomed by Theatre West's 2021 Fitting Out Festival (Los Angeles), Bunk was Zoomed during The Players Theater 2020 Short Play Festival, and Turn Around When Possible was part of The Players Theater October 2019 Short Play Festival Boo! February 2019. Geu’s short play Moth Monk was included in The Dare Tactic’s FactorEEE: One Acts.
They studied as an Advanced Playwright for a semester at the National Theatre Institute near Waterford, Connecticut and spent a summer at the Powerhouse Theater Training Program at Vassar College as a playwright. Geu’s short play Words into Darkness won a Scholastic Writing Award gold medal and their short story An Experiment with Shakespeare received the same organization’s American Voice Award and was published in The Best Teen Writing 2012. They are a graduate of Kenyon College and received an MFA from NYU's Rita and Burton Goldberg Department of Dramatic Writing. Geu currently resides in New York City, where they are working on multiple projects. They know too much about cats.