Steve Murray is a staff writer for the Atlanta Journal- Constitution. His produced plays include: Hungry to Bed at Actor's Express; Body Politic, Mileage and Lost at Theater Emory, where he is a playwright-in-residence; This Passion Thing at Horizon and also The Working Group in New York; Rogue at PushPush Theater.

Cupid's Bones was selected for the Ashland New Play Festival reading series in Oregon earlier this year. His play Rescue & Recovery will be produced by Actor's Express next season.


There's a reason this play is set in 1994. I'd like to think of it as a period piece. I'd like to, but I can't. Certainly "Freaknik," to which the play alludes, is not the same event it was four years ago. That makes it a time capsule of sorts. More importantly, when I began work on this production, I thought, "Well, AIDS is no longer the epidemic we knew only a few years ago." I hoped (and it's weird for a writer to hope this about his own work) that "Cupid's Bones" would seem dated. But it doesn't. Not yet.

This evening revolves around a funeral. But the subject of the play is life. Life, and love, and the next 15 minutes ahead of us...then the 15 minutes after that. It's about the rituals we stumble through every day, and the ones unnamed that stir beneath the clink of our coffee cups and the rustle of our fax machines. Always, there is a voice trying to be heard. Maybe it's the lost language of the ones who have left us; or maybe it's the inarticulate murmur of those who haven't even come into the world yet, but watch us. And I do think they all watch us.

I ask myself, "What is the best way to honor them?" I think the answer is incredibly simple, incredibly complicated: To live.

[Play Bill] [cast list] [Director]