In his twilight, a lonely gay man reflects on his life and the three loves of his long-lost youth one woman and two men. Forced into early retirement by a heart attack, he wanders aimlessly through the graffiti-marred streets of his New York neighborhood. Familiar haunts trigger flashbacks of happy and not-so happy times.

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A beautiful, if ambitious and amoral, youth is tapped to become the lover of a powerful senator. The young man quickly realizes that he can hold this place, with all its perks, only as long as he is young. He has no other function than being young. With the help of an aged judge, the young man, referred to only as The Lover, contrives a plan to make a change in the way of the world, a plan that will take him years to realize. To succeed, he must manipulate, in subtle and not-so-subtle ways, the senator, his wife, the family chauffeur (who was, when young, a lover), and, by implication, the entire well-planned and controlling everlasting secret family.

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With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty’s Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting ’80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture. Discounting the importance of reproducing facts and historical accuracy, Dougherty gives an incisive reading of the creation of pop culture icons: it doesn’t matter who plays John Lennon because ultimately John Lennon is not a person anymore. As a star, he is a projection of our society’s collective needs and desires.

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