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Jampacked with myriad references to theater, film, culture–and even the Bible–as well as the processes of acting, living, and dying, Auditioning for Eternity gives the audience a lot to chew on.

Dying actress Mary, played by Mary Tierney, does double duty as she lives out the urgency of crafting her last star turn, even as the audience has already seen her on her death bed with little time left. Mary is writing her final exit. And she is the star of her own play–much as we all are.

The drama we see takes place in Mary’s head, as her estranged actress friend Roz, played by Carla Susan Lewis, returns from her very recent death to help Mary–and also herself–to the next plane (or play) of existence.

Roz’s love for her friend shines through, like the sparkle of her shimmering gown–even though this is not a role she ever wanted or expected.

Roz has been given this assignment by two figments who appear in what seems to be the legendary Players Club mansion in New York City, founded by esteemed actor Edwin Booth in 1888.

But what seems to be this prestigious and storied social club, is really the Bardo, the space between death and the next life. Booth, played by Kevin G. Shinnick, is joined by former “First Lady of the Theater” Helen Hayes, played by Beth Griffith.

Together, the two figments prod Roz, sometimes comically, sometimes frustratingly quizzically, onto this unexpected assignment upon the heels of her unexpected death.

The piece touches on the themes of love, compassion (even in adversity), the nature of existence, and the notions of art imitating life (and vice versa).

Playwrights Coni Koepfinger and Dan Carter (who is also the director) certainly know the history and tumult of creating art for the stage. And they certainly have grappled with (and give reference to) various concepts of eternity.

Auditioning for Eternity will give you many things to think about, and much to talk about. It certainly did for me.