With a mature and sensitive eye, “Hot Tubbin’ I” explores what happens when principles conflict with the cruelties of political life and – refreshingly – it does so without turning its back on the redemptive powers of kung fu, the inspiring words of President Nixon, or the insidious allure of Camus and the Insane Clown Posse.

Understand that we are well-qualified in addressing the matters which bedevil the soul of the modern political being, as we have toiled in the political arena for nearly a decade. Our expertise is such that only one of the nation’s most cunning political minds (including the guy who wrote the 1970s crap-rock super-hit “Still the One”) could dislodge us from our posts on Capitol Hill.

“Hot Tubbin’ I” = Crowd-Pleasin’ Fun. The audience will closely identify with a muscle-bound kung-fu expert/cowboy/hot tub engineer who looks like Lou Diamond Phillips (or, cross fingers, Kevin Spacey) as he tangles with Washington’s blowhards and bitter realities. They will find their spirit renewed when he is repeatedly and appropriately likened to Christ for his efforts to slightly modify wastewater infrastructure legislation. The audience will nod in sad familiarity at the sight of a sanctimonious congressman blowing lines of coke off a Bible held by his cross-dressing Mexican drug mule, and they will rejoice when a brutal comeuppance is delivered to that same congressman by the fists of C-SPAN’s Brian Lamb. The audience, Mr. Schwarzman, will charge from the theater buoyed by a renewed hope in our democracy thanks to a finale which shows how one person can still make a difference if they just obtain billions and billions of dollars and use their fortune to control a massive media conglomeration and an unregulated “527” political advocacy organization.

“Hot Tubbin’ I” is firmly rooted in the cherished traditions of American Theater. In addition to paying considerable tribute to Eugene O’Neill, “Hot Tubbin’ I” has several characters who are gays.

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