About Well-Behaved Women
All the books Sabrina reads to her son, Tramarion, start off with a tragedy but then the young protagonists are made whole. Little does she know that Tramarion’s life is heading in the opposite direction. When Tramarion is gunned down in a parking lot by a cop who thinks the trophy in the 14 year old’s hand is a gun, Sabrina sinks into inconsolable grief. She balks at the expectation that she present her grief for the public as a rallying call. When Sabrina does not make a public appearance, the talking heads question her motives. “The mothers always go to the rally. Isn’t it, like, some kind of protocol?”
Facing crushing tragedy, Sabrina retreats into a fantasy comic book world created by her gifted son, Tramarion and his friend Flat Joe. In that universe she is The Maasai Angel in search of an ultimate combat with a faceless Entity to “get back what’s mine.” Ala Wizard of Oz, Sabrina confronts comic book style villainous avatars of people from her real life– the police, the media, Tramarion’s coach. This inventive play takes the audience inside the mind of one mother as she battles to overcome her sense of loss and find a way forward. The play is a wild ride mixing elements of graphic novels and gaming that coalesce into an imaginative, surprisingly funny, and deeply touching adventure.
Inda Craig-Galvan wrote Black Super Hero Magic Mama in response to the killing of Tamir Rice, a 12 year old boy who was playing with a replica gun when he was shot and killed by a white police officer. Since the play’s initial writing, black young men and boys have continued to be killed by police at a disproportionate rate. Black Super Hero Magic Mama continues to be powerfully moving, provocative, and painfully relevant.
The play contains strong language, stylized gun violence re-enactment, and exaggerated comic book style fight scenes, but will appeal to audiences of all ages in its treatment of family and our ideas about heroes. Parental discretion is advised.
Inda Craig-Galvan is the recipient of the Kesselring Prize, Jeffry Melnick New Playwright Award, Blue Ink Playwriting Prize, Jane Chambers Student Award for Feminist Playwriting, and Stage Raw’s Best Playwright Award.
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“The ineradicable ache of a mother’s loss comes through with devastating force in “Black Super Hero Magic Mama…”
“[W]hat ultimately makes Craig-Galván’s play so moving: its twin reminders that motherhood is a kind of superpower and that sometimes, tragically, even that is not enough.”
–Boston Globe
About Inda Craig Galván 
Bio Inda Craig-Galván writes stuff – mostly plays and TV. Her work often explores intra-racial conflicts and politics within the African-American community. Grounded in reality with a touch of magical realism that fucks with time & memories. Inda’s currently developing new works of theatre on commission with The Old Globe and Round House Theatre. Produced plays include a hit dog holler (Skylight Theatre & Playwrights’ Arena coproduction, Los Angeles), Black Super Hero Magic Mama (Geffen Playhouse, Los Angeles) I Go Somewhere Else (Playwrights’ Arena, Los Angeles). Inda is the recipient of the Kesselring Prize, Jeffry Melnick New Playwright Award, Blue Ink Playwriting Prize, Jane Chambers Student Award for Feminist Playwriting, and Stage Raw Best Playwright Award. Inda’s plays have been included on the Kilroys List (twice) and Steppenwolf Theatre’s The Mix. Inda has developed & presented work at Ashland New Play Festival, Orlando Shakes, Ojai Playwrights Conference, Eugene O’Neill National Playwrights Conference, Oregon Shakespeare Festival’s Black Swan Lab, The Old Globe Powers New Voices Festival, Kitchen Dog Theatre New Works Festival, Black & Latino Playwrights Conference, WomenWorks, Humanitas, Chalk Repertory Theatre, Skylight Theatre, San Francisco Playhouse, Trustus Theatre Playwrights Festival, Lorraine Hansberry Theatre, Intiman, and others. Aside from theatre, Inda is a writer on the upcoming JJ Abrams series Demimonde (HBO), and previously wrote on Happy Face, How to Get Away with Murder, and The Rookie. She is in development with Universal TV Studios to write and executive produce Cotton Club Princess, adapted from the novel by Karla Diggs. MFA in Theatre: Dramatic Writing, University of Southern California.
About Kathy Ervin 
Kathryn Ervin (Director) is professor in the CSUSB Department of Theatre Arts. Ervin was inducted into the College of Fellows of the American Theatre in 2018. Investiture in the College of Fellows of the American Theatre is one of the highest honors bestowed on educators and professionals in the educational and theatre community. Ervin, who received her bachelor’s from Wayne State University and Master of Fine Arts from Illinois State University, has been a professor at CSUSB since 1989, serving three times as chair of the theatre department. Ervin teaches courses in directing, acting, creative drama and African American theatre, film and culture. From 1988 through 1994, Ervin served as secretary, then vice president, then president of the Black Theatre Network, the national organization for artists, scholars and iof Colored People (NAACP). She also served as co-editor of the book titled “African American Scenebook.” As a director, some of her past productions include “THE WIZ,” “Novio Boy” and “HAMLET: the artist formerly known as PRINCE of Denmark.” She also guest directed “Intimate Apparel” at the University of California, Riverside in 2010 and “Ma Rainey’s Black Bottom” at her alma mater of Illinois State in 2007. Her original production of the hip hop opera “Keep Hedz Ringin’” by Rickerby Hinds was a finalist at the American College Theatre Festival in Utah and presented as part of the NYC Hip Hop Theatre Festival in 2002.