St. Paul’s Theater Mu will focus on South Asian and queer stories in the company’s newly announced 2024-2025 season.

“Our vision at Mu is to widen the circles of the stories we’re telling so that we’re representing the vastness of our diaspora and how the Asian American experience intersects with other marginalized stories,” said outgoing artistic director Lily Tung Crystal in a news release. “As full, complicated, multifaceted people, we reject classification and stereotype. Each of these plays features characters who grapple with identity, family and friendship and land on the other side with love.”

Subscriptions are $120 and are available now via theatermu.org. Single tickets go on sale one month ahead of opening night and are priced at what the theater calls Pay as You Are, meaning those who routinely pay $45 for theater tickets should pay that amount, but if they need to pay less they can choose to do so, as low as $10.

Entitled “The Depths of Us,” the season includes:

New Eyes Festival (Nov. 22-24, Playwrights’ Center): For its revamped annual free play reading series, Theater Mu is holding an open call for new play submissions from Asian American voices across the country.

“Fifty Boxes of Earth” (Feb. 27-March 16, Park Square Theatre): This world premiere from Ankita Raturi features choreography by Ananya Chatterjea, the founding director of St. Paul-based Ananya Dance Theatre. Coined “a creative response to Bram Stoker’s ‘Dracula,’ ” it examines xenophobia, belonging and community.

“When You Trap a Tiger” (March 14-30, Stages Theatre Company): Another world premiere sees Katie Hae Leo adapting a story from Tae Keller about a girl as she tries to make a deal with a folkloric tiger to save her grandmother from illness.

“Stop Kiss” (June 12-29, Gremlin Theatre): This Obie and GLAAD award-winning play jumps back and forward in time as two women’s happenstance acquaintance causes their lives to change forever as they explore their connection further.

“Amm(i)gone” (July 2025, dates to be announced, Jungle Theater): This one-person play began with Adil Mansoor’s real dramaturgical collaboration with his mother around the Greek classic Antigone, but it soon grew into an autobiographical piece that uses recorded conversations, Quran teachings, text and imagery to delve into their love for each other in the face of his sexuality and her concern for his afterlife.

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