Many readers these days probably know the feeling of anxiety about what appallingly reactionary new story will leap out at them every time that they set eyes or ears on a news source. To take just the latest in an interminable series of examples, as this review is being written, the head of the U.S. government is threatening to end aid to Puerto Rico, whose American citizens are denied governmental representation, a mere three weeks after an incredibly devastating natural disaster. As it happens, the production of Christie Perfetti Williams' new play, The Werewolf of Washington Heights, will donate one dollar of every online ticket sale to The Boys and Girls Club of Puerto Rico. It also focuses on the political effects (keeping in mind that the political is always also the personal and vice-versa) of fear and anxiety, especially as and where they intersect with gender. Beyond its narrative concerns, Werewolf extends the political consideration of gender to the material conditions of its own production: it is presented by Carnival Girls, a sponsored project of the non-profit arts service organization Fractured Atlas that dedicates itself to "creating and producing art by and about women," and it boasts an all-female cast and crew, including director Charmaine Broad, who also helmed Cougars, winner of the Estrogenius Festival's award for best show.