The Double Bill, presented by the Ohio State University (OSU) Department of Theatre, interweaved two different plays, Real Women Have Curves and Matchmaker. Each play was quite different, but both shared an underlying tone of women’s liberation, female equality and immigration. The Double Bill was a unique scenic design situation where the sets had to help the audience visually travel from 1987’s hot and sultry East Los Angeles’s sewing shop to 1920’s cold Polish village. Real Women Have Curves, written by Josefina L¿¿¿¿pez, was directed by PhD Francesca Spedalieri and Matchmaker written by Patricia Su¿¿¿¿rez was directed by Professor Lesley Ferris. It was very important to find a middle ground between the two directors’ concepts to make the scenic environment look synchronized but still at the same time look distinctly different. Both the plays at some level talk about body image issues, cultural differences, immigrant workers and how women are perceived as commodities. But the production also emphasizes female courage, strength and their will to go on. Real Women Have Curves is set in a family-owned sweat shop were five women stitch beautiful dresses for rich thin women, which they would envy due to their own “rubenesque” body types. The story line deals with their matrimonial, communal and cultural beliefs that in turn contribute to determining and at the same time distorting their self-image. The characters are Mexican immigrants, who still fear the “La Migra” (the immigration authorities), even though they are legal. The play is a comedy which sometimes slips to become wry and cynical, but it brings out the importance of realizing ones identity and body-image. Matchmaker is part of an Argentine trilogy entitled The Polish Women. The play was translated by Professor Ana Elena Puga and was the English-language world premiere at OSU. The play focuses on a dreadful moment in the early 20th century were young Jewish women, under the guise of an arranged marriage were a part of an underground human trafficking operation. Women were tricked into believing they were marrying, while the fake marriage was the cover for a prostitution ring in Buenos Aires. Matchmaker is the second part in the trilogy. Set in the 1920’s winter in a rundown Polish village the plot line revolves around four characters. The scenic design for this production had a revolving wall and each side provided as a backdrop for the plays, there was no moving scenery during the run for both the shows, but the sets had to be completely changed during the fifteen minute interval for the next show.