“The Last Flight of the Electra” is a full-length, one-act play set in December, 1968 about the self-contented, intensely private millionaire Aileen Craigmore, whose life is turned upside down when her obsessive secretary, Sandra Houser, accuses her of being Amelia Earhart, the famous aviatrix who disappeared over the Pacific Ocean in July, 1937. Obsessed by Earhart, Sandra has long been a fan of the aviatrix and, to Craigmore’s increasing horror, like a magician pulling rabbits out of a hat, produces more and more “evidence” that Craigmore is really the living, breathing Earhart, freed from Japanese captivity after World War II by the United States government. A tense, manic game of cat-and-mouse follows as the increasingly determined Sandra seeks to corner the increasingly desperate Craigmore into admitting her “real” identity… whatever that may be. “The Last Flight of the Electra” is an exciting, even haunting play about the nature of identity – who we truly are and who we choose to be – and, indeed, the extent to which there is any difference between the two.