“I got very interested in this idea of, ‘What if we did a series of one-person shows that really explored issues around identity and family, and wouldn’t it be exciting to put those pieces in conversation with each other?’” Finn says. “In each of these shows, they’re talking about very, very intimate things, but they’re doing it in a very theatrical way.”

The result was “Here I Am,” a three-part series from Theater J that opens with the world premiere of “See You Tomorrow” (Nov. 14-22), followed by “Moses” (Dec. 1-24) and the East Coast debut of “How to Be a Korean Woman” (Jan. 4-14). In recent interviews, the three playwrights explained the origins of their respective pieces, the emotional weight of those stories and the solo shows’ paths to Theater J.

Bahr, a performer whose television credits include “Hacks,” “Friends” and “Curb Your Enthusiasm,” was quarantining in February 2021 with her young son in Southern California when she logged on for a routine video call to Tel Aviv with her octogenarian mother. It was a conversation that, as she now understands, upended both their lives.

When Bahr’s mother abruptly froze on camera, the actress immediately recognized the signs of a stroke. The ensuing hours, as Bahr sought emergency treatment from halfway across the world, pushed her nerves to the limit. The subsequent weeks and months became a haze of international bureaucracy, exasperating medical tests and sobering soul-searching as the stroke resulted in an aggressive form of dementia and Bahr became a globe-trotting caregiver. When Bahr committed to performing at a Vancouver, B.C., arts festival in November 2021, she decided to debut an early, unpolished version of “See You Tomorrow.”

“I said to myself, ‘I think I need to share,’ because I realized how isolating caregiving is,” Bahr says. “It’s a communal experience. It’s a window into someone else’s life that maybe resonates with you on a certain level. It’s about bearing witness. I hope that’s what the show does for a lot of people.”

Bahr has since fine-tuned the show through workshop performances. As the real-life story behind “See You Tomorrow” continues to unfold, ahead of its formal premiere at Theater J, the Israel-Gaza war has added another layer of anxiety. Bahr says that when Hamas launched a rocket attack on the Israeli city of Ashkelon last month, her son was camping perilously close to the blast zone. As the conflict wears on, she highlights “the only perk” of her mother’s dementia: “She has no idea there’s a war going on.”

“I didn’t expect it to be a cathartic experience,” Bahr says of performing the show. “I mean, there is something about turning your personal life into art that creates some distance, in a sense. But it is also very challenging because I’m still living it.”

Lowe may be a playwriting veteran, but she had never written a solo show before “Moses.” When she decided to take a crack at one — inspired by such one-person plays as Doug Wright’s “I Am My Own Wife” and Heidi Schreck’s “What the Constitution Means to Me” — she wrote an original story for an actor rather than an autobiographical piece.

“I had found that connection between one actor onstage and the audience was something that was so full of life to me, and so rich and really deep,” Lowe says. “I wanted to experience that with one of my own plays. I wanted to be in the audience and see what it would feel like to hear my words come out of one person.”

Lowe, who for years has helped rabbis write their sermons, subsequently spun a yarn about a New Yorker named Moses Schneider and his years-long quest to rebuild his life after losing his wife and children in a fire. After Lowe spent a year developing the project with director Daniella Topol and star Andrew Polk, that team staged a virtual premiere of “Moses” at Cape Cod Theatre Project in the summer of 2020.

But Lowe still craved the experience of sharing the show with an in-person audience. So Finn arranged for a holiday-season staging at Theater J, with Johanna Gruenhut at the helm and Grant Harrison portraying all of the play’s myriad characters — including Moses, whose story poses heady questions of spirituality and self-acceptance.

“Moses is a person who is the launch for what I want to say in terms of love, grief, loss and faith — and not just faith in something bigger than yourself, but faith in yourself,” Lowe says. “I think that’s Moses’s exploration, both in the Five Books of Moses — the Torah — and I think this character, too.”

‘How to Be a Korean Woman’

“Here I Am” wraps up with Chomet’s first performance of “How to Be a Korean Woman” in nearly a decade. The actress, who was adopted from South Korea as a baby and raised in Detroit by a Jewish father and Protestant mother, wrote the show after an appearance on a Korean reality show led to the discovery of her birth mother.

“I always thought finding my birth family would fill a void that always existed as an adoptee, and it didn’t,” Chomet says. “I just felt more confused. So my way out of it was the only language I knew how to speak, which was theater. And I just started writing.”

After originally performing “How to Be a Korean Woman” in 2012 in St. Paul, Minn., Chomet starred in some half-dozen productions — including one in South Korea — before shelving the show. When Finn, who got to know Chomet while working for the Minneapolis new works incubator Playwrights’ Center, invited her to revive the play at Theater J, Chomet embraced the opportunity to reexamine the material and reach a new audience.

Chomet is in the midst of modest rewrites, as she addresses events from the intervening years and discusses her Jewish faith in more depth. And actually performing the show will present its own challenges, as she revisits a time ripe with heart-fluttering reunions, difficult revelations and weighty introspection.

“The ache is still there, and it might always be there, even if I had gotten everything I wanted from the reunion,” Chomet says. “There are just so many lost years.”

Edlavitch D.C. Jewish Community Center, 1529 16th St. NW. 202-777-3210. theaterj.org.

Dates: “See You Tomorrow,” Nov. 14-22; “Moses,” Dec. 1-24; “How to Be a Korean Woman,” Jan. 4-14.