Scripts available via New Play Exchange or upon request.
**BRAND SPANKIN’ NEW!** Full-length – Ensemble of 9 +
What happens when a somewhat cynical, socially focused theatre-maker adapts Charles Dickens’ A Christmas Carol? She deconstructs the whole thing, excises the improbably reformed capitalist/sugar-daddy ending, and puts the plot in the audiences’ hands, of course!
This meta-theatrical, highly interactive play is brought to life by old, dead Marley, who leads a cadre of self-aware characters aiming to enlighten (and change) old, miserly Scrooge. After witnessing a deconstructed version of his past, present, and future, however, Scrooge determines the best way to affirm his standing is to shore up his business against those that would tear his company down, and he invites our beloved Bob Cratchit to become a partner in these efforts. It is Cratchit then, who is faced with the play’s final decision: Become complicit in Scrooge’s malfeasant dealings but take better care of his family through the financial rewards of this action, or take the moral, but financially unstable (and probably catastrophic) high road of turning Scrooge’s partnership down? Because the play is interactive, the audience themselves will be able to make this choice, putting them directly in Cratchit’s shoes.
It’s not ALL brain (or heart?) work for our audience though… There’s also a puppet wrestling match, bloody piñata explosion, food, prizes, dancing, and a whole lotta’ laughs.
Full Length – Ensemble of 15 (with doubling)
Maybell has a problem: Guys never stick around after she sleeps with them. She thinks she just needs to adjust her dating radar, but when her court-appointed gynecologist discovers that Maybell’s vagina is actually sending her lovers to space, the federal government decides it wants a piece of the action, leading Maybell to ask “Am I Woman, or am I Weapon?”
A hilarious, sci-fi romp through one woman’s struggle to reclaim ownership over her own vagina.
Semi-Finalist: O’Neill Playwright’s Conference, 2018
Flexible duration, flexible casting – a collection of 1-3 person scenes
These plays have been written to be performed outside and from a distance. The actors do not get close to each other! Pieces range in tone and style: An epic battle between a couple of rowdy germs and hand sanitizer, friends exchanging bread and coping strategies, a pair of dinosaurs facing down the end of an era, a new couple’s first (but socially-distant) non-Zoom date… In total, there are twelve fun, weird, short plays and monologues to choose from!
These pieces could be performed on parade, in a park, as drive-up theatre (like a drive-in movie) or in any other number of creative ways. The essential thing is: Have fun with a new performance space/style! Be safe! And select as many of the pieces in this collection as works for you. Also, don’t be afraid to incorporate some dance numbers – socially distant of course – or other fun performances. Does someone in your company juggle? Eat fire? Are they a contortionist? Create as many non-acting acts as works for you/your company and have fun bringing theatre to your community!
**These are all brand new pieces. I am happy to workshop any of them as needed with your company!**
Full Length – 1 W, 3 M
Aura Bloom can’t sleep. She’s consumed with grief over our ever-warming planet and despaired over recent social/political events. So, when Aura seduces an unsuspecting Census Worker in a last ditch grab for consolation (who later mysteriously dies in her bed) and claims he’s impregnated her, it’s no wonder that her husband, Billy, thinks she’s gone over the edge. In the months that follow, Billy tries to navigate his anger over Aura’s infidelity, while Aura prepares to birth an extinction level plague; Mother Earth’s final punishment for mankind’s carelessness.
A play about crickets, politics, sex, unemployment, and… oh yeah, the end of the world.
Workshopped: Boston Court Performing Arts Center’s 13th Annual New Play Festival, July 2017
Finalist: O’Neill Playwright’s Conference, 2011
Semi-Finalist: Next Generation Playwriting Contest – Reverie Productions, 2011
Readings: The Artist’s Path, 2010
Full Length – 2 W, 1 M After her estranged parent’s phone line has been disconnected, Moira Lane begrudgingly returns to the home she abandoned eight years ago only to find things far worse than she could have feared. Her father, William, has taken to peeing in coffee mugs and her mother, Bonnie, claims to have had a miraculous birth. Believing the “baby” to be her youngest daughter reincarnated, Bonnie is convinced that Faeries in the woods have blessed the family with a second chance. As a terrible storm moves in, Moira must battle her family’s madness and navigate the years of guilt and grief feeding the storm if she has any hope of getting out alive. Developed at The Hawthornden International Writer’s Retreat and Theatricum Botanicum
Production: Nu Sass – Washington, DC April – June, 2022
Development: Developmental workshop production with Acadiana Repertory Theatre (Lafayette, LA) – 2015 You can listen to an interview with ART’s Artistic Director about Twigs and Bone HERE
Conferences: Great Plains Theatre Conference, 2014
Finalist: Jerome Fellowship, 2010; Relative Theatrics’ Playwrights Voiced New Works Fest, 2018
Semi-Finalist: O’Neill Playwright’s Conference, 2010 Bay Area Playwrights Festival, 2010
Readings: Theatricum Botanicum Seedling Reading Series, 2009; Swandive Theatre, 2016
Eleven intrepid playwrights have teamed up to write a most peculiar pandemic-proof play: ALICE IN QUARANTINE: A Drive-Thru Adventure. Co-written by Tiffany Antone, Allie Costa, Sharon Goldner, Jen Huszcza, Mildred Inez Lewis, Charissa Menefee, Amanda Petefish-Schrag, Micki Shelton, Taylor Sklenar, Cynthia Wands, and Jennie Webb, this exciting outdoor theatre event was inspired by Lewis Carroll’s Alice’s Adventures in Wonderland.
What does “Pandemic-Proof” mean?
– All scenes have been written to be performed by 1-3 actors, and they do NOT need to be near one another or audience members.
– As a Drive-Thru Adventure, the play takes place outside and audiences move through the scenes in their cars, creating safe social distancing for all.
– The carnivalesque atmosphere includes additional Covid-safe drive-thru activities like a Caucus Race Pitstop, Playing-Card Cornhole, and Wonderland Selfie Stops!
Thinking Outside the Theatre Box!
CUSTOMIZABLE! This innovative script offers multiple scene options per chapter, making it highly customizable for your company.
GREAT FOR COMPANIES OF ANY SIZE— Regional, Community, University, and High School Theatre!
FAMILY-FRIENDLY! Fun for all ages.
A bounty of design/performance opportunities! This unique theatrical event allows for an incredible variety of production approaches and provides fun acting, design, and directing opportunities for your company!
The Low Tide Gang
Full Length – 4 M, 1 W, and 1 Chicken
Four odd gentleman, one sandy room, two shovels, a curious board game, and a couple of unexpected guests make this absurdist play quite an unusual ride. THE LOW TIDE GANG is an “examination of masculinity, violence, gender stereotypes and power dynamics—with a hefty dose of fearless good humor.”
Semi-Finalist: O’Neill Playwright’s Conference, 2016
Full Length – 2 W, 3 M Ana’s life finally seems to be getting back to normal. She has a loving husband, good credit, and she just found the perfect dress, one that practically sings when she puts it on. So it’s no surprise really that things are about to get messy. See, Ana’s first husband, David, didn’t die in a military crash after all. He’s been a prisoner of war for the past 3 years, and the army just called to let her know he’s back. Now Ana has to decide how much her heart can take. And if that weren’t enough, David brought back something with him. Something dark, and dangerous, and it lives in the closet. Part surrealistic comedy, part romantic odyssey, Ana and the Closet, is a simple story set amidst today’s confusing times.
Winner: Tim Robbins Award Marianne Murphy Women & Philanthropy Award in Playwriting
Finalist: Jerome Fellowship, 2009
Semi-Finalist: O’Neill Playwright’s Conference, 2009
Readings: Los Angeles Playwrights Arena, 2009; Kennedy Center Page to Stage Festival, 2009;
Full Length- 5 W, 3 M Available through Indie Theater Now! Jane Doe cannot explain how the frozen cod got in her briefcase, she cannot explain why she keeps dreaming about snow, and she certainly doesn’t understand why she is being kept awake night after night with dreams of a little man slicing her into bite-size pieces. What she does know, however, is that she needs to get to the bottom of things before these mysterious “Incidents” get in the way of the biggest promotion of her life! When the eccentric Dr. Snafu offers to clone her, she leaps at the opportunity. What she doesn’t realize though, is that by failing to disclose her multiple plastic surgeries she will come face to face with the “Jane-that-could-have-been”, thus forcing her to confront her own inner demons. What follows is a riotous, and fantastical, journey through one woman’s fight for self-discovery. Developed with UCLA, and The Theatricum Botanicum
Productions: 2008, CAKE Productions (NY) – 2012
Workshop Production – LA Theatre Ensemble – 2008
Winner: New Works for Young Women, University of Tulsa New Plays on Campus, The Playwrights’ Center Dini Ostrov Stage Spirit Award Hal Kanter Award in Comedy Writing Marianne Murphy Women & Philanthropy Award in Playwriting
Finalist: Princess Grace Awards, 2006
Ham Brown’s House
Full Length- 2 W, 3 M
About a year ago Paul Brown returned to the family farm. He entered the house while no one was home, took off all his clothes and shot himself in the head. Now, a year later, Ginny Mae Brown has moved back to the family farm to take care of her ailing Mother and quick-tempered father, but things aren’t quite right in Ham Brown’s House. Ham is convinced his daughter is trying to kill him, his wife can’t speak, the nosy family physician keeps coming round to check on things, and his favored son John hasn’t been home since the funeral. All Ham wants is some peace and quiet , but that might be hard to do with Ginny poking around. Left to put together pieces of an old family secret, hidden away for 33 years, Ginny starts to wonder, what is Opal hiding? Did she really suffer a stroke or was she the victim of some sort of attack? What does Doc Housman know that makes Ham bristle at his very name? Why hasn’t John come home, and what is on that old movie reel that has got Opal so terrified of Ham? Events unfold in a pressure cooker of emotion until the final scene, where the old projector is once again found and Ginny Mae serves up a final reckoning.
Finalist: Princess Grace Awards, 2008
Semi-Finalist: Eileen Heckart Drama for Seniors Competition, 2009
From the Rubble
When the end of the world interrupts Jack’s busy day at the office, he is more then a little depressed at the prospect of spending his final moments with Pete, his pet rock. Not long after his office caves in however, Tori, a free spirited accountant from down the hall, hammers her way through his office wall with her high heel. He is looking for salvation; she’s just looking for the bathroom. Together they find the answers, but not in the forms they expect. You see, God has a little plan of her own, and it requires a higher commitment than either Jack, or Tori, have ever had to make before. *This play may be performed as a 1-act utilizing the first act of the script only. In this case, the script will call for 1 W, and 1 M. Developed with NEW Plays NEW Voices at UCLA Playreading Series
Winner: Marianne Murphy Women & Philanthropy Award in Playwriting
Semi Finalist: AACT New Play Fest, 2014