PLAYS

At the end of Act II, Hamlet says, “The play’s the thing wherein I’ll catch the conscience of the king.” Personally, I wasn’t too interested in catching the conscience of a king – or even a duke or viscount, for that matter – but the idea that The Play’s the Thing must have struck a chord … or something chordesque. I began writing plays – both for the stage and the screen. The result? - over the years, I’ve written more plays than you can shake a quill at. In the interest of blatant self-promotion, here’s a brief bio of my efforts: Most of my plays have been produced or have received staged readings. Three plays – A.R@Uni.Gov, The Kindness of Strangers, and Sense & Insensibility – have been published. My plays have been produced in theaters across the country, from New York to Los Angeles, as well as in Canada, Mexico, India, Australia, New Zealand, Malaysia, and the Philippines. Several short screenplays have been produced as well as a feature length film I helped write, titled The Donor Conspiracy. Three radio plays have been produced and broadcast nationally. Here are links to the three plays that have been published and that are available for licensing and performance, with excerpts from each.

A.R@UNI.GOV
available through Heartland Plays, Inc.

Sense & Insensibility
available through Eldridge Publishing Company

The Kindness of Strangers
available through JAC Publishing & Promotions

What if Adolf Hitler had married Emily Post? Find out in this playful comedy that gives your audience a bird’s eye view of the couples on file at the Bureau of Alternate Realities where relationships throughout the universe are the subject of interest and examination. The Bureau Director leads us through a serious of vignettes with such well-known personalities as Adam and Eve, Barbie and Ken, and Romeo and Juliet, occasionally taking a poke at a member of the audience who he addresses as visitors to the Bureau. But don’t expect the characters to act the way you think! In the world of Alternate Realities even a match between Marilyn Monroe and Arthur Miller can get turned on its head. And how can analytical Sigmund Freud ever expect to please the likes of romance novelist Barbara Cartland? A fun way to kick-off your season or truly amuse your summer audiences, with enough great roles to showcase the talents of your entire theater company!
Distraught at the lack of any stimuli, an old man’s five senses are concerned that he’s dying, which means the end for them as well. As a final tribute, Sight, Hearing, Touch, Smell and Taste reminisce about poignant moments they remember from the man’s life. They are joined by Intuition, who senses that the man is not necessarily dying of old age and suggests that they all recount the last stimulus they remember in the hopes that they can figure out what happened. As they put it all together, they realize what has occurred and try to help him…and themselves. An excellent play for contests with its lean structure, minimalist staging, and challenging roles of playing senses, which like theatre itself, must work together for a living whole. Finalist in the Tennessee Williams/New Orleans Literary Festival One-Act Play Contest and the 12th annual Chameleon Theatre Circle's One-Act play contest. 

Darin Fisher, claiming to be a MFA grad student, arrives to produce and direct a Shakespearean play. He's staying till the performance, one week away. Ten residents show up for the initial meeting. They are irascible and headstrong, but they agree to do "The Tempest." Then they bully Darin into playing Ferdinand and therapist Heather Barclay into playing Miranda. As it turns out, Darin's not a grad student, but an undercover cop sent to Swann to investigate a series of suspicious deaths. When Heather discovers this, he realizes his mission is jeopardized, and he's ready to pull out. But he stays for one more night, just long enough to suspect that the deaths have been suicides, assisted by the very group he's directing. He's in a quandary - does he apply the letter of the law? Or try to rationalize away their illegal intervention.
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