WORKS IN PROGRESS

NECK DOWN

Cast: 3–6 · Genre: comedy, dark comedy

It’s the morning before an ancient coin auction in NYC and early-career artist Ciel is stuck working yet another menial temp assignment. An old money collector arrives early to inspect the legal tender upon which he plans to bid. So begins a daydream about lottery winnings, caskets, sex fantasies, delulus of grandeur, Sergei Diaghilev, and Big Oil Banks. The physical characters onstage duet with the voices in their heads, mounting a tragicomic class stand-off and a toast to the relentless spirit of artists living on the brink of precarity. ​​​​

MEAN TIME

Cast: 14–18 · Genre: comedy, dark comedy

Totaled cars litter a high-school parking lot. Fake blood runs down rented prom dresses. Community stakeholders rubberneck from the bleachers as an announcement comes on over the PA: "Thrice An Hour, a citizen of our great country dies from an alcohol-related car crash. Today, (INSERT STUDENT NAME HERE) has died. This is what happened in the aftermath." But the student-performers of this particular drunk driving reenactment assembly are still traumatized from the death of their classmate last year, and instead launch an insurgent counter-performance, upending the mores of Neo-Conservative Southern California in 2006. Mean Time is a full-length comedy about revolutionary spirits - a satirical revolt against failures of imagination.

PERSON OF DESCENT (working title)

Cast: 20· Genre: satire, comedy

A band of buffoons are conscripted by Caesar to gather intelligence on the “barbarians” of Britannia. Forging an unlikely alliance with the persecuted Druids, the Romans embark on a snipe hunt for their absolution. Equal parts camp, concert, and Total Theatre, Person of Descent (working title) is a Black Comedy on the fantasy of Western European indigineity.

CRY POOR THEATRE

Cast: 12–18 · Genre: satire

Nonprofit theatre company, Cry Poor, has a hit. They’re running the most controversial play this city’s seen in years. But while the bestial tragedy buzzes along in the house, volunteer “Open Ears” Harold and Ro wonder if they’ll ever be able to redeem their compensation: a complimentary ticket that never seems to materialize. A lobby satire about performativity, exploitation, and how living hand-to-mouth subsidizes “the work”.