Everything you wanted to know.
FULL-LENGTH PLAYS
Below are a few of the full-length plays I've written. Click on the links below for more info and to read the scripts.
THE SECRETARY
Ruby runs a small-town gun company that aims to protect women by helping them protect themselves. With products like The Bridesmaid, The Babysitter and The Mallwalker, each of the company's guns is named after a woman who used a gun and saved a life--more often than not, her own. When an elderly secretary at the local high school confronts a threat in her office with six bullets, Ruby responds by naming her latest gun after the reluctant hero: “The Secretary.” But as production begins on The Secretary, guns start going off all around town--and no one’s pulling the trigger. The Secretary is an offbeat comedy about safety, survival, and guns for a world that’s up in arms.
THE RIVER OF HAIRCUTS
A SERIOUS PLAY
When a supernatural phenomenon is discovered outside of a small town, the local government must act before the tourists come to tear them apart. A serious play about civic duty in the face of a river that cuts hair.
POOR SPORTS
When Rachelle takes Mandy’s position on the high school softball team, their alcoholic mothers face-off on the bleachers in a war of blackmail, brutality and binge drinking. Poor Sports is a dark comedy about small-town women discovering life after they’ve lost the game.
FERNANDO AND THE KILLER QUEEN
Fernando and the Killer Queen is about a fabulously despotic Queen who stages violent revolutions against her own crown. Until, that is, the unthinkable happens: the Queen falls madly in love. Caught between a revolution she can’t control and a love she can’t forget, the Queen struggles to hold her government (and maintain her sense of spectacle). A comedy about the queens among us (and within us) that features singing, dancing, drag, and a man tight tight tight green tights.
BLUE POINT
Blue Point is a love story about a teenage boy in the rural Midwest who kills his best friend. Taking place over the course of five years in alternating scenes of New Years and 4th of July, we watch these two friends search for stability in a world crumbling beneath their feet. As their home lives become marred with death, poverty, and instability, the boys become increasingly violent, destructive and desperate for affection. To cope, they begin acting out fantasies of domination and humiliation over their schoolmates, a meth addict, and one another. These fantasies become progressively more dangerous until the final scene where the boys decide to commit a harrowing crime in a forgotten cemetery down a deserted gravel road.