My Plays & Productions

Note: Links go to PDF scripts on my New Play Exchange profile. If you are not a member of the exchange and want to read a script, please email me.

Women And Money (2022): Comedy. The grumpy love-hate relationship of a down-on-their-luck mother and daughter is upset by a stranger with an offer of three million dollars – if they accept her into their family for a month. (3f). Looking for reading or production.

Who’s Yehoodi? (2022): Drama with comedy. What does it mean to be alive in America today, and Jewish to boot? Website writer Josh attempts to answer that question by snagging the last interview of the leading Jewish writer of her time, while his girlfriend Cleo, a Jew of color, tries to find a place that will accept her as herself. The spectres of a immigrant couple who lived in their Lower East Side apartment 100 years ago haunt them, as does a mysterious baby caught between all of them. (3f, 2m) Semifinalist, 2023 O’Neill Theater Conference. Looking for reading or production.

Grand Union (2020): Drama with comedy. Forty years in the life of a small declining central Pennsylvania town, as seen through the intersecting lives of two families, alike in dignity – one Black, the other Jewish. (5m, 2f) Semifinalist, 2020 Austin Film Festival playwriting competition; upcoming production, Off Pitt Street Theater, Bedford, Pa.

Lies (2019): Dark comedy-drama. Set in 1950 but as timely as today’s Washington tweets, the play is an allegory about lying in government, and a meditation on what truth actually is. Fresh out of law school, Benny, an inexperienced public defender, is facing the case of his life – trying to win the parole of a notorious German World War II radio propagandist who has a hard time telling the truth. Or does she? Are her truths all lies, or are her lies really the truth? And what happens when you can no longer tell the two apart? (1m,1f) Production, Lab Theater Project, Tampa, Fl., Nov. 2020 (review); Reading, AMT Theater, New York, Jan. 2023; Semifinalist, O’Neill Theatre Conference; Winner, Grand Prize, 88th annual Writers’ Digest Writing Competition, 2019; Finalist, SigWorks reading series, Signature Theater, Arlington, Va.; Reading, Baltimore Playwrights Festival, December 2019; Reading (postponed), Scripted Brussels theater festival, Belgium, May 2020; Reading, HRC Showcase Theater, Hudson, N.Y., Sept. 2021; Production, Attic Salt Theater, Asheville, N.C., 2022 (scheduled); Winner and reading, PlayFest Santa Barbara April 2022.

Personal Histories (2017): Comedy of menace. A scientist on the lam meets a disgraced journalist to ghost write his memoirs in a claustrophobic motel room outside Washington. And there’s a priceless statue. Pinter meets the Maltese Falcon. Two characters, no intermission, no break. (2m) Reading, Theater on the Lake, Deep Creek Lake, Md., June 2018; Semi-finalist, Garry Marshall Theatre, Burbank, Calif., 2018; Honorable Mention, 87th annual Writer’s Digest Writing Competition, July 2018; Second Round, Austin Film Festival, Aug. 2018; Second Round, Phoenix Theater, Nov. 2018; Finalist, Playwrights First competition, 2019.

Petey’s Parade (2016): Comedy-drama. An arrogant but talented leading German radio comedian goes from the cusp of World War II and his changing society, to the blacklist in America in 1947 where he can make amends for his past. While the play takes place in 1933 Berlin and later 1947 New York, it deals with many of today’s themes – the rising tide of fascism, artistic freedom, the treatment of LGBT writers and entertainers, anti-Semitism, and whether can we separate an artist’s brilliant work from his despicable behavior. (4m, 1f) Reading, Baltimore Playwrights Festival, October 2017; Second round, B Street Theater 2020 New Comedies Festival, Sacramento, Ca.

Stanislavski’s Methods (2014): Comedy. A theatrical producer, Evgeny Stanislavski is the great grand nephew of the famous director, and like his rundown Russian classical theater, his life has fallen into a state of disrepair. His theater has no paying subscribers, little audience, and he is hounded by creditors. Grusha, his leading actress – both on stage and, formerly, off – and Elena, his shy bookkeeper and a would-be actress, try to console him, to no avail. But a proposal from a shady friend of his to bring a notorious American action film actor and his assistant to the theater for a one-night fundraiser could fill his coffers – and bring Evgeny and Grusha back together. A pastiche of Chekhov and The Comedy of Errors, the play blends classical farce with modern fast-paced comedy and good comedic roles for women. (3m, 3f) Reading, Interrobang Theater, Baltimore, Oct. 2017.

Lost Souls (2015): Comedy-drama. A cold winter’s night brings Frank, a former lawyer and now a third-year rabbinic student, to a Spanish Harlem apartment about to go co-op, to help the long-time residents stave off eviction. But when he’s invited for a Friday night dinner of arroz con pollo, the centuries-old secrets he discovers will change their life, and his. Meanwhile, his roommate, another rabbinic student, is asked to prove, conclusively and once and for all, Is he really Jewish? (4m, 3f) Reading, Baltimore Playwrights Festival, January 2017; production, Jewish Community Theater of Montgomery County (Md.),  February 2019

Casa Neurotica (1990): Comedy-drama. A pair of former 1960s radicals try to find refuge with their former friends in New York, who have largely moved on. (3m, 2f)  New York Theater Festival, Off-Broadway in New York, May 1990.

Peanuts and Cracker Jack (1979): Comedy-drama. The relationship of a young third baseman for the New York Yankees and his older manager through a baseball season. (2m) Multiple LORT productions (Case Western Reserve Univ.; Cleveland Play House; Arkansas Repertory Theater, Little Rock; Cricket Theater, Minneapolis; Mint Theater, New York) 1979-1993