Selected Plays



It is 1944 and Robert Oppenheimer and his brother Frank are racing to beat the Nazis to the nuclear bomb. Afraid of Germany's head-start, Robert and his boss, General Groves, push their scientists to avoid waking up to a mushroom cloud over New York. And with growing concern over his Communist associations, Robert has no time to think about the consequences of his gadget. But in 1945, when they see the weapon's devastation, Frank has doubts about its use. General Groves, however, is determined to go forward, and when Robert realizes opposing the weapon will ruin his career, he is forced to choose between his conscience and his ambition, his brother and his bomb. (Full-length play.)

Incendiary Agents


Incendiary Agents takes place in 1969 and is the story of five friends led by a charismatic and idealistic Catholic priest on a daring nighttime raid of the local draft board office in an effort to disrupt the draft and make a statement against the Vietnam War. But when the FBI offers one of the raiders a choice between carrying out the raid and getting his own son sent home from the war, each of them is forced to decide which is more important -- their principles or the people they love -- and how much they're willing to give up for what they believe in. (Full-length play.)

Tell Me You Love Me


Tell Me You Love Me tells the story of four friends living in New York City in the months following the September 11th attacks and the effects the fear of that period has on their marriages and relationships. This quickly paced whirlwind of a play echoes the relentless cycle of government warnings and breaking news that was the norm after the attacks. From the stripping of our civil rights to the rounding up of Middle Eastern immigrants to the invasions of Afghanistan and Iraq and the prison abuse scandals that followed, the play, much like the morning paper and the nightly news, is about the mean, stupid things people do to each other when they're scared. (Full-length play.)

Sex + Money, Money + Sex


This is a comically and darkly absurd take on the way couples have the same arguments and play out the same patterns over and over as relationships progress from the first blush of love through frustration and anger to violence and back again. (One-act play.)

The Colonial Diner


Trapped in a cliche American diner in a cliche American town, three cliche characters watch as Barack Obama wins the presidency. Egged on by the diner's lonely Old Man and mocked by its Hispanic-looking Cook, the naive Waitress allows this victory to raise her hopes that her life will finally improve. But when the money she thought she had saved disappears -- yet again -- she is forced to face that she and the others are stuck in their hackneyed and threadbare world, no matter what cliches the politicians promise. (One-act play.)

Don't Write a Bad Play


A playwright is taught a lesson when he writes a particularly violent and brutal play about torture and his characters, sick of being subjected to such treatment, kidnap and torture him into changing the ending. (One-act play.)

Sleeping with Strangers

Sleeping with Strangers is an absurdist comedy that takes place in a world where everything the characters say about each other suddenly comes true, using fantasy to explore how we don't really fall in love with other people as much as we fall in love with the image we create of those people in our imaginations. (One-act play.)

Shacking Up

This comedy is set around the production of a hackneyed, cliche-ridden murder mystery that begins to spin out of control when the star's jilted fiancee shows up and takes over the lead role. Characters are added, scenes are rewritten, and even the play's title gets changed by a group of actors unhappy with the script they have been given to play. Eventually even the audience gets pulled into the action as the characters begin to confuse drama and reality, character and actor, audience and witness. (Full-length play.)

Superiority Complex

Against his better judgment, Clark is seeing psychiatrist Dr. Feingold to deal with his sudden inability to "get up" and what Dr. Feingold calls his superiority complex. But when Dr. Feingold convinces Clark that it may be his super-high-pressure job that's causing his problems, Clark is unaware that the doctor has an ulterior motive and a famously evil employer. (One-act play.) 




Please contact Jack for info about other plays.