Nobody’s Listening by Ed Shockley

Comedy-Drama/ Multiple characters, 3 male, 3 female, plus flexible extras / One Act, 50-60 minutes/

Synopsis: A film sets up to broadcast a live performance of a new pilot show, The Adventures of Mech-Boy. As the audience files in, there is panic onstage because the actor playing the Robot star of the anti-violence show has gotten caught in his trailer. The frantic director recruits a kid from the audience to replace the star seconds before the broadcast begins, but the impromptu actor becomes increasingly uncooperative and comically inventive as he struggles to make the hokey show reflect the real challenges that youth face in the difficult environment of a public school.

A portion of Nobody’s Listening may be read by clicking on the “Read It Now” button above. To obtain a complete reading copy, please see the Contact Information on this page.

Published by arrangement with YouthPLAYS

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Performance rights must be secured before production
Contact information: Amateur and professional rights:
YouthPLAYS
7119 W Sunset Blvd #390
Los Angeles, CA
USA 90046
E-mail: mailto:info@youthplays.com
Website: www.youthplays.com

About the Playwright: Ed Shockley, MFA is author of more than eighty plays. His works have set five box office records and been honored with numerous awards, including the Stephen Sondheim Award for Outstanding Contributions to American Musical Theatre, a Pew Fellowship in the Arts and PA State Arts Council Playwrights Fellowship. He has received commissions for youth theatre plays from Seattle Children’s Theatre, Children’s Theatre of Charlotte, Dallas Children’s Theatre, Black Spectrum Theatre and the Harlem Renaissance Theatre. His historical short film, Stone Mansion, aired on Showtime television.

Nobody’s Listening was commissioned and first produced by Charlotte Children’s Theatre, Charlotte, NC.

 

The Business Lunch by Sean Slater

Comedy/ 2 Characters, 2 Men/ Short play, 15 minutes

Synopsis:
As a young businessman is approached by his boss for a new “pet project”, he becomes educated in everything from buffalo sandwiches to bean bag chairs.

 

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Contact information:Amateur and professional rights:Alan Rossett
Sean G. Slater
240 W. 102nd St., Apt. #65
New York, NY,
USA 10025
E-mail: seangslater@gmail.com
ISBN (for competition use): ISBN 978-1-60585-981-1

About the Playwright:: Sean Slater was born in West London Hospital which no longer exists. He was raised in the backwoods of California by deer. He is currently in New York City.

The Business Lunch was first performed by the West Indies Theatrical Group at the 8th Street Studio Theatre in Berkeley. It has also been produced by various other Berkeley theatre companies, including the Berkeley Repertory Theatre; at Black Repertory Theatre (Oakland); at the American Conservatory Theater’s Hastings Studio Theatre in San Francisco; as part of the Edinburgh Theatre Festival’s “Shorts Extravaganza” in Scotland; and at high schools and theatre functions throughout the United States and abroad.

Multiple Choice by Alan Rossett

Comedy/ 2 Characters, 1 Man, 1 Woman/ Full Length, Two Acts

Synopsis:
Parsifal Samsondale, a middle-aged millionaire with suicidal tendencies, returns to his home town. At midnight, all his past loves eerily appear, through the body and voice of Madame Jo. Is she an authentic psychic medium — or a dangerous quack? Or perhaps an ordinary housewife who’ll stop at nothing to get her hands on Parsi’s wealth?

“Two extraordinarily dynamic actors in a play that’s hilariously funny, and ultimately very moving. Both realistic and surrealistic, with its detective story plot, in itself intriguing. I won’t give away the end.”
International Herald Tribune

“The shattering encounter between a hypocritically well-behaved man and an outrageously improper lady, written with Alan Rossett’s invigorating sense of humor.”
Paris Capital, April 1997

“A tasty comedy, brilliantly interpreted, transforming the Essaion Theatre into the salon of a seeress, meting out punishment and redemption. Scathing humor but also real humanity characterize this ‘parapsychological’ comedy.”
Astro News, March 1997

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Performance rights must be secured before production
Contact information:Amateur and professional rights:Alan Rossett
Alan Rossett
91, rue Nollet
75017 Paris
France
Ph.: (33) (0) 1 42 63 98 14
Email: rossdoal@aol.com

About the Playwright: “Cocteau meets Woody Allen” was film-director Jean Delannoy’s comment on Alan Rossett, the only American to have French language plays produced regularly in France . . . and to receive awards from the Centre National des Lettres. Born in Detroit, he began his career as an actor in New York, where he appeared for a season with the Living Theatre and also as James Earl Jones’ first Iago. Relocating in Paris, he wrote and directed an evocation of Montmartre Light and Shade with Charles Boyer. Then his comedy High Time went from London to Sydney to New York (at the Actors Studio) and wound up, translated, in a Parisian cafe theatre before transferring to La Bruyere, a Broadway category house.Rossett made the language cross-over into French with two plays set in restaurants which he staged in the midst of diners at a show biz hang-out, running 200 performances.

Many other productions followed of his French-language plays, including How It Happened, Cat As Cat Can, Love On Ice, Calamity Jane. Au Pair Girls premiered in Paris and was revived successfully at the Avignon Festival where it was nominated for a PIAF as comedy of the year.His French plays are published by Avant-Scene Theatre, Editions des quatre-vents, Editions Art et Comedie et Librairie Theatrale. He has adapted into English many of his own works as well as a series of plays by colleagues that have received grants from the Beaumarchais Association of the French Author’s Society. Rossett has done English versions as well of Alain Decaux’s historical pagaents (Chateau Blois Comes To Life and De Gaulle: the Man Who Said NO. As an actor, he has appeared in films of Marcel Carné, Woody Allen, and over 50 others.

Multiple Choice premiered at the Theatre Deque, Belfort, France, and subsequently tranferrred to the Essaïon Théâtre, Paris.

How It Happened by Alan Rossett

Comedy/ 3 Characters, 1 Man, 2 Women/ Full Length, Two Acts

Synopsis:
Against the background of Parisian literary circles, Albert sets out to win the favors of a delectable young lady, Christine, by writing her a “bestseller” . . . using as “plot” the sizzling secrets of his closest friends . . . people like himself: rootless, lost in a big city, clinging to each other as their sole reason for being.

The course of all their lives takes a sharp turn as fragile human relationships are thrust against the creative impulse. Albert’s game of transforming real people into fictional characters turns out to be extremely dangerous. Dahlia decides to get even.

Winner of a New Drama Award from the Centre National du Livre.

“An utterly engrossing play written with shattering lucidity. The author cruelly dissects the darker sides of friendship – it’s merciless but without false pessimism either.”
France Soir

“Humorously, Alan Rossett shows us that it’s not easy living alongside literary folk… A witheringly accurate comedy.”
Le Nouvel Observateur

“Why is this such an endearing play? Because its characters are contradictory, rich, changing: in short, very much alive. The author qualifies his comedy as one of ‘caresses and claw marks.’ His consummate craft resembles the tailoring of a great high fashion designer.”
Valeurs Actuelles

“Alan Rossett has a style all his own: sober themes placed within scrupulously exact backgrounds, then turned every which way by razor sharp wit. With elegance, startling theatricality, intelligence and brio, Rossett lowers us into the bubbling cauldron of the literary world.”
France2

“Alan Rossett’s plays are ironic, lucid, biting, on a very high level; here rivalry, jealousy, possessiveness, smouldering resentment are the ingredients of a play that’s not only funny and tender – but ruthless. Savour this bittersweet comedy.”
Actualité Juive

“A black and pink comedy, in which a diabolical trio of talented actors carry us from surprise to surprise.”
La Terrasse

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Performance rights must be secured before production
Contact information:Amateur and professional rights:Alan Rossett
Alan Rossett
91, rue Nollet
75017 Paris
France
Ph.: (33) (0) 1 42 63 98 14
Email: rossdoal@aol.com

About the Playwright: “Cocteau meets Woody Allen” was film-director Jean Delannoy’s comment on Alan Rossett, the only American to have French language plays produced regularly in France . . . and to receive awards from the Centre National des Lettres. Born in Detroit, he began his career as an actor in New York, where he appeared for a season with the Living Theatre and also as James Earl Jones’ first Iago. Relocating in Paris, he wrote and directed an evocation of Montmartre Light and Shade with Charles Boyer. Then his comedy High Time went from London to Sydney to New York (at the Actors Studio) and wound up, translated, in a Parisian cafe theatre before transferring to La Bruyere, a Broadway category house.Rossett made the language cross-over into French with two plays set in restaurants which he staged in the midst of diners at a show biz hang-out, running 200 performances. Many other productions followed of his French-language plays, including How It Happened, Cat As Cat Can, Love On Ice, Calamity Jane. Au Pair Girlspremiered in Paris and was revived successfully at the Avignon Festival where it was nominated for a PIAF as comedy of the year.His French plays are published by Avant-Scene Theatre, Editions des quatre-vents, Editions Art et Comedie et Librairie Theatrale. He has adapted into English many of his own works as well as a series of plays by colleagues that have received grants from the Beaumarchais Association of the French Author’s Society. Rossett has done English versions as well of Alain Decaux’s historical pagaents (Chateau Blois Comes To Life and De Gaulle: the Man Who Said NO. As an actor, he has appeared in films of Marcel Carné, Woody Allen, and over 50 others.

How It Happened was first produced by the Théâtre de l’Atalante, Paris, France in May, 2004, in its original French version entitled Les Sans-Attaches. The French text is published by L’Avant-Scène Thèâtre Nº1161 June 1st, 2004.

Girl At Her Mirror by Alan Rossett

Comedy-Drama/ 1 Character, played by 2 Women/ Full Length, 80 minutes

Synopsis:
Who hasn’t dreamed of looking in a mirror and seeing the person one once was . . . or the one who’s waiting ahead.

Two actresses, one young, one old, trace the journey of Olivia, from her conventional beginnings in the French provinces, through her tumultous collisions with the art world . . . her first affair with a macho cubist . . . her marriage to a portraitist specialising in beautiful women . . . the Paradise that turns into Hell for both of them.

Adorable? Deplorable? Scheming? Generous? At the age of 70, she’s lost nothing of her cutting edge. On a live TV show, she reveals all her truths, all her secrets . . . and those of everybody else!

“A very moving evening in the theatre, a must-see.”
– Théâtreauteur

“Light, funny and utterly charming . . . the essence of Alan Rossett.”
– FR 3

“A lovely comedy . . . The author humorously traces two faces of the same woman to which two actresses lend moving reflections.”
– Dumas Theatre

“Tenderly but sardonically the author gets to the roots of one woman’s destiny, from the 1950’s to the present.”
– Direct Matin

“A gripping play bristling with truth.”
– Théâtre contemoprain.tv

Read it Now
Performance rights must be secured before production
Contact information:Amateur and professional rights:Alan Rossett
91, rue Nollet
75017 Paris
France
Ph.: (33) (0) 1 42 63 98 14
E-mail: rossdoal@aol.com

About the Playwright: “Cocteau meets Woody Allen” was film-director Jean Delannoy’s comment on Alan Rossett, the only American to have French language plays produced regularly in France . . . and to receive awards from the Centre National des Lettres. Born in Detroit, he began his career as an actor in New York, where he appeared for a season with the Living Theatre and also as James Earl Jones’ first Iago. Relocating in Paris, he wrote and directed an evocation of Montmartre Light and Shade with Charles Boyer. Then his comedy High Time went from London to Sydney to New York (at the Actors Studio) and wound up, translated, in a Parisian cafe theatre before transferring to La Bruyere, a Broadway category house.

Rossett made the language cross-over into French with two plays set in restaurants which he staged in the midst of diners at a show biz hang-out, running 200 performances. Many other productions followed of his French-language plays, including How It Happened, Cat As Cat Can, Love On Ice, Calamity Jane. Au Pair Girls premiered in Paris and was revived successfully at the Avignon Festival where it was nominated for a PIAF as comedy of the year.

His French plays are published by Avant-Scene Theatre, Editions des quatre-vents, Editions Art et Comedie et Librairie Theatrale. He has adapted into English many of his own works as well as a series of plays by colleagues that have received grants from the Beaumarchais Association of the French Author’s Society. Rossett has done English versions as well of Alain Decaux’s historical pagaents (Chateau Blois Comes To Life and De Gaulle: the Man Who Said NO. As an actor, he has appeared in films of Marcel Carné, Woody Allen, and over 50 others.

Girl at her Mirror was first produced at the Comédie Nation, Paris, France in 2009, prior to an extensive tour.

Cat As Cat Can by Alan Rossett

Cat As Cat Can

Comedy/ 12 Characters, 2 Men, 2 Women playing multiple parts or 7 Men, 5 Women/ Full Length, Two Acts

Synopsis:
A Disney-like kingdom in the mountains. To escape its wicked queen, a particularly uncharming Prince Charming turns into a cat and is confronted with the horrors of modern existence: poverty, political foment, frustrated passion and urban solitude.

Without a word, often without his consent, the cat is used as long-lost lover, departed family, friend who’d never betray you . . . and shrink who eases anxiety with his unblinking stare.Fantasy and reality collide. Fairy-tale princess, pathetic steno-typist, queen, dropout, sado-maso, travelling salesman are brought together by the cat catalyst.Paradoxically, the Prince, as a cat, becomes more of a human being. But at what price?

Playwright’s production notes

“Written with humour, freshness, will charm cat lovers and non-cat lovers alike.”
Figaro

“A charming and witty comedy turning around a humane, philosophical cat. Sheer delight.”
L’Avant-Scène Théâtre

“You don’t have to be a cat lover to enjoy this very tasty comedy . . . . Alan Rossett writes about love and politics with lots of humour and a refreshing innocence.”
Quotidien de Paris

“A delirious irresistible, hilariously funny fairy tale.”
Femme d’Aujourd’hui

“In a dreamy style all his own, Alan Rossett writes charming plays in which fantasy is matched up to tenderness. An adorable evening in the theatre.”
Figaro Magazine

Read it Now
Performance rights must be secured before production
Contact information:Amateur and professional rights:
Alan Rossett
91, rue Nollet
75017 Paris
France
Ph.: (33) (0) 1 42 63 98 14
Email: rossdoal@aol.com

About the Playwright: “Cocteau meets Woody Allen” was film-director Jean Delannoy’s comment on Alan Rossett, the only American to have French language plays produced regularly in France . . . and to receive awards from the Centre National des Lettres. Born in Detroit, he began his career as an actor in New York, where he appeared for a season with the Living Theatre and also as James Earl Jones’ first Iago. Relocating in Paris, he wrote and directed an evocation of Montmartre Light and Shade with Charles Boyer. Then his comedyHigh Time went from London to Sydney to New York (at the Actors Studio) and wound up, translated, in a Parisian cafe theatre before transferring to La Bruyere, a Broadway category house.Rossett made the language cross-over into French with two plays set in restaurants which he staged in the midst of diners at a show biz hang-out, running 200 performances. Many other productions followed of his French-language plays, including How It Happened, Cat As Cat Can, Love On Ice, Calamity Jane. Au Pair Girls premiered in Paris and was revived successfully at the Avignon Festival where it was nominated for a PIAF as comedy of the year.His French plays are published by Avant-Scene Theatre, Editions des quatre-vents, Editions Art et Comedie et Librairie Theatrale. He has adapted into English many of his own works as well as a series of plays by colleagues that have received grants from the Beaumarchais Association of the French Author’s Society. Rossett has done English versions as well of Alain Decaux’s historical pagaents (Chateau Blois Comes To Life and De Gaulle: the Man Who Said NO. As an actor, he has appeared in films of Marcel Carné, Woody Allen, and over 50 others.Cat As Cat Can was premiered in Paris, France in 1988 at the Théâtre Essaïon in its original French version entitled Chat Qui Peut. The French text is published by Editions Art et Comédie
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“The laughs are constant but under them, an exploration in depth as to why human beings share their lives with animals.”
Astre

“An enchanted voyage, tender, biting, absolutely delightful.”
Radio G

The Best Woman by Gary Earl Ross

Comedy-Drama / 9 Characters, 5 Men, 4 Women / Full Length, Two Acts

Synopsis:
For the first time, both major party presidential candidates are women. Dr. Nea Gilchrist, former Secretary of State and the first African-American woman Vice President, must distance herself from Sam Houston Bullard, the conservative Republican President to whom she owes her political success. Senator Amanda Dean Styles, a white northeastern liberal and the widow of Brendan Styles, a charismatic Democratic presidential candidate, must emerge from the shadows of the tragedy that shaped her political future. Tonight is their first debate . . .

From The Buffalo News: “The strength of the play comes not in the scenes between the two candidates, but as their political advisers strategize and plot backstabbing techniques before the debate . . . . Surprisingly, Ross reserves equal vitriol for both sides of the aisle in this play, while he could very well have let it slip into a raving diatribe against the Bush administration. In a particularly telling scene, Gilchrist, the Republican candidate, gets a call from Rev. Bob Patterson, Ross’s version of televangelist Pat Robertson. Speaking about the gay group the Log Cabin Republicans, Patterson suggests, ‘If they want to be gay, they should just be Democrats.’

“When the phone call is over, Gilchrist quips, ‘People like him used to be presidential assassins, not presidential advisers.’ It’s an unexpected humanization of the Republican side of things, and a look into the hypocrisy inherent in running a campaign for either party. It’s refreshing to see Gilchrist not as a possessed neoconservative pawn, but a woman, as Ross puts it, whose ‘good intentions deprived her of a deeper social conscience.’ But, conversely, the good intentions of The Best Woman can only make our social consciences deeper.”

“Well-written and tightly constructed, its characters imbued either with authentic good nature or downright fiendishness . . . . [the] smart, cutting dialogue is engaging enough to make the drama at least as amusing as the political process of the last few years.
– Colin Dabhowski, Buffalo News

“Gary Earl Ross, who achieved a huge success with his play, Matter of Intent, which won the Emanuel Fried Award at the Arties before going on to win the 2005 Edgar Award for best play from the Mystery Writers of America, has turned his attention to politics in his new play, The Best Woman . . . . Ross’s writing is witty and provides a rapid pace for the actors . . . . The playwright lavishes time on a second act television debate making it clear that his main goal is parody, not drama.”
– Anthony Chase, Artvoice Theater Week

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Contact information:Amateur and professional rights:
Gary Earl Ross
228 Highgate Avenue
Buffalo, NY
USA, 14215
Ph: (716)308-0807
Email: geross@buffalo.edu

About the Playwright: Gary Earl Ross is a language arts professor at the University at Buffalo EOC and the author of more than 170 published short stories, poems, articles, scholarly papers, and public radio essays. Named Erie County’s 2003 Artist of the Year, Ross has won numerous awards for writing, including a LIFT Fiction Fellowship, an Artie Award for the play Matter of Intent, and for his public radio essays first place commentary awards from the New York State Associated Press and the New York Broadcasters’ Association.

Readers of Artvoice voted him the 2008 Best Writer in Buffalo. His books and staged plays include The Wheel of Desire and Other Intimate Hauntings (2000), Shimmerville: Tales Macabre and Curious (2002), Sleepwalker: The Cabinet of Dr. Caligari (2002), the children’s tale Dots (2002), Matter of Intent (2005 Ujima Theater world premiere and winner of the Edgar Award from the Mystery Writers of America), Picture Perfect (from the 2007 Tennessee Stage Company New Play Festival in Knoxville), and The Best Woman (from Ujima in 2007).

A member of the Dramatists Guild of America, the Mystery Writers of America, and the Just Buffalo Literary Center, Ross was recently named playwright-in-residence at Ujima Company and was awarded a 2008 Constance Saltonstall Foundation Playwriting Grant. His novel,Blackbird Rising, was published in 2009, and Matter of Intent received a staged reading at London’s Bridewell Theater in June 2009.

Best Woman was first produced by the Ujima TheatreLoft, Buffalo, New York in 2007.

If you prefer, click here to buy a printed copy

Matchless by Kenneth Robbins

Comedy/ 15 men with doubling, 12 women/ Full Length, Two Acts

Synopsis:
(from The Washington Post): “Kenneth Robbins story is rooted in a question that often must hit visitors to Savannah, Georgia. Why didn’t William Tecumseh Sherman continue those fires he set from Atlanta almost to the sea?

Robbins imagines Celestine, a spirited, individualistic young lady who discomfits her father and friends by sending a letter to Sherman, whose march through Georgia has frightened all, inviting him to their home for Christmas dinner. The General is happily piqued by this novel, indeed unique, invitation and arrives with a peacock’s proud anticipation.

Celestine has made thorough preparations. Being practical, she has recognized that setting fires takes matches and, aided by her Dorcas society friends, she has pretty much cornered the match market of Savannah and vicinity. Through wiles worthy of Scarlet O’Hara and manners worthy of Rhett Butler, the city is preserved. It’s an amusing, mocking conceit, but, after all, G. B. Shaw and R. E. Sherwood have had comparable fun rethinking history.”

“I relished Matchless.”
– Richard Coe, The Washington Post

“Matchless is an offbeat look at the fearsome general and a Georgia belle. Its theme would be that war is not only hell, but also ridiculous, especially juxtaposed to the civilian frivolity on which it intruded.”
– Robert Jennings, Memphis Commercial Appeal

“Provocative.”
– Ann Holmes, The Houston Chronicle

Read it Now
Performance rights must be secured before production
Contact information:Amateur and professional rights:
Lettie Lee
Ann Elmo Agency, Inc.
60 E. 42nd Street, Suite 437
New York, NY 10165
Telephone: (212) 661-2880; fax: (212) 661-2883.

About the Playwright: Kenneth Robbins is the author of four published novels and 21 published plays, as well as four collections of literary works. His work has received the Toni Morrison Prize for Fiction, the Associated Writing Programs Novel Award, the Charles Getchell Award, and a Corporation for Public Broadcasting Award, among others.

His works for the stage have been produced by the New Works Theatre, Dallas Theater Center, Nashville Academy Theatre, Theatre Atlanta Off Peachtree, and the Project Arts Center, Dublin, Ireland. His radio play, Dynamite Hill, was aired over National Public Radio and BBC Radio 3.

Matchless was first presented by the Festival of Southern Theatre, Oxford, Mississippi in 1987.

The Virgin and the Beast by Zsolt Pozsgai

The Virgin and the Beast

Tragi-Comedy/ 5 Characters, 3 men, 2 women/ Full Length, 70 Minutes

Synopsis: A man with a seriously burnt face lives in a flat in the ghetto of Budapest. Known as the Prince, he was once the most feared figure in the district and a leader of the underground. His companion and caretaker, Uncle Sam, decides to bring a tenant to his flat, a young Transylvanian girl, innocent and unaware. Love blossoms, and the two plan their escape together. Based on real events.

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Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Zsolt Pozsgai
H-7630 Pécs, Tétény u. 28.
Ph.: 00-36-30-2791324
horatiofilm@gmail.com
www.pozsgai.com

About the Playwright: Award-winning dramatist Zsolt Pozsgai’s plays have been seen worldwide. He is a winner of the European Drama Award, and three-time winner of the Hungarian Playwright’s Competition. Liselotte in May, his most performed play, premiered at the Deutsches Theater, Budapest, Hungary, in May, 2002 and has since been seen in over 22 stagings from New York City to Geneva, Switzerland to Vancouver, Canada. By the end of 2014, 57 of Pozsgai’s pieces, including tragedies, comedies, farces, and plays with music, had been performed in 87 theatres. He has also worked widely as a stage director, and as a writer and director for film and TV.

The Virgin and the Beast was first produced at Katona Jozsef Theatre in Kecskemet, Hungary in 2001.

Liselotte In May by Zsolt Pozsgai

Liselotte in May

Comedy/ 8 Characters, 7 Men (played by one actor), 1 Woman/ Full Length, Two Acts

Synopsis:
When a lonely woman in her thirties realizes that the years are passing her by without a partner, she desperately tries to get herself a man by various means. Through no fault of her own, each of her prospective partners dies on the first date. Widely produced in Europe and now available in this superb English transalation, Liselotte in May is a bittersweet absurdist comedy about a gentle, lonely heart.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Zsolt Pozsgai
H-7630 Pécs, Tétény u. 28.
Ph.: 00-36-30-2791324
horatiofilm@gmail.com
www.pozsgai.com

About the Playwright: Award-winning dramatist Zsolt Pozsgai’s plays have been seen worldwide. He is a winner of the European Drama Award, and three-time winner of the Hungarian Playwright’s Competition. Liselotte in May, his most performed play, premiered at the Deutsches Theater, Budapest, Hungary, in May, 2002 and has since been seen in over 22 stagings from New York City to Geneva, Switzerland to Vancouver, Canada. By the end of 2014, 57 of Pozsgai’s pieces, including tragedies, comedies, farces, and plays with music, had been performed in 87 theatres. He has also worked widely as a stage director, and as a writer and director for film and TV.

Liselotte in May premiered in German at the Deutsches Theater, Budapest, Hungary, in May, 2002. It received its official world premiere in German at the Theater des Landesarchive, Graz, Austria in July, 2002. It has since been seen in over 22 productions internationally.