Mothers Have Nine Lives By Joanna Alexandra Norland

Mothers Have Nine Lives

Comedy-Drama/ 12 characters, 1 to 12 female actors/ One Act

Synopsis:
Kim needs a double stroller for her twin daughter. Now. Marge jetsets from the boardroom to the nursery, and back. Double time. And Kim will convince the powers-that-be that her daughter deserves a place in the gifted students class. Fasten your seatbelts for a 45-minute whistle stop tour of the highs and lows of modern motherhood. Nine mothers, nine monologues, and nine stories, interlinked by the games of three girls who know one thing for sure: Being the mommy is the best part.

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Performance rights must be secured before production
Contact information: Amateur and professional rights:
Joanna Alexandra Norland
3 Back Lane
Godden Green, Kent
UK, TN15 OJH
Tel: 011 44 (0) 1732 761 864
E-mail: joanna.norland@gmail.com

About the Playwright: Joanna Alexandra Norland’s one-act play Mothers Have Nine Livespremiered in the 1992 Young Playwrights Festival at Playwrights Horizons in new York. The script has since received productions at various London venues including the Bridewell Theatre, in 2002, and the Tabard Theatre, in 2007. Joanna’s work has also been showcased in London at Soho Theatre, Hampstead Theatre, and the Theatre Museum. Her short play, Lydia Reconsiders, which champions Lydia Bennet, the black sheep of Pride and Prejudice, was selected as a finalist in the 2004 National Ten-Minute Play Contest sponsored by the Actors Theatre of Louisville.Her first full-length play, Lizzy, Darcy and Jane (originally entitled Jane Austen Makes a Match) premiered at the Bath Jane Austen Festival in 2006, and was produced by the C Company at the Tabard Theatre, London in 2008. It is published on ProPlay and by Samuel French Ltd.Joanna has a B.A. from Brown University, Rhode Island, an M.Phil. from King’s College, Cambridge, and a J.D. from Yale Law School. She lives in Kent, England.

Mothers Have Nine Lives was first produced by Playwrights Horizon, New York City in 1992.

The Hearing Trumpet by Henry D. Murray, based on the novel by Leonora Carrington

Scene from

Comedy/ 12 Characters, 10 women, 2 men (doubling desirable)/ Full Length, Two Acts

Act One of The Hearing Trumpet may be read by clicking on the “Read It Now” button above. For a complete reading copy, please see the Contact Info.

Synopsis: When Marian Leatherby is ignobly shuttled off to the local old age home, she is immediately thrown into a world of intrigue and mystery, a world visited by strange visions from the past and life-changing portents from the future. An ancient abbess seeks to impart vital clues as to the location of the Holy Grail. A winged beast longs to escape from its centuries old prison. The earth shifts on its axis, plunging the planet into a second ice age, thereby righting the balance of Divine Feminine and Masculine forces. Against the backdrop of these epic events, Marian completes a journey of self-discovery and fulfillment of her destiny.

Casting Notes

Adapted from the classic surrealist novel by Leonora Carrington.

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Performance rights must be secured before production
Contact information: Amateur and professional rights:
Henry Murray,
115 Wavecrest Ave.,
Venice, California,
USA 90291.
henry.murray@mac.com

About the Playwright: Raised in the South, Henry Murray has worked professionally as an actor both on stage and television, and was a founding member of Nashville’s only avant-garde theatre, The Ensemble Theatre Company. His play The Skeletal Remains of an American Indian by the Light of the Harvest Moon was presented at The Back Alley Theatre in Los Angeles. He is also the author of numerous poems and stories (publications include North Atlantic Review, West Word, and Collage), and a novel, The Ride South.

The Hearing Trumpet was first produced by JuxtaProductions, Venice, California, in March, 2001.

Tolstoy’s Wife by Frank Moher

Comedy/ 10 Characters, 5 Women, 5 Men/ Full Length, Two Acts

Synopsis (From The Globe and Mail [Toronto]): “This amusing two-act biography of the great Russian novelist’s much put-upon wife is set in 1910, the year Tolstoy died. By that time, his relations with Sofya, the woman he had once passionately loved, were only acrimonious.

“With a surprisingly comic approach, Moher tells a story about a final row over the publication of Tolstoy’s diaries, which would have exposed his wife to public humiliation. First he gives Sofya some fictional allies: Anna Karenina and Dolly Oblonsky from Anna Karenina and Prince Andrey from War and Peace appear on stage to offer some advice. The other principal fantasy figure is Vanechka, the Tolstoys’ dead son. In a darkly funny twist, the 12-year-old’s ghost wants his mother to make good on her threats of suicide so that she can join him in the cold place where he now dwells.

“[Tolstoy’s] family members are as much his manipulative creations as his fictional characters . . . Certainly the Tolstoy’s marriage, with its petty fights, huge jealousies, and a histrionic deathbed scene in a railway station where the novelist had fallen ill, is the stuff of farce. But it is also the stuff of tragedy: Tolstoy destroyed his wife’s character and then could not live with the embittered, half-crazy creature he created.”

“Captures the farcical aspects of Leo and Sofya’s marriage brilliantly . . . clever, funny.”
– The Globe and Mail (Toronto)

“Strikes a perfect balance between the poignant and the comic . . . a gleefully irreverent gem.”
-Fast Forward Weekly (Calgary)

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Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Single Lane Entertainment,
650 Little Blvd.,
Gabriola Island, B.C.,
Canada,
V0R 1X3.
Ph.: (in North America) 1-888-247-9216; or 250-247-9216
Email: info@singlelane.com
Playwright’s website: FrankMoher.com 

About the Playwright: Frank Moher’s plays have been produced internationally, at theatres including South Coast Repertory (Costa Mesa, Calif.), Detroit Repertory Theatre, Round House Theatre (Silver Spring, Maryland), the Canadian Stage Company (Toronto), the Wellington Repertory Theatre (Wellington, New Zealand), Workshop West Theatre (Edmonton, Alta.), the Asolo Theater (Sarasota, Fla.), Alberta Theatre Projects (Calgary), Dodona Theatre (Prishtina, Kosova), The Mingei Theatre (Tokyo), and OmaDa Theatre (Athens, Greece). He has won a Los Angeles Drama-Logue Award for Writing (for Odd Jobs), the Edmonton Sterling Award for Outstanding New Play (for both The Third Ascentand Prairie Report,), and is published by both ProPlay and the Playwrights Guild of Canada.

Frank has taught at the University of British Columbia and the University of Alberta (where he was a Distinguished Visiting Artist), and is currently an instructor in scriptwriting and journalism at Vancouver Island University. He has also worked professionally as a literary manager and dramaturg, and writes regularly for various magazines and newspapers, including backofthebook.ca. His most recent play, Big Baby, has been seen in Calgary, Los Angeles, and widely in Europe, and a musical, Moonbound!, with music co-written by Antonio Gradanti, which premiered in 2014, is now available on ProPlay.

Tolstoy’s Wife was premiered by Alberta Theatre Projects, Calgary, in January, 1997

Also by Frank Moher on ProPlay:

McLuhan: The Musical — Book by Frank Moher, Music & Lyrics by Gerald Reid

McLuhan: The Musical

Musical Comedy-Drama/ Multiple Characters, 5 actors minimum (gender-blind casting encouraged)/ Full Length, Two Acts

Synopsis (from the Globe and Mail [Toronto]): “McLuhan: The Musical is nothing less than an attempt to dramatize the ideas of the late media theorist who was briefly the toast of the Western world (remember his cameo appearance in the film Annie Hall?) before his notions fell into obscurity in the Eighties.

“Moher, like media heavyweights such as Lewis Lapham, believes McLuhan’s time has come again simply because the world he predicted has come to pass . . . . Rummaging in his playwright’s toolbox, Moher decides to recount this hyperspace narrative as a medieval morality play. Herbert Marshall McLuhan is born, about the same time as radio, on a farm near Edmonton. He endures the torment of being a colonial hayseed at Oxford, and makes his way to a teaching post in America, where he becomes fascinated by advertising’s grip on the human mind. He returns to Canada just in time for the invention of TV.

“Bright, childlike theatrical trickery attends the tale. Teenage Marshall twists a radio dial. Suddenly the stage blacks-out and two puppets — little Marshall and a sort of radio spirit — are hovering in an electronic void . . . . Here he learns about Electronic Space, with its wonderful promise of being everywhere and nowhere at the same time.

“McLuhan panics as his ideas take on a life of their own, and his warning about the future — because, in truth, he hates and fears the new electronic world — is twisted into a celebration . . . . The play ends with McLuhan longing for the dense, sun-baked real-ness of his childhood prairie soil.”

“All the senses were gleefully aggressed and we were in for a night of razzle-dazzle . . . A very entertaining, lively, and intelligent show.”
– CBC Radio (Ottawa)

“A revelatory experience . . . . A good review of McLuhan: The Musical is almost redundant: the word of mouth is doing it all.”
– The Ottawa Express

McLuhan succeeds because it never loses its sense of fun . . . . [it] conveys the life story of Marshall McLuhan, but more important, it compares the utopian aspirations of a generation which saw the introduction of the electronic mass media to the complex reality of a wired society.”
– The University of Ottawa Charlatan

“Combines fantasy, humour, and great musical numbers for an evening of enjoyable intellectual stimulation . . . . Whether you’re a communication theory buff, or a musical theatre patron, McLuhan: The Musical is sure to please.”
– The Fulcrum (Ottawa)

“McLuhan would probably be amused. And, in one or two transcendent moments, perhaps even a little honored.”
– The Ottawa Citizen

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Single Lane Entertainment,
650 Little Blvd.,
Gabriola Island, B.C.,
Canada,
V0R 1X3.
Ph.: (in North America) 1-855-757-9216 or 250-247-9216
Email: info@singlelane.com
Playwright’s website: FrankMoher.com

About the Playwright: Frank Moher’s plays have been produced internationally, at theatres including South Coast Repertory (Costa Mesa, Calif.), Detroit Repertory Theatre, Round House Theatre (Silver Spring, Maryland), the Canadian Stage Company (Toronto), the Wellington Repertory Theatre (Wellington, New Zealand), Workshop West Theatre (Edmonton, Alta.), the Asolo Theater (Sarasota, Fla.), Alberta Theatre Projects (Calgary), Dodona Theatre (Prishtina, Kosova), The Mingei Theatre (Tokyo), and OmaDa Theatre (Athens, Greece). He has won a Los Angeles Drama-Logue Award for Writing (for Odd Jobs), the Edmonton Sterling Award for Outstanding New Play (for both The Third Ascent and Prairie Report,), and is published by both ProPlay and the Playwrights Guild of Canada.Frank has taught at the University of British Columbia and the University of Alberta (where he was a Distinguished Visiting Artist), and is currently an instructor in scriptwriting and journalism at Vancouver Island University. He has also worked professionally as a literary manager and dramaturg, and writes regularly for various magazines and newspapers, including backofthebook.ca. His most recent play, Big Baby, has been seen in Calgary, Los Angeles, and widely in Europe, and a musical, Moonbound!, with music co-written by Antonio Gradanti, which premiered in 2014, is now available on ProPlay.

McLuhan: The Musical was premiered by The Great Canadian Theatre Company, Ottawa, in October, 1994.Also by Frank Moher on ProPlay:

 

Kidnapping the Bride by Frank Moher

Comedy-Drama/ 3 Characters, 2 Women, 1 Man / Full Length, 90 minutes

Synopsis (from The Edmonton Sun): “Moher’s slice-of-life in the dead-end lane begins as a joke. Ex-boyfriend steals the bride from her own reception and hies her off to their old necking nest in the bush.

“When the bride’s younger sister, Evelyn, finds Gary and Terri settling old scores and belting back the booze, the plot twists from witty comedy into an unsettling, despondent tragedy of love blurred by the desperate need to escape.”From The Globe and Mail [Toronto]: “Moher’s dramatic strategy is to destroy the sympathy he has created for his working-class hero and to open up deeper questions about what is wrong between men and women.”

“A winning new play . . . as in his previous works, Moher shows his knack for sculpting genuine characters from stereotypes. We laugh at their inane wisecracks, flinch with their pains and we can almost taste the beer they guzzle . . . . This is a tightly written vignette, with no squandered phrases. But even when the situations are bleak and cruel, the playwright injects quick shots of wry wit.”
– The Edmonton Sun

“The best of three new plays I saw [at the PlayRites Festival] . . . . The writer skillfully manoeuvres the women onstage and off so that we clearly see the dilemma in which Gary finds himself . . . . . Moher brings the script to a close by revealing a heinous sexual episode from Gary’s past that succeeds instantly in destroying Terri’s love for him. This is a devastating moment, because the play until then has been a testimony to the tenacity of her love.”
– The Globe and Mail (Toronto)

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Single Lane Entertainment,
650 Little Blvd.,
Gabriola Island, B.C.,
Canada,
V0R 1X3.
Ph.: (in North America) 1-855-757-9216 or 250-247-9216
Email: info@singlelane.com
Playwright’s website: FrankMoher.com

About the Playwright: Frank Moher’s plays have been produced internationally, at theatres including South Coast Repertory (Costa Mesa, Calif.), Detroit Repertory Theatre, Round House Theatre (Silver Spring, Maryland), the Canadian Stage Company (Toronto), the Wellington Repertory Theatre (Wellington, New Zealand), Workshop West Theatre (Edmonton, Alta.), the Asolo Theater (Sarasota, Fla.), Alberta Theatre Projects (Calgary), Dodona Theatre (Prishtina, Kosova), The Mingei Theatre (Tokyo), and OmaDa Theatre (Athens, Greece). He has won a Los Angeles Drama-Logue Award for Writing (for Odd Jobs), the Edmonton Sterling Award for Outstanding New Play (for both The Third Ascentand Prairie Report,), and is published by both ProPlay and the Playwrights Guild of Canada.Frank has taught at the University of British Columbia and the University of Alberta (where he was a Distinguished Visiting Artist), and is currently an instructor in scriptwriting and journalism at Vancouver Island University. He has also worked professionally as a literary manager and dramaturg, and writes regularly for various magazines and newspapers, including backofthebook.ca. His most recent play, Big Baby, has been seen in Calgary, Los Angeles, and widely in Europe, and a musical,Moonbound!, with music co-written by Antonio Gradanti, which premiered in 2014, isnow available on ProPlay.

Kidnapping the Bride was first presented by Alberta Theatre Projects, Calgary in January, 1991. It has been revised for posting on ProPlay.

Also by Frank Moher on ProPlay:

“Humorous and hard-hitting . . . . an often uproarious but ultimately disturbing play about realistic characters who are all dressed up with no place to go.”
– Edmonton Examiner

“An important play which deserves to be seen and talked about.”
– Edmonton Bullet

Big Baby by Frank Moher

Big Baby, Alberta Theatre Projects, Calgary

Comedy/ 3 Characters, 2 women, 1 man/ Full Length, Two Acts

Synopsis: Liz is a middle-aged nurse happily living the high-rise life when Alex shows up at her door, claiming to be her son. Only problem: she doesn’t have a son. So how come he knows so much about her?

As the mystery unfolds (and Liz’s life starts to unravel), Alex falls in love with Daisy, the flamboyant upstairs neighbour who insists she gave Steven Spielberg the idea for E.T. The three end up changing one another’s lives in ways that not even someone as imaginative as Daisy could have predicted.

“[A] brilliant comedy fraught with dark undertones.”
– Jennifer Partridge, The Calgary Herald

“Outlandish, peculiar and a little disturbing. But also thought-provoking and laugh-out-loud hilarious.”
– Lisa Wilton, The Calgary Sun

“An intriguing play . . . . Moher quickly and expertly establishes normal relationships out of this paranormal situation comedy.”
– Kamal Al-Solaylee, The Globe and Mail

“Rich, strange, politically and culturally charged.”
Erin Aubry Kaplan, L.A. Weekly

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Single Lane Entertainment,
650 Little Blvd.,
Gabriola Island, B.C.,
Canada,
V0R 1X3.
Ph.: (in North America) 1-855-757-9216 or 250-247-9216
Email: info@singlelane.com
Playwright’s website: FrankMoher.com

About the Playwright: Frank Moher’s plays have been produced internationally, at theatres including South Coast Repertory (Costa Mesa, Calif.), Detroit Repertory Theatre, Round House Theatre (Silver Spring, Maryland), the Canadian Stage Company (Toronto), the Wellington Repertory Theatre (Wellington, New Zealand), Workshop West Theatre (Edmonton, Alta.), the Asolo Theater (Sarasota, Fla.), Alberta Theatre Projects (Calgary), Dodona Theatre (Prishtina, Kosova), The Mingei Theatre (Tokyo), and OmaDa Theatre (Athens, Greece). He has won a Los Angeles Drama-Logue Award for Writing (for Odd Jobs), the Edmonton Sterling Award for Outstanding New Play (for both The Third Ascent and Prairie Report,), and is published by both ProPlay and the Playwrights Guild of Canada.Frank has taught at the University of British Columbia and the University of Alberta (where he was a Distinguished Visiting Artist), and is currently an instructor in scriptwriting and journalism at Vancouver Island University. He has also worked professionally as a literary manager and dramaturg, and writes regularly for various magazines and newspapers, includingbackofthebook.ca. His most recent play, Big Baby, has been seen in Calgary, Los Angeles, and widely in Europe, and a musical,Moonbound!, with music co-written by Antonio Gradanti, which premiered in 2014, is now available on ProPlay.Big Baby was first produced at Alberta Theatre Projects, Calgary, in January 2004.

Also by Frank Moher on ProPlay:

 

Sex Talk(s), three one act plays by David Lohrey

The plays in Sex Talk(s) may be produced separately or as a triple-bill

“One, Two, Three”
Comedy/ 4 Characters, 2 Men, 2 Women/ One Act
Synopsis: A young couple home from a date are confronted by their sexual alter-egos in the form of a macho Marlboro Man and a gorgeous Cover Girl.
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“In a Newark Minute”
Comedy/ 6 Characters, 4 Women, 2 Men/ One Act
Synopsis: At an airport ticket counter, a customer, Mr. Conklin, agrees to watch another passenger’s baggage. While he’s doing so, he is distracted by a young couple discussing their sex life, with unexpected consequences.
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“Sperm Counts”
Comedy/ 4 Characters, 3 Men, 1 Woman/ One Act
Synopsis: Three men humiliated and frustrated by their wait at a sperm bank attempt to recoup their manhood by engaging in a lunatic contest of wills.
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Performance rights must be secured before production
Contact information:
Amateur and professional rights:
David Lohrey
411 Walnut Street #7829
Green Cove Springs, Florida
USA 32043
E-mail: lohr_burgh@hotmail.com

About the Playwright:David Lohrey completed his undergraduate degree at UC, Berkeley. Later, he studied creative writing at San Francisco State University, UCLA, and California State University, Los Angeles where he completed his MA. David now teaches at the college level in New Jersey, and is Literary Manager at Theatre-Studio, Inc. in New York City.

David’s plays have received productions and staged readings across the country, including Group Rep and FirstStage in Los Angeles, The Long Beach Playhouse, the Dayton Playhouse, the Turnip Company, ArtGroup, and TRU’s 2nd Annual NYC Play Festival.

His work has received awards in competitions such as New Century Writers’ Competition, Riverside Stage Company’s Founder’s Award Competition, Harvest Festival of New Plays at the Sonoma County Rep, the 1998 Writers’ DigestWriting Competition, the 1999 Writer’s Digest Writing Competition, and the Generic Theater Company’s Dog Days Festival. For three years, David has been a voting member for TheatreLA’s annual Ovation Awards. He has been a member of the Dramatists Guild since 1982, and recently joined the Play Selection Committee at the Long Beach Playhouse.

The plays in Sex Talk(s) have been presented by Playwrights’ Express, Los Angeles and Theatre-Studio, Inc., New York City.

12 1/2 Full Lengths by David Lohrey

Comedy/ Multiple characters, 2 Men, 2 Women/ Short play, 10 minutes

Synopsis: Eighteen short vignettes parodying short plays seen often in theatre festivals.

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Performance rights must be secured before production
Contact information:
Amateur and professional rights:
David Lohrey
411 Walnut Street #7829
Green Cove Springs, Florida
USA 32043
E-mail: lohr_burgh@hotmail.com

About the Playwright: David Lohrey completed his undergraduate degree at UC, Berkeley. Later, he studied creative writing at San Francisco State University, UCLA, and California State University, Los Angeles where he completed his MA. David now teaches at the college level in New Jersey, and is Literary Manager at Theatre-Studio, Inc. in New York City.

David’s plays have received productions and staged readings across the country, including Group Rep and FirstStage in Los Angeles, The Long Beach Playhouse, the Dayton Playhouse, the Turnip Company, ArtGroup, and TRU’s 2nd Annual NYC Play Festival.

His work has received awards in competitions such as New Century Writers’ Competition, Riverside Stage Company’s Founder’s Award Competition, Harvest Festival of New Plays at the Sonoma County Rep, the 1998 Writers’ Digest Writing Competition, the 1999 Writer’s DigestWriting Competition, and the Generic Theater Company’s Dog Days Festival. For three years, David has been a voting member for TheatreLA’s annual Ovation Awards. He has been a member of the Dramatists Guild since 1982, and recently joined the Play Selection Committee at the Long Beach Playhouse.

12½ Full-Lengths awaits its first professional production.

Arthur and Paul by Zsolt Pozsgai, translated by Peter Linka

Comedy-Drama/ 8 characters, 6 Men, 2 Women/ Full Length, Two Acts

Synopsis:
Confined to a hospital bed in the farthest reaches of Africa, the great French poet Arthur Rimbaud spends his time harrassing the nurse and penning letters to the local Emperor, demanding compensation for his duties as a gun-runner. He receives an unexpected visit from the love of his life, the even greater French poet Paul Verlaine, whom he hasn’t seen in eighteen years. Their strained reunion — strained because the last time they were together Verlaine shot Rimbaud — is made worse by the arrival of Verlaine’s son and first wife, who have their own scores to settle with both men. When it turns out the tumour on Rimbaud’s knee is malignant and inoperable, he realizes the time has come to set matters straight with his various visitors.

Arthur and Paul is a witty, wise, and highly theatrical speculation on how one of the most fervent literary love affairs of all might really have ended — not with a bang, but with one last grand gesture.

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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.

Arthur and Paul was premiered at the Madách Theatre, Budapest in 1995.

Happy Happy Happy by Steve Lambert

Comedy/ 2-5 males, 2-5 females, 1 either (7 total performers)/ One Act

Synopsis: It’s hard for a poor 19th-century family to hold their heads up, especially as the landlord has just lowered their ceiling. Life is certainly easier for the modern-day family who occupy their home and the amorous dolphin who visits them for dinner. But will a bomb under the kitchen table thwart their quest for ultimate contentment?

A portion of Happy Happy Happy 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.

Read it Now
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: info@youthplays.com
Website: www.youthplays.com

About the Playwright
Steve Lambert has written more than 20 plays. His work has been performed at UK venues in Bristol, Bath, Exeter, Salisbury, and in London at Camden People’s Theatre, Theatre503 and Upstairs at the Gatehouse. Work includes Last Train, Showing the Monster, Aftercare,Still, Little Deaths and Touch. A Good Send-Off was among the winners in 2009’s Pint-sized Plays competition in Wales. A common theme of his work is how people’s lives are affected by their sexuality. Steve is a member of the Heads & Tales story-telling group, whose series of Bristol audio stories can be downloaded for free (www.headsandtales.org.uk). For more details and reviews of Steve’s plays, please visitwww.writewords.org.uk/steve_lambert.

Happy Happy Happy was produced by the Max Theatre Company (Bristol, UK) in 2009.