Swipe by Gordon Pengilly

Frank Glenfield in Swipe, Walterdale Theatre, Edmonton

Comedy/ 7 Characters, 6 Men, 1 Woman/ Full Length, 75 minutes

Synopsis: This charming fantasy is set in a lagoon where the paddlewheel steamer Empress lies wrecked. Chief thief Peck Woodstick rules over the other tramps and his young apprentice Rooster. When Peck reports that their mystical old friend Clancy will finally return from the stars to bring them all “transcendence,” expectations mount until Peck is exposed for the liar that he is. After the tramps deal with Peck in revenge for his deception, Rooster rekindles Clancy’s legend and keeps the myth alive.

“A marvelously lusty flight of fancy . . . escapist, absurdist,
and absolutely entertaining.” –Edmonton Journal

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Performance rights must be secured before production
Contact information: Amateur and professional rights:
Gordon Pengilly
401-27th Ave. NW
Calgary, AB, Canada
T2M 2H7
Ph.: (403) 277-6572
E-mail: gpengilly@nucleus.com

About the Playwright: Gordon Pengilly has written more than 50 plays for TV, film, radio and the stage. His work, including Seeds, Swipe, Metastasis, Yours ’til The Moon Falls Down, Tom Three Persons, Tom Form And The Speed Of Love, Contraption and They Don’t Call Them Farmers Anymore, has been produced across Canada and abroad. His one-act playThe Work Play, which premiered in New York at the Actor’s Loft in 2000 before being produced in Japan in 2002, was made into a short film seen at Fourth Wall Screenings in 2005.Gordon is also one of the most prolific radio dramatists in Canada. In 1989, CBC selectedThe Ballad Of An Existential Cowboy as one its Best-of-Decade. In The Middle Of Town Stands The Dreamland was nominated for a Peabody Award in 1993 and rebroadcast in Australia, and Seeing In the Dark received the 2007 BBC International Radio Drama Prize and was broadcast on the World Service.Gordon has been resident playwright for theatres and institutions in Edmonton, Calgary, Banff, Red Deer, Toronto and Fredericton and routinely runs workshops for Alberta Playwrights Network. His first collection of plays, Metastasis And Other Plays, published by NeWest Press received the 2009 W.O. Mitchell Book Prize.

Swipe was first produced as The Apprentice of Swipe at Walterdale Playhouse, Edmonton, Alberta in May 1981, and first professionally produced by the NDWT Company, Toronto, in December, 1981.

If you prefer, click below to buy a printed copy in the collection Hot Thespian Action:
 

Metastasis: Chain of Ruin by Gordon Pengilly

Tragi-comedy/ 8 Characters, 5 Men, 3 Women/ Full Length, Two Acts

Synopsis: Named for the pathological spread of live rot through a system, Metastasis sets 25 characters in motion, rippling out from a random drive by shooting, to conjure a world of missed connections and crossed wires.

Read it Now
Performance rights must be secured before production
Contact information: Amateur and professional rights:
Gordon Pengilly
401-27th Ave. NW
Calgary, AB, Canada
T2M 2H7
Tel: (403) 277-6572
E-mail: gpengilly@nucleus.com

About the Playwright: Gordon Pengilly has written more than 50 plays for TV, film, radio and the stage. His work, including Seeds, Swipe, Metastasis, Yours ’til The Moon Falls Down, Tom Three Persons, Tom Form And The Speed Of Love, Contraption and They Don’t Call Them Farmers Anymore, has been produced across Canada and abroad. His one-act playThe Work Play, which premiered in New York at the Actor’s Loft in 2000 before being produced in Japan in 2002, was made into a short film seen at Fourth Wall Screenings in 2005.Gordon is also one of the most prolific radio dramatists in Canada. In 1989, CBC selectedThe Ballad Of An Existential Cowboy as one its Best-of-Decade. In The Middle Of Town Stands The Dreamland was nominated for a Peabody Award in 1993 and rebroadcast in Australia, and Seeing In the Dark received the 2007 BBC International Radio Drama Prize and was broadcast on the World Service.

Gordon has been resident playwright for theatres and institutions in Edmonton, Calgary, Banff, Red Deer, Toronto and Fredericton and routinely runs workshops for Alberta Playwrights Network. His first collection of plays, Metastasis And Other Plays, published by NeWest Press received the 2009 W.O. Mitchell Book Prize.

Metastasis: Chain of Ruin was first produced by Northern Light Theatre, Edmonton, Alberta in 1995.

If you prefer, click below to buy a printed copy in the collection Metastasis and Other Plays:
 

Lizzy, Darcy and Jane by Joanna Alexandra Norland

Simon Balcon and Kerry Steed in Lizzy, Darcy and Jane

Comedy/ 12 Characters, 5 Men, 7 Women (Doubling possible)/ Full Length, 90 minutes

Synopsis: Does the author direct her characters’ destinies . . . or is it the other way around? When Elizabeth Bennet, Mr. Darcy, and Lady Catherine take the stage, all bets are off.

Uncovering the fiery side of a not-so-gentle Jane Austen, Lizzy, Darcy and Jane explores the interplay between Jane Austen’s life and work, and probes her crackling relationship with the uncompromising heroine of Pride and Prejudice, Elizabeth Bennet. Heady with her first taste of love, young Jane Austen creates the feisty Elizabeth in an exuberant moment of inspiration. But when her real-life romance sours, Jane sentences her alter ego to marry the odious Mr. Collins, and sentences herself to a suitor no less ill-matched. The fates of the heroine, the novel, and the author are at stake. Elizabeth Bennet must take action.

While recent films and television programmes about Jane Austen are structured as naturalistic, biographical narratives, Lizzy, Darcy and Jane creates a world in which historical and fictional characters vie for position on stage, as Jane Austen’s external and inner worlds collide. Lizzy, Darcy and Jane offers a dramatically different take on an author-and heroine we all think we know so well.

“Successfully fuses aspects of Jane Austen’s real life with the creation of her best-loved novel, Pride and Prejudice . . . . lively, humorous and entertaining.”
– Kathryn Eastman, Jane Austen Society

Read it Now
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.comAmateur Rights:
Samuel French

About the Playwright:Joanna Alexandra Norland’s one-act play Mothers Have Nine Lives premiered 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. Joanna is a member of the London-based playwright development group, Player Playwrights.

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. Lizzy, Darcy and Jane is the first in a series of plays in which Joanna is dramatizing the interplay of characters’ inner and external worlds. In her own experience, these spheres intersect and interface in exciting, if unpredictable ways, as she juggles roles as a playwright, international tax attorney, art project coordinator, and mom.

She lives in Kent, England.

Lizzy, Darcy and Jane was first produced at the Bath Jane Austen Festival in September, 2006, under the title Jane Austen Makes a Match. A revised version of the script was produced by the C Company at the Tabard Theatre, London, in January, 2008.

If you prefer, click on the cover below to buy a printed copy:
Lizzy, Darcy and Jane

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.

Cycle by Joanna Alexandra Norland

Cycle at Maltings Arts Theatre, St. Albens, Herts, England

Drama/ 4 Characters, 1 Man, 3 Women/ One Act, 15 Minutes

Synopsis:
Stuart and Veronica are adamant that their mid-terrace neighbour, Julia, must not wheel her bike across their backyard to access the road. Julia appears sympathetic to their concerns — but the couple soon discovers that, when it comes to their pole-dancing neighbour, things are rarely as they appear. Could Julia possibly be plotting an end-terrace takeover?

Read it Now
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.

Cycle was first produced at the Maltings Arts Theatre, St. Albens, Herts, England, in 2012 (Director: Paula Chitty, Irrational Theatre)

 

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)

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) 1-888-247-9216; 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: