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)

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Contact information:
Amateur and professional rights:
Single Lane Entertainment,
650 Little Blvd.,
Gabriola Island, B.C.,
V0R 1X3.
Ph.: (in North America) 1-855-757-9216 or 250-247-9216
Playwright’s website:

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 written for publications including The Globe and Mail, The National Post, Saturday Night magazine, The Georgia Straight, and

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

Labels by Miriam Gallagher

Comedy/ 8 Characters, 4 Men, 4 Women/ Full Length, Two Acts

Mrs. Dunphy is concerned that her son has been acting erratically lately. She consults his doctor, who’s preoccupied with his golf game and home renovations. So he writes her a prescription for an anxiety drug and sends her on her way. But when the head of an inquiry into doctors over-prescribing arrives to examine his clinic’s records — and Mrs. Dunphy’s son disappears — Dr. Porter suddenly has a lot more to worry about than his tee-off time.

Playwright’s Notes:

“Influences that compelled me to write this surrealist comedy include the death of Elvis from addiction to prescription drugs, the case in Dublin of four doctors accused and found gulty of over-prescribing, and the increasing dependence on pharmaceutical means to treat sick people. Working in the paramedical sector, I became a witness to this.

“While there is no ‘era’ for this play, it is set in Dublin in the early ’80s, when four doctors were found guilty of over-prescribing. The problems and situation addressed by the play still exist.”

“This full length play is based very much in the real world of tough human existence. Set in the medical world, Labels is a hard hitting social statement fused with ironic humour.”
– Phyl Herbert, Theatre Director, Dublin

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Amateur and professional rights:
Miriam Gallagher
Playwright’s website:
Address: 53 Upper Beechwood Ave.
Ranelagh, Dublin 6

About the Playwright: Miriam Gallagher, Irish playwright, novelist and screenwriter, studied drama in London (LAMDA). Her work, staged and screened in Ireland, London, Paris, USA, and Canada with Irish, Dutch, Finnish and Russian translations, is included in the Field Day Anthology of Irish Writing and profiled in Irish Women Writers: An A-Z Guide (Geenwood Press). Her plays have been published in Fancy Footwork and 12 Other Plays (Soc. Irish Playwrights) and Kalahari Blues & Other Plays (2006). Commissions include The Ring of Mont de Balison (Ranelagh Millenium Project); Kalahari Blues(Galloglass Theatre Co), which toured nationwide; The Gold of Tradaree (Clare Arts Award); The Mighty Oak of Riverwood (Betty Ann Norton Theatre School 40 years celebration) performed at the Gate Theatre; and Fancy Footwork (Dublin Theatre Festival). Recently her play The Parting Glass was an international prizewinner of the Near & Far Playwrighting Contest (USA).

Miriam’s other books include Let’s Help Our Children Talk (O’Brien Press) and a novel, Song for Salamander (Trafford). She received Arts Council and European Script Fund Awards for her feature length screenplay Girls in Silk Kimonos (celebrating the Gore Booth sisters), and her film Gypsies has been screened at Irish Film Centre, Galway Film Fleadh, Foyle Film Festival, New York’s Lincoln Center, Plaza cinemas, San Francisco and at the International Children’s Film Festival at Hyderabad, India. A member of Irish PEN, Miriam has served on its committee and as vice president. She has also served on the Irish Writers Union committee, the council of the Society of Irish Playwrights, as a judge for the O.Z. Whitehead Play Competition, and on the Awards Panel for Arts and Disability Forum. She has been a guest lecturer at universities in Dublin, New York, Boston, and Pretoria, and her manuscripts are in the National Library, Dublin and film work in the Irish Film Archive.

Labels was first performed at the Dublin Theatre Festival by Alternative Theatre in October, 1985.

Let’s Have Sex! by Valentin Krasnogorov

Let's Have Sex!

Comedy-Drama/ 5 Characters, 3 Women, 2 Men / Full Length, Two Acts (or may be played without intermission)
Translated from Russian by Eugene Reznikov and James Walker

Synopsis: Everyone in this strange, absurd play talks and thinks only about sex. But the frivolous title is misleading:Let’s Have Sex! is as complicated and tragic as it is bitingly amusing.

The play is structured as a rondo — a scene between the Husband and the Wife leads to a scene between the Wife and the Professor, etc., each one introduced by the recurring theme: “Let’s have sex!” But while its characters are driven by the most basic of human emotions — loneliness, their yearning for love, their desire to escape their problems — they poignantly and hilariously never get past discussing, arguing about, and apostrophizing their favorite subject. “The only way to come together quickly is sex,” says the Girl. “People can sit in the same office for a hundred years, meet each other at parties, drink together and go to picnics every weekend, but that won’t make them as close as a single night spent together!” But for Krasnogorov’s characters, consummation — however devoutly desired — remains distressingly elusive, for reasons perhaps only the Sister knows.An enormous success when it was staged in Moscow in 2003 by the director Roman Viktyuk, Let’s Have Sex! is a comic and philosophical tour-de-force from a master of the Russian stage.

“The theatre explodes with laughter.”

“Beautifully intricate.”
Helen Yampolskoy

“A unique protest against the grayness of life.”
News of Kharkov

“So mischievous and dashing, the two hours fly by.”
Behind the Scenes

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Contact information:
Amateur and professional rights:
Amateur and professional rights:In Russia:
Valentin Fainberg (Krasnogorov)
Ph.: (812) 492-3701 or (812) 550-2146
website: the USA:
Mr. Larry Feinberg
52 Ridge Drive
Livingston, NJ
USA 07039
Ph.: (973) 535-3632

About the Playwright: The name of Valentin Krasnogorov is well known to theater-goers of Russia and other countries. His plays The Real Man,Somebody Must Go Away, Procession of Gnomes, Love Medicine,Several Hours from the Life of a Man and a Woman, Delights of Adultery, The Dog, Small Tragedies, This Weak Tender Sex, Bride’s Room, The Cruel Lesson, and Murder Case are warmly met by critics and audience. He was President of the St. Petersburg Playwrights Association until 1992, and now lives in Israel.

Krasnogorov’s plays are contained in the permanent repertoire of many theatres and are sometimes played several hundreds times. Critics have noted that “Krasnogorov’s plays cross borders easily”; for this reason, many of them have been translated into foreign languages and staged in theatres, on radio, and on TV in different countries.

V. Krasnogorov is a member of the Writers Union of Russia; member of the Russian Union of the Theater Workers; and a member of the Israel Federation of Writers Unions. His biograghy is included in the dictionaries Marqui’s Who’s Who in the World, USA, International Who’s Who in the Intellectuals, England, Cambridge, et. al..

Let’s Have Sex! was first produced at The Theater of Roman Viktyuk, Moscow, in 2003.

Liselotte In May by Zsolt Pozsgai

Liselotte in May

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

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.

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Amateur and professional rights:
Zsolt Pozsgai
H-7630 Pécs, Tétény u. 28.
Ph.: 00-36-30-2791324

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.

Little Ms Loony by John Chambers

Comedy-Drama/ 5 Characters, 1 Man, 2 Women/ 2 non-gender specific/ One Act, 20 minutes

Synopsis: We meet Jane as she is strapped into a straightjacket. She’s a young high-flying teacher in a High School, where her husband is Head. The shrink has to determine whether Jane is mad — or is it the world she lives in?

“A thought-provoking tragi-comedy.” – City Life


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Amateur and professional rights:
John Chambers

About the Playwright: John has had some 40 plays premiered in his native North West of England — ranging from a Number One tour to fringe. He has written for most Reps in the region and was Arts Council Resident Dramatist at Manchester LTC and Resident Writer at M6 Theatre. His plays have subsequently been performed around the UK and as far afield as Australia and the US. He’s also written over a hundred hours of TV drama, as well as plays for radio.

Little Ms. Loony was first produced by the Real Life Theatre Co., Manchester, in Oct. 2009.

Little Voices by Lucas Foss

Comedy/ 1 Character, 1 man/ Full Length, 80 minutes

This wry and charming one-man play explores the inner dialogue of a “40-60 something” couch potato trying to make something more of himself. Caught between his voice of comfort and his voice of truth, he asks himself the big questions: Can he find love, and still get home in time for his favorite TV shows? Should he spend his money on cigarettes — or that copy of Soulful Sex at the alternative bookstore? As he proceeds on his plodding but highly amusing journey, hazarding relationship counselling with his girlfriend, Cheryl, and coming face-to-face with his deepest fears at a men’s retreat, our very ordinary “hero” discovers his true — and not-so-ordinary — self.

From The Georgia Straight (Vancouver): “Foss’s monologue doesn’t dole out any platitudes. Instead it gives voice to the texture of the unspoken, those nagging ‘little voices’ that get you moving whenever you realize that something needs to change in your life.”

Special Merit Award, 1999 Theatre B.C. Canadian National Playwriting Competition

“Sharp and genuinely funny.”
– The Vancouver Sun

Below is Segment 1 of a video recording of “Little Voices” posted on YouTube. The remaining segments are private; for permission to view them, please contact the playwright.

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Amateur and professional rights:
Lucas Foss
1232 Plateau Drive
North Vancouver, B.C.
V7P 2J4
Ph.: (604) 988-4681

About the Playwright: Since 2000, Lucas Foss has performed Little Voices at numerous venues, including The Havana in Vancouver, the UBC Summer Festival, West Vancouver’s Harmony Arts Festival, the Vancouver Fringe Festival, the UNO Festival in Victoria, Western Edge Theatre in Nanaimo, the National Arts Centre 4th Stage (Ottawa), and various college and university theatre departments. Other credits as an actor include Uncle Vanya, The Dresser, The Memory of Water, Ten Lost Years, The Blue Room, and his own on-going production of the one-man play The Fever by Wallace Shawn.

The full-length version of Little Voices was first produced at the Vancouver Fringe Festival in 2004.

“Funny, touching, and fresh.”
– The Georgia Straight

“A delightful, original, and compelling piece of work.”
– Jurors, Theatre B.C. Canadian National Playwriting Competition

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

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Contact information: Amateur and professional rights:
Joanna Alexandra Norland
3 Back Lane
Godden Green, Kent
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

Lockdown by Julia Edwards

Lockdown at South Coast Repertory, 2012

Comedy-Drama/ 4-6 males, 9-11 females (15 performers total)/ Full Length, 75-90 minutes

It’s just another day in the CliffsNotes Library (more books, less filling!) until a siren sounds, the doors automatically lock, and the not-so-studious students discover they are trapped. What’s going on? Did the high-tech security system malfunction again? Or are they the subjects of a sinister state-sanctioned experiment? Then someone hears a gunshot (he thinks), a freaked out substitute teacher is found barricaded in the bathroom, and Crazy Lily has a diabetic seizure. In a claustrophobic pressure-cooker of fear, paranoia, and social strife, this motley crew of hackers, delinquents, surfer dudes, and prom queens must rise above the chaos to save a life and discover the meaning of tolerance along the way.

A portion of Lockdown 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.

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Contact information:
Amateur and professional rights:
7119 W Sunset Blvd #390
Los Angeles, CA
USA 90046

About the Playwright: Julia Edwards is an LA-based playwright, children’s author and illustrator, and teacher. Her plays — some of which include Family Planning, The Rats Are Getting Bigger, The Ravaging, and Lockdown — have been seen at The Public Theatre (NYC), the LAByrinth Theatre (NYC), The Flea (NYC), South Coast Repertory Theatre (Costa Mesa), Chalk Repertory Company (LA), Circle X (LA), and Salvage Vanguard Theatre (Austin) among others. Family Planning, produced in LA-area residential homes, won the LA Ovation Award for Best Production. She is a member of the Playwrights Union of LA. Her website is at

Lockdown was commissioned and first produced by South Coast Repertory (Costa Mesa, CA) in March, 2012.

Man+Woman=Play by Sean Slater

Comedy/ 2 Characters, 2 Men/ One act

Synopsis: Man meets Woman, Man gets Woman, sort of, Woman gets irritated with Man, Man loses Woman, in 10 scenes.


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Sean G. Slater
240 W. 102nd St., Apt. #65
New York, NY,
USA 10025
Playwright’s website:

About the Playwright:: Sean Slater is a theatre artist, filmmaker and educator living in New York City. His theatre work, including The Business Lunch, Man+Woman=Play and Algerians have been showcased around the world, most notably at the Actors Theatre Workshop, San Diego’s Old Globe Theatre, and the Provincetown Playhouse. His film work includes Empire Gypsy, The Squatter, Man at the Door, the documentary Target: St. Louis, and the forthcoming feature film Please Mrs. West.

Man+Woman=Play was first performed by the West Indies Theatrical Group, Berkeley, California in March, 1999.

Matchless by Kenneth Robbins

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

(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

– Ann Holmes, The Houston Chronicle

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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.