The Lost by Julia Britton

Drama/ 1 Characters, 1 Man/ Full Length

Synopsis: British writer Christopher Isherwood relives and reviews his life at Cambridge University and in Nazi Germany, where he wrote the famous Berlin Stories (on which John Van Druten based his play I am a Camera and which was later adapted as the musical and film Cabaret). He is still suffering from the loss of his young German lover, Heinz, whom he failed to rescue from the Nazi authorities.

Playwright’s Notes

Also available in a shorter version as A Singular Man.

Read it Now

Performance rights must be secured before production

Contact information:
Amateur and professional rights:

About the Playwright: Julia Britton graduated at Manchester University (Hons, Classics, Hons. English) and worked as a journalist and university teacher before she became a playwright. Her plays have had productions at La Mama Theatre, St. Martin’s Theatre, Griffin Theatre, The Stage Company (Adelaide), The Blue Room (Perth), Performing Arts Productions (Melbourne), Theatreworks (Melbourne) with workshops at Playbox Theatre, Budgie Lung (Adelaide) and playreadings at The State Theatre of South Australia, (The Man Who Loved Furs with Geoffrey Rush) and Melbourne Arts Centre (Miles Franklin and the Rainbow’s End) in conjunction with The Golden Summers Exhibition (Westpac Gallery), Melbourne Theatre Company (Listening to Shells directed by Ron Rogers) and the South Australian Writer’s Theatre. Her play Miles Franklin and the Rainbow’s End was chosen for performance at the San Antonio Festival, Texas, produced by The Stage Company of South Australia and also performed at the Festival Centre, Adelaide. Recently, it was also performed at the Blue Room, Perth Festival and Theatreworks.

She has written and adapted numerous plays for Performing Arts Productions including: Lady Chatterley’s Lover (seven seasons nationally in Australia), Women in Love (Rippon Lea) Loving Friends (two seasons at Rippon Lea), An Indian Summer (Rippon Lea), I’ve Danced with a Girl who Danced with the Prince of Wales (Rippon Lea), Good Morning Midnight! (La Mama), Sunset Children (La Mama), Little Lord Fauntleroy (Rippon Lea), Seven Little Australians (Rippon Lea), The Singing Forest (Theatreworks), The Secret Garden (seven seasons including Adelaide), Anne of Green Gables (two seasons in Perth and Melbourne), The Yellow Book (Mietta’s), Perks (Mietta’s), The White Rose and the Blue (Melbourne Town Hall), The Lost (two seasons in Melbourne at the Old Treasury Building and The Hong Kong Fringe Festival).

She was nominated for a Victorian Green Room Award in 1995 for In Transit. Other plays include: Hello, Last Page of My Life (reading at La Mama), Magdalena Amati (reading at La Mama), Somehow the Times Passes (reading La Mama), The Children, The Professor (reading at Rippon Lea), The Purple Kangaroo(reading La Mama), Snake!, A Cloudless Sky (reading at La Mama and Alice Springs), Erotica in Black and White (reading Adelaide, Theatre 62, short version performed in Adelaide at Lion Theatre), The Man Who Loved Furs (reading at La Mama), Internet Baby, (reading at La Mama), Mrs. Bloem (reading at Griffin Theatre), Two Sisters and Rose.

Her music theatre includes: Faith, Folk and Fun (at the National Gallery of Victoria) and The Music of Milhaud (two seasons at the University of Adelaide and the National University Canberra). Robbie Burns: The Farmer Poet and The Young Lord Byron was produced at the Scottish Festival at the Opera House, Omaru in New Zealand. Awards and Nominations include the AWGIE Award (Monte Miller Award) for Exit and Entrances, directed John Edwards; radio: Best Play Award, ABC Queensland; Nomination, Victorian Green Room Award for In Transit.

The Lost was first produced by Performing Arts Productions, Melbourne, and later appeared at the Hong Kong Fringe Festival. Awards and Nominations include the AWGIE Award (Monte Miller Award) for Exit and Entrances, directed John Edwards; radio: Best Play Award, ABC Queensland; Nomination, Victorian Green Room Award for In Transit.

The Science of Disconnection by David Belke

Cathy Derkach in The Science of Disconnection, Shadow Theatre, Edmonton

Drama/ 1 character, 1 Woman/ One Act

Synopsis: A play for solo performance based on the life of physicist Lise Meitner, a shy and withdrawn woman from Vienna, with a genius for mathematics and a passion for science, whose discoveries literally changed the world.

1938. The Nazis have invaded Austria, and Lise is forced to flee for her life. While living in exile, she secretly continues to collaborate with her research partner, Otto Hahn. Together, they discover nuclear fission, and ultimately, the science to create the atomic bomb. But you’ve probably never heard of her. There’s a reason for that.

The play follows Lise in the last few moments of her life as she relives the past and struggles to come to terms with the hearbreaking betrayal of Otto, her colleague and collaborator of over 40 years.

The Science of Disconnection is a story of quiet triumph and achievement in the face of discrimination, danger, and crushing betrayal.

“Belke skilfully builds his story, maintaining his theme of connection and disconnection, both personally and scientifically.”
– Edmonton Sun

“[Belke’s] careful to present Meitner as a flesh and blood figure, and does a lovely job of showcasing, in particular, the little human ticks she frequently lets slip — her geeked-up over-excitement of watching an Einstein lecture, the stone-faced, sombre panic of giving her first lecture of her own. As a whole it compiles a very lifelike image of a woman whose incredible contributions to physics were stolen by or credited to her male counterparts, but who pushed on undaunted.”
– Vue Weekly

“A remarkable piece of theatre showcasing human interaction’s capacity for great creation and destruction, as well as the interplay between a single human narrative and the mysteries of the universe.”
– Paririe Groundling

Winner of the Elizabeth Sterling Haynes Award for Outstanding New Play

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
David Belke
10037 84 Avenue
Edmonton Alberta
T6E 2G6
phone (780) 437-7507
Contact form:

About the Playwright: David Belke was born in Winnipeg, Canada but was raised and continues to flourish in Edmonton, Alberta. He graduated from the University of Alberta with a B.Ed. and where he also studied stage design. He fills many different roles in the theatre: performer, producer, designer, teacher, and award-winning playwright. His plays have been performed across Canada as well as in the United States, England and Northern Ireland. His first full length play was produced for the 1990 Edmonton Fringe Theatre Festival, the largest theatre festival in North America. Since then, he has written a new play for each subsequent year becoming one of the Fringe’s mainstays and one of the city’s favorite playwrights. David currently works as resident playwright and designer with Edmonton’s Shadow Theatre where he is also an artistic associate. Shadow Theatre usually produces one of David’s plays a year, either a premiere or a remount. A multiple Sterling Award winner, David also received prestigious Samuel French Inc.’s Canadian Playwrights Award for 2000 and they have since published two of his plays. In addition, he is a cast member of Edmonton’s long-running comedy institution Die-Nasty, the live improvised soap opera. He also serves as a member of the Varscona Theatre Alliance Board and The Elizabeth Sterling Haynes Awards Committee.

The Science Of Disconnection was originally produced by Shadow Theatre, Edmonton, Alberta in March, 2010

The Spins by Sara Crawford

The Spins

The Spins at Out of Box Theatre, Atlanta, GA, 2016 (Photo: Jerry Jobe)

Drama/ 6 Characters, 3 Men, 3 Women/ Full Length, Three Scenes

Synopsis: A haunting tale of unimaginable loss. Lynn, an alcoholic musician, nurses wounds both old and new — the death of her brother Riley and the recent end of a romantic relationship. Her grief plays out on two planes of existence. While her best friend Melissa tries to intervene in her waking life, Lynn escapes into sleep and dreams, where her rock idol, a dead musician, helps her through her sorrow. Her drunken, emotional vertigo is underscored throughout by the spinning of a record on a turntable — one of her only remaining connections to her brother.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Sara Crawford
P.O. Box 965031
Marietta, GA
USA 30006

About the Playwright: Sara Crawford has been an actress, a singer, a playwright, a songwriter, a guitarist, a keyboard player, a poet, a screenwriter, and an author of both fiction and non-fiction. She graduated in 2008 from Kennesaw State University with a B.A. in English, and in 2012 from the University of New Orleans with an M.F.A. in Creative Writing (emphasis in Playwriting). Currently, in addition to working as a freelance writer and internet marketer, she is a creative writing professor in the graduate program at Southern New Hampshire University, teaching online classes. She also loves to talk about books, music, and writing on her YouTube channel.

Development of The Spins was supported by the 2009 Horizon Theatre’s Apprentice Company; Jennifer Bauer-Lyons, Company Director, and Lisa Adler, Co-Artistic/Producing Director, Atlanta, GA. The Spins was first performed at Out of Box Theatre in Atlanta, Georgia, in January, 2016.

The Spins (poster)

The Third Ascent by Frank Moher

Drama/ 7 characters, 6 Men, 1 male child / Full Length, Two Acts

Synopsis (from Southam News): “Henry Lewis Stimson was U.S. Secretary of War to presidents Franklin Roosevelt and Harry Truman. He was also a pivotal figure in the decision to drop the atomic bomb on Hiroshima.

“But these facts make up only one crucial strand in The Third Ascent . . . . What also fascinates Moher — and this provides the provocative philosophical basis for his play — is the fact that Stimson was the first white man to climb Chief Mountain, a foreboding and mythic peak on the Alberta-Montana border . . . . On the mountain, Stimson finds himself forced to confront the truth of his own role in the Hiroshima bombings. And if he hopes that the climb to the top of Chief Mountain will provide a kind of absolution, of spiritual cleansing, he is tragically mistaken.

The Third Ascent is first and foremost a character study, a compassionate examination of moral fallibility. ‘I am not the government incarnate,’ protests the aging Stimson at one critical point. ‘I am only one man.’ But Stimson’s long-time Indian guide, Thomas Whitefeather, also makes compromises. At one point, he bitterly denounces the aging statesman for his complicity in the Hiroshima bombing . . . . At the next, he ruefully confesses he now guides ordinary people to the summit in order to make money.

“Various concerns surface in this richly textured and absorbing play — the immorality of war, obviously, but also such matters as human guilt and expiation, the sinister workings of racism, the mysterious influence of legend on even the most pragmatic of civilizations, and the fragility of human certainty.”

“An unusually powerful play . . . heartfelt, intelligent . . . Frank Moher is a playwright to be treasured.”
– Southam News

“Moher’s most flamboyantly theatrical show yet . . . thoughtful and touching.”
– The Edmonton Sun

“Taut and funny and wrenching . . . The best Moher yet. Don’t miss it.”
– The Edmonton Journal

“A challenging work about major issues . . . It shows that the singular maturity and unique viewpoint of Odd Jobs were not a flash in the pan.”
– The Globe and Mail (Toronto)

“Stimulates the heart and mind . . . a satisfying, powerful play.”
– Saskatoon Star-Phoenix

“Extraordinary . . . riveting.”
– CHEZ-FM (Ottawa)“Theatricality and thought are the Siamese twins of good theatre and The Third Ascent is rich in both. A must see.”
– The Chronicle-Journal (Thunder Bay)

“Frank Moher’s plays are always highly imaginative, skillfully crafted, thought-provoking . . . . The Third Ascent is [his] most ambitious and powerful.”
– Canadian Theatre Review

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.,
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

The Third Ascent was premiered by Theatre Network, Edmonton, Alberta, in January, 1988.

Also by Frank Moher on ProPlay:

The Three Musketeers by John Chambers

Comedy-Drama/ 11 characters, 8 Men, 3 Women (extras casting possible)/ Full Length, Two Acts

Synopsis: This epic full-length romp, suitable for a family audience, captures the spirit of Dumas’ classic without slavishly lifting it line by line. It follows D’Artagnan’s quest to become a musketeer against the background of royalist and religious plotting and power struggles — with more than a few laughs on the way. Whilst playable by 3 f and 8 m, there is scope to use more actors.

Read it Now
Performance rights must be secured before production
Contact information:
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.

The Three Musketeers was first presented by the Library Theatre Company, Manchester, U.K., in July, 1988.

The Trial of Trayvon Martin by Gary Earl Ross

Brian Brown and Rick Lattimer in
The Trial of Trayvon Martin
Subversive Theatre Collective
Buffalo, NY

Drama/ 9-10 Characters, 4 Men, 5 Women, 1 Either/Or/ Full Length, Two Acts

Synopsis: A black teenager on his way home from a convenience store in Sanford, Florida is followed by a Neighborhood Watch volunteer who thinks the boy is planning to commit a crime. A confrontation leads to a struggle. A gun discharges, one of them dies, and the other finds himself thrust into the criminal justice system. This ripped-from-the headlines drama explores what might have happened if the infamous events of February 26, 2012 — which inspired the Black Lives Matter movement — had gone differently.

From The Buffalo News: “Ross has left all the details of that dark February night intact save for one important detail: In the struggle over Zimmerman’s gun, Martin walked away and Zimmerman caught a lethal bullet. Ross wants to know: In this entirely feasible situation, how would a 17-year-old black male come out? Or, to paraphrase Ross, does Florida’s ‘stand-your-ground’ law only applied to scared white people?

“For anyone interested in the genesis of the Black Lives Matter movement, the challenges of administering justice in America, or even just a smart police procedural, Ross’ ‘Trial of Trayvon Martin’ is worth a look.”

“[A] fine new play . . . . [Ross’s] smart script plays out like an extended episode of ‘Law & Order’ . . . . He has funneled his own outrage into the character of Imani Fairchild, a hard-charging defense lawyer intent on pulling some shred of justice from an already tattered situation.” – Buffalo News

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Gary Earl Ross
228 Highgate Avenue
Buffalo, NY
USA, 14215
Ph: (716) 308-0807
Playwright’s website:

About the Playwright: Gary Earl Ross, a retired UB/EOC language arts professor, is the author of more than 200 published short stories, poems, articles, op-ed articles, scholarly papers, and public radio essays. His works include the short story collections The Wheel of Desire (2000) and Shimmerville (2002), the children’s story Dots (2002), the novels Blackbird Rising and Nickel City Blues (2017), and the stage plays Sleepwalker (2002), Picture Perfect (2007), The Best Woman (2007), Matter of Intent (winner of the 2006 Edgar Allan Poe Award from Mystery Writers of America), Murder Squared (2011), The Scavenger’s Daughter (2012), The Guns of Christmas (2014), The Mark of Cain (2016), and The Trial of Trayvon Martin (2017).

Ross’s plays have been performed in Buffalo, NY; New York, NY; Rochester, NY; Bend, OR; Knoxville, TN; Spring Lake, NJ; Kamsack, Saskatchewan, Canada; West Sussex, England; Manchester, England; London, England; Shanghai, China; Manipal, India; and Almaty, Kazakhstan. Ross edited Nickel City Nights (2008) and co-edited (with Gunilla Theander Kester) The Empty Chair: Love and Loss in the Wake of Flight 3407 (2010) and The Still Empty Chair (2011). Released in 2017 by Black Opal Books is Nickel City Blues, the first Buffalo-based Gideon Rimes mystery.

In addition to the Edgar, Ross’s honors include three Emanuel Fried Outstanding New Play Awards, a LIFT Fiction Fellowship, a Saltonstall Foundation Playwriting Fellowship, an ASI/DEC Fiction Grant, public radio commentary awards from the New York Associated Press and the New York Broadcasters Association, and numerous awards for teaching or professional, university, or community service. A member of the Just Buffalo Literary Center, the Dramatists Guild of America, Mystery Writers of America, International Thriller Writers, and the National Writers Union, Ross has written, directed, or acted in plays for Ujima Company, the Subversive Theatre Collective, New Phoenix Theater, Road Less Traveled Productions, and the Towne Players.

The Trial of Trayvon Martin was first performed by the Subversive Theatre Collective, Buffalo, NY, in April, 2017.

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.

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

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.

Tooth by Fred Rohan Vargas

Drama/ 5 Characters, 1 Man, 4 Women/ One Act, 15 mins.

Synopsis: Adamanda is excited about what she’ll find under her pillow when she wakes up in the morning. However, she finds it hard to sleep when she is visited by three tooth fairies who desperately want her tooth.

Read it Now
Performance rights must be secured before production
Contact information: Amateur and professional rights:
Fred Rohan Vargas

About the Playwright: Fred Rohan Vargas is the author of several full lengths, one acts and children’s plays that have been produced throughout the country and abroad. He holds a MFA in dramatic writing from New York University. Two of his plays have been published by The Riant Theatre (Anything But Black) and JAC Publishing and Promotions (Crystal). He is founder and executive producer of Mixing It Up Productions, LLC. He has received three nominations for his play Tide Beyond the Rift at the Midtown International Theatre Festival (2014) and has had his play Crystal produced in Bucharest, Romania the same year.As a producer, Fred has just finished a  three month run at the 13th Street Repertory Theatre of his children’s musical, Yaki Yim Bamboo the Musical.

Fred also shows his ability in other genres by writing instrumental pieces for jazz, film and TV. A renaissance artist in the making, he has been noted by Song of the Year Songwriting Contest, Unisong International Song Writing Contest, Billboard World Song Contest, John Lennon Songwriters Contest and Great American Song Contest. His music is on a compilation of 3 CDs.

Fred has served on the theatre/dance grant’s panel for the Queens Council on the Arts, the panel of judges for the Daytime Emmy Awards (sponsored by The National Academy of Television Arts and Sciences) and the Board of Directors of the New York Children’s Theatre. He is currently a member of The Broadway League, Theatre Resource Unlimited, The Dramatists Guild and The American Society of Composers, Authors and Publishers.

Tooth was first performed by Youth Education on Stage, Williston, North Dakota in 2006.

Two Hours in a Madhouse by Gary L. Blackwood

Two Hours in a Madhouse

Amanda Jefferson-Gillis in
Two Hours in a Madhouse
Marigold Cultural Centre, Truro, NS

Drama/ 1 Character, 1 Woman/ Full Length, Two Acts

Synopsis: The year is 1912. Driven into bankruptcy by embezzling employees, celebrated journalist Nellie Bly has embarked on a lecture tour in order to pay off her debts. Knowing that the audience won’t want to hear about anything “depressing,” she recounts the many highlights of her astounding career, including the ten days she spent in a madhouse, exposing the wretched conditions there, and her record-breaking solo voyage around the world. Actually she does far more than just recount them — she dramatizes them in lively fashion, taking on the voices and personalities of dozens of different characters, male and female, assisted by an entire wardrobe trunk full of costumes and props. Ultimately she can’t resist telling the sad story of her downfall as well, but ends the evening on a hopeful note.

[Nellie Bly] is beautifully literate, urban, witty and strong willed, with an obvious ferocity of spirit.
TWISI Theatre Blog

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Gary L. Blackwood
Box 215
Tatamagouche, NS
B0K 1V0

About the Playwright: Though he’s best known as an author of novels and nonfiction books for middle readers and young adults (The Shakespeare Stealer series, The Year of the Hangman, Second Sight), Gary L. Blackwood has also penned a dozen stage plays, mostly for adult audiences. Dark Horse won the Ferndale (CA) Repertory Theatre’s competition in 1993; The Count of One was winner of the 2001 Festival of Firsts in Carmel, CA; Fateville took top prize at the 2003 Dayton FutureFest. His adaptation of Edith Wharton’s Ethan Frome is published by Samuel French. His stage adaptation of The Shakespeare Stealer has been produced by most of the top children’s theatres in the States, including Seattle and Nashville, and is published by

Two Hours In A Madhouse was first presented at the Marigold Cultural Centre, Truro, NS June, 2012.

The show is funny and cerebral, it will engage your mind, grasp you firmly by the heart, surprise you, and whisk you
away to places you never thought you would go.
– New Glasgow News

Veronica Cory by Josepha Gutelius

Comedy-Thriller/ 3 Men, 4 Women/ Full Length, Two Acts

Synopsis: Veronica Cory is the young widow of a man who was killed in a bomb explosion two years ago. Or was he killed? An obsessed FBI agent is hell-bent on using Veronica as a pawn to capture the ringleader of an international terrorist network, and who may or may not be Veronica’s husband.

“A thought-provoking, deeply moving play. Veronica is, in her zany, rock-chic way, a contemporary heroine — pitted against the frightening and ridiculous, and events that leave the audience gasping.”
Woodstock Times

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Josepha Gutelius
122 Burt St.
Saugerties, NY
USA 12477
Ph.: (845) 246-4058
Alternate Email:

About the Playwright: Josepha Gutelius’s other plays include The Age of Anxiety, RASP, Spooking Herald, Is It June Where You Are?, Desperate Alien, and Miracle Mile, as well as the short playsTwo Hands, Vaseline, and Atomica World Machine.

Veronica Cory was first produced at the 18th Street Playhouse, New York City in 1984.