Monkey Dance Honeymoon by Paul Thain

Drama/ 5 Characters, 3 men, 2 women/ Full Length, Two Acts

Act One of Monkey Dance Honeymoon may be read by clicking on the “Read It Now” button above. To obtain a complete reading copy, please see the Contact Info.

Synopsis: Nathan and Zoe arrive at Hotel Paradise on their African honeymoon. All Nathan wants is sun, sand, and sex, but when Zoe becomes involved with ageing hustler Yanks and his young apprentice Shakespeare, Nathan’s fear, suspicion, and resentment provokes an examination into the attitudes and values underlying their new marriage.

The worlds of black and white, rich and poor, the powerful and the powerless, are vividly articulated in the contrast between the shanty compound and the luxury Hotel known to the locals as “Sun City.”

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Contact information:
Amateur and professional rights:
Casarotto-Ramsay Ltd.
National House
60-66 Wardour Street
London W1V 3HP
Tel : +44 20 7287-4450
Fax : +44 20 7287-9128
Playwright’s website:

About the Playwright: Paul Thain was born in South Shields, UK. Inspired by his acting experience with the National Youth Theatre, he gave up life as a bus conductor, studied A-levels, and then read Drama & Theatre Arts at Birmingham University. When his first child was born he left teaching to become primary parent and playwright. His second radio play, The Biggest Sandcastle in the World, won a BBC Giles Cooper Award as one of the Best Radio Plays of 1981, and he has subsequently written many more including The Paradise Machine, for which the BBC’s production won the 1995 European Broadcasting Union Award for Best European Radio Drama.

Other work includes four commissioned screenplays, as yet unproduced, and five stage plays. His plays have been published and performed throughout the world, particularly the UK, Germany, Italy, Russia, New Zealand, and South Africa.

Monkey Dance Honeymoon awaits its first professional production.

Mothers Have Nine Lives By Joanna Alexandra Norland

Mothers Have Nine Lives

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

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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Contact information: Amateur and professional rights:
Joanna Alexandra Norland
3 Back Lane
Godden Green, Kent
Tel: 011 44 (0) 1732 761 864

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.

Murder at the Empress by Phillip C. Wagner

Drama (mystery)/ 5 Characters, 3 Women, 2 Men/ Full Length, Three Acts

Synopsis: What if a very rich old lady lived upstairs on the fifth floor of a venerable hotel, where the rooms are no longer rented? What if she had a fascination with murder, or the illusion of murder, and hired two actors to perform a murder mystery in her enormous suite?

That’s the premise of this eerie and entertaining romp, which is itself a delightfully tricky theatrical puzzle. As it begins, we think we are witnessing a real killing, only to discover that it’s just the two actors rehearsing a scene. Enter their patron, Mrs. Hutton, who unsettles them with her bizarre behaviour, not to mention the extremely sharp letter-opener she’s carrying. She announces that her maid has gone missing. Tensions rise further with the arrival of the Public Relation Directress for the hotel, hoping to get rid of the two actors without causing the establishment any embarrassment, as well as the discovery of the maid’s body in the bathtub — dressed up to look like Mrs. Hutton.

As mystery piles upon mystery and the characters accuse one another of the crime, they are directed by an investigating detective to assume the identity of whoever they think “dunnit” and act out the murder. In the end, only the arrival of the not-so-dead-after-all maid finally solves the puzzle — and puts an end to Mrs. Hutton’s elaborate charade.

Originally written to be performed at the Empress Hotel in Victoria, BC, Murder at the Empress can be adapted to a variety of locales.

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Contact information: Amateur and professional rights:
Phillip C. Wagner
Artistic Director
Tragically Comic Players
1552 Creighton Valley Road
Lumby, BC, Canada
V0E 2G1
Ph: (250) 547-6045

About the Playwright: Actor, director, musician, and playwright Phillip C. Wagner studied playwriting at the University of Iowa, and both playwriting and directing at the University of Alberta. His other plays include Shelf Life, Almost a Murder, Maybe, and the family musical (with Beth DeVolder) Ichabod and the Headless Horseman, which toured to 14 schools in the Greater Victoria area, and most recently was seen at the Powerhouse Theatre in Vernon In 2009. Currently the artistic director of the Tragically Comic Players in Lumby, BC, Canada, Phil is also a screenwriter and story editor.

Murder At The Empress was first produced in Oak Bay, Victoria, B.C., in 1979 by the Vancouver Island Players, and later adapted for production at the Jasper Park Lodge in Jasper, Alberta.

My Heart and the Real World by Broken Gopher Ink

Comedy-Drama (monologues)/ Multiple Characters, 5 actors minimum, 3 Men, 2 Women/ One acts, written in 3 parts to be performed over 3 nights

Synopsis: (From the off-off-Broadway Review): “Sketches that can only be described as edgy, dealing with alienation, despair, and loathing (of oneself and others). Which sketches are presented on any given night is decided randomly . . .lives with his middle-aged mother, Geg, and is “in a relationship” with Lindahl, but his real love is his drums. Maybe you’d prefer making loud sounds to growing-up, too, if your Mother was having sex with your cousin (her nephew, that’s right) and your girlfriend wants to bring her “emotional heart into harmonious balance.”

“Among them were ‘Everybody’s Trying to Be My Baby,’ narrated by a woman who fucked all four Beatles (and their manager/pimp) and fantasizes about the child she had to give up nine months later. While loaded with a narcotized horror on one level (she was 14 when she let herself be led back to the Fab Four’s hotel), the piece bubbles with an undertone of humor, pointed up by casual details (the squalor of the hotel suite; one Beatle’s bad breath; another’s breaking into tears after sex).”

Another standout was ‘Don’t Touch the President’s Brain,’ a reminiscence by a cleaning woman who happened to be in the emergency room when President Kennedy was brought in after getting shot. The title is a quote from a Secret Service man who tells her off after she accidentally picks up part of Kennedy’s brain.”

Other [characters] included a deranged Trekkie obsessed with Deanna Troy; a harassing caller who gets children to divulge secrets, and then uses that information in subsequent harassing calls to the parents; and a manic but ultimately depressing attendee at a reunion. Not a straight arrow in the quiver.

“The final sketch, a funeral eulogy, has the priest dissing God in ever-more-bitter terms. It sums up the sense of futility that underlies all the sketches’ weirdness.”

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Contact information:
Amateur and professional rights:
Broken Gopher Ink
1521 9th Ave
Greeley, Colorado
USA 80631
Ph.: 970-352-7898
Playwrights’ website:

About the Playwright: Broken Gopher Ink’s plays have been produced by Love Creek Productions, The Harold Clurman Theatre, The American Theatre of Actors, The Quartz Theatre, The Soupstone Project, Beverly Hills Cable Access, Ironbound Theatre, and Theatre Three (N.Y.C.), to name only a precious few. Their fabulous and nonfattening plays, all of which have been aggressively rejected by the Denver Center, are: M.I.B. (1987),Murder in the Men’s Store (1988), Stigmata (1989), Clazion Catches Light (1991), Confetti (1993), My Heart and the Real World (1998) and Hurt(2000). Their work has won numerous cheap awards, including the 1995 Love Creek One Act Festival in New York City, which resulted in a visit from the unstable pair.

My Heart and the Real World was first produced by Love Creek Productions at The American Theatre of Actors, New York City in October, 2000.

My One and Only by Ken Cameron

Drama/ 9 characters, 6 Men, 3 Women (double casting possible)/ Full Length, 90 mins.

Synopsis (from Vue Weekly): “Like Billy Pilgrim in Kurt Vonnegut’s Slaughterhouse-Five, Scout, the hero of Ken Cameron’s play My One and Only, has come ‘unstuck in time,’ hopscotching unpredictably back and forth among the key events in his life, including an idyll with an impossibly sexy, gloriously yielding movie star. . . .

“Scout’s lover . . . is Marilyn Monroe, who has come to Banff, where Scout lives with his lonely, alcoholic mother, to shoot that turgid Otto Preminger potboiler River of No Return. The two of them meet by chance one afternoon on a deserted mountain road (“Ssshhh — I’m incognito!” whispers Marilyn from behind her attention-getting sunglasses) and they strike up an odd friendship when Scout allows Marilyn to take a ride on his bicycle. Scout soon becomes Marilyn’s pet companion on the set, helping her run her lines and smuggling bottles of whiskey to her, which he steals from his mother every night after she passes out. The whole situation is so sexually charged that it’s a wonder the virginal 15-year-old Scout doesn’t die from some kind of hormone overdose — Marilyn even winds up giving Scout his first sexual experience as they bathe together, naked, in a secret pool Scout knows about deep inside a mountain cave.”

Scout keeps getting pulled out of these blissful events, however, and into an incident 10 years later, in 1963, shortly after Marilyn’s death. It’s night, and Scout’s car has been pulled over by a California highway patrolman; Scout has been speeding, but when the cop discovers a map to Marilyn’s home in his glove compartment, it soon becomes apparent that he’s committed a crime a lot more serious than going 100 in a school zone. Gradually we realize the full extent to which Scout was never able to move on from his affair with Marilyn; he can’t stop reliving his time with her over and over again, and yet at the same time, Scout desperately wishes he could have done everything differently so that their affair could have had a happier outcome.”
– Paul Matwychuk, Vue Weekly

Playwright’s Notes

“Switching back and forth in time between scenes with Scout and his drunken slattern of a mother, whom he catches in trysts with the local reverend, Scout’s ongoing roadside lecture from an inquisitive cop with memories of his own to tell, and, of course, Scout’s encounters with the famous movie star herself — Cameron weaves an intriguing and convincing tale of boyhood obsession. . . . engaging, taut, and beautifully written.”
– Calgary Herald


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Contact information:
Amateur and professional rights:
Ken Cameron,
808 22 Ave SE,
Calgary, Ab,
Canada, T2G 1N5
Ph: (403) 265-8564

About the Playwright: Ken Cameron is a multi-faceted playwright whose work fluctuates between commercially accessible plays and alternative theatre. On one end lie plays like Harvest, which has been performed across Canada and My One And Only which was produced by Alberta Theatre Projects’ playRites Festival, Workshop West in Edmonton and by the Bridge Theatre Company in New York City. Both have been published in Harvest and Other Plays.Dear Johnny Deere is a musical adaptation of songs by acclaimed Canadian musician Fred Eaglesmith, which was commissioned by The Blyth Festival and premiered there in June 2012. Dear Johnny Deere was revived at Blyth and Lighthouse Theatre and had a separate production at the Charlottetown Festival PEI in 2013. In 2015 Dear Johnny Deere was published by NeWest Press and produced by Theatre Calgary. It won both the Betty Mitchell Award and the Calgary Theatre Critics Award for Outstanding Production of a Musical. Ken is currently commissioned by the Stratford Festival to adapt the novel Cue For Treason by Geoffrey Trease.On the alternative end of the spectrum is How iRan: Three Plays for iPod, a creation recorded entirely on iPod as the audience moves through installations set amongst the stacks of a downtown library. With the iPod set to shuffle, there are over 10.6 million versions of the play. How iRan: Three Plays for iPod premiered at the IMPACT multicultural theatre festival in Kitchener Ontario and received its Calgary premiere at the High Performance Rodeo.

Ken co-founded Productive Obsession, an independent inter-arts performance company, together with wife and co-Artistic Conspirator Rita Bozi.

My One and Only premiered at the Enbridge playRites Festival of New Canadian Plays in January, 2004, produced by Alberta Theatre Projects.

If you prefer, click here to buy a printed copy in the collection Harvest and Other Plays.

“The intriguing oddity of Ken Cameron’s coming-of-age story is the way time lurches to a stop at the intersection of Fantasy and Desire. . . . memory, fantasy and physics make a mysteriously heady compound.”
– The Edmonton Journal

“Cameron’s script, through its non-linear disjointedness, constructs a compelling portrait of a person hanging somewhere in time, caught like an insect in amber, unable to move forward, or erase the past in order to move on.”
– SEE Magazine

Nobody’s Listening by Ed Shockley

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

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

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

Published by arrangement with YouthPLAYS

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

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

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


Odd Job Man by Peter Harrison

Odd Job Man

Drama/ 6 Characters, 4 Men, 2 Women/ Full Length, Two Acts

Synopsis: No unseemly clumsiness has ever marred the smooth efficiency of public executioner Albert Pierrepoint’s technique. He prides himself on speed and calm. Twenty seconds, more or less, to end the life of a man or a woman, without a mark being left on their hanging, hooded bodies. One thing which has never semed to trouble Albert is the guilt or innocence of those whose lives he has taken.

And then one night, a young woman walks through the door of the strangely-named Help The Poor Struggler public house he runs in the Oldham area of Lancashire, and asks to speak to Albert. As it becomes clear that she has a personal interest in one of Albert’s many executions, both Albert, and his devoted wife, Anne, finally confront the personal pain and grief which have lain behind so many of those judicial deaths.

The play makes use of information and incidents involving capital punishment revealed by Pierrepoint himself in his memoirs, including the occasion he was required to hang a customer of his own pub and the day a condemned man burst through the glass window of the Visitors’ Room during a final visit from his wife and daughter.

“Stunning — with a real twist in the tail. Beautifully written and beautifully acted.” — Allan Beswick, BBC Radio Manchester.

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Contact information:
Amateur and professional rights:
Peter Harrison
5 Lansdowne Road
Altrincham, Cheshire
WA14 4 HJ
Fixed phone: 0161.941.2627
Cellphone: 07790.227742

About the Playwright: Peter Harrison is a former newspaper crime reporter and BBC radio and television journalist. Since taking early retirement from the BBC, he has had plays, stories and talks broadcast on BBC radio.

A lifelong opponent of capital punishment, Peter has written several plays concentrating on the life of probably the world’s most famous hangman, Albert Pierrepoint. The first, Odd Job Man, was staged by Altrincham Garrick Playhouse in 2004 who then took the production to the Buxton Fringe drama festival where it won awards for Best New Writing and Best Drama Production. It was later staged by professional actors from the Oldham Coliseum Theatre in 2008.

A one-man version, Pierrepoint: The Hangman’s Tale, was staged at the Unity Theatre, Liverpool; The Lowry, Salford Quays, Manchester; and The Dukes, Lancaster. The Circus On Lime Street, dealing with the tragic miscarriage of justice which saw a Liverpool petty criminal, George Kelly, convicted and hanged by Pierrepoint for the so-called Cameo Cinema Murders, was presented by 100th Meridian Theatre Co., Liverpool, in 2012 and repeated in 2013.

As well, his play Drums Along The Mersey, an account of the notorious incident in which The Beatles disposed of their drummer, Pete Best, was staged in 2016 at the Unity Theatre, Liverpool, Pete Best’s home town, before an audience including members of the Best family.

Peter’s radio plays include The City that Went To Sea (BBC Radio Manchester), marking the 100th anniversary of the opening of the Manchester Ship Canal; I’ll Be Seeing You (BBC Radio Manchester), commemorating the 50th anniversary of the end of WW2; A Box Of Old Shoes (BBC Radio Merseyside), marking the 50th anniversary of the end of WW2; and Dieppe, One-Way (BBC Radio Merseyside), commemorating the end of The Battle of The Atlantic.

Odd Job Man was first performed by the Altrincham Garrick Theatre, Altrincham, U.K. in 2004.

Odd Jobs by Frank Moher

Odd Jobs, Theatre Network, Edmonton, Alberta

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

Synopsis (From the Los Angeles Times): “Tim is a Canadian assembly line cowboy smarting from having been laid off and replaced by a robotic arm. Mrs. Phipps is an elderly former mathematics professor for whom Tim offers to do the odd jobs of the title. And Ginette is Tim’s French-Canadian wife, whose determined self-improvement wins her a way out of the complaints department at Sears (where she works) and into the higher-paying realm of systems analyst.

“Snags develop when these three people’s needs intersect and their universes don’t, trapping Tim like a hypotenuse between the women.

“Sounds like just another drama of family conflict? The difference comes in the depth of field, the shifts of each gravitational pull and the frequent lyricism of Moher’s writing (lyrical but not mawkish).

“If Ginette takes the new job, it will require that she and Tim move to another town. But Tim has inadvertently become more necessary to Mrs. Phipps’ well-being than he intended — and she to his . . . . The dilemma that threatens their interdependency calls into question everything each one of them believes.”

International praise for
Odd Jobs:
“A penetrating look at a human triangle . . . eloquent, engrossing, and lean.”
– Los Angeles Times

Odd Jobs is only odd in the unexpected riches it contains. And Frank Moher is a name to get to know, eh?”
– Washington Times

“Whimsically humorous . . . a little gem of a play.”
– Baltimore Evening Sun

“A rare find – a play that is as moving and insightful as it is entertaining.”
– Ottawa Citizen

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Performance rights must be secured before production
Contact information:
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

Odd Jobs was premiered by Theatre Network and Catalyst Theatre, Edmonton, in November, 1985.

Also by Frank Moher on ProPlay:

“In Odd Jobs, the proposal that experiencing art should leave you at least a little wiser, a little richer is as sound and real as a heartbeat.”
– Winnipeg Free Press

“A soft-spoken, tender drama . . . skillfully drawn.”
– Indianapolis Star

“Deceptively simple .. . quietly absorbing.”
– The Irish Times