Jigsaw Confession by David Lohrey

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

Synopsis:
(From Theatremania.com): “Even death fails to reconcile a young man to his father’s sexuality in David Lohrey’s Jigsaw Confession. One of the four plays in Lohreys “Sex Talk(s)” series, this piece centers around a couple faced with the task of settling the husband’s father’s estate. They hope to find a manuscript in which the son believes his father has explained his determination many years earlier to leave the family to live with another man.”

Jigsaw Confession takes place in the attic of a university chancellor who has just died. Dennis, the Chancellor’s son, and Lisa, Dennis’ fiancée, have come in search of certain personal possessions the son wishes to keep for himself before the estate is passed into the hands of the university, which owns the property. Among other things, Dennis is looking for a long-lost manuscript, a once-promised novel that his father is said to have written. While searching for the novel, Lisa finds a cachet of personal letters, which she proceeds to read.

Meanwhile, the late-Chancellor’s male lover, Chris, shows up. Dennis and Chris now set about trying to make sense of the Chancellor’s life. The play moves across several years as the two men reminisce, but finally the conflict takes place as they grapple with their memories of this once-powerful man. When the manuscript is finally found, it shows that Dennis’ assumptions clash with the reality of who his father actually was. The play ends with the question of forgiveness left unresolved.

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

About the Playwright: David Lohrey completed his undergraduate degree at UC, Berkeley. Later, he studied creative writing at San Francisco State University, UCLA, and California State University, Los Angeles where he completed his MA. David now teaches at the college level in New Jersey, and is Literary Manager at Theatre-Studio, Inc. in New York City.David’s plays have received productions and staged readings across the country, including Group Rep and FirstStage in Los Angeles, The Long Beach Playhouse, the Dayton Playhouse, the Turnip Company, ArtGroup, and TRU’s 2nd Annual NYC Play Festival.His work has received awards in competitions such as New Century Writers’ Competition, Riverside Stage Company’s Founder’s Award Competition, Harvest Festival of New Plays at the Sonoma County Rep, the 1998 Writers’ Digest Writing Competition, the 1999 Writer’s DigestWriting Competition, and the Generic Theater Company’s Dog Days Festival. For three years, David has been a voting member for TheatreLA’s annual Ovation Awards. He has been a member of the Dramatists Guild since 1982, and recently joined the Play Selection Committee at the Long Beach Playhouse.

Betterland was first produced by the Long Beach Playhouse, Long Beach, California in 1999.

Betterland by David Lohrey

Drama/ 6 Characters, 3 Women, 3 Men/ Full Length, Two Acts

Synopsis: (from Absolutearts.com): “In Betterland, a veteran schoolteacher, faced with dismissal, discovers that her principles are no longer valued by the institution she serves. Her enlightenment is triggered by the arrival of the first genuine student she’s had in years. The other high schoolers, catching the subversive scent of curiosity, set into motion events that compel the teacher’s final act of defiance. Finally, defeated, she is nonetheless set free by her realization that neither she nor the student is welcome in a system devoted to the unexceptional.”

From Show Business: “As the play opens, Miss Vanderhoff is being pressured into transfer or early retirement by school administrator Stiles due to a single ‘incident’ marking an otherwise officially acceptable career . . . . The story of an intimate relationship that develops between Miss Vanderhoff and Lafayette, a transfer student placed in her High School English class, is renacted as Vanderhoff relates it to Stiles.

“Lafayette epitomizes everything popular culture has led us to believe characterizes ‘inner city youth.’ He’s black, he’s hostile, he’s done time in juvenile detention for car theft. But much more than a menace to society, Lafayette turns out to be the first ‘real student’ Vanderhoff has ever had. He begins to show a personalized enthusiasm for critical thinking that contrasts the years of resistance or passionless, grade-focused ambition she has come to expect from her students.

“In spite of her continual claim not to ‘love children,’ which she sees as a prevailingly sentimental and unrealistic reason to pursue the needed job of teaching, Vanderhoff develops a concern and interest in Lafayette’s well-being that eventually alienates her other students — especially Billy. Out of resentment for the new teacher’s pet and a fear of summer school, Billy pushes both student and teacher to points of no return through manipulation of Lafayette’s insecurities and a brutal attack upon Miss Vanderhoff’s already harried defenses. Supported by a cabal of students, administrators, and parents, Billy then engineers the downfall of both.”

“Raises a host of difficult questions about education in general, and shows the precarious balance between politics, ethics and practicality . . . . When the cast came out for their final bow, it took me a long moment to remember that I had not been again sitting in a classroom, led by the type of teacher whose commitment I’d remember gratefully for the rest of my life.”
– Show Business

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

About the Playwright: David Lohrey completed his undergraduate degree at UC, Berkeley. Later, he studied creative writing at San Francisco State University, UCLA, and California State University, Los Angeles where he completed his MA. David now teaches at the college level in New Jersey, and is Literary Manager at Theatre-Studio, Inc. in New York City.David’s plays have received productions and staged readings across the country, including Group Rep and FirstStage in Los Angeles, The Long Beach Playhouse, the Dayton Playhouse, the Turnip Company, ArtGroup, and TRU’s 2nd Annual NYC Play Festival.

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

Betterland was first produced by the Long Beach Playhouse, Long Beach, California in 1999.

Arthur and Paul by Zsolt Pozsgai, translated by Peter Linka

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

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

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

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
horatiofilm@gmail.com
www.pozsgai.com

About the Playwright: Award-winning dramatist Zsolt Pozsgai’s plays have been seen worldwide. He is a winner of the European Drama Award, and three-time winner of the Hungarian Playwright’s Competition. Liselotte in May, his most performed play, premiered at the Deutsches Theater, Budapest, Hungary, in May, 2002 and has since been seen in over 22 stagings from New York City to Geneva, Switzerland to Vancouver, Canada. By the end of 2014, 57 of Pozsgai’s pieces, including tragedies, comedies, farces, and plays with music, had been performed in 87 theatres. He has also worked widely as a stage director, and as a writer and director for film and TV.

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

A Wolf By The Ears by Mattie Lennon

Drama/ 6 Characters, 5 Men, 1 Woman/ One Act (20 minutes)

Synopsis: Hughie Doherty is a young Irish farmer who makes up doggerel as a pastime. Those who don’t know any better call him a poet. He gets into conflict with the forces of law and order when he is arrested for a crime that hasn’t been committed. Because the cell in which he is detained is inadequately sound-proofed, he learns that, in fact, he has the upper hand. He uses this situation to the best advantage before the final curtain.

 

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Mattie Lennon
E-mail: mattielennon@gmail.com
Playwright’s website: mattielennon.com

About the Playwright: Mattie Lennon writes the occasional humorous article and has contributed to The Irish Times, Sunday Independent,The Irish Post, Ireland’s Own, Ireland’s Eye, The Wicklow People, Kerry’s Eye, Leinster Leader and many more. He also writes for a number of on-line magazines, including irishpoetsworldwide.com. He has compiled and presented programmes on RTE Radio One and currently presents a ballad programme on Radio Dublin 100FM.

He has spent most of the past 30 years in Dublin; but whenever asked “Will you ever go back to Kylebeg?” he quotes James Joyce’s reply when asked the same question about Dublin: “I never left.” He is married, with a family, although currently his wife is wondering what sort of an eejit he is to be sitting at a computer, at this time of night, typing this with one finger.

A Wolf by the Ears awaits its first production.

And All His Songs Were Sad by Mattie Lennon, Music & Lyrics by Sean McCarthy

Simon Balcan and Kerry Steed in Lizzy, Darcy and Jane

Drama with Music/ 4 Characters, 3 Men, 1 Woman/ Full Length (App. 80 minutes)

Synopsis: A play with music about the Irish songwriter Sean McCarthy and his complex relationship with the singer Peggy Sweeney. Her gorgeous, definitive recordings of McCarthy’s folk tunes about death and unrequited love were responsible for cementing his fame throughout Ireland.

From Fort Worth Weekly: “Their collaboration was so intense, many people wanted to know: Was there any funny business going on? . . . The more intriguing thing about their ‘artistic friendship’ was that she seemed to be the artist, while he was her muse. That’s an interesting reversal of the typical singer-songwriter arrangement.

“Amateur McCarthy scholar Lennon never met McCarthy; his script is based on interviews and newspaper accounts of his life and of his musical partnership with Sweeney. The title of the show comes from a quote by the English writer G.K. Chesterton, whose ode to the Irish famously declared that ‘All their wars are merry/ And all their songs are sad.'”

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Mattie Lennon
E-mail: mattielennon@gmail.com
Playwright’s website: mattielennon.com

About the Playwright: Mattie Lennon writes the occasional humorous article and has contributed to The Irish Times, Sunday Independent,The Irish Post, Ireland’s Own, Ireland’s Eye, The Wicklow People, Kerry’s Eye, Leinster Leader and many more. He also writes for a number of on-line magazines, including irishpoetsworldwide.com. He has compiled and presented programmes on RTE Radio One and currently presents a ballad programme on Radio Dublin 100FM.

He has spent most of the past 30 years in Dublin; but whenever asked “Will you ever go back to Kylebeg?” he quotes James Joyce’s reply when asked the same question about Dublin: “I never left.” He is married, with a family, although currently his wife is wondering what sort of an eejit he is to be sitting at a computer, at this time of night, typing this with one finger.

And All His Songs Were Sad was first produced by The Pantaglieze Theatre in Fort Worth, Texas in September, 2010.

 

Saffronia by Christiane D. Leach

Drama/ 17 Characters, 11 Women, 6 Men/ Full Length, 90 minutes

Synopsis: Saffronia chronicles the life of a young child stolen from her slave mother, transformed in a New Orleans brothel, sold at a Fancy Girl auction, bought by a young man, at once her master and her lover. It chronicles the somewhat hidden, often romanticized American history of mulatto slavery, and the inherent sexual deviance that underlies breeding for profit.

Saffronia began as a poem by performance poet and Soma Mestizo singer Christiane D. It has been expanded here into a full multimedia performance. The play examines the world of the “mulatto balls” of the ante-bellum south — slave auctions dressed up as debutante balls, where young slave women, groomed in charm schools to be perfect mistresses, were sold as concubines to wealthy plantation owners.

“A full-blooded poetic melodrama about miscegenation and sexual slavery in the antebellum South, complete with a parable of a black woman’s struggle for freedom, the whole then infused with mystical overtones.”
– Pittsburgh Post-Gazette

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Christiane D. Leach
E-mail: christiane.leach@gmail.com
Playwright’s website: http://www.christiane-d.us

About the Playwright: Christiane D. Leach is a visual artist, performance poet, singer, songwriter, playwright, event producer and cultural instigator.

Saffronia debuted at the Kelly-Strayhorn Theatre in Winter 2006. Another work The Only Good Artist is a Dead Artistpremiered at the Pittsburgh Playwrights Theatre in 2007 as part of their Black White Festival. She’s also participated in several other productions, including Now . . . or Just in General, Don Juan, Katrina, Celebrate East Liberty, and performed as the singing narrator in the Playhouse Repertory’s Mother Courage.

She performs her poetry throughout the Pittsburgh area and participated in the Pittsburgh Cultural Trust’s “She Said” series in 2007. Current efforts include a CD and chapbook of her spoken word poetry.

She has produced various music events with the Element Five group, received a Sprout Fund grant to produce two “MINI m” music festivals and co-produced “Listen To This” with Brooke Schooles, which brought in the world-renowned spoken word artist Ursula Rucker.

Christiane D is co-founder and former Executive Director of Sun Crumbs, a trans-cultural multi-arts non-profit. For two and a half years she worked as the Program Coordinator for the artist non-profit Brew House Association, coordinating exhibitions and performances. Her current job at the Greater Pittsburgh Arts Council gives Christiane the opportunity to continue her support of the Pittsburgh arts community.

In 2003 she received the PCA Fellowship for World/Jazz/Blues musical composition, and in 2002 received a Pittsburgh magazine’s “40 under 40” award. In 2007, along with her peers, she was honored at the New Hazlett Theatre’s gala, “Celebrating Women in the Arts”.

Saffronia was first produced at the Kelly-Strayhorn Theatre, Pittsburgh in January, 2006.

 

Belles of the Mill — Book by Rachel Rubin Ladutke, Music & Lyrics by Jill Marshall-Work

Musical Drama/ 14 Characters, 7 Women, 6 Men, 1 Boy, plus chorus of 3 to 6 Women/ Full Length, Two Acts

Synopsis: (From The Off-Off-Broadway Review [oobr.com]): “Out of the dark rises the rhythmic sound of machines at work. The lights fade up on a slow-motion tableau of women miming working in a mill. They start to sing, inaudible over the machines until with a collective stamp of the foot the machines stop and we are treated to the opening number, ‘Pennies in our Pay,’ leading into the defiant ‘We Strike.’

“It’s a strong, effective opening to a show with a strong, serious subject. The musical is an adaptation by Rachel Rubin Ladutke of her own play; this in turn is based on the real-life events of 1912 when immigrant female workers in the mill-town of Lawrence, Massachusetts decided to strike for decent pay in the face of police brutality, the National Guard, and town officials. Ultimately successful, their victory came at a great personal cost to the families involved.

“Ladutke’s musical tells this story through the experiences of a few individual characters, although a handful of smaller roles and the chorus of mill-workers help to suggest the wider community. The story follows two main families — first that of Sarah, the midwife whose license is revoked due to her support of women’s suffrage, her shopkeeper brother-in-law Hiram, and her nephew Jacob. Into their life comes Irish teenager Bridget.

“In a sense, her journey is that of the show: first introduced as the sexual victim of her boss Albert, she seeks help from Sarah; confronts the entrenched ideas of her uncle Father Paul; talks back to the unsympathetic chief of police; confronts her romantic feelings for Sean, the Irish policeman; and ends up as a spokesperson for downtrodden workers through the encouragement of union organizer Elizabeth Gurley Flynn.”

The first act of Belles of the Mill may be read by clicking on the “Read It Now” button above. To obtain a complete reading copy, please see the Contact Information.

“If you’re familiar with The Pajama Game, you’re probably aware that a musical comedy about labor relations can be entertaining. But you might not be aware of how much entertainment can be wrung from what is otherwise a musical drama . . . . Ladutke has highlighted many of the subject’s strong dramatic possibilities, and brought the conflicting emotions of all the characters to the forefront. The book is swift and compact, covering an amazing amount of ground in two hours . . . . the strike numbers are particularly strong and explosive.”
– Talkin’Broadway.com

A “Best of the ‘Fest” selection at the 2002 Midtown International Theatre Festival

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Rachel Rubin Ladutke
Tel.: 212-875-7785
Email: rachel@rachelwrites.com
www.rachelwrites.com
or
Jill Marshall-Work
MusicalMakers@yahoo.com
http://www.musicalmakers.org/
jillmarshallwork.html

About the Playwright: Rachel Rubin Ladutke is a playwright based in New York City. Grace Notes, her first full-length drama, has been widely excerpted in various monologue and scene anthologies. As one of four winners of the Pittsburgh New Plays Competition, it premiered at Pittsburgh’s Gemini Theatre in February 2000. Later that same year, it was staged at The Looking Glass Theatre in NYC.

The Belles of the Mill, a fact-based historical epic, was a stageplay Finalist in the 2001 Moondance Film Festival, and Runner-Up in the Coe College Playwriting Symposia and in America’s Best Writing Competition. It has been excerpted in three anthologies. Her latest full-length play, Clary’s Exodus, was awarded Honorable Mention in the prestigious Jane Chambers competition.

Rachel is a member of the Looking Glass Theatre Playwrights’ Lab, Membership Director of the International Centre for Women Playwrights, and an Associate Member of the Society of Stage Directors and Choreographers and of the Dramatists’ Guild.

Belles of the Mill was first produced at the RAW Space as part of the Midtown International Theatre Festival in July, 2002. It was directed by Arlene Schulman.

Grace Notes by Rachel Rubin Ladutke

Drama/ 9 Characters, 7 Women, 2 Men (some doubling possible)/ Full Length, Two Acts

Synopsis: A heartfelt drama about three generations of a New England family. The story follows Grace, a feisty, witty American woman, over fifty years of her life, from her marriage in 1946 (as she attempts to reassure her about-to-be step-daughter — “I want you to love me, someday”), through 1994, as her own daughter and granddaughter struggle to reconnect after many years apart. Like its remarkable central character, Grace Notes is warm, rueful, and finally optimistic.

“…A wonderful family story about coping with conflict . . . poignant and funny.”
– Pittsburgh Post-Gazette

 

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Rachel Rubin Ladutke
Tel.: 212-875-7785
Email: rachel@rachelwrites.com
www.rachelwrites.com

About the Playwright: Rachel Rubin Ladutke is a playwright based in New York City. Grace Notes, her first full-length drama, has been widely excerpted in various monologue and scene anthologies. As one of four winners of the Pittsburgh New Plays Competition, this play premiered at Pittsburgh’s Gemini Theatre in February 2000. Later that same year, it was staged at The Looking Glass Theatre in NYC.

The Belles of the Mill, a fact-based historical epic, was a stageplay Finalist in the 2001 Moondance Film Festival, and Runner-Up in the Coe College Playwriting Symposia and in America’s Best Writing Competition. It has been excerpted in three anthologies. Her latest full-length play, Clary’s Exodus, was awarded Honorable Mention in the prestigious Jane Chambers competition.

Rachel is a member of the Looking Glass Theatre Playwrights’ Lab, Membership Director of the International Centre for Women Playwrights, and an Associate Member of the Society of Stage Directors and Choreographers and of the Dramatists’ Guild.

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.”
Culture

“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

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Amateur and professional rights:In Russia:
Valentin Fainberg (Krasnogorov)
e-mail: valentin.krasnogorov@gmail.com
Ph.: (812) 492-3701 or (812) 550-2146
website: http://krasnogorov.com/english/In the USA:
Mr. Larry Feinberg
52 Ridge Drive
Livingston, NJ
USA 07039
Ph.: (973) 535-3632
e-mail: seryvolk@yahoo.com

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.

The Fall of Don Juan by Valentin Krasnogorov

Comedy-Drama/ 3 characters, 2 males, 1 female/ Full Length, Two Acts

Synopsis: Circumstances force a bride and groom, also successful business partners, to ask a total stranger — an aging, oddly behaving man — to be the witness at their wedding. To kill time, the young couple also ask him about the women he loved. The result is unexpected, and their accidental meeting dramatically changes the fates of all three.

 

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
In Russia:
Valentin Fainberg (Krasnogorov)
e-mail: valentin.krasnogorov@gmail.com
Ph.: (812) 492-3701 or (812) 550-2146
website: http://krasnogorov.com/english/The translators: Ph.: (1)-917-402-1319 e-mail:YanaSkrynnik@gmail.comDimitriVorontzov@gmail.comIn the USA:
Mr. Larry Feinberg
52 Ridge Drive
Livingston, NJ
USA 07039
Ph.: (973) 535-3632
e-mail: seryvolk@yahoo.com

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..

The Fall of Don Juan was first produced by the Gorky State Theatre, Crimea, Simferopol, Ukraina in October, 2005.