Claire by C.E. Gatchalian

Drama/ 4 Characters, 2 Women, 2 Men/ One Act

Synopsis:
(from The Georgia Straight): “Claire explores our relationships to masculinity which, in this play, is a relentlessly abusive force. A character called 1 is the mean, beautiful daddy figure who wields a none-too-subtle phallic symbol: a baseball bat . . . . 1 tells us how his father used to beat up his mom with the bat in consensual erotic encounters until 1 decided to off his old man, at which point his mother begged him to take over his father’s role. ‘So I did what I was told,’ he explains. ‘I beat the shit out of the old cunt.’

“He eventually murdered his mother, too, and has gone on to relationships with 2 and 3. He calls 2 ‘Cunt’ and 3 ‘Faggot.'”. . . The play asks how, as adults, we can find a satisfying expression for love that has been imprinted by abuse . . . . A character named Claire, a sexualized 10-year-old — in the play’s overlapping realities, she is 1’s daughter — embodies the origins of the conundrum . . . . Gatchalian does some subtle things with the reversals of power in abusive relationships; both 2 and 3 become sadistic for awhile. He explores his characters’ fruitless attempts to escape into anonymous, blindfolded sensuality, and their inevitable return to a desire for more personal intimate connections.”

 

“Gatchalian creates a one-act play so sexual, so violent and so sexually violent that it could encompass the decades-long traumas of an octogenarian . . . . Claire is evidence of greater, and no doubt even more disturbing, things to come from the writer.”
The Vancouver Sun

“I applaud Gatchalian’s willingness to go to dark places . . . . He questions the possibility of [intimate] connections in a sexual culture in which masculinity is, by definition, dehumanized.”
Colin Thomas, The Georgia Straight

“Gatchalian is well on his way to making his mark in contemporary drama.”
CBC Radio

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Zero Summer Theatre and Literary Arts
Attention: C.E. Gatchalian
1710 Cotton Drive (Main Floor)
Vancouver, B.C.
CANADA
V5N 3V2
Ph.: (604) 254-2124, ext. 1
E-mail: zerosummer2002@yahoo.ca

About the Playwright: C. E. Gatchalian is a writer based in Vancouver. He studied Creative Writing and Theatre at the University of British Columbia (BFA, 1996; MFA, 2002). His first play, Motifs & Repetitions, aired on Canada’s Bravo! channel in 1997. His next play, Claire, was produced in Vancouver in 1999. His writings on the arts have appeared in numerous publications, including Xtra! West, The Vancouver Sun, and The Georgia Straight. His first book, Motifs & Repetitions & Other Plays, is forthcoming.

Claire was first produced at The Blinding Light!! Theatre, Vancouver, British Columbia in 1999.

Shyllag by Miriam Gallagher

Drama/ 1 Character, 1 Woman/ Full Length, 90 minutes

Synopsis: A Travelling Player, waiting for her train, tells tales to the unseen stationmaster, opening a Pandora’s box of love, struggle and confusion. To Allwych (or Everywoman), life is one long train ride. She spins tales of real and imagined journeys: Happy seaside trains with her daughter Shyllag. Exciting tours as a Travelling Player. Romantic and tragic trains.

Her story spans three generations of women and their lives, from Allwych’s mother, who was a young woman between the two World Wars, to Allwych in the present, after the fall of the Berlin Wall.

Although partly inspired by real life events, the play concerns itself with Everywoman’s search for freedom.

Shyllag (or “Once upon a Train in Hungary”) lasts 90 mins — without an interval — and can be staged as a one woman play or performed with more players. Some scenes, e.g. station scenes, the wedding and pub scene would lend themselves to group interaction with perhaps dance/mime/music and a soundscape created by the actors.

The setting is a railway station in Limbo.

“A beguiling piece of writing.”
– The Irish Times

“A beautifully told story and Allwych is a memorable narrator. The play has great verve and energy.”
– Max Stafford-Clark, theatre director

“A vibrant and moving piece of theatre.”
– Hampstead Theatre, London

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Miriam Gallagher
E-mail: gallaghermiriam@eircom.net
Playwright’s website: http://www.miriamgallagher.ie/
Address: 53 Upper Beechwood Ave.
Ranelagh, Dublin 6
Ireland

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.

Shyllag was first produced at Andrews Lane Theatre, Dublin, in 1993.

The Cellar by George Freek

Comedy-Drama/ 5 Men, 2 Women/ Full Length, Three Acts

Synopsis:
(from The Denver Post): “The Cellar is the story of the kind of family unit that Tom Wolfe used to call ‘Mom-Dad-Buddy-Sis’ in his satirical excursions across middle-class America. Playwright George Freek has created his own nuclear family unit called Mom, Dad, Sunny, and Honey — plus a blind man who lives in their basement.

“Like Pinter, Freek can turn a kitchen paring knife or an ordinary screwdriver into a cottage monster . . . . The most insipid small talk about the weather or fast-food coupons or soap operas begins to build into a house of cards, all smeary-fingered and stained with misuse. For a time, the parents’ dialogue is parody, but it tilts sickeningly with the arrival of Sunny, the amoral cheat and son of the house. We realize that we are in the whitewashed interior of a cherfully clean bungalow where invisible fungus creeps. Father is a closet pederast, mother is desensitized, and daughter Honey is a prostitute.”Freek reveals all this by means of lurching and elliptical speeches . . . . For years, this family has sheltered the practitioners of incest, arson, and prostitution (as it now shelters the blind man in the cellar) while gulping an all-American diet of Cokes and potato chips.”

“Subtle and often clever . . . . Freek’s cynical message is that people with pointless and barren lives can be kept in a state of joyless euphoria through the ideals epitomized by the television commercial . . . . the play’s greatest virtue is that it is very funny while it addresses these issues”
Rocky Mountain News

“Well worth the visit.”
Denver Post

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
George Freek
515 Douglas St.
Belvidere, Illinois
USA 61008
Ph.: (815) 547-7521
Email: gfreek@juno.com

About the Playwright: George Freek’s plays have been produced by the Organic Theater in Chicago, the Milwaukee Repertory, the West Coast Ensemble in Los Angeles, and the Pittsburgh New Works Festival, as well as the 13th Street Theater, Love Creek Productions, and the Theater-Studio in New York. He has been playwright-in-residence at the New American Theater in Rockford, Southern Methodist University, and Southern Illinois University, and has received grants from the Illinois Arts Council and the National Endowment for the Arts.

The Cellar was first produced by The Changing Scene, Denver, Colorado, in April, 1988.

 

Re-Calculating by Lucas Foss

Man in wheelchair with bongos

Drama/ 1 Character, 1 man/ One Act

Synopsis: “Explores the reflections of a middle-aged man who has lived as a quadriplegic since experiencing a traumatic spinal cord injury at the age of 19. With alarming intimacy and emotional honesty, Jonathan explores the range of feelings and viewpoints he has experienced in the ensuing 36 years, as he grew from angry young man to a more mature and wise human being.”
– L.T., Faculty, Capilano University

“Extremely entertaining and thought-provoking . . . enables the audience to feel his grief, anger and pain.”
– J.N., Co-Exec Director, North Shore Disability Resource Centre

“A big eye-opener . . . I thought I had dealt with my prejudices about people with disabilities a long time ago — but no, it seems there are still more layers of anxiety or fear left to look at.”
– D.G., Non-Profit Coordinator

“A relevant play for everyone . . . challenges the audience to question old values and raises awareness of our relationship to people with disabilities.”
– C.S., Faculty, Douglas College Theatre Department

 

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Lucas Foss
1232 Plateau Drive
North Vancouver, B.C.
Canada
Ph.: (604) 988-4681
E-mail: c.LittleVoices@gmail.com

About the Playwright: Lucas Foss is best known for his award-winning, consciousness raising solo play Little Voices, which he also performs. 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. Lucas is also a disability services advisor with Capilano University in North Vancouver, BC.

Re-Calculating was first produced at Douglas College, New Westminster, BC in June, 2012.

 

Second Sight by G. Scott Eldredge

Drama/ 7 Characters, 3 male, 4 female/ Full Length, Two Acts

Synopsis: In the history of Jonathan’s family, the eldest child in each generation develops second sight on their 13th birthday. But for unknown reasons his mother didn’t receive the sight, and the last person who did abandoned the family 40 years ago, after being released from a mental institution.

His father isn’t sure what to make of all this, his grandfather assures him he is fine the way he is, and his mother hopes he will receive the gift she didn’t.

Tomorrow is Jonathan’s 13th birthday.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
G. Scott Eldredge
P.O. Box 311
La Honda, Calif.
USA 94020
Playwright’s website: www.lifetimesinc.com
E-mail: seldredg@comcast.net

About the Playwright: Scott has over 25 years of experience as a writer and editor. His writing background includes technical, instructional, and marketing content distributed via print, Web, CD, and online.

Scott has completed three full length plays, Second Sight, The Last Point Of View and Denial, as well as two screenplays, Blindsided and New Age.

Other recent work has included instructional design, writing, and editing for Apple, Cisco, Gap, Google, HP, Kaiser, Network Appliance, Palm, and Savi Technology.

Second Sight was first presented at the Playwrights Center, San Francisco, CA in 2007.

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

Synopsis:
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.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
YouthPLAYS
7119 W Sunset Blvd #390
Los Angeles, CA
USA 90046
E-mail: info@youthplays.com
Website: www.youthplays.com

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 www.JuliaEdwards.com.

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

War of the Buttons by Jonathan Dorf

Drama/ 12 Characters, 10 Men (9 teens, 1 adult), 2 Women (both teens)/ Full Length, Two Acts

Synopsis: (Freely adapted from La Guerre des Boutons by Louis Pergaud) Each year, the kids in a failed manufacturing town — a now-closed ice cream factory was its lifeblood — wage a war against the students of the nearby boarding school that’s buying up failed homes and businesses and taking over. This year, the prisoners will have their buttons cut off.

Charlie, leader of the town kids, is abandoned by his parents, but even having to hide in the now-closed ice cream factory to avoid being sent to a youth home doesn’t stop him from fulfilling his duties as general. When the preps ambush him and take his buttons, Charlie leads a daring midnight raid to recapture them — otherwise, he won’t pass muster at school the next day. But when his friend Hugo gets in trouble for it, Charlie must decide whether to save Hugo or himself.

A portion of War of the Buttons 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.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Jonathan Dorf
7125 De Longpre Ave. #209
Los Angeles, CA
90046.
Ph.: 1-877-245-5879
jon@jondorf.com
www.jonathandorf.com

About the Playwright:
Jonathan Dorf has had his plays produced across the United States, as well as in several foreign countries, including stagings of his work by Walnut Street Theatre, Playwrights Theatre of New Jersey, Ensemble Studio Theatre – LA and the Pittsburgh New Works Festival. Mr. Dorf is the co-chair of the Alliance of Los Angeles Playwrights, the former managing director of the Philadelphia Dramatists Center and a member of the Dramatists Guild of America. He has also written several produced short screenplays and a number of feature scripts.

In addition to writing for stage and screen, he serves as the resident playwriting expert for Final Draft: he created “Ask the Expert” Playwriting for their scriptwriting software and also writes a column about playwriting for their website. He is resident playwriting expert for The Writers Store, for whom he created Playwriting 101.com, and he also contributes regularly to their e-zine. He graduated magna cum laude from Harvard College with a degree in dramatic writing and literature and holds an MFA in playwriting from UCLA. He is available to playwrights and screenwriters as a script consultant.

The War of the Buttons was first performed at the Haverford School, Haverford, Pennsylvania in 1999. It awaits its first professional production.

Play’s End by Jonathan Dorf

Comedy-Drama/ 2 Characters, 2 Men (1 is a boy)/ One Act

Synopsis: John Doe, a gun salesman, arrives home to find his ten year old son, Johnny, already back from school and playing on the living room floor. Johnny tells his father that something “sad” has happened, but he can’t remember what it is.

He tells John about a boy who was shot to death at school the week before. As he relates the story of the shooting and reconstructs his day-and as John explains the gun-happy family’s own version of the “birds and the bees” — Johnny remembers that his brother Jay has been “stung.”

“. . . in heightened dialogue reminiscent of Pinter, Dorf shows quite effectively how a parent’s attitudes can influence a child without either of them knowing it . . . The most interesting and stimulating work [of the evening].”
– The Philadelphia Inquirer

“Premiere One-Act Festival starts off with a bang with Jonathan Dorf’s Foreplay . . .”
– Buzz Weekly (Los Angeles, CA)

A portion of Play’s End 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.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
YouthPLAYS
7119 W Sunset Blvd #390
Los Angeles, CA 90046
Ph: 424-703-5315
E-mail: info@youthplays.com
Publisher’s website: www.youthplays.com

About the Playwright: Jonathan Dorf has had his plays produced across the United States, as well as in several foreign countries, including stagings of his work by Walnut Street Theatre, Playwrights Theatre of New Jersey, Ensemble Studio Theatre – LA and the Pittsburgh New Works Festival. Mr. Dorf is the co-chair of the Alliance of Los Angeles Playwrights, the former managing director of the Philadelphia Dramatists Center and a member of the Dramatists Guild of America. He has also written several produced short screenplays and a number of feature scripts.

In addition to writing for stage and screen, he serves as the resident playwriting expert for Final Draft: he created “Ask the Expert” Playwriting for their scriptwriting software and also writes a column about playwriting for their website. He is resident playwriting expert for The Writers Store, for whom he created Playwriting 101.com, and he also contributes regularly to their e-zine. He graduated magna cum laude from Harvard College with a degree in dramatic writing and literature and holds an MFA in playwriting from UCLA. He is available to playwrights and screenwriters as a script consultant.

Play’s End was first produced under the title Foreplay at the Brick Playhouse, Philadelphia.

La Negra (The Negress) by Luis Miguel Gonzalez Cruz

The Negress

Drama/ 5 Characters, 3 Male, 2 Female/ Full Length, 90 mins.

Synopsis:
A young woman, Ana, arrives at a rundown shack for an appointment to be tattooed. She meets “The Captain” and his lover, Isabel — heroin addicts united by passion and their memories of better days. The Captain at first refuses to do the work, until Ana’s manipulative boyfriend convinces him to brand her with the image of a mysterious woman named “la negra” — the same tattoo The Captain carries on his own chest. Does The Captain agree in order to create his final masterpiece — or to free himself of the dark legacy that haunts him? Either way, the results are both brutal and inevitable.

Advisory: contains explicit language, violence, and sexuality.

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Luis Miguel González Cruz,
C/ La Palma 18, 2° dcha
28004 Madrid, Spain
Email: luismiguelgcruz@hotmail.com

About the Playwright:
Playwright, director, and screenwriter Luis Miguel González Cruz won the 2001 Borne Award for La Negra. He is also winner of the Lope de Vega Award for Eternal Return, The Calderon de la Barca Award for Agony, and the Rojas Zorilla Award for Thebas Motel.

La Negra was first produced by Galileo Teatro, Madrid in January, 2003.

 

Babes In America by Carole Clement

Comedy-drama/ 7 Characters, 3 Women, 3 Men, 1 either gender/ Full Length, Two acts

Synopsis: (From NewYorkTheatre.com): “Babes in America is a new play by Carole Clement about a woman named Liz Small who is suffering from information overload. An obedient wife and mother of two, Liz finds herself confronting the absurdities of the Information Age — ‘information overload and experiential underload.’ Struggling against the inertia of her own values, she must move beyond the expectations of others while avoiding the ‘Siren Song’ of new technology.”

(From www.offoffoff.com): “We’re in a perfect little suburban housing complex where the husbands go out to work and the wives stay home and scan stacks of newspapers into their computers, so their children will never be information-deprived for the rest of their lives. Liz Small (Kate Lunsford) — who’s slightly out of her mind as a mom, forcing her two kids (Alexandra Leeper, Ryan Paulson) to continue their babyhood well into their teens — is the first to crack. She starts to spiral down to reality and wonder whether scanning all day long is really the way to educate the family.

“She has another idea — go outside the cookie-cutter house and see what’s out there.

“‘I think I could learn from experience!’ she imagines.

“‘Even if you could, says her skeptical hubby, who hopes to achieve a totally electronic existence, ‘do you realize how long it would take? Your whole life!'”

Character and production notes

“An often-inspired comedy about a gated-community family on the edge between going totally digital and pulling the plug on their technological rat race . . . .

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Carole Clement
8371 Villa Marina Court
Mentor, Ohio
USA 44060-2039
(440) 209-0634
clement@ncweb.com
About the Playwright: Carole Clement lives in the Cleveland area and is a member of the Dramatists Guild, the Cleveland Playwright’s Salon, and past President and Director of Development for the International Centre for Women Playwrights.Among the competitions that have recognized her works are the Sundance Film Festival, Jane Chambers Competition, Last Frontier (Edward Albee) Competition and the Eugene O’Neill Competition.When not writing, Clement is probably gardening, pumping iron, ballroom dancing, or digging on archaeological expeditions.Babes in America was premiered by the Breakaway Theatre Company at Theatre for the New City, New York City in September, 2001.

Babes In America gets off plenty of clever lines, poking fun at gated communities, homeowners’ associations and the bright electronic future . . . . It takes on [its] big subject with wit, imagination and a strong sense of purpose.”
– www.offoffoff.com