Ichabod — by Phillip C. Wagner (Book & Lyrics) and Elizabeth DeVolder (Music & Lyrics)

Ichabod, Tragically Comic Players, Vernon, BC

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

Synopsis: A family musical set in the 1780s in the eerie Dutch settlement of Sleepy Hollow along the Hudson River. The jealous Brom cannot stand the graceful, educated Ichabod winning over his girl, Katrina, and will have none of Ichabod’s flirting with the ladies. Determined to rid Sleepy Hollow once and for all of Master Ichabod’s superior airs, Brom does not stop at just smashing pumpkins!

Children from five to 95 will enjoy the lively music and spirited antics of all the characters. Everyone sings and dances — even the “horses.” As in the classic Disney animated film, the “Legend of Sleepy Hollow,” the chase is the climax. Watch out for Brom Bones’ horse, Dare Devil, as he gallops after Ichabod Crane’s horse, Gunpowder!

“The kids nearly fell out of their chairs with laughter during the second half.”
– Shoe String Children’s Theatre

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:
Phillip C. Wagner
Artistic Director
Tragically Comic Players
1552 Creighton Valley Road
Lumby, BC, Canada
V0E 2G1
E-mail: phillipcwagner99@hotmail.com
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 play Murder at the Empress was first performed in Victoria by the Vancouver Island Players in 1979, and later adapted for a summer run at the Jasper Lodge in Jasper, Alberta.

Ichabod and the Headless Horseman premiered at the Four Seasons Musical Theatre in Victoria in 1986. Later it toured to 14 schools in Greater Victoria. In 2009, Phil joined forces with lyricist and composer Beth DeVolder to rewrite the music. The new Ichabod debuted at the Schubert Centre in Vernon, B.C. in 2009, and was remounted the next year at the Powerhouse Theatre in Vernon.

Currently the artistic director of the Tragically Comic Players in Lumby, BC, Canada, Phil is also a screenwriter and story editor.

Ichabod was first produced under the title Ichabod and the Headless Horseman by the Four Seasons Musical Theatre Company, Victoria, BC, Canada in 1986. The current version, with new music, was first produced by the Tragically Comic Players at the Schubert Centre, Vernon, BC, in 2009.

The Balkan Women by Jules Tasca

Musical / Multiple Characters, 2 Female, 2 Male, other characters can be played by males or females / One Act

Synopsis (From The Philadelphia Inquirer): “Tasca’s play is narrated by Lt. Jovan Vlaco, a Serbian officer in the women’s camp run by Col. Branislav Herak, who’s recovering from a shrapnel wound before being returned to the front. The camp, Vlaco reports, is located in ‘what they call Southern Bosnia and we call Greater Serbia — all wars begin with the changing of words and phrases.’ As the action begins, we meet the camp’s newest inmates — Amina and Samira Jusic, a Bosnian mother and daughter suspected of igniting a fuel-depot explosion that killed 16 Serbs.

“The explosion, we soon learn, was in fact perpetrated by Samira, working for a Bosnian guerrilla force. A bitter, hate-filled young woman, she’s egged on by the play’s fifth main character, a camp firebrand named Jela, and refuses to confess even when tortured. Fearful for her daughter’s life, Amina intercedes with Herak, with whom she was friendly back when Bosnians and Serbians lived together in peace, and arranges for Samira to work days as the commandant’s housekeeper.

“Although Samira assumes her new role reluctantly, she slowly begins to recognize this complex soldier-philosopher as a human being as well as a Serb. But old hatreds die hard, and wars assume an unstoppable momentum all their own.”

“Theatrically bold and politically moving.”
– Variety

“The title obviously evokes Euripides’ The Trojan Women. . . . It takes guts to challenge the all-time champions of hugely-scaled drama on their home court, but Tasca not only does so but pulls the feat off. . . . The remarkable thing about The Balkan Women is that although it’s written and staged in a deliberate, even formal style, its four principals emerge as people of substantial depth, their innate decency evident beneath the rote viciousness of their antagonisms. We’re kept in suspense by their dilemmas and ultimately touched by their fates.”
– The Philadelphia Inquirer

“Thought provoking and extremely powerful. . . . the characters are crafted with wonderful complexity.”
– Bristol Pilot

Read it Now
Performance rights must be secured before production
Contact information: Amateur and professional rights:
Jules Tasca
1029 Sunset
Blue Bell, Pennsylvania
USA 19422
E-mail: tasca.j@gmc.edu

About the Playwright: Jules Tasca has taught playwriting at Oxford University in England and he has performed with a Commedia dell’arte group in Central Italy. He is the author of 105 (13 full length, 92 one act) published plays that have been produced in numerous national theaters from the Mark Taper Forum to the Bucks County Playhouse, as well as abroad.He has also written for radio and television. He scripted “The Hal Linden T.V. Special.” His La Llorona and Maria were produced on National Public Radio. Other one-act pieces were broadcast in Los Angeles and abroad in Germany.

He was the national winner in New York’s Performing Arts Repertory Theater playwriting contest for his libretto, The Amazing Einstein, which toured the country and played at the Kennedy Center in Washington, D.C. His libretto for C.S. Lewis’ The Lion, The Witch and The Wardrobe had its world premiere in California and played in London and New York and is currently touring nationwide.

For his play, Theater Trip, he was the recipient of a Thespie Award for Best New Play, and Old Goat Song won a drama critic’s award in Los Angeles. His play, The Spelling of Coynes, has been included in The Best American Short Plays Anthology. His tragic piece, The Balkan Women, won the prestigious Barrymore Award for Best Play. His play The Grand Christmas History of the Andy Landy Clanwas broadcast on 47 National Public Radio stations.

Most recently, his tragedy, Judah’s Daughter, received the Dorothy Silver International playwrighting award. The author is a member of New York’s Dramatist Guild.

The Balkan Women was first produced at The Bristol Riverside Theatre, Bristol, Pennsylvania in 1998.

Dinosaur Rock by Shari and Jerry Tallon

Dinosaur Rock

Musical / Multiple Characters, 2 Female, 2 Male, other characters can be played by males or females / One Act

Synopsis: This delightful story is a musical theatrical performance packed with original songs as well as hits such as “Wooly Bully,” “Alley Oop,” and “Louie Louie.” As the characters journey back in time to find the missing rock from “rock ‘n roll,” you will be transported to the wild world of dinosaurs, learn important lessons, and participate in the adventure. Special segments about bullying, life lessons, and fun information about dinosaurs are included.

Dinosaur Rock is more than a play; it is a musical theatre romp with songs, dancing, live music, and tons of audience participation.

Production notes & school kit

“Terrific . . . . The children enjoyed participating with the songs, especially “The Bird Dance.” And they loved Bonehead!”
J.R. Henderson School, Kingston, Ontario

Read it Now
Performance rights must be secured before production
Contact information: Amateur and professional rights:
Shari Tallon
PO Box 414
Sharbot Lake Ontario
K0H 2P0
(613) 876-0293
Email: shari.tallon@gmail.com

About the Playwrights: Shari & Jerry have been performing to family audiences for more than two decades. They have performed their own music, as well as favorite audience standards, on tours that have spanned North America and Europe. They have also performed widely on TV and radio. Their CDs include “Simple Songs For Circle Time,” “In My Backyard,” “Songs For Every Season,” and “Birthday Blast!”

Running since 1985, Dinosaur Rock has been performed throughout Canada, most notably at the Ottawa Children’s Festival in 1992.

Supreme Dream by Frank Moher and Rhonda Trodd, featuring the music of The Supremes

Supreme Dream, Theatre Network, Edmonton, Alberta

Musical comedy/ 1 Characters, 1 Woman, 1 Female Voice/ Full Length, Two Acts

Synopsis (From The Globe and Mail [Toronto]): “Somewhere in Calgary, some time in the mid-1960s, a little girl tuned into ‘The Ed Sullivan Show’ and was transported by the glamour of Motown Records’ premiere female stars, The Supremes. Twenty years later, this same girl — a white girl — became a Supreme, singing backup for Mary Wilson as the former Supreme played dives, cruise ships, and lounges across Canada and the United States.

“That, in brief, is Rhonda Trodd’s story as told in Supreme Dream.”

(From The Daily News [Halifax]): “The first half details Trodd’s rather average childhood and adolescence, cleverly planting the seed that she, like all other girls who saw The Supremes on ‘The Ed Sullivan Show’ in the ‘6Os, secretly wanted to be part of the most glamorous female singing group in history. She even auditions for acting school by performing a hilarious rendition of “Stop! In the Name of Love, accompanied by a torturously out-out-tune piano. A series of coincidences lead to a dinner theatre gig in a play about the music of the 1960s. Mary Wilson, the last remaining Supreme has been brought in to beef up the star power. The two hit it off and Trodd convinces Wilson to take her on as a backup singer for her Supremes revival show. It’s as simple as that: Trodd realizes her lifelong dream of becoming a Supreme … sort of, anyway.

“The second half of the play is a sobering tale of disillusion. Mary Wilson’s career has been in slow decay since the early 1970s, an endless circuit of cheap hotels, cruise ships, and lousy clubs. The majority of her musicians are black, except, ironically, for her two white back-up singers. Her manager is an exploitive creep. Welcome to the music business.

“Worse, the black musicians are openly discriminated against, especially on the cruise ships, much to the horror of the naive Calgary actress. Hard lessons are learned, but nothing can take away the one true fact that, for a the period of almost one year, Rhonda Trodd could call herself a Supreme.”

“Hilarious . . . Glinting with insights . . . beautifully written.”
– The Edmonton Journal

“A sure-fire hit . . . Funny, engrossing, and completely entertaining . . . It stays with you long after you’ve left the theatre.”
– The Daily News(Halifax)

“A fascinating picture of the joys, absurdities, and indignities of life on the fringes of fame.”
– The Globe and Mail(Toronto)

“Engrossing and highly entertaining.”
– CBC Radio

“Entirely disarming . . . magic.”
– Winnipeg Free Press

“A supreme hit.”
– The Edmonton Sun

“It’s easy to understand why Supreme Dream strikes a chord in so many of us.”
– Winnipeg Sun

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.,
Canada,
V0R 1X3.
Ph.: (in North America) 1-855-757-9216 or 250-247-9216
Email: info@singlelane.com
Playwright’s website: FrankMoher.com

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 Ascentand 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 writes regularly for various magazines and newspapers, including backofthebook.ca. His most recent play, Big Baby, has been seen in Calgary, Los Angeles, and widely in Europe, and a musical, Moonbound!, with music co-written by Antonio Gradanti, which premiered in 2014, is now available on ProPlay.

Supreme Dream was premiered by Theatre Network, Edmonton, in April, 1996.

Also by Frank Moher on ProPlay:

McLuhan: The Musical — Book by Frank Moher, Music & Lyrics by Gerald Reid

McLuhan: The Musical

Musical Comedy-Drama/ Multiple Characters, 5 actors minimum (gender-blind casting encouraged)/ Full Length, Two Acts

Synopsis (from the Globe and Mail [Toronto]): “McLuhan: The Musical is nothing less than an attempt to dramatize the ideas of the late media theorist who was briefly the toast of the Western world (remember his cameo appearance in the film Annie Hall?) before his notions fell into obscurity in the Eighties.

“Moher, like media heavyweights such as Lewis Lapham, believes McLuhan’s time has come again simply because the world he predicted has come to pass . . . . Rummaging in his playwright’s toolbox, Moher decides to recount this hyperspace narrative as a medieval morality play. Herbert Marshall McLuhan is born, about the same time as radio, on a farm near Edmonton. He endures the torment of being a colonial hayseed at Oxford, and makes his way to a teaching post in America, where he becomes fascinated by advertising’s grip on the human mind. He returns to Canada just in time for the invention of TV.

“Bright, childlike theatrical trickery attends the tale. Teenage Marshall twists a radio dial. Suddenly the stage blacks-out and two puppets — little Marshall and a sort of radio spirit — are hovering in an electronic void . . . . Here he learns about Electronic Space, with its wonderful promise of being everywhere and nowhere at the same time.

“McLuhan panics as his ideas take on a life of their own, and his warning about the future — because, in truth, he hates and fears the new electronic world — is twisted into a celebration . . . . The play ends with McLuhan longing for the dense, sun-baked real-ness of his childhood prairie soil.”

“All the senses were gleefully aggressed and we were in for a night of razzle-dazzle . . . A very entertaining, lively, and intelligent show.”
– CBC Radio (Ottawa)

“A revelatory experience . . . . A good review of McLuhan: The Musical is almost redundant: the word of mouth is doing it all.”
– The Ottawa Express

McLuhan succeeds because it never loses its sense of fun . . . . [it] conveys the life story of Marshall McLuhan, but more important, it compares the utopian aspirations of a generation which saw the introduction of the electronic mass media to the complex reality of a wired society.”
– The University of Ottawa Charlatan

“Combines fantasy, humour, and great musical numbers for an evening of enjoyable intellectual stimulation . . . . Whether you’re a communication theory buff, or a musical theatre patron, McLuhan: The Musical is sure to please.”
– The Fulcrum (Ottawa)

“McLuhan would probably be amused. And, in one or two transcendent moments, perhaps even a little honored.”
– The Ottawa Citizen

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.,
Canada,
V0R 1X3.
Ph.: (in North America) 1-855-757-9216 or 250-247-9216
Email: info@singlelane.com
Playwright’s website: FrankMoher.com

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 writes regularly for various magazines and newspapers, including backofthebook.ca. His most recent play, Big Baby, has been seen in Calgary, Los Angeles, and widely in Europe, and a musical, Moonbound!, with music co-written by Antonio Gradanti, which premiered in 2014, is now available on ProPlay.

McLuhan: The Musical was premiered by The Great Canadian Theatre Company, Ottawa, in October, 1994.Also by Frank Moher on ProPlay:

 

Three Billy Goats Gruff by Jean Mann, Lyrics by Jean West Penna, Music by Eric Bryce

Billy Goats Gruff

Children’s Musical/ 6 characters (can be played by men or women)/ One Act

Synopsis: The classic tale of the Billy Goats with a bridge to cross, and the Troll who lives underneath, in a new version with plenty of comedy and original songs.

From The Advertiser (Adelaide): “The audience aimed at is the very young child . . . Yesterday at the Space they were delighted to discover that the big, bad Troll was not going to eat anybody up. All he wanted was a friend — someone to play with. Big Billy Goat Gruff was suitably — gruff. He was what every child’s daddy is when he’s working himself up into a ‘Don’t do that again’ lecture.

“Little Billy Goat Gruff is the character with whom all the kids like to identify. He is curiouser than most of us. Has more ideas perhaps. He overcomes his fears, as we would all like to do.

“But Frog is the star. His Frog-a-loggle language seemed to be just what the children hoped it would be: zany and yet natural.”

Three Billy Goats Gruff succeeds more completely than any children’s show I have seen this holiday . . . . Just what the child psychiatrist ordered.”
— Alan Roberts, The Advertiser (Adelaide)

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

Tracy Mann
c/o info@singlelane.com
Music available

About the Playwright: Early career managing a touring office in Alice Springs, Melbourne, and Sydney, Australia. Many years later, after two daughters had grown up, turned to playwriting for children. Her plays have been performed in theatres and schools in Adelaide and Brisbane. A non-fiction book came next, recording the 77 year history of a South Australian Croquet Club.

Jean gently passed away in January 2014, aged 94, after a fulfilling and productive life.

Three Billy Goats Gruff was first performed by The Little Patch Theatre, Adelaide, Australia, and subsequently by numerous theatres including the Brisbane Arts Children’s Theatre.

The Clean Airy Fairy by Jean Mann

Children’s play with music/ 8 Characters (can be played by men or women)/ One Act

Synopsis: What do we do with a world that’s polluted? Call in the experts of course!

Our hero is a fairy who comes to save the world from Pollution Pixies who defile the earth. The baddies are fought, in the nicest possible way, with the help of Tramp, Ray, and Wallaby.

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

Tracy Mann
c/o info@singlelane.com
Music available

About the Playwright: Early career managing a touring office in Alice Springs, Melbourne, and Sydney, Australia. Many years later, after two daughters had grown up, turned to playwriting for children. Her plays have been performed in theatres and schools in Adelaide and Brisbane. A non-fiction book came next, recording the 77 year history of a South Australian Croquet Club.

Jean gently passed away in January 2014, aged 94, after a fulfilling and productive life.

The Clean Airy Fairy was first performed by five, six and seven year olds for the Come Out Festival at Crafers (Adelaide) in 1991. It received its professional premiere at the Arts Theatre, Brisbane, Australia in June, 1998.

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.

 

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.

The Great American Western by Bruce Guelden

The Great American Western

Musical/ 9 Characters, 5 Men, 4 Women/ Full Length, Two Acts

Synopsis:
Our hero, the Lone Ranger, has a problem. He arrives in the small town of Dirtwater, Texas, just in time to find Carrie Nation trashing every bar she can find. Meanwhile, J. Edgar Hoover shows up and arrests the Mayor for embezzlement. As if things weren’t bad enough, poor Tonto may end up marrying that vixen Sioux (Sue). (And, for your added entertainment, there is also a cameo appearance by the Dallas Cowboy Cheerleaders.)

Playwright’s Notes: “This is a fun play for the cast, and is clearly Politically Incorrect. It pokes fun at politicians, women’s lib, pop culture, and The Government. It even mocks itself as a musical by using taped music which is sung karaoke style (making it easy to produce — no band).

“The author of this play will encourage and assist any theater company in its production. The fee for the use of this play is 2 tickets to opening night. Have fun with it.”

“If you like musicals and westerns, then you will probably like The Great American Western.”
– sacramentopress.com

Read it Now
Performance rights must be secured before production
Contact information:
Amateur and professional rights:Bruce Guelden
E-mail: winters@pacbell.net
Address: 430 Main St
Winters, California
U.S.

About the PlaywrightBruce Guelden was born in Lafayette, California and now resides in Winters, California. Bruce is a relatively nice guy but he does drink and smoke too much. He has a dog named Max. The Great American Western has been produced by several theater companies in Northern California over the past 15 years. It has received numerous awards, among them for Best Comedy and Best Musical. This play does its best when performed in a college town or to an audience of Baby Boomers.

The Great American Western was first produced at the Dublin Theatre Festival by Alternative Theatre
.