Sarah Tuft

When, in a Climate Grief Ten-Step program, Addy—a loquacious, biracial, non-binary, neurodiverse fifteen-year-old who lost their home in the Tubbs Fire—meets Paul—a fifty-seven-year-old white cis man who returned to his hometown of Paradise after the Camp Fire destroyed it—though initially dismissive of Paul, Addy warms to his shared sense of despair and fatherly interest in their encyclopedic knowledge of climate change, PG&E, and endangered black abalone. So when Paul reveals in his “group share” that he’d worked for Big Oil, Addy is triggered; their father, who abandoned them, also kept secrets. As the two move through the “steps" together —which form the play’s scenes—Addy’s attachment grows. But when the sixth step of “Seeking Beauty” sends them on a field trip to what remains of their homes, Paul inadvertently reveals he had a daughter who passed away. Feeling betrayed by yet another secret, Addy runs from Paul who, chasing after them, injures his ankle. Now lost in the forest, the two must face hard truths in order to get back home. The play ends with each finding a path to recovery through action. SOLASTALGIA is an eco-grief two-hander that explores the feeling of homesickness due to climate change.

When a renowned stage diva funds an out-of-town try-out of “The Crucible" hoping to resuscitate her husband’s dying directing career, he puts the production in peril by casting an AAPI beauty influencer—with no acting experience—as Abigail and an accomplished Black Broadway star as Proctor. As the influencer digs into the play, her objections to its misogyny—as well as to the director’s behavior—upends the play and all its players. With days to go before previews, the production is doomed… unless the two woman can resolve their differences. ABIGAIL explores intergenerational conflict around issues of consent and exposes how the excuses we make for our revered giants work to perpetuate the cycle of predatory behavior.

Developed at The O’Neill National Playwrights Conference... As Monica Lewinsky rehearses for her Talk, her PTSD keeps getting in the way, sending her spinning, literally, into an alternate universe. Will Marvel-ous Monica rescue The Pretty Young Coed from the Lecherous Professor? Will she learn the secret of Nasty-Woman, the mighty matriarchal superhero? And finally, will Monica be able to give her Talk by making peace with her traumatic past? Combining humor, fantasy and verbatim theater, MARVEL-OUS MONICA offers an overdue #MeToo look at the slut-shamed young woman at the center of a notorious political scandal.

Published by Playscripts and produced at over 110 community and academic theaters across the US and abroad... From the first crash at the Towers to a last goodbye at Ground Zero, 110 STORIES is a moment-by-moment journey through 9/11 as told by eyewitnesses, survivors, and recovery workers. These “everyday people” include a photojournalist, a mother, an ironworker, a nurse, a massage therapist, and a homeless man who saved lives that day too. Their unflinching, freaked-out, and sometimes funny stories take us back to when 9/11 was unimaginable, capturing the shock and horror of the day as well as the resilience of New York City in the tragedy's aftermath. 110 STORIES memorializes September 11th without politics or hyperbole. Instead, it restores the human side to history by honoring our capacity for compassion.

110 STORIES has been performed by actors including Ed Asner, Billy Crudup, Catherine Curtin, Ossie Davis, Ruby Dee, Noah Emmerich, Edie Falco, James Gandolfini, Neil Patrick Harris, John Hawkes, Jessica Hecht, Jon Heder, Katie Holmes, Neal Huff, Samuel L. Jackson, Sharon Lawrence, Melissa Leo, Aasif Mandvi, Katharine McPhee, James McCaffrey, Dash Mihok, Cynthia Nixon, Tonya Pinkins, Jeremy Piven, Jay O. Sanders, Susan Sarandon, Pablo Schreiber, Tony Shalhoub, Daniel Sunjata, Kathleen Turner, John Turturro, Ben Vereen, and many other fine actors. 

110 STORIES has been staged at The Vineyard Theatre, Public Theater, Geffen Playhouse, Skirball Center for the Performing Arts, and Town Hall where excerpts were included in “Brave New World: American Theater Responds to 9/11." Directors have included Barry Edelstein, and Gregory Mosher. Producers have included Andrew Carlberg and Jennifer Maloney-Prezioso.

In the aftermath of an earthquake, an unkempt but neighborly Will pays a visit to a disheveled Alyssa to make sure she's okay, which she insists she is. Dissatisfied with her assurances, Will enters her apartment to see that, sure enough, she got hit bad. Even so, Alyssa resists his offers to help until finally revealing she has all the emergency supplies she needs, having lived through Hurricane Sandy. She’s especially proud of having stashed away the super-useful multipurpose Classic Coke, which has an off-label use as a spermicide. As they share reflections on the disaster, Will insists earthquakes are unrelated to climate change so Alyssa proves him wrong, causing Will to admire her intelligence, as well as her beauty. But when Alyssa suspect him of flirting with her to get her supplies, Will reveals he survived Katrina and is equally set-up. Each considers themselves prepared for anything... until the earth moves. Yup, it's "The Big One!"

Bluebeard has a new bride - again. Mother has concerns - not for the first time. And Josephine has a plan. THE PRICE OF BLUE follows what happens when Bluebeard’s mother tries to disrupt her son’s murderous ritual by casting doubt on his new bride’s fidelity. It bloody well better work.

AWESOME BIG SOMEBODY is a dark comedy about a mother and daughter competing for the same celebrity. Pam schemes to adopt a baby for Him since celebrity adoption is all the rage, while her teenaged daughter, Baby, aims to bang Him so good, He’ll never want anyone else. In their desperate race to the star, mother and daughter draw unwitting allies to their cause. But when Baby gets pregnant, everyone goes to war. AWESOME BIG SOMEBODY is a wild romp through celebrity worship, designer adoption, compulsive shoplifting, teenage pregnancy, substance abuse, and the on-going war in the Middle East… in other words, a slice of America.

When Stacey insists her elderly mother be admitted to the ER during the pandemic, Barbara, the nurse at the registration desk, struggles to get her to calm down and describe her mother’s symptoms. But when mask-less Joan interrupts them, it quickly becomes apparent that the only thing mother and daughter are sick of is each other’s company.

When two sisters prepare food for their mother’s funeral reception, Cate one-ups Stephanie’s grief with a startling revelation. But just as Stephanie begins to wrap her head around the news of her mother’s secret life, Cate drops one more surprise. With Stephanie furious about being the last to know, two questions remain: Will the sisters’ relationship survive the news? And what did Stephanie do with the bruschetta?