Jay Eddy

Happy and Sweetness are a happy couple! Until they move to Swamp-land and Happy's ever-intensifying obsession with the local alligators threatens to eat them alive. One part door farce, one part monster movie: ALLIGATOR-A-PHOBIA IN 3D! is an absurd horror-comedy about alligators, swamps, isolation, and the fear of stepping outside your house.

A freak-folk scored, heteroglossic (English, Russian, Yiddish) adaptation of Chekov’s ЧАЙКА (THE SEAGULL) emceed by Masha and set just before the end of the world.

A retelling of Hans Christian Anderson’s dark and punishing LITTLE MERMAID set between the bioluminescent sea and a Florida freak show just before the birth of Disney World.

An original folk opera written for an ensemble of actor-musicians, Bare Cove follows a family in crisis as they face the revelation of one daughter’s decade-long history of sexual abuse and the present-day consequences of her traumatic past. With songs inspired by the folk sounds of New England and a story rooted in the ghostly traditions and fairy tales of that place, this modern-day fable invites us to explore the communities we share and the worlds we build for ourselves.

The Boys are Angry is a pitch-black comedy about love, friendship, and the violent hatred of women at the dark heart of the internet.

Loosely based on Shakespeare's Macbeth. Holler, an Appalachian Tragedy is a punishing fairy tale set in the Appalachia of the American imagination. Through the banjo-picking, bass-thumping, washboard-tapping, mandolin-trilling, guitar-strumming, fiddle-shrieking ballads that have echoed through the mountains for centuries, Holler asks: how far would you go to leave your mark on the world? and what happens when you can't turn back?

Loosely based on Shakespeare's King Lear. Beached, an Island Tragedy is set on a tiny island in Downeast Maine—the kind of island you can only reach by mailboat. Set to a rollicking score of shanties old and new, Beached is the story of one man's legacy and the children who must inherit it.

On a livestream from JJ’s kitchen, what begins as an unboxing video becomes something stranger: a personal exploration of sexual attraction and gender, of formative childhood memories and adult acts of remembering, of Barbie Dolls and Disney Villains, of plastic and flesh. JJ navigates the shifting landscapes of desire between “Do I want to be you?” and “Do I want to be with you?” and maybe, finally, to “Do I want to EAT you?”

New Years Day, 1950: Jimmy and Tracy spend the morning in bed after a late night at their latest film premiere. As they dress and undress, cry and kiss, play and role-play, their bedroom becomes a safe haven in which they can finally stop acting and live—and love—as their authentic selves.

New Years Eve, 2000: Harry and Sally, two women reeling from recent breakups, debate the lesbian coding of the Meg Ryan film cannon, the gayness of khaki pants and boats, and the meaning of the film ADDICTED TO LOVE. And when midnight strikes, they might find a chance for a new beginning—in each other.

In a grubby audition room by the Burbank Airport, Carrie White—a non-binary femme actor—is auditioning for the role of Princess Flo in TAMPON COMMERCIAL: THE MOVIE. Carrie listens to the unseen casting director and assistant loudly assess their acting, their looks, their gender, and their place in a film about an heroic tampon princess and evil pad. Will Carrie get the part? Or will they walk away—to burn the industry to the ground?

For Billie—a woman living with complex post traumatic stress disorder—time doesn’t always move in a straight line. In this chronology-resistant digital play, we experience one of Billie’s time-traveling panic attacks and ricochet across thirty years of her personal archaeology. We see her trauma but also the love she found in its wake—and we might even find a glimmer of hope in Billie’s testimonial attempts towards healing.

“i want you to listen” is a play that demands participation; a game; a revelatory meditation that asks us to tune in to the sounds around us with every cell in our bodies. Through a series of interactive prompts for an increasing number of players, the play responds to the isolation of the COVID-19 pandemic by imagining a journey that leads us from our quarantined selves to our intimates and friends and then out into our communities. “i want you to listen” is a celebration of liveness, of large-scale collective creation, and of the sounds we make and the sounds we witness.