Andrew Saito

Harlem Canary / Tokyo Crow is a comedic exploration a little-known Japanese propaganda program during WWII, “Negro Propaganda Operations,” in which captured African American Prisoners of War recorded radio plays that contrasted the supposed joys they experienced living in Japan with the horrors of racism in the US. These recordings were intended for broadcast in Black communities in the US, to foment civil unrest.

Lubia, an undocumented immigrant from Guatemala, works for the Gallagher family, who live in a high-rise penthouse overlooking Central Park. Lubia is maid, cook, and wetnurse for the Gallaghers' son who, at seventeen, still nurses. To prove his manhood, he bottles and sells Lubia's breast milk, pocketing all the profits that literally flow from Lubia's body.

The southeastern panhandle of Missouri, aka the Bootheel. In early January 1939, over 1,000 Black and White sharecroppers camped out alongside Highway 55 to protest their eviction from the farms where they worked and lived. In late December 1938, a group of Tsalagi (Cherokee) being forced to Oklahoma from Georgia on the Trail of Tears, passed through this same site. In 'Bootheel,' Afro-Cherokee sharecropper and reluctant protestor Earl Jean Wilderness travels back in time one century, learning about her heritage, the history of the land, and how to walk through pain by standing with others.

Medusa is Kim Kardashian to Athena's Paris Hilton. After Athena accuses Medusa of seducing her uncle, Don, who in reality raped her, she disfigures Medusa's face with a pot of scalding coffee. Medusa becomes a recluse, until she meets the macho Percy, who hides his drone-operating-induced PTSD beneath a fake pair of Air Force pilot's wings.

While commemorating the anniversary of her daughter's tragic drowning in a flash flood of the Río Grande, Francisca Warrior, a Black-Seminole veteran of the Gulf War, kills a militaman about to rape Rosario, a Mayan refugee from Guatemala who has just crossed the border. The murdered and the undocumented immigrant together flee the law, and Border Patrol agent Reylando Madrid, who seeks to apprehend them in hopes of reviving his moribund career. Reynaldo pursues Francisca and Rosario from the mouth to the source of the Río Grande, which, embodied by an actor, serves as narrator and portrays the other characters in the play.

After his father's fatal heart attack, chubby Sam Hamamoto, mid-40s, who works at a Foster's Freeze and has always lived with his parents, decides to finally go on his first date with Deborah, his schoolyard bully turned mail deliverer. His efforts are threatened by the ghost of his sports-obsessed, patriotic father, his manipulative mother, and his lack of belief in himself.

Medieval princess Wilgefortis, a closet Catholic, has her prays for protection against marrying the pagan King of Sicily answered when she grows a beard overnight. Enraged, the King of Sicily storms out, declaring war, and her father consequently orders her crucified. Thus displayed before the world, Wilgefortis becomes a symbol of hope for abused wives, wandering minstrels, and, above all, ‘monsters,’ who carry her icon and spread her message of acceptance around Europe.

Note: This play was previously titled 'The Patron Saint of Monsters.'

The apocalypse is nigh, but Sach and Claudey have more important things to worry about than face-melting climate change, like having a kick ass yard sale! 'Stegosaurus (Or) Three Cheers for Climate Change' is an absurd exploration of the end of the world, the action of inaction, and the quest to sell road kill taxidermy to buy a jacuzzi. It’s Waiting for Godot meets Beavis and Butthead with a splash of hope and humor. It’s the end of the world, but the show must go on!

When the Japanese bombed Pearl Harbor, the largely unacknowledged Japanese diaspora of Peru became a pawn on the chessboard of the war. In this epic, massively imaginative story, the sacred and the profane unite two estranged Japanese-Peruvian siblings, a fishmonger and a nun, as they attempt to avoid deportation. Elements of magical realism stitch together the play’s highly theatrical and poetic tapestry of resistance, while Glenn Miller and his all-fish orchestra, praying nuns, and a dancing chorus of masked Devils from Puno are its colorful threads.

Two prominent American figures. One parcel of land. All share a history that reaches across time from the genesis of the Civil War to the aftermath of the War on Terror.

On a plantation called “Mount Misery” in a small Maryland town, a teenage Frederick Douglass once fought his overseer and triumphed. This moment would permanently alter the course of Douglass’ life, freeing him from fear and building a new sense of agency.Over 150 years later, former U.S. Secretary of Defense Donald Rumsfeld bought the mansion and property to use as a vacation home. Andrew Saito’s new play, Mount Misery, juxtaposes Douglass and Rumsfeld’s life works and philosophies. This satire examines the United States’ inconsistent progress on issues of human rights and race by imagining the two men interacting across time.

A poetic portrayal of the heart of the city in the spirit of Alan Ginsburg’s Howl, William S. Burroughs” novels, and the plays of Suzan-Lori Parks. At the center of this play about love and longing in the neglected neighborhoods of a fictional city is Scarlett, a woman who takes care of her grandmother by pulling wild animals out of her ears and letting them loose in her backyard menagerie. She makes her living as best she can off of the dreams and desires of married men who are willing to sacrifice everything for her. Drumhead, a lonely morgue worker with a wild imagination, comes across a carnival poster boasting of the wonders of Scarlett and can’t get her out of his head. Krispy Kritters in the Scarlett Night follows these seeming misfits on their journey to find each other.