Matt Letscher

BATVTV is a comedy about the subliminal connection between pets and their owners. When Golden Lab siblings Bert and Trixie are brought into the vet's office by their overmatched owner for an overdue check-up, they're met by the new office cat named Bitchy. The mutual dislike is immediate and intense, so much so that the other office resident, a parrot named Leonard, steps in to make peace. It's then that the dogs discover that previous office resident and old Dachsund friend Stewie has since "crossed the rainbow bridge." Once it's revealed by the behavior of the humans that Bert might have a serious health issue, Bitchy and Leonard debate the pros and cons of "pack life" and whether or not their humans have their best interests at heart. As it appears that euthansia is a real possibility for Bert, Bitchy and Leonard devise a plan to break him out of the office to live life on his terms out on the street in the real world. However, when finally given the opportunity to be free, Bert can't desert the family he has come to know and love.

Doug, a blue collar laborer (and self-proclaimed “best shovel man in SE Michigan”) is the jovial foreman for a family owned construction company. Currently engaged in the demolition phase on a house remodel, Doug has been charged with training Paul, the boss’ college bound son, over the course of the summer project. Doug’s connections to Paul and his parents are complex and long held, thus he feels a responsibility to help Paul get ready for life away from home. While their exchanges begin in hilariously awkward fashion and Doug’s bawdy advice is often comically at odds with Paul’s more gentle nature, the two soon develop a bond, one that Doug values highly. However, it quickly becomes apparent that Paul is struggling with a problem far beyond Doug’s purview or expertise, one that could derail Paul’s future plans and worse. Unable to leave Paul completely at the mercy of adults who don’t seem to have the young man’s best interests at heart, Doug makes a choice that will dramatically change the trajectories of their lives. DEMOLITION is a tragicomedy about identity, the complexity of modern masculinity and the choices we allow to define us.

A graduate student returns home to her mother after a summer internship, accompanied by a new love: her septuagenarian professor. After the initial shock wears off, her mother leaps into action, exploring very avenue possible to dissolve the May/December relationship. These efforts are in vain as her daughter soon reveals that not only are they already married, but she is pregnant. After the professor is terminated for his transgression, the trio begins a new life together under one roof. Tragedy strikes unexpectedly, leading to a very unsettled future and a roundabout reunion. A dramedy about life defying expectations, timelines and plans.

The year is 1950 and America straddles a great chasm of change. The warmth of postwar unity has given way to the chill of the Red Scare. The well worn artifice of Clark Gable has given way to the wild unpredictability of an emerging Marlon Brando. In our story, Dickie Deerfield and his misfit band of D list movie stars are mourning the loss of Warren Washington, their director and only source of income, at a wake thrown in his home. When they are all gathered, Warren's starlet wife Lee Newberry announces that, not only has she found an unproduced screenplay by the late, great F Scott Fitzgerald, but she has invited au courant director and eventual Red Scare traitor Elia Kazan to consider directing it. All hell breaks loose as each member of the company scrambles to garner their own piece of immortality under the direction of Elia Kazan, culminating in a reenactment of the finale of their WW2 picture ADMIRAL HAMLET. Just when Kazan rejects them out of hand and it would appear all is lost, J Edgar Hoover and his minions have their say. Finally, our motley crew changes Lee's mind with a stirring rendition of the beloved theme song to their biggest success, BUTLERS ON PARADE. Reunited, our cast of idiots dances offstage, never to be heard from again.