Louis DeVaughn Nelson

LOGLINE:
With the apocalypse creeping towards John’s front door, he must decide whether to weather the end of the world with one of his three lovers: a werewolf, a vampire, or a ghost.

20 MINUTE PLAY

SYNOPSIS:
In the not too distant future - an alien takeover and nuclear destruction explodes on planet Earth. John, an actor slash model personal trainer escort and bartender, is being accosted by a werewolf who wants him to run away with him. The werewolf is a client turned lover. Their argument is interrupted by a vampire, also a client turned lover who wants to turn him so they can live in immortal bliss. But it turns out John also has a ghost in hot pursuit who invites him to the afterlife.

A campy game of Fuck, Marry, Kill plays out as the four start to build relationships with each other as the full moon approaches, and imminent devastation. While John tries to negotiate polyamory with the three creatures, an alien arrives demanding to be lead to his leader. Instead of giving in, John fights back and the alien finds this kinda sexy. Now he must choose to become a werewolf, a vampire, a ghost, or party with an alien on his spaceship as the Armageddon arrives.

Two brothers, a college freshman and a high school freshman, are discussing the family legacy of being champions of track & field. The younger of the two isn’t quite sure he’ll be up to the challenge of following in the footsteps of his bigger brother unless of course it can help him win the favor of a girl he has a crush on.

RUNNING TIME: 10-15 Minutes

Andre, a queer man of color, is auditioning for a musical. When he begins to falter, he stammers his way into a confession about his craft. We discover that his passion for theatre has been met with a rocky road in terms of his ethnicity and sexual orientation - but art is why he gets up in the morning.

MONOLOGUE

A Black secret agent of an underground tech organization tasked with preserving/protecting African American Art from further colonization struggles to choose between doing what’s best for love or doing what’s best for the culture.

RUNNING TIME: 20 Minutes

A commercial break advertising a "melanin uptake re-inhibitor" boasts an uncanny cure for racism in America. Satirizing the pharmaceutical industry, the 99%, and Black culture.

MONOLOGUE

A singer is having a hard time saying goodbye to their partner from France who is having a hard time securing a work visa to stay in the USA.

RUNNING TIME: 10 Minutes

A young queer person of color consults their cat about suicidal ideation.

MONOLOGUE

You’ve just found a USB drive that was placed inside of the refrigerator in your office. Intrigued, you plug it in and start reading the files. The first one is a recording of a woman desperate to tell you her horror story, urging you to turn it into a screenplay.

Tisha is a choreographer who has just hosted a classic lock-in party for her cast after closing night. There’s a bunch of backstory and drama between them, but they decide to blow off some steam by locking themselves into the dance studio where they rehearse.

Things go awry when one of the guests finds an old tape recorder and plays a message that was left on it – a chant repeated over and over again in Latin.

We learn this from an audio message from a USB left by someone named Tisha and she describes the horrific events that happened that eerie evening, letting us know that she was the only one who survived this supernatural massacre that occurred - and that soon she will be the next one dead.

She propositions the listener to write a screenplay or find someone talented enough to turn the story into a script – in a last effort to make some art before her demise. Through some found footage doled out in a meta fashion, we hear the last words of some of the victims and then we find out that Tisha was the source of this curse, and has passed it on from the tape recorder to the USB drive.

The Annals of Sharon is a collection of episodic theatre works centered around the antihero, Sharon, a bicoastal, bisexual, fourty-something, polyamorous arts administrator navigating her way through a variety of ordeals involving a motley group of lovers.

RUNNING TIME: 10 Minutes

In the third episode, “Chair”, Sharon is in the city of her other home, L.A., furniture shopping with her west coast, bisexual ex-husband Carlos (the man who first introduced her to the idea of polyamory). A shoulder to cry on, he is the wise old owl of all of her lovers, but no matter how well he knows his not entirely jilted wife, his love for her is always sparked by her never ending arsenal of surprises.

The Annals of Sharon is a collection of episodic theatre works centered around the antihero, Sharon, a bicoastal, bisexual, fourty-something, polyamorous arts administrator navigating her way through a variety of ordeals involving a motley group of lovers.

In the second episode, “Table”, we meet Earnest, so importantly himself – he is a dowdy New York City public high school science teacher with thinning hair and a huge libido who is more than willing to take his and Sharon’s obligatory dinner and a movie melody to a crescendo. During this monumental meal in Manhattan, it comes out that Earnest’s matter of fact feelings for Sharon could be the work of fiction.

LOGLINE:
Two unsuspecting pawn pieces who are harboring a secret must find a way to escape a dangerous game they’ve been solicited to play by dueling NYC theatre production companies.

RUNNING TIME: 90 minutes

SYNOPSIS:
Inspired by the short story "The Most Dangerous Game" by Richard Connell, THE PRIZE is a satirical horror comedy set inside the ruthless ecosystem of New York’s nonprofit theatre and entertainment industries. Two elite queer power couples - Markus and Holger versus Susan and Marla, belong to a covert society that weaponizes art, ambition, and morality in the name of “saving culture.” Their long-standing rivalry plays out through wagers involving disposable employees, turned into pawns in a high-stakes game disguised as opportunity.

As the competition escalates, loyalties fracture and the cost of survival becomes increasingly clear: assimilation requires erasure. In the final act, the focus shifts to Daria, the daughter of one the the producers, revealing the mechanisms behind the game itself. Through surveillance, behavioral conditioning, and algorithmic control, the organization engineers leaders by stripping away memory, grief, and dissent.

What begins as a battle between institutions becomes a chilling portrait of complicity, ambition, and the seductive comfort of power. By the end, the hunters are gone - but the system survives, stronger than ever, now run by someone who once believed she was free.

LOGLINE

In a liminal museum after closing hours, the ghost of Elisabeth Hauptmann—translator, collaborator, and lover of Bertolt Brecht—reclaims her voice, her work, and her legacy, weaving music, memory, and Marxist mischief into a reckoning with art, love, and exploitation—then and now.

ONE HOUR PLAY WITH MUSIC

SYNOPSIS

Fifty years after her death, the ghost of Elisabeth Hauptmann roams the Lotte Lenya / Kurt Weill House in New City, New York, haunting tourists who come seeking the genius of great men. When a visitor reveals the rare ability to see and hear the dead, Elisabeth seizes the opportunity to tell the story that history footnoted.

Part séance, part cabaret, part political sermon, "Pickpockets and Loose Women" unfolds as Elisabeth revisits her artistic and romantic entanglement with Bertolt Brecht - translating "The Beggar’s Opera", shaping "The Threepenny Opera", and laboring behind the curtain while men took bows. Through music inspired by Weill, Brecht, and their descendants, she connects the socioeconomic unrest of the 1920s to our present moment: capitalism’s grind, gendered erasure, artistic theft, and the seductive myth of genius.

Accompanied by Christian, a silent ghost-musician of unknown origin, Elisabeth conjures memories of Berlin, exile, collaboration, polyamory, protest, and survival. As history loops and the audience is gently implicated, Elisabeth demands remembrance - not as muse or mistress, but as maker. The tour ends. The music lingers. The ghosts do not resolve, they testify.

*this play is in libretto format with music placement suggestions

**The original 1928 German-language version of Bertolt Brecht and Kurt Weill’s
The Threepenny Opera (Die Dreigroschenoper) entered the public domain in the United States on January 1, 2024. This means the original text, music, and lyrics are free to use, though many popular English translations and arrangements remain under copyright protection.

LOGLINE

An Artist guides a Musician, Dancer, and Filmmaker through a live investigation of classical music, Black genius, and cultural erasure—asking who gets remembered, and why.

ONE HOUR PLAY with Music & Dance

SYNOPSIS

"Was Beethoven Black." is an interdisciplinary performance blending theatre, music, dance, and film to interrogate the Western classical canon and its relationship to Black history, genius, and cultural ownership. Set on a bare stage (with a piano), four performers embody distinct artistic disciplines while collectively examining Beethoven’s legacy alongside erased and overlooked Black composers such as George Bridgetower, Florence Price, Julius Eastman, and others - with a special focus on Woman and Queer contributions to the canon.

Through lecture, storytelling, live music, dance, archival video, and audience interaction, the piece moves fluidly between history and personal memory, rigor and humor, fact and metaphor. The central question “Was Beethoven Black?” becomes less about literal proof and more about how race, power, and access shape whose contributions are celebrated, preserved, or forgotten.

Logline

In a lavishly gaudy bedroom, two vampire mercenaries (partners in blood and business) prepare to betray their respective shadow organizations, only to find that the cycle of war and the "antiquated systems" of man are harder to kill than an elder bloodsucker.

75 MINUTE PLAY

Synopsis

Civil War Two (2026) is a high-octane, genre-bending drama that explores the intersection of immortal romance and modern-day systemic collapse. The play centers on Gwen, an assertive hitwoman for an underground network of "girls and gays" aiming to disrupt the status quo, and Bradley, her quiet, calculating partner - a vampire veteran of every American conflict since the 1860s.

Told through a shifting lens of identity, the play is designed to be performed by four different pairs of actors of varying ethnic backgrounds, highlighting the universality of betrayal and the cyclical nature of American violence. The plot follows the couple as they finish a gruesome job - disposing of a corporate boss and hacking sensitive data while planning their retirement from the "Good Trouble" of their secret organizations.

As the sun approaches and the download timer ticks down, the domestic banter of "Honey Bunnies" and dad jokes gives way to a darker reality. Bradley reveals he has returned to his "Brotherhood" roots, choosing the structure of the Department of War over the chaotic freedom Gwen offers. In a series of alternate endings, the play examines the inevitability of conflict: whether they die by each other's hands, together, or at the hands of the forces they served, the result is the same. It is a visceral meditation on whether love can survive the "us vs. them" mentality of a country and a species forever at war with itself.

LOGLINE
During a portrait sitting, a European painter’s admiration curdles into eroticized entitlement, exposing how racial fetishization, artistic authority, and money conspire to turn “being seen” into a quiet act of violence.

3-5 MINUTE MONOLOGUE or TEN MINUTE PLAY

SYNOPSIS
Set in a cluttered fine art studio, Still Life unfolds as a one-sided monologue delivered by a painter mid-portrait. Addressing an unseen Black male model the painter oscillates between flattery, cultural curiosity, and invasive commentary. What begins as aesthetic appreciation slowly reveals itself as racial fetishization and sexual coercion disguised as artistic intimacy.

As the painter speaks, layers of power emerge: the assumed neutrality of European art history, the eroticization of Black bodies, the casual ignorance masked as curiosity, and the transactional logic that turns consent into a price point. The model never speaks, yet his silence becomes deafening - mirroring the ways institutions ask marginalized bodies to endure discomfort quietly for access, money, or visibility.
The monologue ends not with an act, but with an offer - one that reframes the entire sitting as a negotiation the model never agreed to enter.

LOGLINE
Thirty-nine and emotionally maxed out, Tom Hargrave, air traffic controller, intimacy avoidant, and reluctant survivor - slips through the cracks of memory and identity in a dizzying solo descent through the voices of those who shaped him.

RUNNING TIME: 90 Minutes

SYNOPSIS
In a one-man psychological thriller (or a multi-character fever dream) Tom, a high-functioning air traffic controller, begins to unravel. Haunted by a violent family legacy and an emotionally barren childhood, he finds himself slipping into the memories and voices of those who shaped him, some tender, some toxic, all unavoidable. From battlefield ghosts to casual lovers, from colleagues to cats, the past won’t stay silent. As Tom embodies the people orbiting his life, we witness a man fighting to stay grounded while freefalling into moral darkness.

ONE MAN SHOW (or ensemble of 4 actors)

Gwen and Bradley mete out vigilante justice in a late-stage capitalist hellscape (aka, present day America). But even their shared love of righteous violence and each other might not be enough to keep them together, when a job gone wrong turns into a fight for survival.

RUNNING TIME: 10 - 20 Minutes

Angela is discussing the correlation between the mutants of the X-men and her existence as a Black lesbian growing up in the USA.

MONOLOGUE

FROM ENTER RACIAL:
Two siblings of South Asian descent have Black women as significant others. The brother is recovering from an abusive relationship with his white baby mama - who accidentally dies during one of their infamous scuffles. The sister is a dental hygienist who is constantly sexually harassed at the office by the dentist. He meets his death when he pushes things too far, and the sister fights back against his physical approaches. Both of them call to their Black partners to help them get out of the bind, all while trying to break generational curses set by their traditional parents, both of whom have recently died just weeks after one another. A satirical comedy horror depicting the lure of Black woman as protector, nurturer and deus ex machina, and an elusive exposition exploiting the correlations between Black and Indian culture.

Logline:
A burned-out air traffic controller and a charming airline captain share a drink in an airport bar - but as the night unfolds, flirtation gives way to secrets, power plays, and a reckoning with everything they’ve kept under the radar.

Synopsis:
Set in the eerie calm of an airport bar, HOLDING PATTERN is a gripping two-hander that explores the quiet chaos beneath lives lived in control. When Tom, a tightly-wound air traffic controller, crosses paths with Randy, a smooth-talking veteran pilot, their encounter begins as a game of wit and attraction. But as drinks flow and confessions surface, the play spirals into something darker - exposing the emotional toll of invisible labor, the haunting legacy of the AIDS crisis, and the fragile masculinity that binds them.

TEN MINUTE TWO HANDER

LOGLINE: In the early stillness of Central Park, four artists collide in a quiet storm of identity, desire, and unfinished conversations - grappling with the difference between performance and presence, and learning that sometimes the bravest act is simply showing up.

ONE ACT PLAY WITH DANCE/MUSIC

SYNOPSIS:
Soft Animals is a sapphic, surreal-naturalistic ten-minute play set in a hazy early morning in New York City’s Central Park. Against the backdrop of yoga stretches and half-learned lines, actor Andrea and dancer Jasmine wrestle with the nuances of queerness, ambition, and emotional honesty - both in their artistic practices and their unresolved connection. Meanwhile, Andrea’s on-again-off-again boyfriend Brian and Jasmine’s magnetic ex Tisha, the play’s choreographer, orbit the park and each other with agendas of their own.

Told through parallel scenes and poetic monologues, the play blurs rehearsal with reality, casting light on the backstage microaggressions and messy intimacies of creative collaboration. As the four circle each other like moons with unpredictable gravity, truths surface: about being seen, being enough, and choosing the moment over the performance.

Infused with the spirit of Ani DiFranco’s “The Thing at Hand,” Soft Animals is a meditation on queerness, artistic pressure, and the wild, vulnerable act of simply existing - in your body, in your feelings, in your breath.

A sapphic actor and her dancer confidante navigate queerness, ambition, and emotional truth in a surreal early-morning Central Park, as past lovers and present selves collide in rehearsal and real life.

Logline:
An artist doing research on Black musicians runs into some curious ghosts as she visits the old haunted grounds that used to be a psychiatric hospital and the place where Nina Simone learned the piano.

Synopsis:
Sherie visits Homewood, an old brick manor in North Carolina that was the home of Robert Carroll, a psychiatric doctor, and his wife, Grace, who was a world renowned pianist who taught piano on the first floor. Nina Simone was one of her most notable students. Grace entertained Zelda and F. Scott Fitgerald, and tragically Zelda died in a fire on the campus of the manor, right next to where the psychiatric hospital run by Robert Carroll resided.

Sherie is there meeting a friend who works in the building, Rachel, and together they are doing research and creating work about Black musicians. Sherie is an intuitive and gets accosted by several spirit residents of the grounds. She talks about their relationships with each other and gets inspired to develop a piece about the history that lives there.

RUNNING TIME: 20 Minutes

An artist spends some time with the stories behind his paintings before he opens the gallery doors for the all the world to see.

RUNNING TIME: 1-2 Minute Soliloquy

A gay artist wakes up dead in his apartment relieved that maybe now his paintings will sell.

RUNNING TIME: 10 - 15 Minutes

A filmmaker is writing a script about all of his white friends he’s lost since the racial reckoning of 2020. As part of the writing process, he uses a community of catfish he’s created to approach and interview his ex-friends in real life who become characters in the screenplay. Before he finishes the script, he documents who the major players are just in case he has to scrap the idea for one reason or another...

RUNNING TIME: 10 Minute Monologue

Three generations of women gather to take a photo for a trend that’s going viral. We quickly learn about the varying definitions of love and success that lives between them, now that the youngest daughter is pregnant and is expecting yet another daughter. Will she follow in their footsteps, or walk the less beaten path?

RUNNING TIME: 10 Minutes

Brian and Frederick have invited their mothers over for a Christmas/Birthday dinner – the next major step in their long term (open) relationship. When one of their playmates crashes the party, everyone finds out that the usually loopy and unplanned Brian has a big announcement to make, huge!

RUNTIME: 30 Minutes

LOGLINE:
When the prized boy of an all-male gay brothel in Berlin disappears just after his going away party, a murder mystery ensues as the place turns into a paranormal rabbit hole.

RUNNING TIME:
120 Minutes

SYNOPSIS:
A modern rendition of Lewis Carroll’s Alice’s Adventures in Wonderland, Joie is a twisted horror play in two acts that questions the mortality of morality. Set in a timeless time in an all-male gay brothel in Berlin, Joie tells the tale of French Madam Alice who is rendered hysterical by the disappearance of her most prized boy, just hours before he is scheduled to leave Berlin. Part murder mystery and horror show, Joie delves into a bleak yet hilarious montage of metaphysical circumstance, with a disparate group of characters all contributing to unanswered questions regarding life and death.

DESCRIPTION:
Alice is a melodramatic French woman who owns an all-male gay brothel in Berlin along with her stoic German compatriot, Matthias. Together they pander five beautiful boys from various cultural backgrounds. While Alice handles all the aesthetic concerns, Matthias is the rock that controls the business end. At the start of the play, they are throwing a going away party for their prized boy, Robert, who for some reason is spoiled more than the other boys.

When Robert does not return home the next day after the party, the house is thrown into a frenzy and Alice turns the whole affair into a veritable who-done-it. It is quickly learned that other powers are at work regarding the mysterious disappearance of Robert, as another one of the boys follows suit and disappears as well.

The tale continues on with an exposition of the characters’ desires and concerns regarding the craft, and the strange occurrences in the brothel as their rabbit hole soon becomes a living (or dying) nightmare as the truth is exposed.

SCENE AND SETTING:
A Timeless Time, in a Brothel in the city of Berlin, Germany.

[CAN BE ADAPTED TO IMMERSIVE THEATRE]

Logline
A theatre director must figure out an equation to solve the problem of a love square (not triangle) turned sexual misconduct scandal between another director and their two actresses - both cast for a role in a new one-woman show.

RUNNING TIME: 75 Minutes

Synopsis
Not long before #metoo takes off, a budding screenwriter turned theatre writer/director named Sean is flying wobbly beneath the wing of stage veteran William, a cocksure and obnoxious toxic mansplainer with an ego twice the size of his big head. They are collaborating on a new one-woman show about an actress exposing her hatred of monologues as it correlates to her love of queer men.

The two women cast are Pam, a determined and self-conscious hardworking older newcomer Millennial, and her counterpart, Michaela, a conceited, spoiled, diva from Gen Z. Separately - in totally different ways, they work together with the male directors to discover the pith of this strong female lead during rehearsals. After several tenuous bouts of repetitive takes of the same monologue, it’s discovered that there is something going on under the surface between the four; feelings are aroused and sexual tension is amidst. Seemingly, William wants Pam, Pam wants Michaela, Michaela wants Sean, and Sean wants William.

In the second scene, they are having a post-rehearsal drink and talking shop about the nature and drama of backstage life. After William and Michaela go off on an impromptu tryst, Sean, originally quietly waiting in the wings avoiding center stage, confounds Pam with an offer she never saw coming. This is the dream role she’s been hoping her whole life to play. He admits that his writing of this one-woman show about a woman in love
 with queer men was a ruse to try and get her to fall in love with him and that William, his confidant was in on it the entire 
time, and also that he’s been pretending to be gay hoping it would help him to court her. Pam is left with a conundrum and decides to play along for the greater good.

In scene three, some time has passed and the dust hasn’t yet settled involving Pam’s reporting to the powers that be of
 William’s constant sexually charged indiscretions. Michaela has happily taken on the one woman show all to herself - the only
 topic she is interested in talking about with Sean who is trying to figure out the backstory headliner Pam has begun to shed.
Michaela exposes her scathing side of the story in an effort to empathize but ends up right back to her usual narcissistic self
 after a quick beat.

In the fourth scene, Pam confronts William in an attempt to explain herself and offer a quid pro quo. What starts as a heartfelt resolution turns out to be the beginning of a new
 abominable scandal altogether. As it turns out, WILLIAM was the mastermind of all masterminds, and his plan was to latch onto the cash cow involved with the advent of sexual misconduct scandals in the entertainment industry. God bless America!

In the final scene – we see the women in present day...they both have stumbled into the same support group.

The year is 2005. A neo-burlesque troupe located in an old Jazz club in Philly is being profiled by the local paper to talk about the resurgence of this art form. We learn about the hopes and dreams of the troupe's members through an array of intimate interviews, backstage antics, and thrilling performances.

*Based on many true events courtesy of the author.

LOGLINE: A Black Queer artist celebrating his 27th birthday is dealing with overcoming a recent incident of intimate partner violence. Along with his sassy bestie and roommate, they navigate their way through the next steps of his survival.

SYNOPSIS : Frank and Erin have known each other a long time. Well, in twenty-something years, they go way back. They’re the kind of friends who contrast and compliment each other so well you think that maybe they could be married. Fate would have different plans for these two.

RUNNING TIME: 70 Minutes

Frank is trying his best to celebrate his twenty-seventh birthday during the aughts. Succumbing to a quarter-life crisis, he is wallowing in confusion and denial and a lot of other things. Trying to shed the remnants of his innocence all the while being thrust into adulthood, he decides to make his life a little more complicated by dating a man twice his age. That and an incident that is slowly changing his life and perspective, (being drugged and raped by a man he met at a bar) have him a little dazed and trying to hold it all together.

Frank takes a straightforward look into dynamic relationships and how they affect the relationships of others. Quite frankly, it’s a pseudo love story slash coming of age slash rite of passage tale that takes a glimpse at the affects of intimate partner violence.

A Queer Black Boy describes his relationship with his deceased father.

Logline:
While shopping for clothes, a non-binary artist practices a new albeit difficult homework assignment doled out by their therapist.

Synopsis:.
*Tim (aka Ti) has found themselves in another clothing store starkly separated into gender specific sections. The place is a reminder of the worst part of growing up and the best part of growing up: going shopping with their pious mother.

Ti begins to do an exercise/assignment to help them learn how to talk about their identity with their mother and create boundaries to improve their relationship. We learn of the trials and tribulations of growing up in a religious home where boys and girls were taught to be boys or girls.

By the end, Ti comes up with a clearing of the long path ahead with a touching sentiment to their mother.

*Tim is another character from the play Nappy Rabbits

CALVIN is chatting on live-stream while setting up some fresh flowers in his office space. He begins to talk to his audience about the experience of witnessing so many milestones growing up working in a family-owned florist shop.

Monologue

A deaf Millennial is grieving the death of his mother who passed shortly following the 2024 presidential elections after spending her life devoted to civil rights and social justice. Along with his therapist and translator, he finds new ways to celebrate her life and carry on her legacy. A play with music and dance.

Mick is a Queer Black Jock who has invited his track & field teammate and his date to an after school dance dinner party at Beyoncé’s Red Lobster. It’s a ruse, of course, to spend more time with him as some unspoken attraction has been brewing between the both of them in the locker room and while competing. A botched and very late attempt to deliver corsages for the school dance event throws a huge wrench into Mick’s plans for veiled, indirect intimacy when the flowers arrive containing Eucalyptus – of which Mick is intensely allergic to. A romantic adventure turns into a hospital visit, and Mick leaves a voice note for his therapist to spill the tea and unpack the trauma of having a crush on a guy who isn’t out of the closet.

Two Black artists from Gen Z have both auditioned for the role in a new play, the only part specified for a Black character. They are introspective nonbinary Andrea and happy-go-lucky super femme Jasmine, the latter a little more melanated than the former. While warming up for dance class, they discuss the potential results of the casting, and vow to shine a light on any misogynoir or micro-aggressions no matter who gets the part.

Jay Lee has finally found a support group for friends/family of folks with Dissociative Identity Disorder. He is becoming more comfortable in sharing his story with the group and begins talking about how he reconciles the fact that one of his bestie’s alters exhibits racist behavior. He’s convinced that this personality is the manifestation of a traumatic event. He uses the connection to analogize a microcosm of how society is dealing with a rapidly changing world full of collective trauma.

An unhoused queer boy of color tells his riches to rags story after being triggered by a stranger he meets at a park bench.

*Monologue from "Helping the Happy"

An essential worker at the U.S. Open vents about the core responsibilities of his job, painting a picture of the frivolity of the upper class.

*Monologue from "Helping the Happy"

Jay Lee is a Queer, Black Millennial from a very pious family. He’s been able to navigate life without having to share the fact that he is homosexual with his kinfolk. Losing his job and livelihood during the pandemic, he moves back in with his family and keeps the secret.

During the holidays, he meets his sister’s new boyfriend, David – a caring teacher who listens to Jay Lee in his moment of crisis as he decides whether or not to come out. They have a discussion about how important the process is, and David offers his support. Once David finally convinces Jay Lee to do the right thing so he feels like he can be his true self in front of his family, their plans are thwarted by an unknown entity.

Tevin and Alex are sitting at a bar playing one of their favorite drinking games, but Tevin is newly sober and drinking alcohol-free beer. They broach the topic of forgiveness in regards to Tevin’s ex who is a crystal meth addict who was abusive. During the game and discussion, the audience sees Tevin’s self-care routine play out simultaneously.

LOGLINE
A Black Queer artist finds divine inspiration from the Black art featured at The Philadelphia Museum of Art.

SYNPOSIS
Tevin is preparing the visuals for an upcoming show whose theme is “inclusion is an illusion”. He’s at the museum trying to come up with ideas for costumes and choreography. He stumbles across a few pieces depicting life of the Free Blacks in the late 19th century, they are nestled between the disproportionate amount of European colonist art. He finds a Victrola created by folk artist and inventor William Plummer and begins to dance, fully inspired by the sheer beauty of his work.

RUNNING TIME
7 Minutes

LOGLINE:
Two art lovers fall in love with a painting at a gallery and end up flirting with another patron and the gallery assistant. All doled out in meet cute rom com coincidence fashion, by the end we’re left with a precarious love square.

SYNOPSIS:
Carlos and Tara are both indirectly involved with someone in a polyamorous relationship. They became fast friends and enjoy going out to see art together. Carlos takes Tara to a gallery where his friend is showing work. There Carlos has a love at first sight moment with Ti, the gallery assistant. Ti obliges while Tara meets a patron named Janelle who is there to pick up a painting she purchases that Tara is also interested in buying. They get to talking and Tara has her love at first sight moment with Janelle. As it turns out, Janelle is also at the gallery to pick up Ti to go on their first date and after they all talk about the crossfire of their relationships and their interest in the painting, an incident nearby involving a mass shooting brings them closer together.

LOGLINE:
When a newly polyamorous woman decides she wants to have a baby, she must decide which one of her many suitors will become the father.

SYNOPSIS:
The Annals of Sharon is a collection of vignettes centered around the antihero, Sharon, a bicoastal, bisexual, forty-something, polyamorous NYC arts administrator navigating her way through a variety of ordeals involving a motley group of lovers.

INFO:
This piece contains very current and relevant sign-of-the-times topics that address the fact that many people are starting to adapt new ways of exploring sex and love while engaging in new methods of dating. Polyamory is becoming a more accepted way of life.

With hashtags like #slutshaming and #thruple, American society is starting to open its mind a bit to ideas that have been considered taboo for decades, but have always been very vibrant and active beneath the surface. Now that they are brewing and becoming more acceptable, questions and answers about sex are becoming more prevalent.

In a monologue from "Sharon" - Bill tells the story of how clocks have been a vital part of his heritage courtesy of his grandfather.

Logline:
In the midst of a therapeutic breakthrough, a non-binary artist impulse buys a new pet and struggles with trying to find a name for it...

Synopsis:
Ti is asserting their identity as non-binary while dealing with the recent death of their mother. Their mother and Ti never talked openly about Ti’s identity due to different belief systems, and Ti is trying to move on from the lack of closure. After a shopping trip, Ti buys a new pet and begins to contemplate a name for it, bringing to light some underlying issues they’re still dealing with from their mother’s influence.

*Tim is another character from the play Nappy Rabbits

Inspired by the nursery rhyme "Rock-A-Bye Baby" this play tells the story of a mother dealing with the 5 stages of grief as she and her daughter travel to the Poconos to spread her son's ashes.

An overbearing mother disrupts the peace in her son’s dressing room as he prepares to perform for a Christmas drag show.

Logline:
Artists from varying disciplines are kidnapped and trapped in an undisclosed location, their only way out is to create a masterpiece!

Synopsis:
A musician, a poet, a dancer, and a painter have been forced to be individually stuck in a room with only their artist materials. They are connected by a communication device that gives them all solace. We learn that in order to get out of this "game" they must create a masterpiece. And through artistic differences and serendipitous collaboration - they tend to finding new modes of their creative process in order to be released from this mysterious man-made purgatory.

Crystal and Lee are two supporting actors of color with speaking roles working on a film that is being made by a director who is notorious for centering his work around whiteness. They come from two different economic backgrounds, and are both happy to be making their way up the #RepresenationMatters ladder, though Lee is more passionate about the craft than Crystal is. When Crystal gets some good news about another role she booked, she has to find a way to break the news to Lee, who was also in the running.

Phillip, an actor of no color, enters during their lunch break carrying a Chick-fil-la bag and Crystal begins to reprimand him for contributing to a historically homophobic brand. Phillip notices that the other two actors are eating Popeye’s and doles out a hefty rebuttal about the general evil of capitalism and no matter where we spend our money, it will somehow end up in the hands of unsavory men.

They disagree to agree, and then commiserate on the bittersweet fact that chicken sandwiches are delicious. They get called back to set for another take – and Crystal takes a chance to explain to Lee that she got the role that Lee wanted. It does not end well, and the two part ways – leaving their friendship in jeopardy.

Pauline and Patricia are twin sisters with two totally different points of view. They are both trying to find themselves during the roaring twenties but are stuck in a small New England town where folks live a conveyer belt life. Pauline has already settled down and married a doctor whereas Patricia is a queer/questioning artist hell-bent on moving to the more fast-paced and unruly Chicago. They both are coming to terms with the rapidly changing world – trying to find comfort in the choices they made (and haven’t made) for their livelihoods. For the first time in their lives, they’ll have to separate – but at what cost?

"Frankly" is the aftermath of the story about "Frank", a young queer black man, going through recovering from an incident of intimate partner violence.*

He and his bestie Erin, and her boyfriend, are acclimating themselves to therapy and returning to their regularly scheduled social proclivities – but with much more caution than was prevalent before Frank decided to report a rape incident despite the adversity involved with his gender and sexuality in regards to discrimination.

Told with hyper realistic aspects, the therapist is also a reflection of the assailant – and Frank must learn how to navigate the new world ahead of him.

*"Frank" is a two-act play regarding same sex intimate partner violence.

When an artist loses his best friend (who is also an artist), he's guided in the direction of making sure her legacy lives on after her death.

"My Ghost, The Influencer" is a story about connecting old life in the new world. Not a Pandemic Play, but relating to the burgeoning effects of how social media influences the post-covid dating pool - it's comedic horror theatre that takes place on the worst (or possibly best) night of an aspiring influencer's life. A Dance Teacher finds herself in a conundrum when her followers on TikTok notice a ghost inhabiting her old East Village apartment in one of her videos. With the help of a close friend and athlete who's camera shy, she tries to figure out if the entity is real, and at the same time ponders her own reality.

Y2K sparks a drastic change in libraries, sparking major changes in a motley crew of a university library staff. Relationships between the stacks begin to blossom in new ways, causing headaches and heartaches for some.

LOGLINE: Two friends are picking out a wedding dress for a an unsuspecting colleague who might be a part of a backhanded ritual.

SYNOPSIS: Cindy is meeting with her gay bestie Craig at a boutique dress shop in Philadelphia. Craig is an event planner and Cindy has a habit of suggesting Craig to her coworkers who can’t stop getting married. We learn very quickly about Cindy’s seemingly feminist stance on marriage, and when the bride to be arrives, we find out that there is a dangerous game Cindy might be playing in the background.

Ironically, lockdown offers stay-at-home Rebecca an opportunity to break free of an abusive relationship, when she finds a new nest under the wing of her bestie, Irene, a sassy nurse on the front lines of the pandemic.

Two brothers looking for their true identity struggle to recognize each other as one comes to terms with their transition and the other starts to question their gender.

Vaughn and Ren used to be Sha’vonne and Renae. Two siblings with only one secret between them, their stories are told through a series of scenes depicting major events in their lives. Ren is a queer boy fascinated with the female form and Vaughn is a transgender male.

An inciting incident involving a hate crime towards Vaughn sets in motion questions and memories about the past and future of the brothers’ relationship and Ren coming to terms with Vaughn’s transition in spite of their pious upbringing and the difficulties he faces.

Using a variety of media including dance and film, Catfish and Rice is a conceptual dance theatre work full of complex expositions of growing up queer in the 80s, 90s, and the aughts.

An exchange between a queer black actor and a Broadway green room.

Second part of a two-part series: this work was made for specifically for Site Specific - a Quarantine Play Festival presented by Exquisite Corpse Company via ZOOM.

Inspired by Edgar Allen Poe's "The Raven" two stories of love in isolation come to light in the darkest of times.

First part of a two-part series: this work was made for specifically for Site Specific - a Quarantine Play Festival presented by Exquisite Corpse Company via ZOOM.

Inspired by Edgar Allen Poe's "The Raven" two stories of love in isolation come to light in the darkest of times.

With the constant threat of Japanese bombings in Melbourne in May of 1942, the town goes into brownout. Many of their soldiers are off fighting the war leaving listless American soldiers stationed there with not much to do but look for action.

A well built amicable G.I. with a troubled past by the name of Eddie Leonski has a penchant for drink and is obsessed with the sound of the female voice. Within the span of just over two weeks he murders three women in the attempt to steal their voices.
Being from a broken home of abuse, alcoholism and mental illness, the trauma Leonski
endured is the source of his evil. The ghosts of these women live in a version of purgatory with the mother of Leonski, a medium, coming to visit them - her enteral curse to take care of the three victims as penance for raising a killer.

The tale is told in a nonlinear format, with the town becoming more and more plagued by fear and restlessness with a killer on the loose. When Leonski is finally caught and the war between Australian law and court martial falls in favor of the former, Leonski is hanged and thus reunited with his mother.

The background of the women whose lives were taken away parallel the tales of the tensions between Americans and Australians during this time. A macabre opera transpires exploiting the grief of this wretched time.

A few friends, old and new, are stuck together during a queer quarantine trying to be as productive and drama-free as possible. A crossfire of connections causes panic and intrigue (between interjections of hand sanitizer obsessing).

A social media influencer starts a new live streaming contest amidst a global pandemic.

Part Three of "Psychic Apparatus"
*See Also: Nappy Rabbits

A starving actor tries to make a missed connection with a theatre director during social distancing.

Part Two of "Psychic Apparatus"
*See Also: Nappy Rabbits

An actress finds the strength to break free from lockdown courtesy of a global pandemic.

Part One of "Psychic Apparatus"
*See Also: Nappy Rabbits

Rob & Bobby are an intergenerational well off couple on the brink of the 7 Year Itch. To spice up their relationship, they invite over a third who fits into their just a preference mold - but ends up giving them a lesson in modern day social graces.

Written by Louis DeVaughn Nelson and Marcus Scott

Three separate but equal circumstances in regards to the casting couch situation.

John and Tim are a director/actor combo who work together a lot and are the muse of each other's work. When a role comes along that piques Tim's interest, John is stuck in a predicament. It turns out the role is designated for a cis woman and the producer of the show (and the theme of the play he's producing) tackles a binary issue of sexual misconduct.

Tim wants to take this opportunity to acknowledge his identity as non-binary and insert underrepresentation into the industry's narrative, but underlying issues involving misogyny fight against the cause.

Embedded with magical realism, this one act dramadey satirizes the dark underbelly of The American Dream.

Sam and Paul are a young couple from two different backgrounds who are trying to have a baby. Sam grew up in a WASPy way whereas her counterpart Paul is a self-proclaimed self-made man from a working class Irish family. He's hellbent on creating a nuclear family and landing the perfect job at the (not Ivy League) university in Philadelphia where Sam has worked as a librarian for years, in attempt to leave his printing/publishing roots behind.

Tom is a math professor at said university who has married emigrant Michaela who works in the administration department at the same college. With his tenure decision looming, they are trying to establish themselves on more solid ground. Concurrently, Michaela is hoping to get a promotion which just so happens to be the same job Paul is applying for.

An amorphous mediator joins the four in unveiling their stories and becomes a representation of all the colleagues and obstacles they face in real life, doling out caveats in several scenes, including the recurring dream of Tom's: a whacky gameshow hosted by The Ringleader.

By the end of all of the tumult of trials and tribulations, what each character is striving for bears many resemblances in theme and destiny and the pieces of the disparate puzzle fall seemingly into the perfect places.

The Annals of Sharon is a collection of episodic theatre works centered around the antihero, Sharon, a bicoastal, bisexual, fourty-something, polyamorous arts administrator navigating her way through a variety of ordeals involving a motley group of lovers.

In the first episode, “Bed”, she is spending the night in a hotel in an undisclosed location with Bill, a man almost half her age that beseeches her to come to bed and stop working overtime. Throughout the thrill-of-the-hunt cat and mouse game, we learn about Bill’s true desire for Sharon, and that she isn’t the only one good at keeping secrets.

LOGLINE: A Bush era love square (not triangle) a al "The Slaves of New York" centered around the bourgeoning art scene in Philadelphia in the aughts.

RUNNING TIME: 120 - 130 Minutes

SYNOPSIS: “The Ending or Beginning”

Jodi White is a bisexual, bipolar, Philly-based art school dropout whose life is teetering between chaos and catharsis. Told through a mixture of monologue, surreal dance sequences, and dark comedy, "The Ending or Beginning" follows Jodi and her two gay best friends, Matt and Mark, as they navigate love, ambition, and identity in the turbulent post-9/11 Bush-era art scene.

At Jodi’s first art opening, she meets Earnest, a magnetic stranger, and the same man Matt has secretly been crushing on. A messy, magnetic love triangle (or square) begins to unfold, triggering past traumas, present betrayals, and future reckonings. Jodi and Earnest fall hard for each other, setting off a powder keg between her and Matt. Meanwhile, Mark observes from the sidelines, watching friendships dissolve under the weight of ego and escapism.

Jodi’s addictions escalate (alcohol, sex, co-dependence) as her relationships implode. A new presence, Anna, enters the scene: another artist who sees Jodi fully, flaws and all. Their connection leads to a passionate encounter, and Jodi begins to redefine herself and her relationships. The story culminates in a dreamlike party sequence: a raucous homage to “sex, drugs, and rock & roll” choreographed like a ballet of emotional and physical chaos.

As secrets surface, Earnest and Matt’s hookup, Jodi’s untreated mental illness, Anna’s vulnerability...the group is fractured but irrevocably changed. In the final moments, Jodi delivers a soliloquy that could either end or begin the story, a meditation on self-love, forgiveness, and art’s ability to both destroy and redeem.

Set in the Sixth Borough (Philadelphia), with nods to "Slaves of New York" and the downtown art world of the 2000s, this film is a theatrical dramedy that uses dance, monologue, and visual metaphor to capture the texture of a generation burned by the promise of fame and the realities of war, addiction, and economic collapse.

It’s "Rent" meets "Closer" — told through a queer, bipolar, female lens.

[This is a conceptual interdisciplinary piece that contains dance scenes and live music and can be adapted into an immersive theatre piece or screenplay]

A Black Queer man discusses his gratitude with having male privilege while lamenting the patriarchal systems that oppress women.

RUNNING TIME: 2 Minute Monologue

Amir is a stillborn child who is looking over his mother who is about to give birth to her fifth child, only two of which have survived. He talks about the science of homosexuality in regards to prenatal health – in the hopes that this newborn will survive, turn out to be gay, and take care of his mother who has a bad history with the male version of the species.

REFERENCE

Homosexuality: It’s about survival – not sex, Dr. James O’Keefe MD, Tedx Tallaght, 2016.

5 Minute Monologue

or: A deconstructed autofiction memoir in play format
dedicated to all the creative black queer boys
who dropped out of college and didn’t get their mfa
and didn’t go to Yale
but still have an undying love of theatre
despite all of the atrocities of
the institution and the slow methodology
of making it what it started out to be
but without the obnoxious white American tradition
of colonization and appropriation

OR: tHiS pLaY iS aBoUt Me

--

A collection of disparate and dissonant vignettes are doled out in this play within a play within a play told through the thoughts and experiences of a Queer Black Playwright reviewing his lifework in three sections: the past, the present, and the future. It’s his Black version of Angels in America meets his Queer version of Sunday in the Park with George where the writer uses the fine line between life and art to expose his feelings about his existence and the world around him – and how he interprets the world that lives within him. Exploring topics from HIV/AIDS, to male/male intimate partner violence, to religious trauma, to generational curses, it plays out like an Greek tragedy style American drama. By the end, the writer struggles to let go off his longtime muse and collaborator in order find new inspiration.