SOS. (Swans of Stratford). Journey over eight years to Stratford, Ontario by a male and eight different females accompanying him during eight different trips to Stratford. A narrator makes an appearance and statement during the eight journeys. At the end of the comedy, that includes references to actual productions during the eight years, we learn who the narrator is and why she is so important to the male. The play was crafted during a Dramatist Guild Workshop in the fall of 2017. Two readings, Atlanta and Tallahassee, contributed to the final version, completed March, 2018. The play was designed so that four women could double. Play calls for seven to nine actors who play sixteen characters. Runs approximately 90 to 100 minutes.

Humor is used to billboard women’s role as secondary citizens and bit players throughout the history of the world’s religions, particularly Christianity. The devil goes into an ad agency and wants to be a client and he has a ton of money. He blames his image problem on God, his former significant other, who threw him out of her place in heaven. One person in the ad agency actually believes the man is the devil while other agency members think the account executive has lost his mind but the fees from the client makes it all worth while. The comedy pokes fun at the advertising industry and reveals about what really went on with the biblical characters up there, according to the devil.

My background is listed under my profile. I have just returned to writing full-time during the past three years. Two of my short plays have been performed during the past two years at the Tampa Bay Theatre Festival. My screenplays have won awards during the past two years. I have also completed a pictorial/narrative featuring serious and humorous before and after visuals of commuting on the Harlem Division Line. Fifty years vs. the past two years. My work seems to chase after the bullies and the bureaucrats and bring them to task. A friend and poet once accused my writing as “pissing people off.” A well know writer and American Book Award winner, upon hearing the friend’s comment said, “Good for your.”

Comedy: Male client and Female psychiatrist interact with dialogue comprised 95% from fortune cookies gathered over ten years at a local Chinese restaurant. Fortune Kooky premiered at the Tampa Bay Theatre Festival September 2017 .

Based upon real events during the life of two, deceased outsider artists. Revised recently. Screenplay also completed recently.The JoJo Mama and the Voodoo Queen is a full-length comedy in three acts that presents the greed of outsider art (folk art) collectors. The JoJo Mama and the Voodoo Queen takes place in Alabama and it is loosely based on the life of a famous, deceased African American folk artist and two wealthy art collectors. Caveat: Thank you for considering The JoJo Mama and the Voodoo Queen. A caveat follows: it is a humorous but moralistic story about strong women who overcome the barriers of greed and prejudice, so they can share their unconventional art. It is based loosely on two deceased outsider artists who were alive forty years ago. The screenplay champions women of color and all artists who are often at the mercy self-serving benefactors. When the concept premiered years ago as a stage play, the late Michael Warren Powell awarded it his Panelist Favorite at the Last Frontier Playwriting Festival. The audience laughed and cried at the right places and applauded the reading by professional actors. The end of the reading was punctured by a conference-shattering debate that pitched Michael Warren Powell against the former Black Panther Playwright, Ed Bullins. Mr. Bullins said that “If the play were presented in his neighborhood, they would burn the theatre down.” Mr. Powell replied, “Ed, you only read part of the play. This play is tight, and a good play, and it is about greed, not race.” Much later, at the end of the festival, Mr. Bullins apologized to the playwright. Since then, the screenplay and stage play have been re-written and re-written to clarify that this play is a banner for women of color, particularly during the seventies-eighties when untrained artists had to deal with even more prejudice. You may well ask how a Caucasian man can write about the subject, as an African-American reader challenged me during the reading of Soul Coat, the sequel to the JoJo Mama. My reply in my head: Hemingway once said, “In order to write about life, first you must live it.” That reader had not lived in the place or era and had never met the artists. In today’s politically correct environment, it will take a producer or company with enormous grit to present The JoJo Mama and the Voodoo Queen, a screenplay written by a white man, but the results will be incredibly rewarding for the audience. It’s a story that needs to be told by strong and talented actors directed by someone with a soul to match the talent.