Carson Kreitzer

CAPITAL CRIME! is set in New York in the Gilded Age, the time of highest levels of income inequality in this country... until now. This is a tale of lust, murder, greed, unfettered capitalism, and the consumption of young girls.

A play with songs, in Brecht-meets-Riot Grrrl fashion.

Who is Wonder Woman and where did she come from? Lasso of Truth explores the knotty origin story of our preeminent female superhero, created by William Marston, inventor of the first lie-detector machine. This smart, seductive, wild ride features the two women Marston lived with in a polyamorous relationship - both of whom inspired the famous character - plus a girl in search of answers about her childhood heroine, and a guy trying to hold on to his prized first issue.

Flesh and the Desert is a kaleidoscopic portrait of Las Vegas. We follow the intertwined stories of three couples: one ghostly, one long-lasting, and one just starting tonight. Along the way we meet Elvis and Liberace, slot machines and Siberian white tigers, and of course, those glittering creatures, the Showgirls. The Eye in the Sky watches, the mirrorball spins. As long as you’re gambling, the drinks are free. Welcome, Conventioneers.

Vogue model. Surrealist muse. Combat Photographer. Lee Miller lived several distinct and extraordinary lives, each to the fullest. Man Ray’s lover and muse, her torso is familiar from some of his most arresting photos, and other pieces of her from other works (her lips floating above the skyline, her eye affixed to a pendulum…), but the story behind the enigmatic gaze is largely unknown. Behind the Eye is a portrait of this beautiful, brave, magnetic, impossible woman.

An investigation of women who kill their children: Susan Smith, Andrea Yates, and Juana Leija.

A history of women and snakes, from Eve to a present-day Holiness Church snake handler.

"Do I dare disturb the universe?" J. Robert Oppenheimer's rise and fall erupt in this kaleidoscopic play exploring questions of faith, conscience, and the consequences of the never-ending pursuit of knowledge. Act One: Math. The fevered wartime drive to build the first nuclear weapon, by a collection of previously academic theoretical physicists, many of them Jews fleeing Hitler's Germany. Success turns to horror when "the Gadget" is dropped, first on Hiroshima, then Nagasaki. Act Two: Aftermath. Oppenheimer confronts his conscience; Russia turns from ally to enemy. The Red scare is in full swing as we shift to the courtroom. Oppenheimer's wife, Kitty, drinks; J. Edger Hoover does the dance of the seven veils; and the Father of the Atomic Bomb has his security clearance revoked, cast out of the world he helped create. In a flash that is the end of his life, J. Robert Oppenheimer paces the desert of the Trinity Test Site, wrestling with his memories and one scary, sexy, unpredictable demon: Lilith, Hebrew mythology's first woman, cast out of Eden for refusing to behave. Hissing in his ear, she goads him to admit what he refuses to acknowledge: an anger that mirrors her own. "Oppie" is haunted by actions, decisions, and a trinity of women—mother, wife Kitty, and lover, Jean Tatlock. Her suicide is never far from his mind; her Communist ties are never far from the government's.

Seven white men have been found dead along I-95 in Florida. A prostitute is arrested and charged with their murders. The police say she's a serial killer. She claims seven separate acts of self-defense. Inspired by the true story of Aileen Wuornos, Self Defense, or death of some salesmen is a whirlwind seven acts in 95 minutes. The play is fast and furious, shocking and funny, and at its center, a portrait of a very complicated human being. She is complex, charismatic, dangerous, damaged, full of love and anger; above all else, she is alive. An investigation of capital punishment, destitution, violence against (and by) women, and whether a prostitute is considered a person under our justice system.