Michael Dalberg

In the icy corridors of 1600s Hungary, power bleeds easily—especially from women. The Blood Countess reimagines the infamous legend of Countess Erzsébet Báthory, peeling back myth to expose the woman beneath the horror. As war looms and alliances crumble, Erzsébet navigates a treacherous court of noble ambition, religious hypocrisy, and patriarchal control. Haunted by her past, manipulated by those closest to her, and increasingly desperate for autonomy, she walks a dangerous line between victim and monster.

Told with sharp wit, evocative movement, and an ensemble-driven approach, The Blood Countess is a visceral, feminist horror story about the price of survival.

New life breathes into old tale, as the classic theme of duality is explored anew in this take on THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE. Inspired by the original novella of the same name by Robert Louis Stevenson, Dr. Henri Jekyll, a woman, seeks out a way to survive in Victorian England, which seems stacked against her: her father and protector has recently died; the University she studied at has put her under house arrest, not allowing her to continue her father's work; her best friend has abandoned her; and her lover is desperately unaware of how she suffers. Meanwhile, the world in the streets seems actively disinterested in what happens behind closed doors, focusing, instead, on the rash of murders being committed by Jack the Ripper, and any gossip that may be afforded. The two sides, of Public and Private, converge as the play progresses, and Henri is forced into an inevitable sacrifice.

An original retelling of the French Classic by Edmond Rostand, this romantic comedy follows Cyrano, a female soldier, in a tale of unrequited love. As she vies for the beautiful Roxanne, Cyrano wrestles with self-doubt, body-shaming, and toxic masculinity in a world of "all's fair in love and war," armed with sword-like quips, fair friends, and more than a fair amount of pastries.

In the Florida Everglades, two brothers must learn how to be a family... after having just killed their own parents. Fleeing a mafia past, their bond seems to strengthen as two strangers arrive at their hard-to-find home. Are these people here by accident, or are these people closer to Trent and Liam than they realize? A dark, gritty, physical new drama that explores how perilous escaping the past can be.

SO FAR is a memory-laced one-act about the beginning of a life together and the seeds of what might unravel it. As a young couple unpacks boxes in their first shared home, a second version of them—older, wearier—moves through the same space, haunted by what was said, unsaid, and left behind. Blending humor, friction, and fragmented time, this intimate two-hander explores how love forms, stretches, and bends beneath the weight of ambition, family, and everything that goes unspoken.

Available as part of a trilogy of one-acts (the others being Taking the Stairs and To the Moon).

Taking the Stairs is a fast-paced, sharply funny one-act about the chaos, conflict, and unlikely connections that unfold in the stairwell of a crowded apartment building. As Sara and Kai struggle to move in without killing each other (or their antique armoire), they collide with a rotating cast of quirky neighbors, escalating arguments, and culture-clashing moments. With Spanish, ASL, and a dose of realism, this ensemble piece explores love under pressure, the noise of community, and the very thin walls between us all.

Available as part of a trilogy of one-acts (the others being So Far and To the Moon).

In the quiet yard of a suburban home, a boy climbs a pine tree to escape a world he isn’t ready to return to—and meets a man trying to outrun the one he's built. TO THE MOON is a lyrical one-act about childhood, grief, and the unexpected bond between a runaway kid and a man standing on the edge of his own life. Through pinecones, memories, and missed chances, they share a moment that neither fully understands but both desperately need.

Available as part of a trilogy of one-acts (the others being So Far and Taking the Stairs).

Dying of starvation and lack of water, we watch two people as they strive for both privacy and dependency on a deserted beach in their last moments together. A 10 minute absurdist tragicomedy.