This play begins in the fall of 2011, when a libertarian rancher, an anarchist punk, an aging hippie, a radical priest, and a single mother gather in Courthouse Square in Prescott, Arizona determined to fix America. They all agree that the one percent is too powerful, and the rest of us are getting screwed. When they try to get more specific than that, though, they find themselves disagreeing about nearly everything. Some want to focus narrowly on economic inequality, while some want to reimagine the entire structure of society. Some see the government as a potential ally, while some see it as the main enemy. Over the course of the occupation, unlikely alliances form even as friendships crumble. People unused to articulating their worldview in public are forced to defend their most cherished beliefs. The personal and political merge and fuse, and abstract debates about political theory suddenly become intensely emotional. This is a play about the sometimes boring, always necessary work of trying to create a new world. The play is prefaced with two quotations, “We need a better world right away, this week” by Wallace Shawn and “We need everybody and all that we are” by June Jordan. These two “we needs” are held in tension in this play, as they are in our political moment. We must move incredibly quickly to deal with the myriad problems in our society, but we must also make sure we don't leave anyone behind. How do we do both at once? I don’t have answers. But I do have a play.

In 1867, several thousand "refugees" from the former Confederacy landed the SS South America at the Brazilian town of Santa Barbara, soon thereafter renamed Americana. Here, in the western hemisphere's last slave society, they tried to recreate the world they had lost. Os Confederados begins with the story of these first pioneers. As they arrive in Brazil, they begin to realize that they have different ideas of what it means to rebuild Dixie in the Brazilian jungle. For some, a New South means a world free of Yankee control where rugged individualism could finally flourish. For others, it means a reimposition of rigid hierarchies of race and gender.

From that opening, the play jumps one hundred and fifty years to 2017. Descendants of the original Confederados are holding their annual Festa, a celebration of...something. As the Confederados struggle to reconcile their Confederado identity with their Brazilian values, the same contradictions evident in the founding generation reassert themselves. What, after all, does it mean to celebrate your past as you move into the future? What does it mean to celebrate a past you don't remember?

Os Confederados is a play about family, about history, and about memory. It's about race and gender and Brasilidade. It's about why we hold on and how we let go.

The place: a Coney Island of the mind.
The time: old timey-times.
Coney Island Baby is a musical comedy in one act by Andy Boyd featuring a demented doctor with a brilliant plan to save the premie babies of Brooklyn, a back-stage sideshow "will they won't they" romance/friendship, a famous folksinger dying of a mysterious disease, and a plan to save Coney Island from gentrification (in the person of Fred Trump (boo hiss!)) that brings them all together! It's a weird, silly, earnest, ironic musical comedy written by a playwright who only knows like five chords. It's about community, friendship, and solidarity, and it's also about why Coney Island just might be the greatest place on earth.

Two people, Shotwell and Firegood, are serving a 90 day stint in a protected nuclear bunker far beneath the earth's surface. They are each equipped with keys: in the event of nuclear war, they are to turn their keys at the same time, releasing "the bird" at the enemy. The play begins on day 90, when their replacements are supposed to arrive.

Nobody arrives.

This is a play about isolation, paranoia, jealousy, and jacks.

An adaptation of the story by Donald Barthelme.

An audio recording of the play can be found at: https://soundcloud.com/user-498240986/game-by-andy-boyd-from-the-story-by-donald-barthelme

A play about three women married to the same man in 19th century Utah.

As the play begins, Mary is arriving in Utah. She will shortly be Hosea's third wife. Hosea desperately wants sons to extend his legacy as a great Mormon patriarch, but his first with Eunice is beyond child-bearing age and his second wife Katherine seems to be barren. Mary arrives fired with religious fervor, but quickly finds that Zion is not quite what she expected. She and Katherine form a friendship and then a romance through their shared love of literature, particularly the novels of Nathaniel Hawthorne, which provide a distant mirror with which to view their own society. Just as they finally consummate their love, the church President declares that polygamy will no longer be practiced. The play ends with Eunice leaving Hosea, disgusted that he did not protest what she sees as a betrayal of an essential doctrine of the church. Mary likewise leaves, bound of a San Francisco she imagines will be more accepting of both her utopianism and her queerness. Katherine, after years of suffering in a second-class marriage to Hosea, stays. She believes that she and Hosea can find happiness now that the other two wives are no longer competing for his affection.

In this play, two women in Puritan Massachusetts navigate friendship, love, sin, and death in a struggle to live Godly lives. Mercy Pritchett is a young woman recently widowed who must carve out a space for herself in a society that praises women only as wives, mothers, and daughters. Sarah Gooden is a recent arrival to Massachusetts, a refugee of the tumultuous civil war that led to the widespread discrediting of the Puritan movement. Their unlikely friendship takes us into the founding moment of American exceptionalism even as it reveals the darkness at the heart of our national soul.