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.

Told in three scenes over the course of forty years, Three Scenes in the Life of a Trotskyist traces the story of Lev Trachtenberg from idealist youth to contrarian middle age to hard-core reactionary old age. Lev is a prototypical New York intellectual: educated at City College and in left-wing movements, he makes his reputation writing for small magazines and teaching modernist literature. He falls out of step with the Left during the culture wars of the 1960s, and by the election of Reagan he has embraced the Right with a convert's zeal. This is a play about politics, literature, and the corrosive power of success in America.

Available as a podcast here: https://podcasts.apple.com/us/podcast/three-scenes-in-the-life-of-a-trotskyist/id1552760395

One was a communist. The other was a capitalist. One was an artist. The other, an engineer. And yet, for the year between the spring of 1932 and the spring of 1933, Diego Rivera and Henry Ford were friends. Rivera came to Detroit on a commission from Ford’s son Edsel to paint a mural on the theme of Detroit Industry. Rivera and his wife the painter Frida Kahlo arrived in a city on the brink of revolution or collapse: bank failures, violent labor clashes, rallies by Communists and Bible-quoting proto-fascists that drew audiences in the thousands. River Rouge tells the story of the year that followed in a dizzying collage-inspired style mixing vaudeville, docudrama, folk music, protest theatre, and magical realism. It asks a question as relevant today as it was in 1932: how can we use art to remake the world?

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.

After 17 year old Kim's mother dies under mysterious circumstances, Kim must decide whether to stay in her small Arizona town or leave with her 23 year old boyfriend Scott. Before she does either, though, she has to turn 18, at which point she will be able to inherit her mother's motel. This means Kim must operate the motel while hiding the body and navigating the pressures of being a 17 year old girl. Affordable Rates and Color TV is a bizarro mash-up of Sam Shepard and John Hughes, a coming of age dark comedy set in the Arizona high desert.