As the play opens, it is 1 a.m. on June 28, 1969, about twenty minutes before the reported start of The Stonewall Riots. Concurrently, on June 27 and 28 of 1969, radical feminists (led by the revolutionary Redstockings) flood into The New Left conference in New York City, to force a new agenda for women's liberation. As they labor to print position papers for the conference, Redstocking members Angela X and Jo-Jo X get word of the Stonewall police brutalities and must suddenly decide what solidarity really means.

"Power = Resistance x Current" is a ten-minute play that foretells the survival of Tiff and Fluff -- sisters who are hiding out from the roving propaganda police. The sisters find strength in their own tech savvy and embark on a counter-revolution. A modified version of "Power = Resistance x Current" also serves as Act I in my full-length play "Endpapers".

THE REVELATION OF JAMES HAMPTON is a full-length play inspired by African-American artist James Hampton’s life events (both real and imagined) and the fantastic assemblage he called “The Throne of the Third Heaven of the Nations’ Millennium General Assembly.” Set in Washington, DC in 1964, the play shifts through time and place: from 1964 Washington, to early 1900s South Carolina, to the Pacific Theatre of World War II. The play incorporates the theatricality of his Trinidadian heritage, as well as the intensity of his Southern Baptist upbringing James Hampton’s throne assemblage, built over fourteen years of his life, is regarded as one of the finest pieces of religious visionary art ever created in the United States. A portion of his assemblage is on permanent display at the National Museum of American Art. The play’s characters are based on both real and imagined people in James Hampton’s life. The play’s words and thoughts are both recorded in public records and re-imagined, set down in this play to give honor to James Hampton. Within the play, James socializes with his old Army buddy (Isaac); bitterly recalls the abandonment of his mother and siblings by his itinerate preacher-father (Preacher Hampton); innocently entertains neighborhood children (Essie and Jewell); encounters the protective hostilities of their mothers (Evie and Iris); and finds mutual trust with his Jewish landlord (Meyer Wertlieb). Hampton’s imagined dreamscape is presented through elements of dance and shadow puppetry. Cast members and/or dancers appear in the dream sequences as traditional Carnival characters (which include the various gods of world religions).

He/She/They has been forced to take shelter under a broken table in a room full of rubbish. He/She/They is a the only character in a very short play and that person may be insane or very wise or perhaps both things. The world beyond the broken table is struggling with the COVID-19 pandemic.

Christmas In The Covid is an extremely short one-person play. Mark is a 40-ish year-old man who has returned to his childhood home where he must begin to clear out his deceased mother's hoard of collectibles. In this two and one-half minute play, Mark makes an unexpected discovery.

Eleven monologues featuring women of note in the theatre arts, including: Pat Suzuki, Ann Reinking, Sarah Ruhl, Zelda Diamond Fichandler, Maggie Smith, Adele Astaire, Condola Rashad, Deborah Joy Cheetham, Josephine Kermode, Maria Luisa Landin, and Betty Nansen. Monologues written for the 365 Women a Year/Women in Theatre project.

Homewrecker Honeymooners is a short play that follows four obnoxious renters as they spy on their landlord, building up grudges and resentments. Because they are offended by her political beliefs and blame her for their own miserable lives, they spend their days spinning conspiracy theories about her. Vengeful pranks escalate toward dangerous assault in this dark comedy.