A woman finds herself in an active shooting at a suburban mall. After she is shot, her shooter takes refuge nearby. Eventually, they talk.

In twelve scenes, the unique history of Birding in America...begins in 1931, when the last Heath Hen in existence meets a Model T, veers back to the early 1800's - and John James Audubon - and forward to an imagined future in the year 2039. It's an epic love story, in heartbreaking detail.

Based on historical fact, this work of fiction concerns itself with Frederick Douglass and three of the most important women in his life: His first wife of 44 years, Anna Murray, a freedwoman who helped him escape to freedom and gave him his five children; his oldest daughter Rosetta; and his longtime German mistress, the journalist and writer Ottilie Assing.
The play encapsulates 30 years in Douglass’s lifetime – from his first meeting with Assing to the time of her death, when she committed suicide in a Paris park following his second marriage to another, younger woman.
Within the framework of first and last scenes that take place in the afterlife, the play combines history and scandal with women’s issues, all taken with a moderate dose of good sense and humor.
The Greater Love has had a workshop staging (40th Street Stage) and was featured as one of Utah Shakespeare Festival's New American Playwrights Reading Series in 2012.

In a small town south of the city, a group of women – and one man – come together every month for a potluck supper. They are a diverse and engaging group, with ages ranging from mid-20s’ to early 70’s; They are straight and gay; black, white and Asian; they work as bartenders, CPA’s and booksellers but they all have one thing in common: their former profession, as Working ‘Girls’. Now, they enjoy each other’s company; they share their lives, their hopes and dreams and the search for everlasting love as they break bread each month. But….a new arrival in the group is about to call into question everything about whom they believe themselves to be, and what they hold most dear.

In the Spring of 2002, Nikki Johnson, a theatre student at Old Dominion University in Norfolk, Virginia, was found shot to death, murdered in her home. Lying beside her was Tyrone Haines, her ex-boyfriend. Apparently Tyrone had waited outside that morning until Nikki’s mother left for work. He kicked the door in, followed Nikki upstairs as she tried to flee to her bedroom. Nikki was able to call 9-11 before Tyrone broke in her door. He shot her five times. Then he turned the gun on himself.
The Theatre Department, both faculty and students, were stunned by Nikki’s death, and we began to talk about a way to both remember Nikki’s light and to address the much larger issue of violence against women in a way that would honor her memory with action and substance. Willow Song/Memoriam is the result. The director of the ODU Theatre Department, Christopher Hanna (now the Artistic Director of Virginia Stage Company) conceived the format: Take Shakespeare’s Othello and weave this timeless story of jealousy and violence into Nikki’s story, as told by our students and others.
Five students spent many summer hours talking to and interviewing other students. As example of their dedication to the project, they were able to track down and interview the CSI technician who did Nikki’s crime scene, as well as a young man who was in an anger management program after his arrest for hitting his wife; a woman who works with battered women, and a man who counsels students. We also made the chilling discovery that our very own costume shop manager was herself a survivor of domestic violence. Taking these interviews and my own battered copy of Othello I crafted the text; a literary docu-drama; think, a lyrical and timeless Laramie Project that shines a very bright light on domestic violence.

The play that resulted has been called “hard hitting”… “thought provoking” … “heart-felt” … “haunting”. The show, with our student actors, went up and down the East Coast touring college campuses; the company also went to the 2003 Edinburgh Fringe Festival, where one critic wrote: “It could have easily been sentimental slush instead of the fascinating production that it is”. Whenever possible we always had a counselor standing by to answer questions, offer solutions. Many women came forward after curtain to tell us their own stories; many sought and received help. We cried, a lot. This play changed lives.