Jennie Webb

After meeting her troubled, recently deceased mother—who gave her up for adoption as an infant—Terra starts to navigate a little-known California State Compensation Program and runs into more of life’s surreal hurdles. WOUND CARE is, in part, a crack baby reparations about searching for what will make things right and perhaps healing what you didn’t know was broken.

Jess and Bev have been together longer than either of them thought they would be. And in their respective fields—Climate Change and Emergency Management—things are heating up, affecting them in ways they didn’t see coming. "adaptation.resilience" is a play about sustaining love and navigating grief in times of extreme disruption.

A play about what we hang onto, what we let go of and the weight of our losses, DEAD PEOPLE'S DISHES is made up of stories which move through Los Angeles history to look at how we get through things, over and over again.

Angel is a woman at a crossroads. She’s moved in to be with her dying father for his final days, but those days keep extending and now there’s no end in sight. TEMPORARY MEASURES is a dark comedy about legacy and the different shapes it can take when our journey is not straightforward.

Anna is suddenly having difficulties navigating her life in LA—is it being without a car or being stalled by a “Denver Boot of Sorrow?” And then there’s that body following her around, in a new reality where death gets up close and virtual in ways we might not expect. FOOTPRINT is a play about loss, mystery and leaving one’s mark.

CARRY ON finds a woman of a certain age weighing her losses and what she carries—how she’s been carrying it—as she looks ahead at a new and uncertain leg of her journey.

A comedy about negotiations, acceptance and belonging, The Big Red Naugahyde Booth (or, Would-be Elks) tracks the cocktails and confessions of a group of larger-than-life women who regularly meet to drink and dish. But on this particular evening of excess, a girls' night out becomes a surreal exploration of female bonds in a changing world.

Set in 1924 and 2024, NOT CAKE is the story of a singular woman in a multi-cultural Los Angeles neighborhood who’s determined to use her gifts to help other women. But after 100+ years of fighting for change, doesn’t she deserve a break? NOT CAKE is a new play about privilege and class, appropriation and agency.

Unsettled by the LA riots, a young woman goes "home" to heal in a place she's never lived: a small town called Perseverance, in the heart of Southern Illinois Coal Country. INTO THE GOBPILE is a play about lost connections and shifting landscapes.

This is the story of Jane, who’s managed to survive an absurd litany of profound misfortunes in a world where the words "womanhood" and "motherhood" are used interchangeably. But when she comes face to face with a surreal future that no one should have to live with, she takes a closer look at what it means to have options. SPACE AVAILABLE is a play about a woman’s place and what (& who) we let define us.

In the not-so-distant future, the .1% is ensconced in the Ivory Towers of Academia, having broken off from the Center States. There, a privileged few pride themselves on creating a culture of fluid gender identity, filled with celebrity and free of sexual violence. A young woman named Aika may have something to say about that. Except that no one can hear her. Of course. So who will tell her story in a world that’s lost the words to deal with unspeakable crimes? JILT is a play about power, beauty and justification set in a post-rape culture

CURRENCY is a love story set in changing times of overextended trust and inflated intimacy. After sharing a night of unexpected romance, a 40/50-something couple is waylaid by even more surprises and left searching for value in a world that’s moving way too fast.

It’s the “morning after,” and Dan and Helen are navigating toast and coffee in Helen’s enormous bedroom when Dan receives a phone call: there’s been a horrible family tragedy. Life’s sometimes like that.

But in today’s surreal age of virtual connections, hyper-consumption and global financial meltdowns, who’s got a way of getting through life that still works? What truly has worth and meaning anymore? Is the only real thing we have left to hang onto, each other? And is that enough?

After Eva, a respected scientist, is savagely attacked late at night when walking in Los Angeles, the women in her life—her ex-girlfriend, her sister and her cousin— find themselves suspended between the extraordinary and real life expectations. They busy themselves trying to assemble a picture they can live with: of the events surrounding Eva's attack, of the nature of Eva's work with the immortal jellyfish, and of their future, where "forever" may be a real possibility and evil really exists.

So. What happens next?

CRAZY BITCH is a play about jellyfish and genealogy and rogue taxidermy.

A short comedy about the ways in which we connect, or try to, REACH takes a peek at socially-distanced friends during a very specific time: when the dual pandemics of Covid-19 and Racism hit Los Angelenos—and brought them together—in rather revealing ways.

A dark comedy about choices, actions and options, at the heart of SEPARATE LOADS is a couple contemplating an important decision. During a time in which America is connected—and divided—in very revealing ways, it becomes clear to one woman that not making a choice is a choice in itself.

SMILING CAT CANDY HEART is a short play about the big battles in the world and the little things we do to navigate through them. When two separated parents meet for their regularly scheduled child exchange, their usual communication challenges take an unexpected new twist.

Oh, that Rebecca, always running late. Only this time, when she meets her friends at their local coffee spot, her unexpected (or is it?) excuse pulls back the curtain on what living in a rape culture could really mean. REBECCA ON THE BUS is a very dark comedy about a most absurd reality.

A short, pointed play about, among other things, priorities, boundaries, certainties and letting life get to you. Waiting together for an acknowledgement that may never come, two friends find themselves caught up in a dangerously circular game of logic and loyalties, as they realize they’ve probably missed lunch.

When two half-sisters visit an abandoned aerospace compound, absurd government secrets shed an unexpected light on toxic family truths. CHICKEN SHOOT is a short comedy about crimes and validation.

A black comedy at the beach. A visit to Santa Monica's "Ink Well" gives two friends an unexpected perspective on what it means to belong, and to be "the other."

A play with an end which considers possibilities, ON TUESDAY takes a dark and slanted look at our innate desire to have some control over the events and people around us, to make a connection and have an impact. How powerful is our need to make sense of the inconceivable, in any way we can?

A short, dark comedy about drama, denial & permission that takes a slightly absurdist look at the role of prescription drugs on high school campuses.

A comedy about drama and authenticity and finding stand-ins, Blood Replacement finds three women waiting for a rugby match to begin. Only there’s something a bit off about this particular playing field. And are they there to heal old wounds or rip them open?

All sorts of lines are crossed in this somewhat ruthless exploration of women’s relationships—to men and to each other—and our sometimes desperate need for connection and validation, to not be alone.

A dark retail comedy about mothers and daughters and other things that imply some sort of responsibility, YARD SALE SIGNS is set in unmistakably female terrain: a discount clothing store's communal dressing room. Yet on this shopping trip, the characters find themselves examining much more than their fashion choices. With an absurdist edge, the sometimes ruthless journey throws light on the stuff we accumulate as we move through life, and the rather circuitous paths we follow to convince ourselves we're rid of it.

"The Complete Story of the War" is a dark, dense play set in a place without walls where unseen forces are at work. In it there are two women who support, betray, condemn, love, and really, really hate each other. Together, they grapple with memories and engage in all too familiar battles; but are they fighting as one, or against one another? The play is an absurd yet powerful exploration of women’s relationships to the volatile world we live in, to cultural expectations, to men, and—of course—to other women.

Layered upon a  score pulled from the fabric of American life, "The Complete Story of the War" taps into raw emotions and uses cutting humor to mine dangerous territory: the perpetuating cycle of abuse and violence against women.