Josh Drimmer

--Grand Prize Winner, 2023 Risk Theater Modern Tragedy Competition

Fresh from five years...away...over a little bit of ATM robbery, Mason Wright has reasonable goals (or so he believes): make a mint playing poker and get his estranged wife Maya back.

But is he as good a card player as he thinks? Was Maya trying to tell him something by never visiting or writing? Will his charm run out before his old friends remember where his bag of tricks usually leads?

There will be damages from Mason's many avoidable mistakes; his daughter, Lex, already wears her scars. But whether Mason is going down for the count this time all depends on when he gets out of town.

--Produced by Broom Street Theater, Madison, WI, February-March 2025, dir. Maria Dahman

The world's in its last days, at least for humans. Isla, Nick, and 14-year-old Violet are a makeshift family living in a subterranean home on a planet that is no longer inhabitable. Their pursuits are normal enough: Nick scavenges the outside world, Isla feeds her thoughts into an artificial consciousness, while Violet gets visitors, in the form of ghosts from multiple eras. (Sure, Isla and Nick do too, but they're slightly better at compartmentalizing / lying to themselves.)

When the world has run down and no future lies ahead, you take what you can get, and the ghosts do at least make for pleasant company. That is, if they are ghosts at all.

Plesac had a good run, but he's damn near 40 and a little trepidatious about the whole life after baseball thing. Jones is back from Tommy John, unsure why his surgeon used a tendon from his toe instead of his forearm. Dominguez, brand new to the show, is that special and dangerous combination: naive and combustible. And Castillo, well, Castillo has to do what bullpen coaches do: hold it all together. Welcome to another year in the bullpen.

--Winner of Sanguine Theatre Company's Project Playwright 2015
--World Premiere produced by Sanguine Theatre Company at the Chain Theater, Queens, NY, April-May 2015, dir. Logan Reed

Two 16-year-olds meet at an artsy pre-college program, where they flirt, fight, but are ultimately unable to handle the love they stumble into. 16 years later, they're face-to-face again, drinking bourbon in a hotel suite, and innocent nostalgia is turning into something far more difficult.

It's August in Bridgeport, NY, a cute, not terribly expensive town on Long Island's North Fork. Over 24 hours in a curious rented house with bright walls and no locks on the doors, six 30-something friends and one special guest, a 17-year-old townie picked up near the town carousel, will drink too much, take too much of too many drugs, and go through a collective, premature mid-life crisis.

The fears, jealousies, pretensions, sexual confusions, mushroom-induced delusions, and problems (substance abuse-related and otherwise) of a group of Yale graduates explode as they party hard and hold tightly to their last summer in New Haven, in a modern Chekhovian comedy where every act is a different party, and every party is getting a little closer to that time you can get no extensions on: the time to let go.

Tuesday and Sky Baker, a troubled poet and a recovering alcoholic, are brother and sister survivors of the brutal commune known as The Meadow, forced together again after Tuesday overdoses on Ambien after 13 nights without sleep. In a small, haunted town in Ohio, Sky will try to pull Tuesday out of the darkness of their past, but in the process, will Tuesday bring Sky back to The Meadow, and out of his own mind?

It's hard times for poor Pharaoh as the land of Egypt is, you know, plagued by all kinds of strange incidents: a bloody Nile, frogs falling from the sky, a nasty case of boils for all, with the chance of more to come.

The leader of the Hebrews, a stutterer with a constant headache named Moses, wants Egypt to let go of a good cheap labor supply, and Pharaoh’s advisor Ahmed doesn't have any easy answers. Even Pharaoh's favorite lesser wife, Meresankh, is sympathizing with the Hebrews; what's worse, she's stopped wearing makeup. What's a god on earth to do when God shows up? Doesn’t God understand the concept of “sunk costs?”

Land of Frogs and Locusts is a brutal dark comedy about Biblically large events, bad leadership, and the costs of living in a self-poisoned land.

He’s been on an extended run of self-destruction ever since she left him, feeling the damage of his ways and a newfound emptiness as 30 approaches.

She’s alone upstate, not quite finding the peace she hoped for in the country, not quite free of the life that started to grow within her.

As for his old man, his cancer’s in remission, but he’s not as content as he claims to be, drinking Mellow Corn, teaching in a Pennsylvania nowhere, all but out of speaking terms with three ex-wives and five children.

In three interconnecting narratives that frequently interrupt each other, these three will deal with the momentary, the eternal, and the singularity of their lives, broken and beautiful.

--Performed as part of the 2019 Downtown Urban Arts Festival, the Wild Project, New York, NY, May 2019; dir. Christopher Carter Sanderson

He’s a man of a certain age: always single, never alone, his standard expression of existential pain often mistaken for dashing. He has a story to tell, about the only woman who ever interested him as much as himself. And much as the story hurts him to tell, she’s not around to help.

--adapted from the novel White Guard by Mikhail Bulgakov
--commissioned by Gorilla Rep

It's the dread winter of Our Lord 1918. The World War is over, but the battle for Ukraine has just begun, as the German puppet state flees Kyiv and Symon Petliura's vengeful People's Army approaches the city walls. In the midst of the chaos, the Turbin family and their friends will be betrayed, wounded, scarred, nearly frozen, and left mourning both the nation that could have been, as well as the life of one of their own.

--Winner, 2021 ARTC Jerry Kaufman Award

In the midst of a bizarre and hotly contested election, Democratic operative Mark Walker has his hands full keeping The Candidate, a Senator with the force of the party and the indifference of the people, on target, as her very real despair over the very nature of what Democracy requires is festering. There's also the tiny matter of money missing from her charity.

As for the Republican candidate, much as he stomps and spouts, he does have a chance, under the direction of thoroughly ethically unbound former governor Dominic Fortunato, and thanks to his fourth press secretary, journeywoman Sarah Jane Tyler, he even has the appearance of a cohesive message. But will Sarah Jane and what's left of her goodness survive the unwanted attentions of Dominic, and a campaign designed to win at any cost?

Set in the autocratic Independent Republic of Soteria (West Soteria), Aura is the story of the Telifan family: two parents, two children (down from three, due to the middle child taking “happy fire” during military service), living in a prefab box with doors that lock at curfew, and a console broadcasting state news that can never be turned off. As the four of them individually pursue something more than survival and more than the family can provide, neither the family nor Soteria will survive.

Emily, a driven if depressive academic, and Alex, a former art mover living a "life of the mind," at least until his settlement money runs out, are not meant to be together. Come on. They tried that once. But a curious mix of loneliness, chemistry, and a gift from a dead man are destined to, well, not bring them together exactly, but...it's hard to explain.

Dan “Cannon” Samuels is a mid-ranked, un-reputed heavyweight with a second-rate manager and a marriage collapsed into open infidelity, but a surprise shot at the title, and a new, unorthodox trainer may give him the chance to be the fighter he was always meant to be. But the question remains, what's the hard part: winning the title, or not losing everything else in the process?

Loosely inspired by the rise and fall of James "Buster" Douglas, Puncher's Chance is a play about what it takes to succeed, and what usually comes after.

Amelia, a self-serious grad student, and Jack, a painter incapable of keeping a day job, are deeply in love, but when Jack loses his apartment and moves in with Amelia, one way or another the young couple’s relationship must change, and young love makes young mistakes.

It’s 1979. Sleight of Hand are a huge, successful band at last, with a hit record, and all the time in the world to record the follow-up. But perfectionism, grandiosity, break-ups, make-ups, and an all-but-unlimited amount of cocaine may tear them apart even as they’re all trapped together, in their very own studio, as 1980 winds down. (Also, the new album’s a double album now.)

At 35, Magda might not quite be where she hoped to be, spending her days in a Carpal Tunnel-inducing temp job and her nights sorta seeing an idiot drummer eleven years her junior. But when her Greenpoint apartment is invaded by a mysterious, constant, piercing beeping, something all the 311 calls in the world won't get rid of, her ramshackle life is shaken (at last).

Jacob, a divorced hedge fund manager, can't face the emptiness of his own life and the marriage of his rock star best friend to the only woman he almost loved. His only solution: make deception an art, twist his small world around him, and tear their love and their lives apart. Inspired by Shakespeare’s Othello, and written in modern blank verse.

Three years removed from college and golden boys no more, two college friends and Red Sox fans will find (and sometimes lose) love, employment, artistic inspiration, Internet fame, and something close to enough to maturity, over the backdrop of the 2007 championship season. The only thing longer than a baseball season is life itself.

Roxy hasn't left her apartment in two and half years, ever since the day her girlfriend died in a plane crash.

D is dying of an autoimmune disorder just as the most amazing beats of his career are spilling out of his mind, and he can't let anyone, even his ex-wife or his son, get in the way.

And as for the Lost, he's already in the shadowland, forgetting how to forget, hoping for a way out.

A triptych play, After is a magical realistic meditation on in-between spaces between life, death, and something else.