HAPPY THANKSGIVING is a full-length play set on Thanksgiving Day, 2016, two weeks after the highly divisive U.S. presidential election.

A Michigan-state (Blue state turned Red!) married couple, two conservative Republican parents, are holding their annual Thanksgiving dinner for their three adult children coming back to Jackson, Michigan (often branded as the birthplace of the Republican party): their first-born, a liberal firebrand Hillary-supporting daughter, along with their middle child, a gay Republican son, and the baby of the family, a Sandernista democratic socialist daughter.

Annual Thanksgiving family gatherings are normally fraught with enough anxiety for this diverse and politically-engaged family, but after the long and contentious presidential campaign of 2016, this post-election turkey get-together threatens to be a disaster in the making. One American family and their binds of marriage, parenthood, brother and sisterhood will all be tested as the family members are challenged to answer the ultimate question, which comes first, party, candidate, country or family?

WEALTH (a Eugene O'Neill 2020 Semifinalist and PlayPenn 2020 Semifinalist) is a full-length play dramatizing just how inter-connected and dependent American rich and poor may be on each other beyond wealth and class. Where income inequality meets the blood ties that bind even the most disconnected of Americans.

JIMMY and TAMMI, American poor, fight to dig themselves out of their economic hole, but all seems lost and hopeless after their children are removed from their care by Children’s Protective Services for suspected parental neglect due to their children’s state of chronic hunger and unsafe living conditions.

ROGER BANCROFT, Hedge Fund King of America and multi-billionaire, suffering end stage kidney disease and facing premature death as he languishes far down on the national kidney transplant waitlist, must decide how much longer he will play by the government’s waitlist rules of no special privilege or assert his power to do whatever it takes to ensure his survival.

WEALTH asks how far will rich and poor alike go to hold onto those things that money cannot always buy: life, love, family.

The year: 2020. The year of the Invisible Enemy. The tale of two viruses ravaging and transforming American life forever: COVID-19 and TRUVID-20. TRUVID-20? Truth Virus 2020: the selective choosing of one’s own truth and facts, regardless of the veracity, ramifications and deadly consequences to others.

INVISIBLE is the just as much the story of the Visible Enemy, those public figures sworn to protect us and their countless Invisible followers holding competing truths and facts as they battle their fellow American Invisible in a real life mortal combat when truth meets power. INVISIBLE is about the hall-of-mirrors challenge of who to believe, what to believe, facts changing, science changing, misinformation and disinformation multiplying, the line between true and false disappearing, with no vaccine or emergency use authorization coming to the rescue to battle TRUVID-20.

INVISIBLE is part journalistic theatre, story theatre, documentary theatre, reality theatre, breaking the Fourth Wall theatre, told in live time. A Cast of Players (8) -- with a number of gender/color blind roles -- led by a Narrator, assisted by a professional Fact Checker, and the Players (assuming multiple roles and speaking parts), invite the audience on a journalistic search, utilizing the Fair Use doctrine and public record, to re-enact the story of America’s 2020 nightmare through government officials’ words, speeches, press releases, postings, etc., to learn how America divided at a time they most needed to be united.

As the story is performed for what is now their umpteenth performance, the Players become severely challenged and conflicted in recreating the words, thoughts and feelings of the Visible characters, not insulated by the knowledge of performing an imagined, fictional creation, but faced with having to live through performance after performance depicting characters who become all too real and horrifying, propelling the actors to battle each other as they fight to get through the present performance.

THE HOUSE is a two-act play (3W, 4M) set in the quintessential reflection of the post-WWII American Dream: the American suburban home. Staged in the most naturalistic of settings, THE HOUSE is a play of magical realism, as past family members' ghosts, split selves and spirits roam the rooms and hallways, frozen in time, stuck in the "in-between", unable to cross over until a now adult "son" of the first owners returns to his childhood home to make peace with the past that was anything but the American Dream house, as the living and the dead and disconnected confront each other to free themselves so they all may be able to cross over.

It is Fall, 1981. Long Island, NY. The country is in a steep recession. House values have plummeted. Reagan has nearly been assassinated. Morning in America has yet to arrive. The American Dream is cracking apart. The action begins with a knock on the door. WILLIAM TALBOT (30) returns to the scene of his childhood, the house originally built by his parents in the later 1950's when America was filled with promise and purpose. WILLIAM, gone for 13 years, his childless marriage in crisis, has taken his wife's ultimatum to "fix whatever the hell happened in that house you grew up in" quite literally and returned to find the answer. But upon returning to be welcomed in by the present owners of the house, William finds that his deceased mother, who died suddenly in the house, still inhabits the premises, her “crossing over” to the next world blocked, her presence unbeknownst to all the subsequent owners. William does not understand how it has come to be but does know that the house holds the one promise to again be with the mother he lost at way too young an age. William proposes to buy his family house back from the present homeowners, Peter and Jane, both on their second marriage, but his offer to recover his childhood family home splits the couple and their two teenage children. Peter feels he has achieved the life he has always sought while Jane has begun to regret their once-thought of dream home, financially burdened by the recession and the unrealized merging of a step-family, their children having developed an unhealthy alliance as they try to deal with the anger and disillusion they feel as the collateral damage of their parents’ messy marital pasts.

As William tries to “come home,” his mother fights to leave for good, to free herself from the dream house, while Peter and Jane must confront their broken vows and betrayals and priorities. All must confront the chains of pain that have bound them up as they all try to define the true meaning of home in America.

Time: Present
Setting: Manhattan.
Characters: 5; 3M, 2F. All in their later 20s to early-mid 30s.
LOVE MAD is a romantic comedy, sex farce, the endless battle between the sexes. A tale of men trying to please their respective female partners, but at war with their own inner desires over the call for a monogamous existence and the women who must survive their madness and guide them through their testosterone-fueled angst, ambivalence and plain old male madness.

Spencer has finally met the woman of his dreams, the woman he wants to marry, Michelle. But Spencer's longtime bachelor best buddy, Trevor, tries to slow Spencer down until he gets through the sex-crazed first year of infatuation and hopefully come out of his state of madness, while Michael, his other best bro, newly married and still basking in the glow of the honeymoon phase, wholeheartedly coaxes Spencer to make the leap. Adding fuel to the fire is Deborah, Spencer’s ex-girl friend, still in love with Spencer, all charged up and ready to divide and conquer. Amidst forays to a polygamist’s compound in Utah and Michael’s wife turning out to have a seven-year itch turn into a seven-month itch, and Deborah and Trevor beginning a secret affair built more around angry sex and ultimate power, all five people will raise maximum mayhem and madness in their battle and quest towards freedom and connection.