MUSICAL, FULL LENGTH - Six flawed strangers find themselves trapped in an elevator and evaluating their existence. When a cord snaps and the elevator plummets several stories, they are forced to come to terms with the fact that they are the recently deceased. Facing the prospect of death, they wonder: Are we going up... or down?

A musical tragicomedy with 10 original songs. Composition by Max Afifi.

ONE ACT PLAY - Backstage at the Starburst Chuckle Hut, rising comedian Ankor Popov quarrels with Will Fallow, his under-appreciated opening act. Then come reports of an incoming disaster that might be described as a cosmic joke. It's not funny... Then again, maybe a punchline is the best way to close out the act.

ONE ACT PLAY - In an unnamed suburb in the 1980s, a group of students of various ages are recruited by a scheming boy named Niles to get revenge on the despicable school bully, Gus. Each of the five teens are missing one of the five senses -- sight, hearing, taste, touch, and smell. The play, which begins and ends in an isolated treehouse, consists of a series of vignettes as each character's story is illuminated. What eventually becomes clear is that Niles's plan does not involve a simple prank... He needs each of his companions in order to recreate an Ancient Egyptian ritual to steal each of the bully's five senses.

10 MINUTE - Heather and Brian sit next to each other as passengers on a legendary new rollercoaster, Masochist Mountain. As their car slowly ascends the slope, Heather begins to realize that the man beside her is not who he seems. For that matter, neither is the ride.

10 MINUTE - Maverick, an action movie star-in-the-making, returns to a tattoo parlor in order to get a signature on a release form. He needs permission from the tattoo artist, Imogen, to allow his new ink to be featured on the silver screen... But Imogen refuses to capitulate. What starts as a debate about artistic ownership slowly becomes a hostage situation.

10 MINUTE - Childhood™ depicts a conversation between two people who approach the concept of, yes, childhood from two divergent points of view. Cynthia, a kindergarten teacher, considers youth to be a time of limitless wonder, a sacred collection of sights, sounds, and smells that spark imagination without bounds. Manny is a patent lawyer. It is his role, whether he likes it or not, to admit that many of the corporate entities that contribute those sights and sounds and smells can claim them as intellectual property. He has trademarked, for instance, the scent of Play-Doh. Cynthia finds that unconscionable. Their repartee in his patent office results in a detente of sorts as they come to an understanding that may satisfy both perspectives.