Scott Sublett

An irreverently satirical new musical about Harry, Meghan and the whole Royal Family. When fiery Prince Harry falls for a stunning, biracial actress, she persuades him to flash back in time and confront the trauma of his crazy childhood: the scandalous divorce, Dodi dirty dancing on the yacht, and walking in on Dad and his mistress Camilla having it off while singing about Shakespeare. But when Meghan’s accusations of racism threaten to bring down the House of Saxe-Coburg-Gotha, The Queen Mum (she might be a zombie) and Queen Elizabeth swing into action, leading to Megxit—and the return of Diana’s ghost with answers to all mysteries.

Outrageous, satirical, and ruthlessly witty, “Everybody Hates Harry! A Royal Musical Comedy” features music by rocker Jef Labes (formerly of Van Morrison’s and Bonnie Raitt’s bands), and book and lyrics by Scott Sublett, writer-director of “Screenwriting for Neurotics.” Tuneful tunes include “Bang!” and “What Color Will the Baby Be?”

Nine actors, unit set. World premiere available. Zany and fun, but smart and satirical, especially when it comes to racism and Islamophpobia in the Royal Family. Think Charles Ludlum meets George Bernard Shaw.

Love him or hate him, we can’t take our eyes off Harry. Even in 2025, he and Meghan just got another Netflix deal, her show is a hit, and the Sussexes are in the tabloids every day.

P.S. Here's a fun song about sex in Shakespeare that gives you a taste of the show.
https://drive.google.com/file/d/1xoj7bPeOqEaqQJX73Vjqj8crZQ1P7L2b/view?…

P.P.S. Last year we held a table reading at a Manhattan rehearsal studio, with quite a distinguished cast: three-time Tony nominee Sandy Duncan (“Peter Pan,” “The Boy Friend”) as the Queen Mother; two-time Tony nominee Alison Fraser as Queen Elizabeth; and Paul DeBoy (Harry Bright in “Mama Mia!” on Broadway) as Charles. And Carson Stewart (“The Notebook” on Broadway).

A bedroom farce about gay Abe Lincoln, his black maid, and her animatronic steampunk Lincoln robot. At last, the truth about one of our gayest presidents—and great abolitionist. 2 women (one black, one white), 3 men, one set.

My co-creator Sue Bergin and I would like to tell you about “The Mothers,” our verbatim theatre play about Mormon mothers of LGBTQ kids—a hard-hitting play with five great parts for women.

The play explores, with empathy and respect, important territory around the issues of female subjugation within fundamentalist sects, LGBTQ acceptance, and teen suicide—but most of all it’s a moving portrait of sisterhood. It’s a cast of five diverse women, and all five roles contain challenging opportunities—and moments “in the spotlight”—for the actors. What’s more, at a time like this, plays that build bridges are more necessary than ever.

The play has had the good luck to benefit from four developmental readings—first at the Hammer Theatre Center in San Jose, California, before Covid; then at Dixon Place in Manhattan; then an online reading by Salt Lake City’s Plan 9 Theatre during lockdown; and finally, a staged reading by An Other Theatre Company in Provo, where it was the only feature-length play accepted by their new play festival two years ago. Giving a verbatim play a compelling, suspenseful dramatic shape takes work, and the generous opportunities we were afforded for development were so useful in helping us do so.

What’s more, at a time like this, plays that build bridges are more necessary than ever. This work, focusing as it does on five heterosexual, cis women yet all about LGBTQ issues, has the potential of doing more than just “preaching to the choir.” Not that there’s anything wrong with preaching to the choir. The choir needs bucking up.

The most beloved woman in American history. The most consequential American statesman since Lincoln. History's ultimate “power couple”—and tonight, with glittering wit, celebrated charm and crafty stratagems, they’ll play out their greatest confrontation.

Because this is the night 36-year-old Eleanor confesses her bisexuality to her handsome, still healthy, 38-year-old husband. They teeter on the verge of divorce, but out of their conflict they forge a new kind of marriage—and political alliance.

Issues of sexual identity and fluidity, now more relevant than ever, are normalized by putting them into the historical context of the most famous “power couple” in American history. Like "Hamilton," "Eleanor Goes Out" explores, with lively wit and incisive psychology, the flawed and fascinating human side of our national heroes—and the erasure of LGBTQ identity from history.

With two characters, one set—her bedroom—the show is intimate in every way and ideal for small spaces. The script has been through a couple of developmental readings, the most recent being a livestream sponsored by Theatre Resources Unlimited in Manhattan, which selected the play in a competitive process. I have a recording of that reading and would be delighted to provide the link.

This musical is available FREE to all nonprofit institutions and schools, in honor of the inspiring achievements of Robert Smalls. In the thick of the Civil War, a young enslaved man, Robert Smalls, became a national hero by stealing a Confederate gunship from Charleston Harbor and sailing his family to freedom. He would meet Lincoln, persuade him to allow black soldiers to fight, and serve five terms in congress. "Stealing Freedom" sets the thrilling story of his family's escape to the music of traditional spirituals, along with suspense, adventure, romance, comedy, cannon fire, and the attack on Fort Sumter. This true story of black heroism can in fact be done with seven actors and no musicians, as spirituals are traditionally sung a cappella. Since the songs are authentic, traditional spirituals of the 1800s and can be found with a simple internet search, I have not provided recordings of the music.

Before Monroe, before Harlow, there was Bow—the movies’ first sex symbol. She was the most famous woman of the Roaring ‘20s, the ultimate flapper, and her game-changing naturalism as an actress made the world think differently about sex. She was the original "It Girl," and her notorious sexual attitudes filled the tabloids, as did her romances with Gary Cooper, Gilbert Roland, and the USC football team. But there was a dark side: the horrific childhood, her fragile mental health, and her sudden, mysterious exit from Hollywood, spending the rest of her life incognito.

“The Operatics” is a witty, sexy comedy about the writing of the world's greatest operas. When Herr Mozart, composer of flop operas, badgers court poet Lorenzo Da Ponte into writing him libretti, Wolfgang gets more than he bargained for—including a dangerous friendship with the notorious libertine Casanova, and as a student the sullen teenage prodigy Beethoven. Then there are those pesky censorship problems with Holy Roman Emperor Joseph II (a plot element very relevant to right now and Jimmy Kimmel).

The nature of genius, the alchemy of collaborative arts, state censorship, and the deceitfulness of lovers are the themes that enliven this smart, saucy comedy. Think “Amadeus” meets “Dangerous Liaisons.” Theatergoers love opera, opera buffs go to the theater, and everyone will want to know the true story of Lorenzo Da Ponte, the most important Jew in operatic history. Yep, Da Ponte was Jewish. The world premiere is available. Nine characters played by seven actors, unit set.

Let’s be “GAY AS CHRISTMAS!” Because this year, the holidays are more inclusive! Plucky Pringle the Elf has a secret crush on his boss—Santa. Meanwhile, his best friend, elf girl Fiona, wants Mrs. Claus’s delicious cookies. But no time for romance! The billionaire Hackensacker brothers have stolen Christmas with intellectual property law and rockets, and Pringle and Fiona have to help Santa save it. This show has a lot of heart and is a perfect antidote to holiday-same-old-same-old.

Diverse cast of seven: five men, two women. Unit set.

Truly, the holidays are a lonely time for all kinds of marginalized people, but especially if they're LGBTQ+. Here at last is our alternative to "A Christmas Carol" and "The Nutcracker"--a farce with a heart—and a message that centers LGBTQ characters, and appropriates traditional culture in a provocatively hilarious way.

In 1883, a beautiful young black trance medium disrupts the New Haven home of America’s richest woman—gun heiress Sarah Winchester. The medium advocates the new religion of Spiritualism and Sarah intends to contact her late husband—if she isn’t stopped by the conservative, hard-drinking physician who loves her, and who wants to "protect" Sarah and Sarah's sister, Birdie, an eccentric suffragette. One set, cast of five.

Writen in trhe Ming Dynasty, set 2,300 years ago, “The Wolf of Zhongshan” (中山狼傳) is arguably the most beloved of all Chinese fables. And even today, the expression “a Mr. Dongguo” means a soft-hearted person easily taken advantage of by evil people. Now Mr. Dongguo is a musical—a Chinese “Into the Woods” with international potential.

The earnest young scholar Mr. Dongguo, though his sensible monkey Moki tries to warn him, saves the life of a very big, very bad Wolf pursued by very important hunters. Instead of gratitude, Mr. Wolf proposes to EAT Mr. Dongguo—so Mr. Dongguo and the Wolf agree to put the case to three wise elders: a talking apricot tree, a fatalistic Water Buffalo, and a shrewd Old Farmer. Then there’s the farmer’s daughter May May, who plans to open a martial arts studio. She’s awfully nice, but will The Old Man Who Lives Under the Moon give poor Mr. Dongguo such a lovely maiden? Suspense, romance and comedy result.

My co-librettist Zhilian Liu and I are looking for a composer interested in collaborating on musical that we've already written—including completed lyrics (which of course can be adjusted).