Susan Hansell

80 minute character series exploring the tension between expression and repression in the lives of 20th and 21st Century American women and girls, full-length.

A brief and partial history of the judicial world as it is known to some of us. Ten minutes.

An ensemble cast presents the changing lives of five diverse American women, all of whom enter war production workplaces or wartime situations during the 1940s. Their stories are juxtaposed with additional roles iconic of female individuals from the American Homefront WWII period. 75 minutes.

A humorous, poignant and absurdly physical near-future wherein four souls try to grasp what traits we humans need, and which we need to jettison, for our species's survival. 2-acts, 90 minutes. Diverse cast.

Four female actors create multiple roles in a lyrical story of intellectuals, artists, and ordinary women from the 20th Century. The play begins with the fictionalized portrayals of four true-to-life individuals from Europe in the 1930’s. These four characters evolve into a factually-based group of Partisan resisters arrested on the eve of the Paris deportations. The actors then step outside the characters they have created to explore why such stories remain relevant.

A HOT GUY reflects revealingly on his life via an imaginary letter to Jeff Bezos

A lyrical exploration of the friendship bonds and the life-outcomes of four factually-based French women Partisans (Charlotte Delbo and her colleagues of Convoy 31000) from Nazi-era Europe as they confront the meaning of their arrests on the eve of the Paris deportations during WWII. 45 minutes.

A letter writer addresses her deepest thoughts on her world via an imaginary letter to Jeff Bezos. Short, 10-minute monologue play.

A group of letter writers express their most intimate thoughts on life by writing letters to Jeff Bezos, and then decide as a group what they should do next. One-Act.
30 minutes.

A group of Letter Writers express their thoughts on life via a contemporary icon, then start a nationwide social media campaign to enlist others to do the same, changing their lives in the process: a whimsical, satirical, imaginative riff on fame, truth, and the American gods. Two acts. 80 minutes.

Five family members exist as fractured-fairy-tale-versions of the characters from KING LEAR via an originally conceived satire that sends-up 400 years of human history and family dysfunction. A thought-provoking tour de force. Original contemporary verse. 45 minutes.

An ensemble-cast (including a chorus which chants in contemporary verse) presents a visceral and exhilarating expose of contemporary values: A vibrant, accessible, and relevant re-telling of MEDEA, imbued with current events cut from the American landscape; this play was a selection of THE BEST AMERICAN SHORT PLAYS series. 75 minutes.

Contemporary versions of Oth, Desdie and I. find themselves (and each other) in a contemporary Brooklyn police house where they "talk" over their various consummations and conflicts. A riveting stand-alone tragedy. 10-15 minutes.

One magician-mime-teacher-scientist character provides a tragi-comic history of human weaponry. 10 minutes.

An absurdist physical comedy about what we are and how we eat. 10 minutes.

A touching critique of romantic comedies with an episodic structure that outlines the story of a lifelong relationship. This full-length play requires two skilled performers who, as mirror-hall present-tense versions of Adam and Eve, re-invent the canonical rom-com. 80 minutes.

Two actors present a love/history mash-up of re-imagined RICHARD THE THIRD subplots spun from current news and entertainment "factories." A stand-alone compressed comedy-drama of relationships that achieves an emotional wallop. 60 minutes.

Who Will Witness for the Witness is a lyrical play exploring the lives and the life-outcomes of four factually-based women (Gerda Taro, Simone Weil, Edith Stein, Marthe Cohn) from Nazi-era Europe, as they ponder truth, life, fact, death, and existence. 30 minutes.