Marc Jablonski

“Opportunity” is a musical dark comedy that tells the story of employees at a Broadway advertising agency over the course of one week as they prepare for and present a pitch for a new musical produced by a beloved never-seen celebrity.

"Evaporation" is an absurdist play with music about the fascist radicalization of white men. It follows four siblings living in a warehouse loft in a US city, as the youngest brother Sfenn falls deeper into alt-right propaganda.

Life is a cyclical journey, encountering and conquering an infinite string of obstacles. CIRCULUS IN PROBANDO is a sound-driven installation play about time, flow, achieving goals, and agoraphobia. Written before the COVID-19 pandemic made staying at home a reality for non-agoraphobes, this play follows a protagonist who lives alone, works remotely, and struggles with his existential dread during a tense political moment in history. The set is one room -- four transparent walls -- with two foley artists representing every character and sound outside the room.

LOW HUM is a new musical, with music/lyrics by Marc Jablonski and book by Lauren Waters, about post-college depression and anxiety, and listening to the body in order to confront trauma on a macro and micro level. We follow two friends in their twenties who are both struggling to save the planet and themselves during a time of global catastrophe. Ellie is an anxious, overworked idealist who is terrified of the future and is angry at the way her town council is governing. Arthur works complacently at an ice cream shop and quietly suffers from a recent sexual assault by a man he went on a few dates with while at college. Shortly after the incident, he starts hearing a low hum everywhere he goes, and won’t stop searching until he finds the source. After drifting apart during their college years, Arthur and Ellie reconnect by chance, and quickly find comfort in each other’s company. As they catch up, Arthur convinces her to take a risk and run for local council. Together they gather a group of eccentric young adults and put together a campaign team to beat the incumbent corrupt councilman who has been in power for over two decades. While Ellie is engaged in a heated public town debate with the councilman, Arthur is wandering outside in a hurricane, allured by the low hum, which has grown the loudest it’s ever been. The same hurricane cuts the debate short with a blackout, and on stage we see a surreal anthropomorphic Earth who is screaming out in pain. Ellie leaves the stage feeling defeated and goes to look for Arthur, who she finds soaking wet in a park. Arthur divulges that the hum was coming from within and that he finally listened to it, realizing that a bad night was more traumatic to him that he originally thought. They then discover that her passionate words on the debate stage struck a chord in the community, and she looks to have more support than originally thought. Ellie wins the election, but there is still more to be done.

With a book by Lauren Waters and Music/Lyrics by Marc Jablonski, Moonlanding is about a woman named Angela Moonlanding discovering her complicated origins through two narratives: Angela’s musical past and the non-musical present where she lives with her best friend, April. We witness Angela’s birth and childhood as we learn that she was traded to her adopted mother in exchange for a couch full of cocaine. In the present day, dissatisfied with her life, Angela disappears. After April gets a letter from Angela’s long lost birth mother, the two temporalities (and musical/dramatic structures) intersect, and we discover where Angela is and where she really came from.

Two friends meet at an upscale restaurant on the Upper East Side in NYC. Is it possible to shift the incentive from money to the common good?