Walker Trimble

Deep in the forests of the North there are people yearning for Europe. A couple of locals have promised to get them there. Each of the migrants brings a little money for the passage and something else, a sweetener — a bird that tells the truth, a ruby, a "blood compass" that tells you where your brother or sister is, a turtle that lays golden coins, and a rather scary “sensual massage applicator.” The traffickers have led them across the border to a place that is not Europe, but more of the forest that would never end. A false border crossing has been painted up and they have convinced the migrants, with all their gifts, to pay their way not to Norway but to Noway — the almost Europe you go to before you can go to Europe. Based on a 2019 news story, Noway is no Europe, not even close, but somewhere in the imagination between dreams and reality, a border we can understand only when we step across. Noway is a comedy of errors, fairytales, romance, and lies.—12 actors, 16 scenes, 120 minutes.

A violent drama that follows the killers of Martin Luther King, Jr. and Abraham Lincoln over the American road. A history of extremism, delusion, and the voids between us.
A little more than a hundred days before the assassination of Martin Luther King, Jr. (April 4, 1968), JAMES EARL RAY drove from Los Angeles to New Orleans with Charles Stein, a passing acquaintance, ostensibly to convey the two young nieces of the latter back to their mother, a cocktail waitress in Los Angeles. At the time Ray was living under several aliases, including Eric and John Starvo Galt.
Some months before the assassination of President Abraham Lincoln (April 14th 1865), his assassin JOHN WILKES BOOTH traveled extensively from his native Maryland to as far as Montréal in feverish plans associated with a conspiracy of which he was the author and mastermind. Along the way he attempted to draw into his plans his brother, Junius, as well as Harry Ford, a young actor and younger brother of the impresario John Ford, owner of Ford’s Theatre in Washington.
With infernal energy, Booth & Ray takes these trips as adventures into the voids between us and within us, and as a road map to the deeper voids in our society. – three actors, 90 minutes.

A farce of floods, feigned love and mammoths.
Cave Creek, Arizona. 1992-1993. Five-acre lots and short stocks have turned society inward; but the floods of '93 threaten to wash it all away. Separated by impassible, rushing arroyos, four characters can only communicate over walkie-talkies whose signals keep getting crossed. More mixed signals pass between a post-graduate archeologist stranded near where she believes is a 12,000 year-old petroglyph of a mammoth, a real estate agent/horse trainer out hunting whose got rocks of his own, and an impossibly rich widow who believes she's receiving messages from her dead husband as waters rise around her boulder-capped estate. Add a rookie deputy police-man who's shot a deer on somebody's private golf course and we'll see whether it's lust, conscience, or Cave Buttes Dam that keep us all together. Four actors, seven scenes.

Cave Creek, Arizona. 1978. Dillan Hardacre is at the tail end of an Arizona ranching dynasty whose empire is dust and rocks and diminishing grazing permits. Rhonda has just joined him at the ranch and in a co- signed car loan. Cactus spines, the Spanish language, and a bloodied bobcat in a box are the low points of a short, violent, tender marriage and the beginning of the end of the ranch. Four actors, four scenes.

A ‘fugue state’ is a term for a condition that has the sufferer running, fleeing from some unknown event in a state of amnesia. A fugue state is the condition of a number of people in a small Indiana town where absolute power leads to acts of abominable cruelty. Freakish things have been happening – the hospital explodes, a young man is covered with a thick coat of hair. How these events tie together brings revelations about the landscape of identity, justice, and memory. – Five actors, 12 scenes, 90 minutes.