Chris Garcia Peak

The Boy Who Hates Everything is a wildly theatrical, heartfelt play with music about grief, belonging, and the maddening beauty of family. When Desmond, a disenchanted young man who claims to hate absolutely everything, spirals into apathy and absurdity, his family calls in help—only for Desmond to be swept into a surreal journey through the streets of Paris. Along the way he meets talking lions, overzealous librarians, and a soup lady who might just be magic. What begins as a tale of refusal transforms into an unexpected quest for home, healing, and human connection.

Developed through ensemble devising with students at Hope College, with music and lyrics by Nathan Streifel, the play went on to receive 12 national awards from the Kennedy Center American College Theater Festival (KCACTF), including:

Outstanding Production of a New, Devised, or Company-Generated Work

Distinguished Achievement in Production Design

And national recognition for direction, performance, and technical excellence

Combining physical comedy, puppetry, original music, and poetic dialogue, this play is ideal for companies seeking bold, inventive, and emotionally resonant ensemble work.

Score, instrumentation available.

Adapted from Aphra Behn’s 1677 classic

Set during a sultry and surreal Carnival in Naples, The Rover: Love at First Fight is a bold, high-octane remix of Aphra Behn’s Restoration comedy — now with sequins, sword fights, and a feminist punch. Hellena and Florinda, two sisters caught in the crosshairs of patriarchy — one destined for a convent, the other an arranged marriage — slip into disguise and take to the streets. As masks go on and rules fall off, they collide with rakish pirates, poetic soldiers, rebellious courtesans, and the chaos of their own desires.

This electric adaptation reimagines Behn’s play through a contemporary, feminist lens with the pop edge of a John Hughes film. Expect 17th-century stakes with 21st-century rhythm, a dash of 80s slang, and characters who write — and fight — their own stories. Gender is fluid, identity is masked and unmasked, and love is a battlefield where agency is the ultimate prize.

Fast, funny, and unapologetically fierce, The Rover: Love at First Fight celebrates Aphra Behn’s legacy by letting her heroines steal the show — and the spotlight.

An Experimental Fairytale Reimagined

Enter a surreal fairytale universe where wolves prowl not only through forests — but through memory, desire, and the shadowy corners of the soul.

VOOLF / Peter the Wolf is a visually arresting, genre-defying theatrical experience that blends Bunraku puppetry, multimedia projections, and bold, immersive storytelling. Drawing inspiration from the haunting beauty of Isadora Duncan's autobiography, the electric allure of Marlene Dietrich, and the timeless score of Sergei Prokofiev, this experimental hybrid tears open the seams of classic folklore.

With Papa gone to war, young Peter and his fierce Grandmère are left to confront the silence he left behind. As they journey through a forest alive with memory and myth, they come face-to-face with the enigmatic Wolf — not just a beast, but a symbol. Is it danger? Desire? Salvation?

Blending high art and raw emotion, VOOLF / Peter the Wolf re-imagines the fairy tale as a visceral, dreamlike collision of love, fear, and transformation. It’s a fever-dream for the senses — one where archetypes unravel, the line between predator and prey dissolves, and fairy-tales are anything but safe.
"Not all wolves are what they seem — and not all fairy-tales are meant for children."

The Possession of Alice Von Truskin
A Demonically Dark Satire of Girlhood, Obedience & Other Afflictions
By Chris Garcia Peak

What do you get when you mix Victorian repression, medical quackery, possession tropes, and a spoonful of spoiled porridge?
Answer: The Possession of Alice Von Truskin — a wildly theatrical descent into madness, manners, and the monstrous expectations of girlhood.

Set in a prim sitting room in 1900, young Alice Von Truskin begins convulsing and spouting blasphemies in the dead of night, leading her hysterical Momma and the dubious Dr. Nomenclature to try everything from mercury tonic to leech therapy, tribal dances, and outright exorcism. But is Alice possessed by the devil… or simply by the unbearable weight of being a "good little girl"?

Rooted in a brilliantly twisted mix of Grand Guignol horror, satirical period drama, and grotesque physical comedy, the play spirals from exorcism farce to social nightmare. The result is a surreal, fever-dream spectacle that challenges authority, mocks medical misogyny, and lays bare the violence beneath polite society’s petticoats.

Equal parts Exorcist, Edward Gorey, and John Waters, The Possession of Alice Von Truskin is a riotous, genre-smashing play — where the demons aren’t always supernatural, and salvation might come in the form of madness.

“Little girls should be seen, not heard… unless they’re vomiting Latin and ruining dinner.”

Welcome to the wildest rock musical this side of the multiverse — where gorilla men slam guitars, aliens crash open mic night, and a hard-living country star faces the storm of a lifetime.

When a freak lightning storm hits, faded country queen Ginger Bred is forced to confront her chaos-filled past — from heartbreaks and rabbit boys to bad gigs and worse decisions. But this isn’t your average redemption tale. This is a fever-dream of fried-out glitter, gut-busting laughs, and savage rock anthems, all wrapped in a darkly comic, heart-thumping camp spectacle.

Think Tenacious D meets The Rocky Horror Picture Show, baked fresh with love, liquor, and maybe just a hint of existential dread.

It’s loud. It’s weird. It’s got soul.

Axe Lizzie
A Dreamscape of Dread, Desire, and the Sharp Edge of Truth

Axe Lizzie slices through the legend of Lizzie Borden with a surreal and sinister edge, blending the grotesque thrills of Le Théâtre du Grand Guignol, the heightened drama of Victorian melodrama, and the strange wonder of The Wizard of Oz into a nightmarish journey you won’t soon forget.

Told through haunting puppetry, immersive multimedia, and poetic storytelling, the play unfolds over one uncanny day in Lizzie’s life — a day where time folds, logic fractures, and the line between victim and villain disappears into blood and shadows. Reality warps as Lizzie navigates courtroom fantasies, ghostly visitations, and the inescapable bond with her sister.

Inspired by historical trial records that questioned whether her violent hallucinations were rooted in a desire to protect her sister, menstrual instability, or even flirtations with the occult, Axe Lizzie delves deep into the psyche of a woman trapped in a world that fears what it cannot explain.

This is not just a retelling — it’s a reinvention. A waking nightmare where truth is slippery, and every hatchet swing echoes through history.

"Her mind was the weapon. The axe was just a detail."