Tom Shelton

The Boy Who Ruled the Moon and Sun tells the story of a brother and sister struggling to survive in a storybook world. They are poor and relentlessly bullied by ruffians. While in the forest to find food they rescue a mysterious wanderer, an old woman. As a result of their kindness to the old woman, she rewards them with a magic stick possessing the power to make their enemies disappear. Intoxicated by his newfound powers, the boy arrogantly makes the moon disappear, disturbing the balance of nature. Drastic consequences, including the seeming death of their mother, show the boy and his sister that absolute power can corrupt and that kindness can be the most powerful magic of all.

In 1985 Ana Mendieta, Cuban performance artist, 36 years old, plunged 34 stories to her death from a SoHo apartment tower. Her husband Carl Andre, the famous Minimalist sculptor, was tried and acquitted of her murder, a verdict that polarized the New York art world: The establishment rallied to Carl's defense while Ana became a cause celebre for feminists, convinced of Carl's guilt.

"Silueta" imagines Carl Andre, 35 years later, riddled by frustration at the loss of his artistic potency and a gnawing suspicion about his complete innocence. The ghost of Ana, meanwhile, haunts him relentlessly at the scene of her death, the apartment they shared and where he still lives today. They are both obsessed with the same question, what really happened that fatal night? Would even knowing the truth set them free?

A shortened, Theatre for Young Audiences version of Carol Ryrie Brink’s Newbery Award-winning novel, Caddie Woodlawn, is brought to exuberant life as a musical. Caddie (the iconic, high-spirited Wisconsin pioneer girl beloved by generations of readers) leads her willing siblings in a series of thrilling adventures, not always with the approval of her traditional Bostonian mother. Her father, however, encourages her antics, that she might thrive amidst the new, tougher ways of the West. In a dramatic climax, Caddie single-handedly diffuses a potentially deadly clash between the terrifi ed settlers and the local Dakota tribe through a daring and dangerous act. But her action only deepens her conflict with her mother. Ultimately, Caddie learns invaluable lessons about reconciling the head-strong child she’s been, and the responsible adult she is soon to be. Through it all, the sacredness of tradition – passed from one generation to the next – is powerfully dramatized. As one wise friend tells Caddie: “Families – they’re our link to forever, lass."

We’re in the French Riviera, 1962. Four former comrades-in-arms and their respective loved ones gather for a birthday bash. Unbeknownst to the guests (that’s you) the party’s a ruse. Underlying the reunion of old friends is a nefarious scheme, including: a priceless set of jewels, an insurance scam, blackmail, and one charming, if reluctant, hero.

Threatened with blackmail if they do not cooperate, the former army buddies are infuriated and panicked. Suddenly, Hank is taken ill. Frances is hysterical; Charity cold. Family tensions implode. Guests are relieved, suspicious and intrigued. Perhaps there is a way they can turn Hank’s threats and Frankie’s jewels to their own advantage? Tiptoed visits are made to the Ackerman suite. When the jewels turn up missing and Hank turns up dead it’s up to you to take the lead unraveling this tangled web of disaster…

The time is 1928, the place is New York City. It is the opening night party at a swank Times Square restaurant for a particularly dreadful new Broadway musical. With each new review comes a mysterious death, and so it falls to Anthony Badger, food critic and amateur sleuth, along with the audience, to sort out the patterns and find the killer.

A smart, affectionate parody of theatrical characters in the best glimpse-backstage tradition. This comic murder mystery is perfect for small theatre companies who need small-cast plays. Commissioned by The Gourmet Detective (Orange County, CA), it has proved to be an audience favorite.

This rollicking musical combines the backstage turmoil of Phineas K. Fossilbottom’s 19th century troupe of medicine show performers with their own hapless production of Mark Twain’s “scandalous” novel, The Adventures of Huckleberry Finn.
With a simple backdrop of colorful quilts hung on a clothesline, and boxes, barrels, and platforms creating locations, Dr. Fossilbottom guides us through the musical story, pausing intermittently to hawk his Restorative Remedy, deal with missing actors, assuage disgruntled customers, console lovelorn thespians, and escape the law. In the end, we are treated to two adventures: one with Jim and Huck and another with the actors who portray them.
A rascally 19th century pitchman, PHINEAS K. FOSSILBOTTOM, presents an adaptation of the scandalous novel, “Huckleberry Finn”. One actress short, Phineas recruits the terrified Stage Manager to perform.
A motley crew of actors tell the story using nothing but boxes, cloth and cleverness.
HUCK FINN, adopted by a pair or spinster ladies, is dying to get away. As he escapes he is kidnapped by his drunkard father.
Huck, seemingly murdered, meets up with runaway slave Jim, (Played by an Afro-English Shakespearean.). They ride on Mississippi and thrive, until their raft is commandeered by the KING and DUKE (played by Dr. Fossilbottom himself!). The duo know Jim is an escaped slave and force Huck to go along with their schemes.
Act Two opens, an uproar. One actor short, Fossilbottom enlists the reluctant Stage Manager to play the part.
At the funeral of wealthy landowner the King and Duke enter, disguised as the landowners long-lost brothers.
Jim has been sold and is about to be turned in for the reward money. Huck rescues him. Miss Watson, Jim’s owner, guilty for accusing Jim of stealing, grants him freedom. Huck unable to bear civilized ways, escapes to more adventures.
The play ends, Fossilbottom passes the hat around for donations and is informed that the sheriff is ready with tar and feathers to run the medicine show out of town.

Highpockets tells a true story from World War II:  Claire Phillips a little-known American cabaret singer is leading a carefree life in Manila until it falls to the Japanese. Claire is trapped in the Philippines. Her new husband, an American soldier, is captured, survives the Bataan Death March, and is put in the brutal Cabanatuan POW camp.

Claire teams up with a group of Filipinos, led by the beautiful dancer Feley. They open a nightclub that caters to Japanese military officers. Claire masquerades as Italian to avoid capture.

Claire is approached to secretly send supplies to the starving prisoners, and to use her nightclub as a way of obtaining military secrets from the Japanese.  She balks, considering it suicidal. 

Ultimately her patriotism, and love for her husband prevail. She and her brave Filipina dancers become experts in the art of seduction, and because the Japanese think the Filipinos inferior, they readily give up wartime secrets which Claire then passes on to her American contacts.

Claire thinks up daring schemes to help the prisoners, at a huge personal risk. One of her girls is murdered. She is caught by the head of The Kenpetai, the Japanese secret police. She is captured and tortured.

 She survives the war, (though her husband does not), and is given the Medal Of Freedom by Dwight Eisenhower.

“Highpockets” was the nickname given to her by the grateful American prisoners, since she was known for hiding contraband in her brassiere.

Carol Ryrie Brink’s Newbery Award-winning novel Caddie Woodlawn is brought to exuberant life as a musical. Caddie (the iconic, high-spirited Wisconsin pioneer girl beloved by generations of readers) leads her willing siblings in a series of thrilling adventures, not always with the approval of her traditional Bostonian mother. Her father, however, encourages her antics, that she might thrive amidst the new, tougher ways of the West. In a dramatic climax, Caddie single-handedly diffuses a potentially deadly clash between the terrifi ed settlers and the local Dakota tribe through a daring and dangerous act. But her action only deepens her conflict with her mother. Ultimately, Caddie learns invaluable lessons about reconciling the head-strong child she’s been, and the responsible adult she is soon to be. Through it all, the sacredness of tradition – passed from one generation to the next – is powerfully dramatized. As one wise friend tells Caddie: “Families – they’re our link to forever, lass."
"As cream rises to the top, so did Caddie Woodlawn... – Wisconsin News-Leader

"Young audiences adore Caddie Woodlawn!" –Springfield News-Leader

"A fine family yarn..." –Milwaukee Journal

Caddie Woodlawn was first produced by The Missouri Arts Council at the Landers Theatre on March 26, 1992, directed by Mick Denniston.