Robert Fieldsteel

Based on the real-life Dartmouth Murders of 2001, Smart is a suspenseful anatomy of a murder and a tragicomic exploration of moral and ethical choices among young intelligentsia.

Raymond Clay and Stan Ferguson, two high school “A” students from rural Vermont, murder two professors at a prestigious, Ivy-level college nearby. Two years later, the iconoclastic Raymond, in prison for life, grants his first interviews to Doug Fisk, a sociology student from the college writing his senior thesis. The bizarre story of the murder is revealed through the unsettling mind games and power plays of the present. In turn, the tension skyrockets in the edgy relationship between Doug and Cathy Springer, his brilliant, alcoholic girlfriend, as the line between sociopathic behavior and healthy ambition becomes increasingly blurred.

Winner! Los Angeles Drama Critics' Circle Award for Best World Premiere Play
Winner! Backstage West Garland Award in Playwriting
Runner-up - Entertainment Today, Best Production and Best Playwright

Crazy Drunk is a freewheeling, multi-layered exploration of a historical event:
In 1903, Col. Griffith J. Griffith, donor of Los Angeles’ Griffith Park, shot his wife in the face because, among other things, he suspected that she was plotting with the Pope to poison him. She survived, and “the trial of the century” ensued in which celebrated defense attorney Earl Rogers defended Griffith on the basis of a new construct: “alcoholic insanity.” Earl’s daughter, who witnessed the trial as a 10 year old, grew up to be the famous Hollywood journalist, Adela Rogers St. Johns. The story of the Griffith trial is presented by both Earl and Adela. Her vantage point is from age 60, as she reports from the Griffith Observatory location shoot of Rebel Without a Cause, and tries to come to peace with the ghosts she senses around her, most importantly that of her father. Earl’s vantage point, we gradually come to discover, is from the eve of what was to be his final trial. For in 1918, Earl, unemployed, broke, and hopelessly alcoholic himself, defended himself in Rogers v. Rogers – the young adult Adela having petitioned to have him committed to a sanitarium on the basis of “alcoholic insanity,” the very construct he’d created.

Mixing actual transcripts and newspaper reports with flights of fancy, Crazy Drunk presents the Griffith trial as a picaresque terrain upon which classic American dreams and follies are paraded and a deeply personal battle between father and daughter is fought. Along the way, we experience the dawn of motion pictures, communication with the dead, stampeding ostriches, and a woozily philosophical John Barrymore. Not a conventional courtroom drama by any means, Crazy Drunk still offers all the suspense and surprise of that genre as The State v. Griffith and Rogers v. Rogers dovetail toward their respective conclusions.

Las Vegas, present day. Nigerian Olujimi “Jimi” Sonuga is a former political prisoner and internationally renowned author. By day, he heads the Institute for Literary Asylum, an organization that sponsors and shelters writers who’ve been victims of political imprisonment and torture. By night, he lives in a crypt-like room in the Luxor Las Vegas, has a girlfriend who could be his daughter, doesn’t sleep, and regularly plays blackjack at 4 a.m. Ric Ruby, a Vegas lowlife, shows up at the Institute one day, claiming to Jimi that he’s a writer (he has a blog) and has been a victim of political imprisonment and torture … by the United States of America. Ric’s claim seems bogus … but the more he interacts with Jimi, the more Jimi, a victim of torture himself, senses that Ric’s story may be true. Ric leads Jimi down a rabbit hole of pain rediscovered, creating a bond between the two men that borders on madness.

Character actors Bill and Louise are long-divorced. Young leads Hank and Jessie just broke up last night. All four of them are appearing in a regional production of WHO'S HYDE?, a radical re-imagining of DR. JEKYLL AND MR. HYDE that focuses on the interplay of Jekyll, his butler Poole and Gina, a young prostitute. Small dramas backstage are echoed and extrapolated onstage -- although not in the directly parallel way one might expect. It's even up for grabs whether or not WHO'S HYDE? is a dazzling illumination of a classic or pretentiously overwritten claptrap. And all of this is played out during the course of one performance, in real time.

HOUSE OF HUMOURS is a love letter to actors and a comic/romantic feast of dualities: male/female, old/young, art/science, boss/worker, backstage/onstage, Jekyll/Hyde.

A young counseling intern locks horns with her supervisor over the court-mandated treatment plan for a radicalized African-American client. In therapy, the client describes plans for a widespread insurrection the next time an unarmed African-American is murdered by someone of another race. Revealing and unsettling, Supervision provides a behind-the-scenes look at the practice of therapy, while posing the provocative “what if” of a racial revolution.