Brothers, Sisters, Santos featured on 50PP

Brothers, Sisters, Santos was selected as one of the top unproduced latin@ plays of 2018 via the 50 Playwrights Project.

50PP “supports Latin@ playwrights by creating digital resources, disseminating research, and supporting new play development.”

Tap-tap the pic below for my page on the play.  As a collection of short plays that experiment with form, it’s a wee bit o’ an underdog.

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2-4 M / 3-4 W | 75 mins



My favorite words to write are the dedication. I leave this to last.

My second-to-last favorite words are, “End-of-Play.”

This is when I get to become a human again.


Prior to these words, I am a strange creature. Unshaven. Sleep-deprived. Wandering from coffee shop to coffee shop, spending far too much money on cookies and sandwiches to bribe myself into staying there.

My spring middle school show has been written. It’s an adaptation of a set. A fabulous student designed this forest-filled set that we’re building with a bundle of junior high students. I spent weeks making story with them. They wanted a play where a princess falls in love with a princess. I looked at the set, and I thought about Midsummer Night’s Dream and the Shakespeare comedies… and I set to work.

This will be more environmental. The first scene – a prologue, really – set in a wedding chapel, that will be the Skybridge lunchroom. A reluctant prince and princess are supposed to get married, and then they each flee the wedding to the forest, which is what our theatre will become, and our audience will enter.

Funny thing. When you take a Shakespearian set of tropes – the idea of people running off to the woods – you start to see how the pieces worked. If the Mechanicals from Midsummer at all reflect the process old Willy went through when he built his plays, then my working with a bunch of teenagers is remarkably similar. A couple years ago, when we were in the early stages of the Romeo & Juliet adaptation, I remember thinking about how random the plots to WS’s comedies are. Whereas the tragedies often have stories built like a barn, the comedies meander. As I wrote this one, I realized why and how – you put people in forest and they don’t have a plot or project, then things just happen…

Anyway. This one is still untitled.

KNITTED in Out of Ink

I penned Knitted for the annual Out-of-Ink ten-minute play festival at the Hyde Park Theatre. Sponsored by ScriptWorks, this festival previously premiered the ten-minute of Small Steps and The Vanishing Rose Trick.

In Knitted, Piper Gepperson isn’t thinking about fatherhood when he turns underwear leftover from a one-night-stand into a puppet that comes to life…

This is my queer adaptation of Pinocchio. And it’s probably the next full length that I’m going to tackle.

After the Junior High show that is.

December Update

Well, I missed a month didn’t I?

I’m writing this aboard an American Airlines flight home. The airplane is half empty and bigger than most, and a woman sitting next to me is watching The Martian. We’re flying over Vegas. It seems appropriate.

People who lean back in their seats should have to travel on the wing.23157123_10105681438548461_2353881699932158285_o.jpg

Playwrights Week at the Lark provided me the space and time to revise the play with a new cast, same director. With ten hours of rehearsal, I focused on trimming Act I so the play wouldn’t be so lopsided time-wise. Now I’m chomping at the bit to see this produced. I want to make the play.

I’m still without a production-in-waiting. I worry. If this plane falls from the sky, does my work disappear? Will someone put it out there?

Detached from humanity, Skip says,

“Can you hear me, Earth? I can’t hear you.

I pretend you can. I pretend,

It’s a message in a bottle baby.

What I do out here matters.

It matters to someone out there.

It matters!

I matter!

I matter.”


T’was a hard semester in Skybridge theatrelandia. The high school play was far more ambitious than anything else I’ve made, eclipsing even the JH [a different] Romeo & Juliet. Having only six kids spurred it to another level, and I borrowed from Angels in America and Eurydice to inform the structure. It wants to be something for more mature audiences.  I’ve started re-writes.

My students were ready, mostly, for work that approached adult. We knitted together a story that felt about the now. Much of it takes place in Taco Bell. There’s a boat made of popsicle sticks that takes a sibling to the underworld. 

I detest the person sitting in the seat in front of me. The inability to account for the space you take up is one of the more obnoxious things that people do.

I have a couple projects waiting in the wings. A ten-minute play I wrote for a bake-off feels present – the next major project is to make it live and long- but I will also have to start writing a play for my junior high students in January for performance in May. I’ve been itching to work on The Henchman, which will be about the relationship between a trans activist and a gay aide to a transphobic governor of a major state that rhymes with Lexus.