I've written around 130 plays and operas, most of them one-acts, most of them awful. I call my esthetic “American Baroque.” I start with an organic, character-based story, often dealing with American issues, and then build the setting around the wants and needs of the characters. Then I stretch and twist the worldas if it were a reflection in a funhouse mirror. I try to ground the audience in something they can relate to, while adding separation with the fantastic. I focus on structure, shape, emotion, and the time and space those elements need to be communicated. I prefer working in site-specific spaces (I have a deep love of subway cars, bath tubs, and elevators as performance spaces), festivals, and black box theatres. Some of these venues include LaMama Ect, The Ohio/SoHo Think Tank, The Ensemble Studio Theatre, The Flea, HERE Arts Center, Bowery Poetry Club, The Ontological-Hysteric Theater, The Off-Center, Salvage Vanguard, Seattle Fringe Festival, The New York International Fringe Festival, The Howl Festival, and The Re/Mix Festival. You can check out 64, in which I wrote 64 plays for 64 painting by Jennilie Brewster, at this link here.

Samples of my work are listed in this next section. Please note: the material on this site is under copyright. I've been slowly hammering together a collection of my plays and operas, which will be published, um, when I'm done which I'm 78% positive will be soon-ish.

The Story of Jacob Murakami, or How I Learned To Stop Worrying and Realized Sacred Cows Make The Finest Cheeseburgers

The Coney Island Mermaid Parade, orMy View From The Gershwin Hotel

Mirrorball

Elevator

Savages

Zozobra

Smashed

Trigger Happy Jack

At The Bottom Of The Sea, or The Bathtub Play

Giants, or The Play About The Misplaced Family

The Pretenders, or The Semantics of an Unincorporated Meta-Theatrical

6, or The Great Not-to-Be-Named