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 world as 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 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
Trigger Happy Jack
The Pretenders, or The Semantics of an Unincorporated Meta-Theatrical
6, or The Great Not-to-Be-Named
Lucy, The Rodeo Queen of Lulling, or In The City On The Edge Of Forever That Is In No Realtion To Harlan Ellison
The Hotel Vanya, or A Metaphysical-Paradigm At The End of Everythingness
Three, or The Sound of The Great Existential Nothingness