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Three Dykes, One of Whom Is a Man
—a farce about Relationships, gender, and orientation

Place: An upscale plastic/reconstructive surgery clinic.
Time: The present

Cast of six, three men and three woman:

THEA: A reconstructive/plastic surgeon, forty-eight.

LORRAINE: A reconstructive/plastic surgeon, Thea’s older sister, fifty-one.
FORD/FRIEDA: A reconstructive/plastic surgeon, Thea’s husband, fifty-three, but could pass for forty.
SQUEEZE: A mid-to-late twenties man guided by passion rather than rationality, who thinks through his gonads. The larger part of him is without words—an animal or savage. He spends much of the play in chains at THEA's behest and for HELGA's pleasure.
HELGA: A sexy thirty plus year old nurse referenced in the script as possessing long, lean, efficient Danish legs.
TUK: A sex reassignment/reconstructive/plastic surgeon, cross dresser, bisexual man from Thailand, early forties.

Length: 125 pages, 11 scenes, 2 hours running time

Office/reception area of the clinic. It includes several computers, abundant mirrors, doors (2 minimum, the more the merrier) to various consulting rooms and offices, and a closet appropriate for scene 4.

The action of Three Dykes, One of Whom Is a Man occurs in a family run plastic surgery clinic. The rubric of conventional sexual orientation is overthrown against a background of continuous body modifications, and each of the characters goes through a range of sexual permutations, arriving at the end, a changed but presumably better person for the adventure. Thea and Ford/Frieda begin the play dissatisfied with their 25 year marriage, and fighting over the presence of Squeeze. Squeeze, who thinks through his gonads instead of his head, looks for a new face so he can stop running from the law. Lorraine lonely from the recent break up of her long-term relationship with Roz wants a new lover, while Tuk and Helga mainly interest themselves with sexual high jinxes—theirs and everyone else’s. It is a comedy so there is a happy ending for everyone although the story gets dark at times. It has some erotic moments on stage, some nakedness off stage, and some explicit and lewd language both places so it is for mature audiences.

Blessed Assurance
—a fiber optic farce

Cast of 4: two men, two women. Unit set.
Script under revision, available soon

Boronga Kazi
—a comedy of cultures

Cast of 10 (37 characters): six men, four women

Script under revision, available soon


M/21 Bellevue
—The comic struggles of a man vacillating between sexual repression and his desire for the male bus driver.

Place: M/21 cross town bus. Route travels Houston and up Avenue C to Bellevue Hospital.
Time: The present

Cast of three, two men, one woman:

Stanley: A man settled and old enough to have 2.5 children
Razynski: A male bus driver
Margaret Stanley’s wife/alter ego: She is ephemeral and divides her time between home in Jersey and the inside of Stanley's head. She remains on stage reacting to, or acting with Stanley the entire play.

27 pages, one scene, 36 minute running time

A bus driver's seat and steering column designed to swivel so the bus can change axis on the stage. Also useful to the set is a section of standee hand rail or several hand straps.


At rise in M/21 Bellevue, Stanley races for a bus as it pulls away from the stop, catching it at the red light. He is aboard with some angry words to the driver. Once he’s settled, he realizes that the driver is the man who made his knees go weak in the ShopRite some weeks past. The man Stanley has searched for, ever since. The driver calls Stanley on his staring, and a three part conversation ensues between Stanley and the driver, Stanley and his wife, and Stanley and himself as the bus crosses Manhattan headed for Bellevue. Stanley examines his love, his relationships, and his desire; and as the bus heads up Avenue C toward the end of the route resolves to make his feelings known to the driver. He does and is queer bashed by the driver even though they have been making eyes at each other during the course of the play.

God’s Pants Too Huge
—a romantic comedy featuring drug, poverty and sexual orientation issues

Place: New York City. Upper Eastside at a space by the river.
Time: The present

Cast of six, three main characters, three walk through police:

Fairy Dust: A male to female transgendered dressed as a woman.
Albert: A white one-legged homeless man.
Frog: A younger black homeless man.
Three Cops: The police facilitate the play’s action, and should provide a sense of authoritarian oppression.

Length: 44 pages, 3 scenes, 48 minute running time

Set: A cardboard refrigerator box and a park bench. Perhaps slide projections of NYC.

God’s Pants Too Huge focuses on the 3 necessities of human life—food, shelter, and sex—at the low end of the economic continuum. At rise and as prologue, Fairy Dust enters throwing confetti a.k.a. fairy dust over the appliance box as if to enchant, introduces the liturgical colors, then herself, and is hustled away by cops. Albert enters and claims the appliance box for the night, Frog returns claiming the box as his. They fight joining together against Fairy Dust when she steals Albert’s bag of empty cans. Fairy Dust brings a settled domestic quality to their camp. They begin thinking about bettering themselves, and start preparing for a future together in an apartment. Suddenly, the cops sweep into the camp busting it up and beating the men. After the maelstrom the stage is empty save for Albert and Frog. Albert’s clothes are in taters. Frog is naked. Fairy Dust tosses a pair of huge gold lamé pants on stage, the men pull them on to cover their nakedness—one in each leg, Albert and Frog confess their feelings towards each other, as Fairy Dust appears cruciform in gold lamé loincloth and bra against the upstage wall. Yes there are Christian overtones, however the play takes a different spin form the religious right and is for mature audiences.

Going Postal
—an action comedy about the thankless pressures of being a small cog in the man’s wheel.

Place: A grimy, gray lunchroom in a large, old metropolitan post office.
Time: The present

Cast of three, two men, one woman:

JOAN: a middle aged postal employee
LYLE: a middle-aged postal employee
SIMON: a slightly younger than LYLE, deeply depressed postal employee
Outsiders 1 & 2: walk-ons played by SIMON

Length: 16 pages, one scene, 20 minute running time

Set: Grey steel case lunchroom table with chairs and a pile of canvas mail sacks.

Postal employees Lyle and Simon are literally Going Postal. They commandeer the lunchroom and hold it throughout the play until Lyle and Joan make their escape at the end. (Simon is one of the action’s casualties.) The play’s characters travel very broad arcs. In particular Lyle goes from a depressive in a homosexual relationship with the more deeply depressed Simon to un-depressed heading into a heterosexual relationship with Joan after just a bit of mayhem. Some folks have suggested it should be much longer to accommodate all the character change, but with actors who can portray the nuances and turn beats on a line, it works fine. It goes from death to life, gray to Technicolor.