By way of introduction my career has vacillated somewhat between writing scripts and composing music. Scripting has been for film and TV - 5 years on Number 96, a few episodes on other shows and 3 low budget features in early 90s that came out on video and 2 of which sold to Channel 9. Composing has been for film and concert, and it's more recently that I've taken to writing plays as this serves my enthusiasm for dialogue and comedy-driven work that I think will have wide appeal: on themes subversive to mainstream conventions of today, as were the plays of G.B. Shaw for the conventions of the 1890s!
Attached are thumbnails of plays written, in case any might spark interest. In which case I can send you and any of your colleagues reading files (PDF format) if you should so desire. (Some double as the plays from which opera libretti will be derived as opportunity allows, marked *).
NORMAL LENGTH, CAST NUMBERS 8.
“EVERYTHING ELSE”
Four wives find out what each husband really wants and then each wife allows her husband to have everything else.
"BULLET-PROOF PYJAMAS"
Four women are in love with the same Russian millionaire, but he is in love with the young gay Spanish private eye he has employed to spy on his young wife whom he suspects of infidelity.
“PLEROMA”
A composer and his manager decide that the composer’s music will be better received and will earn more money if the composer is thought to be dead. The composer hides in exile on a tropical island, still composing. The manager, getting nervous, plans to have him made really dead. (The denouement occurs on a South Pacific island during a hurricane – noise and light show required.)
“TAKEOVER” (*)
A woman journalist is involved with three men. The first represents old money: his family owns an established media empire. The second represents new money: he is a corporate raider. The third represents no money: he is a composer. A stock market crash acts as a catalyst in bringing conflicts to a climactic resolution.
LONGER THAN USUAL "EVENT" PLAYS, WITH LARGER CASTS.
“MEET THE FRACTALS”
The trials and confusions of a racially mixed group that chance throws together, in circumstances that prompt them to explore the benefits and hazards of polyamory.
"SODOM & TOMORROW"
God visits earth in the guise of a media magnate. Assisted by his lawyer, Lucifer and by Venus, God throws a weekend party for the staff of the lifestyle magazine “Enjoy”, plus selected others: ostensibly to discuss whether or not to feature an article on Sodomy in next month’s issue; but actually to enable God to decide, on the basis of evidence, whether or not (once again) to visit cataclysm on the human race. Opportunity for digital back projections for visits to Hell, Heaven, Sodom, Deck of Noah's Ark, trip through outer space!
I have also written 2 musicals. Here are details:
“AEROBICA”
A musical. Tangled web of relationships that develop among a group of people attending a gym. 12 songs recorded as demos by Marty Rhone and Kirri Adams
The second musical would certainly involve some mime and other stage action.
“A NIGHT AT ELSIN0RE”
Three brothers, Rudy, Tony & Rondo who, with unemployed revolutionary Karl, are zapped through a rogue time portal from Ricardo’s Pizzeria in New York in 2014, to Denmark in 873 where, finding Hamlet in trouble, they contrive to bring his story to a happy ending.
PRE-HISTORICAL DRAMAS
"EDEN IN ATLANTIS" (*)
Adam and Eve story re-written. Lucifer is a dissident scientist expelled from Celestium (at Antarctica before the pole shift), exiled to an island in the Atlantic, where a matriarchal society rules (as Robert Graves supposed).
"POSEIDON IN ATLANTIS" (*)
Brothers Poseidon and Zeus sail north from now icebound Celestium to conquer new territories and dock mid-ocean at Atlantis. Poseidon falls in love with Cleito, Queen of this matriarchal island society and decides to remain there. Zeus sails further north to pursue his own destiny.
"CALYPSO IN EXILE" (*)
On the death of Poseidon, Calypso and her sister Circe are exiled from Atlantis by the new ruler, their father, Atlas, and each now inhabits an isolated island. Circe forms a political alliance with the Amazons and Gorgons to defeat Atlas, but Calypso, consumed by her love for Ulysses, brings about a different ending to this ill-fated venture.
"ATLANTIS LOST" (*)
Events leading up to the final days of the island kingdom and its fate when the earth is struck by an asteroid drawn into the earth's orbit by a triple conjunction between the Earth, the Moon and Venus (an event which coincides with Day One of the Mayan Calendar, dating back to 8498 BC). Deucalion fails his initiation into the Atlantean priesthood by falling in love with (and eloping with) the Priestess who enacted the part of the temptress for his ceremonial induction. Her name is Pyrrha. Hermes, a scientist in the mold of Lucifer/Prometheus, advises Deucalion of the approach of a star that will bring disaster. He also advises King Epimetheus of this, but the King is too preoccupied with the impending invasion of his kingdom by Pelasgian forces from the Mediterranean, and ignores the warning.