Interview with Writer/Director/Producer Del Shores

By Byrne Harrison
Photo by Rosemary Alexander

Del Shores has written, directed and produced film, television and stage. His stage work includes Cheatin’ (1985) Daddy’s Dyin’ (Who’s Got The Will?) (1987), Daughter’s of the Lone Star State (1993), Sordid Lives (1996), Southern Baptist Sissies (2000), The Trials and Tribulations of a Trailer Trash Housewife (2003). Awards and nominations for theatre include Los Angeles Drama Critics’ Circle, Ovation, GLAAD, BackStage Garland, NAACP and LA Weekly (2006 Career Achievement Award). His film work includes “Daddy’s Dyin’... Who’s Got The Will?” Writer/Executive Producer, (MGM), “Sordid Lives” Writer/Director/Producer (Regent Entertainment), “The Wilde Girls” Writer/Director/Executive Producer (Showtime). He has received Best Film Awards for “Sordid Lives”: New York Independent Film & Video Festival, Atlanta Gay & Lesbian International Film Festival, Austin Gay & Lesbian International Film Festival, South Beach Film Festival, Memphis International Film Festival and the San Diego International Film Festival. A partial list of his television work includes “Touched By An Angel”, “Ned and Stacey”, “Family Ties”, “Dharma and Greg” and “Queer As Folk.” Shores’ critically acclaimed series “Sordid Lives: The Series” premiered on MTV’S Logo channel July 23, 2008 and has aired in seventeen countries internationally. He wrote, directed and executive produced all twelve episodes. The series stars Olivia Newton-John, Rue McClanahan, Beth Grant, Caroline Rhea, Bonnie Bedelia, Leslie Jordan, Ann Walker and Jason Dottley. In 2009, Shores toured his one-man show “Del Shores’ My Sordid Life” playing thirty-four cities which segued into stand-up performances in many cities, including New York City’s Comix. Shores is legally married to Jason Dottley and is the proud father of Rebecca (20) and Caroline (17). He is represented by Creative Artist Agency and his publisher is Samuel French, Inc.

When did you first get involved in theatre?

My mother went to college when I started first grade and majored in drama. She took me to all the college rehearsals and productions and I fell in love. When she graduated she started teaching speech and drama. When I reached junior high, she was my drama coach and into high school. I was the lead in all the plays and wrote my first play when I was in seventh grade, that we performed. It was a horror play called Strange Visit To Uncle Johnny's. I wish I had a copy of it.

What is your theatrical background?

After high school, having been obsessed with speech, drama, English and journalism, I went to Baylor University. I majored in journalism and Spanish, heavily influenced by my mother, who knew if I majored in drama I wouldn't just want to teach, I would want to be an actor. I acted in a couple of class productions at Baylor, then the night I graduated came to L.A. to pursue acting. My mother was very supportive at this point, gave me the money for my first and last months rent on an apartment, and I immediately started acting. I studied with several coaches out here, but the biggest influences were the late Lilyan Chauvin and Joan Darling, who is my mentor for life. Joan taught me so much about acting that I use in directing. Also, a huge influence was Sherry Landrum, who directed my first two plays, and also studied with Joan.

You've made a successful career in theatre, television, and film. How did you transition between them?

I've always marched to my own drummer, so it wasn't really that hard. In TV, of course, there is a formula, and you have to write within those guidelines, so that was self-taught by reading scripts and watching episodes. Plays were just organic to me because I had read so many and performed in so many -- and you can really create your own structure. With film, I tried to follow formula, but always ended up just throwing that out the window and writing the story the way it felt right. Maybe I would have had a block buster if I had been more formulaic -- but no regrets.

What are the challenges presented by each medium and what do you wish you had known when you started working in each of them?

Stage -- it all just felt right immediately. TV -- I was shocked that so many people told you what to do (Notes). I wish I had known and I would have been mentally prepared. Once I did, I accepted that was part of that element and said "thank you" as the money came in. Film -- I wish I had known more about the technical aspect of directing. The "Sordid Lives" film has so little movement in it; it is very very basic and could have been shot better. My strength is directing actors. I adore them and most of them adore me (or at least how I direct). Now, I just insist on a Director of Photography who understands my style. David Sanderson, who DP'ed "Sordid" series was the perfect match and I plan to use him the rest of my life!

Having grown up in Texas myself, I really relate to the characters in your plays. Where do you draw your inspiration?

Life and real characters. I feel writing is observing. In my one man show Del Shores: My Sordid Life, I always say, "By the end of the evening, you'll find out that I'm not really a writer, I am a thief."

Tell me a little bit about your new play, Yellow, which will be opening May 29th at the Coast Playhouse in West Hollywood. I understand this will be more dramatic than your previous works.

Both Southern Baptist Sissies and The Trials and Tribulations of a Trailer Trash Housewife were very dramatic, but there was intense comedy in them as well. Yellow certainly has comedy -- I don't know how to write without comedy -- but the story is so dramatic and the comedy lessens as they play progresses. I can't put it better than this part of the press release -- "Everything quickly begins to fall apart when an unexpected tragedy rocks the solid foundation of the Westmoreland family to the breaking point. YELLOW dives head first into the themes of cowardice, intolerance and the damage caused to families by secrets, rejection and the difficulty of forgiveness."

You seem to have completely embraced the new social networking tools. I see your updates on Facebook and Twitter all the time, which probably explains the phenomenal ticket sales for Yellow. What's the best part of using these sites to stay in touch with your fans?

I was doing The Tony Sweet radio show recently and Mo'nique was one of the guests as well. She said something that really applies to my connection to my fans. They are my employers. They are the reason I have this career. My husband Jason is a master of the internet for marketing. I answer all my fans, have hired someone to post about our merchandise, etc -- but it is me who writes all the fans back. I feel that is my job and I love the connection. And yes, I do believe the connection sells tickets -- and gets the word out about projects.

Finally, do you have any advice for students who are planning a career writing for theatre, film or television?

I have no formal training in writing for these mediums. I am a storyteller. If you can tell a story, decide on the medium in which you want to tell that story, and study that medium. Then find a way for your work to be seen. There are so many more tools now than when I started. The internet has given great opportunity for upcoming artists.

To find out more about Del and his work, visit his website, the Yellow website, or his Facebook fan page.

Interview - Chelsea Silverman, Executive Director of 3Graces Theater Co.

By Byrne Harrison
Photo by Alexandra Burt (Prescription Strength) and Rick Berube (The Power of Birds)

After spending five years litigating at one of New York's premiere law firms, Chelsea Silverman decided that "all the world's a stage" seemed a lot closer to her heart than "kill all the lawyers". She left the practice of law and started performing Off-Off Broadway. In 2004, she along with Elizabeth Bunnell, Annie McGovern and Kelli Lynn Harrision launched 3Graces Theater Co. Chelsea has served as the Executive Director of 3Graces Theater Co. since its inception. She has produced among others, the New York premiere of Nickel & Dimed based on the book by Barbara Ehrenreich, the world premiere of a Good Farmer by Sharyn Rothstein, and is currently producing the world premiere of The Power of Birds by Robin Rice Lichtig. She has also appeared in a Good Farmer, Flyer, Nickel & Dimed and is currently performing in Prescription Strength Theater -- the world premiere of two commissioned one acts on the subject of Healthcare. By day, Chelsea is the Director of National Staffing for Strategic Legal Solutions.

You have a rather unique resume. Which came first, an interest in theatre or in law? How did you come to both careers?

Theater. I was always interested in theater -- performing, watching and learning about the performing arts was a constant during my childhood. I grew up in New York City -- and to my parents' credit they fostered a love and appreciation for the arts in me. My mother took us to see everything -- not just Broadway plays (when you could afford to take your kids to see Broadway plays), but performances at temples, churches, downtown theaters. That became part of my fabric at an early age. That being said, my father was a lawyer -- and so family discussions became debates and were also a constant during my childhood. If I wanted something -- I needed to be able to construct a persuasive argument to get it... sometimes it worked, sometimes it didn't. But the approach always kept me and my sister on our toes!

After I graduated from Vassar, I knew that I wanted to get another degree. I was torn between the creative and the analytical. While I loved the theater -- I also wanted to sharpen my analytical and persuasion skill set. I remember sitting down in my parent's living room with a collection of applications and brochures from law schools and MFA programs and trying to decide between the two. My parents -- very wisely in my instance said "Why don't you go to law school -- and then act?" A light bulb went on -- and I thought -- that actually makes a lot of sense. I think the biggest surprise to anyone was that I actually did practice as a big firm litigator for 5 years. I really enjoyed it for a while, learned a ton and saved some money. When I decided to leave -- it was because I no longer had the time to do anything else -- everything was way out of balance. I was lucky to be able to find a way to use my law degree and experience to financially support my career in the arts. Now I work as the Director of National staffing for a temporary legal staffing company 3-4 days a week and spend the rest of my time working on 3Graces. Balance is hard to achieve -- and it has taken me a while... but I think I've almost got it!

What is your theatrical background?

Though I did do a lot of theater in college, when I graduated and started taking classes -- it became clear to me instantly that I preferred theater in the academic as opposed to the professional arena. I wasn't really interested in just auditioning for plays that came my way -- I wasn't sure exactly what was missing from the experience, but I was determined to find out. After I stopped practicing law - I started studying with Tim Phillips (who is now based in LA). His class was professional, his approach made sense to me, and the other members of the class were actors I respected and could learn from. One of the things that became clear to several women in the class was that there are more actors than opportunities to act in production -- so we decided to create opportunities for ourselves and we started our own theater company. It was the collaboration I had been missing -- and once we started producing plays that meant something to us -- all the pieces fell into place.

How did you become involved with 3Graces Theater?

3Graces was an off-shoot of the original company we started back in 1997. In 2004, a group of us realized that we were very interested in defining a process and producing plays that told universal stories from a woman's perspective. After much careful deliberation, we formed 3Graces. 3Graces mission is to tell these women's stories on stage -- and to immerse the cast crew and audience in the world of the play outside the script to provide a more comprehensive experience to the performers and audience. I have been the Executive Director since its inception and we have been evolving organically and continue to grow.

The latest 3Graces production, The Power of Birds, opened a week ago. Could you tell me a little bit about the play?

This play, by Robin Rice Lichtig, is a highly theatrical and sometimes magical family drama. It's the story of three generations of women all on the cusp of -- adolescence, middle age and old age -- and how they struggle to find their way during these critical life changes. At its heart is Zoe, a willful prepubescent 12-year-old girl dealing with her parents' recent separation and the uprooting of her family home. She's on a mission to bring her ornithologist father back to the family, while her mother Loretta tries to start anew, and her grandmother Lily longs to commune with her dead husband at sunset. It's a quirky, heartfelt play with a lot to say, and Lichtig's world is full of magic realism and metaphor. 3Graces wanted to take on a production where we could tell a meaningful story in a uniquely theatrical way and I think we've done just that.

Do you have any words of advice for people who are thinking of starting a second career in theatre?

I would tell them that they can do both -- it does not have to be all or nothing. Before quitting your non-theater job, take classes, get involved in productions, find out what area really speaks to your soul -- and do it. Not everyone gets their financial salary and emotional salary from the same place. I have found that I get so much more enjoyment out of my life in the theater because I don't have the added pressure to earn my living at it.

What else do you and 3Graces Theater have planned for 2010?

Well, in addition to The Power of Birds we are also producing two one-acts we commissioned on the subject of healthcare. It's called Prescription Strength Theater and runs Tues. and Wed. at 8 PM and Sat. at 3 PM until March 13 at the Milagro at CSV on the Lower East Side. I am actually performing in one of the pieces (see photo). We then have our Sips&Scripts reading series starting in April and we are continuing to develop BeautyQueen, a musical we commissioned based on the story of Queen Esther and addressing the teen obsession with celebrity.

To find out more about Chelsea and 3Graces Theater company, visit the 3Graces website. To purchase tickets to The Power of Birds, click here.

Interview - Playwright Gabrielle Fox

By Byrne Harrison

Award-winning playwright Gabrielle Fox has had her plays produced throughout New York City, and in Westchester, Putnam, and Orange Counties. Theatres include the American Theatre of Actors, Baruch Performing Arts Center, Where Eagles Dare Studios and the Axial Theatre. One of her plays was recently made into a film and is currently in post-production. She has recently taken up directing as well. Gaby is a member of Polaris North and the Dramatists Guild.

What was your first theatrical experience and how was it?

My mother is an actress and I grew up running lines with her and sitting in on rehearsals and fell in love with the process and the rhythms of the dialogue, the importance of the words. Sitting in the bleachers of the Jones Beach Theatre during rehearsals of The Music Man felt like my own private performance and I loved being part of that world. I tried acting here and there, (most recently a zombie extra in a failed TV pilot - I make a mean zombie!), but I’ve always been more comfortable behind the scenes creating the world for the characters rather than living in those worlds. Growing up in Westchester in a school that brought us to the theatre almost every year was also wonderful. The music of A Chorus Line still gives me chills!

What is your theatrical background?

My training in the theatre has been mostly hands on. I’ve studied with Tony Howarth at the Axial Theatre in Westchester for years. He’s taught me the importance of how to both give and receive criticism. How to recognize the feedback that rings true to the vision of the story and characters and what doesn’t. I’ve also taken acting classes so that I can understand a character from the actors’ perspective and to understand what they might be looking for from the playwright. Nothing beats learning on the job. Working with directors and actors and watching the play grow through collaboration is magical (most times!). There are many times when the director and actors have added so much to the play that I forget that it was once mine. For me, it’s been really important to see theatre, read plays and learn and be inspired by them. There is nothing, absolutely nothing like live theatre.

Tell me a little bit about your plays. Where do you get your inspiration as a writer?

I don’t really look for inspiration, usually I’ll hear a bit of dialogue or come across a setting that I think would be interesting on the stage or an interesting situation for characters to live in. It usually starts with a very simple idea or action and then the characters take over; they dictate the play and its direction. If they don’t, it’s not working, and I’ll move on to the next idea. When I start writing a play, it is rarely from the beginning. The play always seems to start in the middle and I have to work my way to the beginning and the end. I don’t try to focus on themes, or style but I’ve been told that my plays are character driven, usually touch on the themes of loneliness and involve the struggle to connect. The most important plays that I’ve seen or read have impacted me on a gut level and that’s what I strive for in my work.

What are the best and worst things about working in theatre in New York?

I love, love, love New York. There is so much theatre everywhere and the energy is contagious. There is such an enormous number of talented people to work with and learn from that it is never boring. The worst part is that it’s so easy to get lost in the shuffle and trying to get produced can be a roller coaster but it’s the best roller coaster ride there is!

If you could send some advice back in time to yourself in high school or college, what would it be?

What are you waiting for! Do it now! Oh and my favorite quote “Be bold and mighty forces will come to your aid.”

I understand you'll have a show in this year's Planet Connections Theater Festivity. Tell me a little something about the play.

Yes! I was accepted into the Planet Connections Theatre Festivity. I’ll be presenting Fox Tales: An Evening of One Act Plays. It will include my one acts THE GRAVEYARD SHIFT, WINFLUENCE, and GOOD FRIDAY. This is something I’ve wanted to do for awhile and I’ll be working with a wonderful cast and director. The festival will begin in June and Fox Tales will have 6 performances (dates TBD) I can’t wait for these characters to be together all in one place. Each play has 2 characters each and they come from very different worlds and find they have more than they realized in common. The settings for each play couldn’t be more different - a graveyard, an office, and a Christian theme park. Should be fun!

What's else is on tap for you in 2010?

I started off the year with DARCY & DUKE in the Short Play Lab at Where Eagles Dare Studios. This March, my play SISTERS FOR LIFE will be presented at Westchester Community College as part of Women’s History Month and will kick off a panel discussion with presenters and students. And hopefully lots more. I’m putting the finishing touches on a full length version of THE TALK and THE BROWNSTONE and hope to have staged readings of them both in the near future.

Want to find out more about Gaby Fox? Send her an e-mail to join her mailing list. She'll keep you up-to-date on her theatrical adventures.

Interview - Alex Bond of LATE NIGHTS WITH THE BOYS

By Byrne Harrison
Photos provided by Kampfire Films PR
Leather bar chanteuse photo by John Walker

Alex Bond is an actress, writer, and comedienne whose favorite roles include - Off-Broadway: Clara, Chi Chi & Marie in Flamingo Court (Off-Broadway); Regional: Betty in The Foreigner (a role originated by her aunt, Sudie Bond), Kate in Sylvia, and Amanda in Private Lives. She adds that national commercials have been a nice source of income from time to time.

Cabaret work in Dallas, TX in the late 70’s was the inspiration for her novel “LATE NIGHTS WITH THE BOYS: confessions of a leather bar chanteuse." The book honors those days and the marvelous men who became her “Dallas family of friends.”

Ms. Bond had her essay about surviving two skull fractures published in the Nov/Dec 2006 issue of the "Hastings Center Report." It is entitled "Where No One Can Lead You." Ms. Bond is proud to be a TBI survivor.

Ms. Bond is a member of AEA, SAG, AFTRA, IATSE 764 and the Dramatists Guild.

She resides in New Jersey with her husband.

You have a fascinating resume, including stand-up, cabaret, film, TV and theatre. When did you first get involved in the performing arts and what was your first love?

The good thing about pushing sixty is that you have been around long enough, and perhaps lucky enough, to try out most areas of Show Biz. My journey began in Louisville, KY when I was three years old. I would sit in front of the TV set (a fairly new invention) and watch a pas-de-deux on the Bell Telephone Hour and say “I’m gonna be a ballerina” with my decidedly Southern accent. Music always has inspired me to move or sing or write. So dance was my first love. I was fortunate to have a mother who treated me to piano lessons and ballet class. When I was twelve years old I worked on losing that accent, and I did my first school play. I played Howay in Mrs. McThing, a Mary Chase play. I was the male lead (I went to an all-girls school). As I exited after my first scene, I got exit applause. I was shocked and thrilled, and I got teary-eyed as I grabbed onto the newel post at the top of the stairs to the back stage area. The prompter asked if I was okay, and I replied, “I’ve never been better!” and I walked back out on stage for my next scene. The acting bug bit me at that very moment, and its venom has been coursing through my veins ever since. As I have aged, and some areas of the biz have become less penetrable, I have found other fascinating areas in which I can create. I have been blessed with a loving husband (coming up on our 25th anniversary) who has encouraged me to try “everything”: writing, singing, acting, stand-up. I’m one lucky Ole Broad!

What is your professional background?

From the time I graduated college I considered acting to be my profession. There are so many wonderful teachers, mentors, colleagues, friends who have added to my professional and personal life. I studied acting with Michael Howard, to whom I am extremely grateful. I am still finding “aha” moments from his tutelage. He taught me to observe, to be still and watch and listen. It is still a favorite exercise.

Tell me something about your play "LOPSIDED," about 8 breast cancer survivors. What inspired you to write it?

I wrote “LOPSIDED” in 2001, shortly after 9-11. As all of us were, I was shaken by the event and moved by the strength New Yorkers showed in its wake. It was also a time when breast cancer awareness was more in national focus. I was inspired by the power of support groups which give us strength when life seems so dark. A friend asked me to create a fund-raiser event for Hackensack University Medical Center Breast Cancer Awareness, and I wrote a series of monologues for various characters. I placed those characters in a former firehouse basement in NYC and “LOPSIDED” emerged. I collaborated with Steven Yuhasz, the marvelous director, and produced the play at ATA on 54th Street. The play is dedicated to my Aunt Sudie who was a breast cancer survivor.

David Carson and you will be doing readings from your book, "LATE NIGHTS WITH THE BOYS: confessions of a leather bar chanteuse," at this year's FRIGID New York Festival. Tell me a little something about the book and the show.

Imagine Armistead Maupin and Fannie Flagg swapping stories ala Gurney’s Love Letters with a bit of Spalding Gray thrown in.

But to be clear, we are not a show. We are a book reading. And I might add, that can be an art form in and of itself. David brings his wonderful presence to my tales of Dallas, 1977 as we transport our listeners to a wild and magical time before AIDS, but not before ignorance and prejudice.

LATE NIGHTS WITH THE BOYS was a Selection at the 2009 Fresh Fruit Festival, Winner 2008 Best Literary Staging Award (San Francisco Fringe Festival), and Winner 2007 Producer’s Pick Award (DFW Fringe Festival).

Do you have any words of advice for students who are planning a career in theatre?

Honor your friendships; think balance; work hard; take care of your instrument; be generous on stage and off.

Be respectful of everyone on a show: actors, writers, directors, producers, designers, stagehands, wardrobe, ushers, musicians, doormen/women, box office, custodial staff, vendors; they are all part of the team that makes theatre magic. (I know this because I have worn most of those hats during my life in the theatre.)

What else do you have planned for 2010?

After the book readings for the FRIGID I will be portraying the role of Susie in the world premiere of a new play by David Stallings entitled BARRIER ISLAND from April 30-May 22, 2010 at Center Stage on 21st Street. The play will be directed by Cristina Alicea and produced by MTWorks. And as a bonus for me, David Carson will be playing my husband, the character of Nate, in that production. After May 2010, only the theatre gods know!

To find out more about Alex and LATE NIGHTS WITH THE BOYS: confessions of a leather bar chanteuse, visit her website or the LATE NIGHTS WITH THE BOYS site.

Interview - Playwright Duncan Pflaster

By Byrne Harrison
Photo provided by Duncan Pflaster

Duncan Pflaster is a multi-award-winning playwright who has been doing theatre in NYC for 11 years, most famously his Big Epic Naked Shakespearean Fairy Tale Play Prince Trevor Amongst the Elephants. He also writes music, plays ukulele, and (occasionally, if his arm is twisted) acts.

When did you first get involved in theatre?
I grew up in South Florida; my mother Grace was a local actress and was instrumental in my first involvement in theatre. The first real play I did was at age 6, a production with Royal Palm Children’s Theatre of Winnie-the-Pooh, in which I played Christopher Robin. I was the youngest member of the cast—all the actors playing my stuffed animals were college-age or older.

What is your theatrical background?
For a long time I thought I would be a professional actor. I studied acting at New World School of the Arts in Miami, with Carol Cadby and David Kwiat as my main teachers (and took my only playwriting class, taught by Eric Bedenbaugh); I was kicked out after a year—they told me I’d never be an actor if I stayed at the school. I went on to Florida Atlantic University, where I had the opportunity of a wonderful class taught by Visiting Eminent Scholar Zoe Caldwell, whom I can’t credit enough with my understanding of text and how actors relate to it. I wrote my first full-length play as a joke—in the mid-90s, I was acting pretty consistently at Florida Playwrights' Theatre in Hollywood, FL, and one night, while drinking after a show, a friend said, "Wouldn't it be funny to do a drag queen Alice in Wonderland?" and a year later I finished Wilder and Wilder and it went onstage almost immediately at FPT (with me as The Queen of Hearts), first as a late-nite show, then when there were problems with the mainstage show which had to close, my play ran at 8pm for a couple of weekends. I try not to act much these days (I very rarely consider auditioning- I'm tempted by Sondheim musicals, clown roles in Shakespeare, and sometimes my friends’ plays) since it’s so hard to work 9-5, rehearse in the evenings, and still find time to do the writing that I consider my true vocation. I really don’t have much training in writing plays (aside from simply writing and producing them), so it’s ironic that it’s become my main focus.

What is your best theatrical memory?
I’d have to go with the production of Prince Trevor Amongst the Elephants that I wrote and directed in the Midtown International Theatre Festival in 2008. A spectacular cast of 12 who were all good and nice people on top of it. Show was great, we got some great reviews (as well some of the worst reviews of my life), and were nominated for nine MITF awards, eventually winning three: Outstanding Production, Outstanding Comedy Script, and Outstanding Lead Actor (Carlos Rafael Fernandez, who played Prince Trevor). Such a joy.

What are the best and worst things about working in theatre in New York?
Best: The amount of amazing talent there is available to work with; I keep meeting wonderful performers I want to cast in my plays. Worst: The number of competing productions makes it very easy for a play to get lost in the crowd.

Do you have any advice for students who are planning a career in theatre?
To be cynical for a moment: find a school that has a “mafia” in New York. So much of NYC theatre is not a meritocracy; it’s based on luck and who you know. Often people will give a leg up to folks who went to the same school, so it’s a good idea to make one’s own luck and stack the deck in your favor. Non-cynical answer: Learn as much as you can about all aspects of theatre, not just the element that’s your focus. If you can essentially put up a play on your own, you're in a great position to work; you never know what you might be called upon to do (and maybe get paid for!).

What's next for you in 2010?
I'll be doing my 10-minute play (they kiss) in the February 26-27 Short Play Lab at Where Eagles Dare, curated by Jonathan Wallace (The Play Plays- all plays about the experience of doing theatre), and then in March I'll be doing a few short plays at the Digable Arts Festival in Jersey City. After that, a few things are tentatively scheduled, pending official confirmation- I’ll be adapting and directing a production of Shakespeare’s Timon of Athens for Howling Moon Cab Company, starring Clara Barton Green in the titular role, this Spring. I hope to have new plays in both Planet Connections Theatre Festivity (The Thyme of the Season, my sequel to A Midsummer Night’s Dream) and the Midtown International Theatre Festival (The Starship Astrov: Chekhov in Outer Space!) this Summer.

To find out more about Duncan, visit his website or his theatre blog.