A HISTORY. Short. Physically and poetically based. "A brief and partial history of the judicial world as it is known to some of us." 10 mins. 1 female/1 male or 2 females.

AMERICAN ROSE. Full-length. An ensemble cast portrays the changing lives of American women who enter war production workplaces and wartime situations during the 1940s. Their stories are juxtaposed with additional roles iconic of U.S. female individuals from the WWII period. Large female ensemble, multi-ethnic. 75 mins.

AN OCEAN OF BEES. Full-length. A hilarious and poignant future of post-environmental collapse wherein four souls try to grasp what traits we humans need, and which we need to jettison, for survival. 80 mins. 2 female/2 male or one of each non-binary, 50%+ BIPOC.

AT DAWN WITH THE RAIN AND THE STARS. Full-length. Marking seventy-five years since the end of WWII, four female actors create lyrical roles in a story of intellectuals, artists and ordinary women who live in extraordinary times. The play begins with the fictionalized portrayals of four true-to-life and under-appreciated individuals from the 1930's. These four characters evolve into a fact-based group of four Partisan women arrested on the eve of the Paris deportations. Then the four actors step outside the characters they have created in order to explore why such stories remain relevant. 4 females. 90 minutes.

EVERY CONCENTRATED FRAGMENT.  One-act. A lyrical exploration of the friendship bonds and the life-outcomes of four factually-based French women Partisans from Nazi-era Europe as they confront the meaning of their arrests on the eve of the Paris deportations during WWII. 4 females. 45 minutes.

IN THE BEGINNING... Short. Rom-com: In the Garden of Eden... Redux. 1 female, 1 male, race neutral or any. 10 minutes.

LITTLE KINGS. One-act. Five family members exist as present-day fractured-fairy-tale-versions of characters from King Lear, via an originally conceived satire that sends-up 400 years of human civilization and family history. A hilarious and thought-provoking tour de force. 2 female or female-identified, 2 male or male-identified, 1 of either or non-binary, all race-neutral or any. 60 minutes.

MARY MARY. Short. A holiday-themed speed-play presented in 3 vivid snapshot flash-acts. Each act is set in the same suburban California family home at Christmas Dinner; each dinner takes place in a different, consecutive decade.  3 females, 2 males, race-neutral or any. 15 minutes.

MY MEDEA. Full-length. A vibrant, accessible, and relevant re-telling of Medea, imbued with current events cut from the American landscape. Large ensemble, both males and females, multi-ethnic. 80 minutes.

ROLLOVER OTHELLO. Short. A stylized satire that achieves an emotional wallop presents Oth, Desdie and I. in a contemporary police house, where they "talk" over their various consummations and conflicts. 1 female, 2 males. 15 minutes.

WAITING FOR A TABLE AT THE GARDEN OF EDEN. Full-length experimental rom-com. Contemporary versions of Adam and Eve are placed in the Here and Now among the events and temptations that distract us. Two actors explore this world through original uses of language and send-up scenes, in a play that asks: Is a happy ending possible for this couple in the human race? 1 female, 1 male, race-neutral or any. 90 minutes.

WE ARE ALL DICK 3. One-act. Two actors present their love/story mash-up by way of re-imagined Richard the Third material, with romantic subplots and cultural machinations spun from current news and entertainment factories, including the incidents of 9/11. A stand-alone compressed-comedy-drama of warring-yet-peace-making female/male relationships composed as a classic 60-minute one-act play. 1 female, 1 male, race-neutral or any.

WHO WILL WITNESS FOR THE WITNESS. One-act.  A lyrical play exploring the lives and the life-outcomes of four factually-based-yet-historically-underappreciated women from Nazi-era Europe, as they ponder truth, life, fact, death, and existence. 30 minutes.

14 LADIES IN HATS. 80 minute character series that explores the tension between expression and repression in the lives of contemporary American women and girls.  

The above texts are available from <susan.hansell@gmail.com> and through the New Play Exchange National New Play Network.

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