2025 was a busy year for writing, revising, productions, teaching, and writing-related travel.
Productions and Readings:
24 productions or readings of my plays—same as last year.
As usual, I'm not including productions of my four one-act Shakespeare adaptations, though it was an active year for those.
Full lengths:
• One stage production in 2025: (re)Dressing Miss Havisham, a solo play commission.
• One intensive 10-day residency developing Sarai’s Knife in Virginia.
• Nine public readings: Noir Hamlet – 3, Sarai’s Knife – 2, (re)Dressing Miss Havisham – 2, Out of the Scorpion’s Nest – 1, Breaking the Shakespeare Code – 1.
• One company table-read of Clara Schumann: Romance Variée, a commission.
• A production of Breaking the Shakespeare Code was canceled by the theater, then reinstated, then canceled again at the last minute. The theater didn’t announce the cancellation, so folks showed up at the door to buy tix on show nights. You can't make this stuff up.
One-acts and Shorts:
• Ten stage productions and two readings, including a developmental workshop with readings of a longer one-act.
• Two streaming readings and one streaming production.
Publications:
• My most-produced full-length, Breaking the Shakespeare Code, had two publication/licensing offers and is now published and licensed by Ghost Light Publications.
• My second-most-produced short play, Closing Doors, was picked up for publication and licensing by Tiny_Scripted.
• My one-act The Noir Before Christmas was published in Comedies for the Virtual Stage, though it wasn’t originally written for virtual performance.
Awards/Recognition:
• Sarai’s Knife was one of four winners of Playwrights’ Revolution at Sacramento’s Capital Stage.
• Sarai’s Knife was one of two plays selected for the Madison New Works Lab in Virginia.
• Sarai’s Knife won the Honegger Prize for full lengths from The Firehouse Center for the Arts.
• Sarai’s Knife was part of the Digital Development Project’s Match, which let me do developmental work with dramaturg Juliet Chia.
• The Maltese Walter won the StageWorks One-Act Jamboree.
• Out of the Scorpion’s Nest was selected as the closing night reading for the Green Mountain Playwrights Festival and Retreat.
• Out of the Scorpion’s Nest was selected as one of three finalists by The Refinery in Pennsylvania (results pending).
• (re)Dressing Miss Havisham was selected for a new play incubator in Boston.
New Writing:
• Completed two new full-length commissions (both will have further revision, of course):
- (re)Dressing Miss Havisham, solo play commissioned by Back Porch Theater
- Clara Schumann: Romance Variée, for three actor-pianists commissioned by Concert
Theatre Works
• Completed a messy first draft of a new full-length, The Approximate Present.
• Did major revision on Sarai’s Knife, most of it at the 10-day Madison New Works Lab.
• Revised one-act Friday Drinks (now Mixology) via Your Theatre’s Original Works Lab.
Submitting and Marketing:
I made about 140 submissions in 2025 – focused mostly on full-lengths – and had lots of networking/marketing conversations with directors, dramaturgs, artistic directors, producers, actors, and fellow playwrights.
I was too busy with commissions to do the marketing I needed for my usually popular Sleepy Hollow solo show, so no productions or readings happened. I plan to do better in 2026.
Adjudicating, teaching, speaking, editing:
I read for three new play contests this year and did some cutting of full-length plays for secondary school performance. I’ve also been brought in as a guest artist to teach playwriting at a local high school and spoke on a panel about playwriting submissions for the Digital Development Project.
Finances:
I took in about $8000 in royalties, commissions, awards, residency stipends, and fees, so a bit less than in 2024. Income would have matched last year but, oh, that canceled production…
Volunteering:
• I continued serving as the Dramatists Guild Ambassador for Boston – working with New England Rep Emma Palzere-Rae on events and hosting twice-a-month National Silent Writing sessions for the Guild. Then the Guild abruptly ended the Ambassador program, but I'm still hosting Silent Writing.
• I continue to volunteer for Vokes Players in Wayland’s historic Beatrice Herford's Vokes Theatre, helping with season selection of plays, interviewing potential directors, and handling communication with publishers/rights holders.
Upcoming:
• The “southeast premiere” of Breaking the Shakespeare Code will be in January, presented by Gather by the Ghost Light.
• Sarai’s Knife will have a reading as winner of the Firehouse Center for the Arts’ New Works Fest.
• Out of the Scorpion’s Nest will have two readings at the end of January with The Refinery in Pennsylvania.
• The Maltese Walter will be produced by The Theater Project in Brunswick, ME in January and February, then the play will be back to LA in February – this time at Los Angeles City College.
• (re)Dressing Miss Havisham will be on the boards in Boston in May – details TBA.
• Fingers crossed that a summer workshop process proposed for Clara Schumann: Romance Variée comes through.
Here’s to more art and less chaos, more kindness and less cruelty in 2026.
Productions and Readings:
24 productions or readings of my plays—same as last year.
As usual, I'm not including productions of my four one-act Shakespeare adaptations, though it was an active year for those.
Full lengths:
• One stage production in 2025: (re)Dressing Miss Havisham, a solo play commission.
• One intensive 10-day residency developing Sarai’s Knife in Virginia.
• Nine public readings: Noir Hamlet – 3, Sarai’s Knife – 2, (re)Dressing Miss Havisham – 2, Out of the Scorpion’s Nest – 1, Breaking the Shakespeare Code – 1.
• One company table-read of Clara Schumann: Romance Variée, a commission.
• A production of Breaking the Shakespeare Code was canceled by the theater, then reinstated, then canceled again at the last minute. The theater didn’t announce the cancellation, so folks showed up at the door to buy tix on show nights. You can't make this stuff up.
One-acts and Shorts:
• Ten stage productions and two readings, including a developmental workshop with readings of a longer one-act.
• Two streaming readings and one streaming production.
Publications:
• My most-produced full-length, Breaking the Shakespeare Code, had two publication/licensing offers and is now published and licensed by Ghost Light Publications.
• My second-most-produced short play, Closing Doors, was picked up for publication and licensing by Tiny_Scripted.
• My one-act The Noir Before Christmas was published in Comedies for the Virtual Stage, though it wasn’t originally written for virtual performance.
Awards/Recognition:
• Sarai’s Knife was one of four winners of Playwrights’ Revolution at Sacramento’s Capital Stage.
• Sarai’s Knife was one of two plays selected for the Madison New Works Lab in Virginia.
• Sarai’s Knife won the Honegger Prize for full lengths from The Firehouse Center for the Arts.
• Sarai’s Knife was part of the Digital Development Project’s Match, which let me do developmental work with dramaturg Juliet Chia.
• The Maltese Walter won the StageWorks One-Act Jamboree.
• Out of the Scorpion’s Nest was selected as the closing night reading for the Green Mountain Playwrights Festival and Retreat.
• Out of the Scorpion’s Nest was selected as one of three finalists by The Refinery in Pennsylvania (results pending).
• (re)Dressing Miss Havisham was selected for a new play incubator in Boston.
New Writing:
• Completed two new full-length commissions (both will have further revision, of course):
- (re)Dressing Miss Havisham, solo play commissioned by Back Porch Theater
- Clara Schumann: Romance Variée, for three actor-pianists commissioned by Concert
Theatre Works
• Completed a messy first draft of a new full-length, The Approximate Present.
• Did major revision on Sarai’s Knife, most of it at the 10-day Madison New Works Lab.
• Revised one-act Friday Drinks (now Mixology) via Your Theatre’s Original Works Lab.
Submitting and Marketing:
I made about 140 submissions in 2025 – focused mostly on full-lengths – and had lots of networking/marketing conversations with directors, dramaturgs, artistic directors, producers, actors, and fellow playwrights.
I was too busy with commissions to do the marketing I needed for my usually popular Sleepy Hollow solo show, so no productions or readings happened. I plan to do better in 2026.
Adjudicating, teaching, speaking, editing:
I read for three new play contests this year and did some cutting of full-length plays for secondary school performance. I’ve also been brought in as a guest artist to teach playwriting at a local high school and spoke on a panel about playwriting submissions for the Digital Development Project.
Finances:
I took in about $8000 in royalties, commissions, awards, residency stipends, and fees, so a bit less than in 2024. Income would have matched last year but, oh, that canceled production…
Volunteering:
• I continued serving as the Dramatists Guild Ambassador for Boston – working with New England Rep Emma Palzere-Rae on events and hosting twice-a-month National Silent Writing sessions for the Guild. Then the Guild abruptly ended the Ambassador program, but I'm still hosting Silent Writing.
• I continue to volunteer for Vokes Players in Wayland’s historic Beatrice Herford's Vokes Theatre, helping with season selection of plays, interviewing potential directors, and handling communication with publishers/rights holders.
Upcoming:
• The “southeast premiere” of Breaking the Shakespeare Code will be in January, presented by Gather by the Ghost Light.
• Sarai’s Knife will have a reading as winner of the Firehouse Center for the Arts’ New Works Fest.
• Out of the Scorpion’s Nest will have two readings at the end of January with The Refinery in Pennsylvania.
• The Maltese Walter will be produced by The Theater Project in Brunswick, ME in January and February, then the play will be back to LA in February – this time at Los Angeles City College.
• (re)Dressing Miss Havisham will be on the boards in Boston in May – details TBA.
• Fingers crossed that a summer workshop process proposed for Clara Schumann: Romance Variée comes through.
Here’s to more art and less chaos, more kindness and less cruelty in 2026.
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