Plays and Publications

A contemporary retelling of Melvill's Moby Dick. But, we skip all the boring parts. Kill The Whale is memory manifested as a 1970's folk/hiphop/rock opera, that centers two queer romances, lifts voices of color, and re-casts authority roles as women.

A tight, foul-mouthed office comedy where six dysfunctional coworkers at a consulting firm tear each other apart over who deserves an “Employee of the Year” nomination that secretly doubles as a golden ticket into upper management, exposing everyone’s ugliest secrets, hypocrisies, and complicity along the way.

Two estranged siblings in a San Antonio park spend one long, weed‑and‑beer‑laced night trying to write their brother’s eulogy, only to unravel family myths, messy secrets, and their own complicity in who the “dead man” really was by dawn.

A once‑prodigy painter, blocked for years and hustling through cheesy art‑instruction videos, starts using again and stumbles into a lush spirit world ruled by the Vodou goddess Erzulie, whose intoxicating inspiration fuels a brilliant new body of work even as it threatens to consume her, her ex, and the friend who kept her alive the first time.

A prequel to The Tempest, this play follows Sycorax, her son Caliban, and the spirit Ariel as an exiled witch seeks vengeance on the men who weaponized her magic, fracturing the island’s ancient fey and setting Ariel on a ruthless quest for power that ends with the spirits dead, Ariel imprisoned in a tree, and Caliban left monstrous, motherless, and deeply wary of human—and nonhuman—trust.

A movie-obsessed junior who narrates life in film genres decides to stage an over‑the‑top, cow‑themed flash‑mob dance to ask the new kid to the Spring Formal, only to horribly misread what Dallas actually wants, forcing both of them to move past grand gestures and zombie‑eye fantasies into an awkward, funny, genuinely sweet friendship that might someday become something more.

When a young Black man is shot by police in 2001 Cincinnati and the city erupts in unrest, a  mom, her dinosaur‑obsessed autistic daughter, and her idealistic son end up sheltering the drunk white officer involved in the shooting, trapping all four in one small apartment overnight as riots rage outside and forcing them to test whether shared grief, anger, and obligation can remake any of their ideas about justice, safety, and doing what’s “right.”

A satirical docu-theatre epic where a small Texas town, a sociologist, and the wife of a vanished plantation performer retell how one Black man’s miraculous “Great Gettin’ Up” flight from a whipping post spiraled into protests, profit schemes, media circus, and a wave of Black bodies literally taking to the sky.

Four thirty‑something best friends hole up in a luxury hotel for one last wild reunion, but when an old “devil card” blood pact resurfaces, the night spirals into a razor‑sharp, darkly funny reckoning with a terminal diagnosis, buried crimes, and the unthinkable choice of who will help one of them die on his own terms.

Four would‑be co‑parents—a lesbian couple and a gay couple found via a Craigslist “sperm donor wanted” ad—try to engineer the perfect nontraditional family, only to have pregnancies, contracts, and betrayals tangle them in questions of ownership, love, and who really gets to call a child “mine.”

When two Black marine researchers secretly rescue a Nigerian-descended man who can breathe underwater and keep him hidden in a university lab, their attempt to study and protect him collides with institutional greed, corporate cover‑ups, and the captive’s own mythic history, forcing them to choose between their careers, their ethics, and his freedom.

In a neighborhood still haunted by the police killing of their teenage son, a daycare owner and her partially disabled husband clash when a rising Black city councilman asks them to publicly endorse his mayoral run and launch a “dark skinned pavement” memorial campaign, forcing them to choose between protecting their hard‑won, fragile stability and risking everything to etch their grief—and the names of other slain Black children—into the literal streets so the city can’t forget.

The North American Unified Theatre Collaborators of the West really want to put on a show. Like, really bad. Under the leadership of their founder and director, this group of actors has decided to stage a new adaptation of The Three Musketeers. Only, they aren't nearly as prepared as they should be. With puppets and pool noodles, this theatre group prepares for their glorious comeback...that may not happen.