Plays
The Maestra, a musical in two acts, dramatizes related questions, the first being: "how would we know if Christ came back?" and its corollary, the second, being: "how do we know that she hasn't?" Those two questions, together, underscore the premise that there is never a time that Christ is not present on earth. The play's dramatic action tugs at such a premise, with Maestra, the protagonist, pulling one way; Juan, her antagonist, pulling another; and Maggie, the pivotal character, pulled apart in between.
This history play delves into the relationships between and among Hercules Posey, a slave who served as the presidential chef to our first president; George Washington, who, in turn, functioned as his foil; and first lady, Martha Washington, who tended to mediate between them. The drama centers on the pull of fame, which Hercules enjoyed because he was the presidential chef, and the pull of freedom, which tempted him to eschew that fame. The question throughout is what will Hercules do, and, then, at the end, why did he do it.
Successes
My first play, Doogan, was produced in Washington, DC, in 1972; followed by Gwendolyn, a WWII romance in 1974, running for 3 weeks with excellent reviews; and my third play, The Passion of Remo Russo, staged in Ohio in 1981. The Maestra, 2014, is my first musical.