Could Shakespeare have envisioned our modern world where the taverns and inns of his time would give way to restaurants, where obsessed chefs would live through and create drama rivaling his greatest tragedies and histories? Were he writing today, might he find inspiration from power-mad culinarians fighting for the right to wear the toque and control the kitchen just as kings and queens fought for crown and country in his day? In Stirring the Plot (or The Tragedy of Chef III), the daily grind of restaurant life takes on an Elizabethan heft as rival factions are in an all-out war attempting to gain control of a once-grand restaurant that is now at death's door. Plotting, counter-plotting and endless backstabbing and mayhem play out in the battlefield of the kitchen and dining room as the dramatis personae sling hash and fling verbal venom at each other in rhyming iambic pentameter amidst flagons of alcohol and more drugs than an apothecary could ever fathom. Great men will fall. Weak men will falter. And one young man will find that he was born to greatness when he is transformed by the love of a woman who has disguised herself as a man to survive the sexist and often dangerous domain of the kitchen. Hundreds of years have passed since the time of Shakespeare, but perhaps he would not be surprised by the tempest of the modern restaurant. His plays continue to teach us that one could blend comedy, tragedy, history, romance and oh so many problems in a stew where art, ego, love, ambition, passion and danger are simmering.

Somewhere, far from the cold and cruel big city, there is a charming village called Holly Garland Corners. There, impossibly beautiful women operate factories specializing in artisanal Christmas goods. Well, at least when they are not too busy attending local Christmas pageants, decking the halls and meandering through the festive, yet quaint and quiet streets while nursing a warm drink and smiling at every friend and neighbor passing by. Yet, it seems that this will be a lonely Christmas for one well-dressed heroine. At least until an eligible bachelor executive sweeps in three days before the holiday with the intention of closing down her beloved family business and ruining Christmas forever! Can she find a way to stop him, even as they fall in love during a whirlwind of snowman construction, cookie decorating and a tree lighting occurring on every other block? Meanwhile, a local baker finds herself entangled with her long-lost high school boyfriend who is now a famous country singer. And throw in a mysterious old man with a white beard who seems to have an affinity for reindeer, a man in town who may be a prince, a deployed soldier who must return home in time for a holiday reunion and...oh, you know how it goes. Somehow, all of it will end with a kiss and an engagement on Christmas Eve, under the moonlight, just as the snow begins to fall on a village that seems to be made of gingerbread.

This new musical spoofs the sweet and sentimental Made-for-TV Christmas movies that are a “hallmark” of the holiday season. With no commercials and a good dose of Broadway song and dance. And tinsel. A lot of tinsel.

A two-part theatrical epic. CHILDREN OF AGAMEMNON combines Euripides' IPHIGENIA AT AULIS, ELECTRA, ORESTES and IPHIGENIA AT TAURIS into a single narrative. Following the House of Atreus before, during and after the Trojan War; the play explores how an act of infidelity sets events in motion afflicting a family with violence, abuse and vengeance during a time of great political strife, war and social upheaval. Actions of one generation affects the other for the worse and violence begets violence in a seemingly endless cycle. And though the family is born to royalty, wealth and prestige, the Gods are always present and more than willing to remind them they still are all-too mortal and at their mercy.

This English adaptation of Euripides is in rhymed verse to create an approximation of the rhythms and poetry of the original Greek text.

Don Juan's sexual conquests have gained him an infamous reputation all over Europe. When the Devil himself begins to drag him to Hell, Don Juan makes a bargain: In exchange for another ten years of life, he will commit to doing the Devil's dark work himself by bedding as many women as possible and leaving them wanting and devastated.

A decade later, the Devil catches up with Don Juan in Venice. Through a dizzying melange of puppetry, riddles and mysterious women clad in masks and cloaks, the Devil shows Don Juan that though he believed he was a master at playing romantic and sexual games, in truth he was but a plaything. This translation of one of Rostand's final works is, like the French original, written completely in rhymed couplets.

https://www.broadwayplaypublishing.com/the-plays/the-last-night-of-don-j...

A young Jewish housewife breezes through the cultural upheaval of the 1970s and luxuriates in the materialistic 1980s fueled by her outrageous behavior and a personality disorder that is not cured by the popular self-help books she reads. Trapped in a marriage to a Jewish man she does not love or even like, she repeatedly finds herself tempted by an endless parade of WASPs and Catholics from up and down the social strata in the wilds of the suburbs. Along for the ride are her three children who bounce with her from marriage to marriage as they experience a most atypical upbringing. As the world and decades change she shatters all stereotypes of a devoted Jewish mother and her children as well. But she also gives them the most taboo Hanukkah gift imaginable: Christmas.

Like No People I Know follows the misadventures of a histrionic, theatrical wannabe diva named Ronnie Stangl whose dreams of Show Biz success have only come to fruition by directing children's theatre. Her sexless, loveless marriage to an actor is falling apart as she becomes overly focused on and eventually obsessed with a young male actor in her company. She leads him astray in both life and on the stage and eventually destroys him as she moves on to other projects and ambitions. This is all seen through the wise eyes of her longtime stage manager who does her best to intervene, but cannot prevent the inevitable conclusion.

The Jurgens File recounts true events that happened in Minnesota in the mid-Twentieth Century. A baby boy was born to a sixteen year-old ward of the state who was forced to give him up for adoption; twenty years later she sought to contact what she believed would be her adult son only to discover he died at the age of three under suspicious circumstances. The story moves backwards and forwards in time viewing the events that led up to his death and the eventual cover-up as recounted by family members, neighbors, police officers, social workers and other members of the quiet, suburban community where the action takes place. While some characters are composites and some of the events are compressed in the interest of time, the story depicted is true and is taken directly from court documents and the extensive media coverage that followed the case.

Two pairs of star-crossed lovers are faced with a duo of wealthy, buffoonish businessmen determined to guarantee they will not get their happy ending. Enter Scapin, a servant with a talent for schemes and scams who is always more than willing to put one over on the upper classes. For Scapin no lie is too outrageous and no plot is too outlandish when it comes to assuring that true love finds its way.

Through a dizzying blend of emotional blackmail, physical assault, disguises and subterfuge, Scapin will utilize his enormous talents to assure that all is well before the final curtain comes down. This adaptation of Moliere's classic is in rhymed verse.

Medea has abandoned her family and homeland of Colchis for the love of the great hero Jason, and her loyalty, cunning and talents in witchcraft have repeatedly rescued him. Now after bearing him two fine sons and settling in Corinth; Jason announces that Medea is to be cast aside, freeing him to marry royalty. Now finding herself not only abandoned, but banished from Corinth and driven beyond madness, Medea commits an unspeakable act of vengeance against her former husband.

This English adaptation of Euripides' classic play is in rhymed verse to create a close approximation of the rhythms and poetry of the original Greek text.

https://www.broadwayplaypublishing.com/the-plays/medea-vinero/

As the fires that burned Troy smolder, the once-proud and regal Queen Hecuba finds herself homeless, widowed and enslaved by the Greek conquerors. In the hours before she is to sail to Greece in chains she discovers that two of her surviving children will pay the blood debt of war with their lives.

Left with nothing to lose but a hopeless life that is no longer her own, she commits an act of vengeance that is shocking in its violence, yet asserts all that is left of her humanity. This English adaptation of Euripides' classic play is in rhymed verse to create a close approximation of the rhythms and poetry of the original Greek text.

Following his triumphs during The Trojan War the great Greek warrior Agamemnon is slaughtered by his crafty wife Clytemnestra and her lover Aegisthus. Many years later his surviving children Orestes and Electra are living far from the royal halls that are rightfully theirs and are long separated; as Orestes has escaped and lives in exile while Electra languishes in an arranged marriage to a peasant.

Upon a reunion where the brother and sister face each other for the first time as adults they decide to execute a plan that will demonstrate to Clytemnestra and Aegisthus that the example that was set to them as children was not forgotten. This English adaptation of Euripides' classic play is in rhymed verse to create a close approximation of the rhythms and poetry of the original Greek text.

Many years after the events that led to the destruction of Agamemnon's family during the Trojan War his daughter Iphigenia is long thought dead but lives among the Taurians as a priestess in the Temple of Artemis. Her duty to prepare any foreigner who arrives in Tauris for ritual sacrifice introduces her to a young Greek prisoner who she will soon discover is none other than her long-lost brother Orestes.

Though they have been separated for many years and are far from home, the siblings devise a plan to ensure a safe escape and put an end to the curse of bloodshed that has plagued the House of Atreus for generations. This English adaptation of Euripides is in rhymed verse to create an approximation of the rhythms and poetry of the original Greek text.

In the aftermath of the Trojan War, the royal-born Andromache finds herself in far-off Greece enslaved by the family of the man who killed her husband and forced her into the role of concubine. She is not only forced to share her bed with her captor, Neoptolemus, but also bears him a son. This draws the ire of his wife Hermione, who is convinced that Andromache's presence and actions have kept her husband far from their marriage bed and left her childless.

When Neoptolemus is away, Hermione sees an opportunity to rid herself of a romantic rival and her husband's illegitimate son.  This sets off events that will result in violence and further loss. This English adaptation of Euripides' classic play is in rhymed verse to create a close approximation of the rhythms and poetry of the original Greek text.