Recent Plays

Parallax (2m,1f) 75 pages, drama. Script sample. Read full play.

Vincent and Joe are con artists, working together at the racetrack, living only for the next score and the next race.  After a big win, Vincent begins to get ideas about changing his life.  Against his better judgment, he agrees to do one last job, targeting a young actress named Erin.  At first, Erin seems like an innocent victim, but as she and Vincent grow closer, her own agenda is slowly revealed.  A cat-and-mouse game between all three ensues until Vincent and Erin bet everything - including their own futures - on one final race. 

Big Dreams in a Tiny Apartment (2m,2f) 106 pages, drama/comedy. Script sample. Read full play.

Alan and Lisa are a married couple in their late 30s, living in a tiny Brooklyn apartment, terrified their lives are passing them by.  One day, Alan thinks he’s caught his big break when a producer becomes interested in his screenplay.  But just as quickly, the opportunity disappears.  Rather than give up, Alan decides to produce the film himself, with Lisa’s help.  At the same time, Alan’s parents come for their first visit to New York City and Lisa convinces Alan to ask them for the money to get the project off the ground.  But when Alan’s parents discover that the proposed film is based on Alan’s own childhood, it releases decades of past resentments. 



Chelsea Perkins (2m,3f) 90 pages, drama/comedy. Script sample. Read full play.

After completing her magnum opus – an angsty, bitter novel about life’s inherent unfairness – Emma writes a second book for her own amusement, a send-up of the “chick-lit” genre entitled Chelsea Perkins.  She plans to discard the manuscript, but when her sister submits it without her knowledge, the book is surprisingly accepted.  Emma then meets Rob, a charming, intelligent young publisher, and soon her new fairy-tale life begins to resemble the same fantasy world she only previously imagined.

Convictions (3m,5f)  100 pages, comedy.  Script sample. Read full play.

The daughter of a Congressman, Victoria is a married woman with strong political beliefs. Her life is catapulted into chaos, however, when she falls in love with her client, a man on death row. Her family and friends believe she’s lost her mind, but she is determined to follow both her heart and convictions, whatever the cost. Farce ensues as Victoria decides whether she can go through with marrying a murderer or admit to herself that she might not be the person that she thought she was.


Kill the Editor (2m,1f)  99 pages, comedy.  Published script. Read full play.

Ben, a young editor, has just landed his dream job to edit a documentary film at the prestigious Cannes Film Festival.  The catch is: he only has one week to cut the previous five-hour version down to size and the egomaniacal, obsessive filmmaker, Cameron, doesn’t want to touch a frame.  And when Libby, the previous editor who was fired by Cameron, returns to reclaim her rightful position, Ben is forced to choose between them.


The Mating Instinct (3m,4f)  101 pages, dramatic comedy.  Script sample. Read full play.

Carl, a teacher in an elite private high school, is about to publish his third YA novel, The Mating Instinct, which depicts a romantic relationship between a teacher and a student. After his wife reads an Advanced Reader Copy and identifies the student in the book as a senior named Mackenzie, she believes the affair is real. Rather than hide the misunderstanding, Carl escalates the conflict by making the accusation public. Soon Carl’s job, reputation, and relationship with his family are at stake as the line between truth and fiction becomes increasingly blurred. 


Too Good to Be True (8m,5f)  93 pages, comedy.  Script sample. Read full play.

A new play by Max Barry, written in 1928, has been playing to sold-out audiences out of town and is just about to make its New York debut. The play depicts a recent true-life scandal involving William Randolph Hearst, Charlie Chaplin, Marion Davies, and a movie mogul named Thomas Ince who died under mysterious circumstances aboard Hearst’s yacht, The Onieda. Now, with two days before the New York opening, it is discovered that the facts depicted in the play never actually happened.  In a panic, Sam Harris, the producer, Basil Dean, the director, and playwright Max Barry discover a way to keep the public from finding out that their play is actually a fraud – by recreating the actual events of the play itself.