Represented by Mary Alice Kier Cine/Lit Representation Dramatic/Film/Literary Management 310.413.8934 firstname.lastname@example.org
Full Length Plays
(90 minutes; 3 women, 2 men) Click Here for PDF Copy
Currency is a love story set in changing times of overextended trust and inflated intimacy. After sharing a night of unexpected romance, a 40-something couple is waylaid by even more surprises and left searching for value in a world that’s moving way too fast.
It’s the “morning after,” and Dan and Helen are navigating toast and coffee in Helen’s enormous bedroom when Dan receives a phone call: there’s been a horrible family tragedy. Life’s sometimes like that.
But in today’s surreal age of virtual connections, hyper-consumption and global financial meltdowns, who’s got a way of getting through life that still works? What truly has worth and meaning anymore? Is the only real thing we have left to hang onto, each other? And is that enough?
Semi-Finalist, 2015 PlayPenn Conference; The Word @ The Road Theatre Reading October, 2014 (Jen Bloom, Director); Playwrights Union First Peek Reading Festival May, 2014 (Holly Derr, Director). Heather Helinsky, Dramaturg
(85 minutes; 4 women) Click Here for PDF Copy
Crazy Bitch is play about jellyfish and genealogy and rogue taxidermy. In a world where unbelievable brutality happens every day, three women in Los Angeles find themselves suspended between the extraordinary and real life expectations.
After Eva, a respected scientist, is savagely attacked late at night when walking in LA, the women in her life—her ex-lover, her sister and her cousin—try to assemble a picture they can live with: of the events surrounding Eva’s attack, of the nature of Eva’s work with the immortal jellyfish, and of their future, where “forever” may be a real possibility and evil really exists.
Sure, life must go on. But in this particular corner of Los Angeles, what happens next? Can a wild taxidermy creation breathe new life into tragedy? Can genealogy research create connections that really matter? And what if Eva never recovers? Who’ll take care of the high-maintenance, Cheetos-eating, drama-queen Jellyfish, then?
Santa Monica Rep Reading August, 2014 (Jen Bloom, Director); Road Theatre Summer Playwrights Festival July, 2014 (Courtney Buchan, Director); Great Plains Theatre Conference May, 2014 (Judith K. Hart, Director); Playwrights Union First Peek May, 2013. Heather Helinsky, Dramaturg
THE BIG RED NAUGAHYDE BOOTH (OR, WOULD-BE ELKS)
(70 minutes; 5 women, 1 man) Click Here for a PDF Copy
A comedy about acceptance and the cost of belonging, The Big Red Naugahyde Booth (Or, Would-be Elks) tracks the cocktails and confessions of a group of larger than life women who regularly meet to drink and dish. But on this particular evening, what’s brought to the table raises issues much bigger than the bar bill.
Here, girls’ night out becomes an extravagantly surreal exploration of uniquely female bonds. Among dedicated friends, who’s to dictate who’s a “member,” and what that really means? What kind of dues do we pay as part of a group, and how are we punished when we break the rules? Martinis, fried food and white wine go a long way toward putting power struggles and personal betrayals in perspective. Just one of the many things women enthusiastically embrace and at the same time can’t stand… about women.
And ultimately, the power of red naugahyde comes into play.
EST/LA Winterfest March, 2014 (Matthew Elkins, Director). Earlier Draft—Semi-Finalist, 2007 O’Neill Playwrights Conference; Theatricum Botanicum Reading Nov, 2005 (Louis Fantasia, Director)
(75 minutes; 3 women) Click Here for PDF Copy
A comedy about drama and authenticity and finding stand-ins, Blood Replacement finds three women who are waiting for a rugby match to begin. Only there’s something a bit off about this particular playing field. Otherworldly, even. Oh, and it’s gay rugby.
At very different points in their lives, these friends grapple with their pasts, uncover hidden motives, and cross all sorts of lines as their search for common ground becomes more and more absurd. In the end, they must embrace their differences—as well as the unexpected changes in one another and the world around them—to open up new possibilities.
EST/LA Winterfest February, 2013 (Shaina Rosenthal, Director); Playwrights Union First Peek June, 2011 (Eric Bloom, Director)
(90 minutes; 3 women, 1 man) Click Here for a PDF Copy
A dark comedy about a big, messy basement and the siblings in it, within Men & Boxes are three sisters who have returned home to move their aging mother out of their family’s digs. With a fast and furious tone, the play explores family dynamics, and looks at what is revealed—what develops—in times of change and crisis.
As the women search through long-forgotten relics and pack up their collective history, they are forced to examine their individual responsibilities—to themselves, to each other, and towards a commitment to furthering and owning options. And although they’ve enlisted their brother to move the boxes, it is the sisters who must take action in order to deal with their bodies and their choices and their legacy.
EST/LA Winterfest March, 2015 (Chuma Gault, Director). Ripe Read July, 2012 at Lounge Theatre (Shaina Rosenthal, Director); Circle Reads development June, 2012 (Jami Brandli, Dramaturg). Earlier Draft—Finalist, 2002 Robert J. Pickering Award for Playwriting Excellence; Winner in the 2001 Alliance of Los Angeles Playwrights (ALAP) New Plays Competition, reading by New Works Company (Danny Leclair, Director)
YARD SALE SIGNS
(85 minutes; 5 women, 1 man) Click Here for PDF Copy
A dark retail comedy about mothers and daughters and other things that imply some sort of responsibility, Yard Sale Signs is set in unmistakably female terrain: a discount clothing store’s communal dressing room. Yet on this shopping trip, the characters find themselves examining much more than their fashion choices.
Because on this particular day, battling the force of full-length mirrors, the women who have been brought together are compelled to look beyond their reflections and projections. Perhaps they catch sight of something they never wanted to see staring back at them: their own mothers.
With an absurdist edge, the sometimes ruthless journey throws light on the stuff we accumulate as we move through life, and the rather circuitous paths we follow to convince ourselves we’re rid of it.
World Premiere September 25, 2010 Rogue Machine at Theatre/Theater (Elina de Santos, Director); Semi-Finalist, 2009 O’Neill Playwrights Conference; reading June, 2008 by Rogue Machine at Theatre/Theater (Barbara Kallir, Director); workshop reading at Theatricum Botanicum November, 2007 (Randee Trabitz, Director)
(80 minutes; 4 women, 1 man) Click Here for a PDF Copy
A play about the economy and the price of not having children, two longtime friends who’ve made very different choices occupy Space Available, providing an absurdist look at a woman’s place and her diminishing options in today’s rapidly shifting reality.
The Barren Woman has nothing, except a personal litany of profound misfortunes. So her Productive Friend, a married mother of three, enters into a grand plan that involves setting up a business and making changes that will fill her single pal’s life with everything she—or any woman—needs.
When a woman who’s survived by keeping her head down, marking time and doing without finally looks up and sees that the surreal future she’s being propelled into is not one she can live with, she gets a different perspective on her place in the bigger picture.
Rogue Machine Dramaturg’s Table, 2012 (Henry Murray, Dramaturg); Playwrights Union First Peek May, 2012 (Jen Bloom, Director)
(100 minutes; 5 women, 2 men) Click Here for PDF Copy
It all started with the fridge…
Remodeling Plans is an absurdist domestic comedy built around significant changes. In it, an independent woman’s kitchen remodeling project turns her very safe world upside down… thanks to a little help from her friends. With every step of the remodel—and every change in the plans—her carefully-constructed reality shifts dramatically. Until she realizes that the chain of unexpected architectural events is spinning completely out of control, and it all makes her long for her old Formica.
So what’s a woman to do? Trapped inside of a life that’s not hers, told to set up house in a place she doesn’t recognize with a family that appeared out of nowhere…
Well, perhaps she’d better take another look at her relationship with major appliances. And commit to some choices of her own.
“Playwright Jennie Webb is Erma Bombeck after three glasses of Charles Shaw Chardonnay. Her wonderfully silly comedy… is filled to the brim with nonstop caustic humor and inventive situations.” —Backstage West
“Jennie Webb is a bright new voice with a wicked comic sense and considerable verbal wit.” —Random Lengths Newsmagazine
World Premiere March, 2004 at El Portal Theatre (Randee Trabitz, Director); reading at Theatricum Botanicum February, 2003 (Emily Chase, Director)
(80 minutes; 3 women, 2 men, 1 either gender) Click Here for PDF Copy
A play about lingering and moving forward, Anticipating Leftovers is a freewheeling funereal comedy which takes an absurdist look at family ties, the weight of shared memories, and obligations at large–particularly the large obligations that come with marriage. At least for women. Some women. Who may or may not be safely married.
Playwrights Union First Peek, May 2010 (Casey Stangl, Director)
(90 minutes; 4 women, 3 men) Click Here for PDF Copy
A most absurd comedy, Tilting provides a shamelessly agit-prop look at America’s changing political and social landscape pre- and post- 9/11. The play examines the media’s role in manufacturing leaders, tests our religious tolerance for blind faith and challenges the power of the almighty dollar.
Commissioned by The Will Geer Theatricum Botanicum as a work to be created specifically for the scenic, outdoor amphitheatre and repertory company members by its first playwright-in-residence, the bold comedy draws from the history of the “Living Newspaper Plays” originated by the WPA, as well as the unique legacy of the Theatricum itself as a long-standing LA arts institution with its roots in the McCarthy era blacklisting.
Theatricum Botanicum workshop November, 2003 (Ellen Geer, Director)
THE COMPLETE STORY OF THE WAR
(75 minutes; 2 women + 2 male voices for a textual score) Click Here for PDF Copy
The Complete Story of the War is a dark, dense play set in a place without walls where unseen forces are at work. In it there are two women who support, betray, condemn, love, and really, really hate each other. Together, they grapple with memories and engage in all too familiar battles; but are they fighting as one, or against one another? The play is an absurd yet powerful exploration of women’s relationships to the volatile world we live in, to cultural expectations, to men, and—of course—to other women.
Layered upon a score pulled from the fabric of American life, The Complete Story of the War taps into raw emotions and uses cutting humor to mine dangerous territory: the perpetuating cycle of abuse and violence against women.
Selected by The Playwrights Center in Minneapolis for its 2001 PlayLabs; winner in the 2000 Alliance of Los Angeles Playwrights (ALAP) New Plays Competition, reading at 24th Street Theatre (Denise Gillman, Director)
(75 minutes: 4 women, 2 men, 1 either gender) Click Here for PDF Copy
GreenHouse is an entropic comedy focusing on the absurdities of a non-nuclear family, the Greens, who serve as a somewhat distorted model for an even more distorted global situation. The family’s “Ozzie and Harriet” display of normalcy is hard to keep up when “modern science” gets out of hand and power is projected upon an unseen enemy. Soon, everyone is propelled into a surreal world with climatic shifts of planetary proportions, as unnatural acts of nature are intensified by the overzealous reach of government. As a theatrical metaphor for the Greenhouse Effect, within GreenHouse is a time and place where our ability to acknowledge, implement and embrace radical change as well as our own responsibility is the key to our survival.
“Somewhere between the Simpsons and John Guare.” —Los Angeles Times
Pasadena Playwrights reading, 1999; Stage One Reading by A.S.K. Theater Projects, 1996; reading at Theatricum Botanicum (1995). One-act version workshopped 1990 at Theatre/Theater and various site-specific venues as part of Runyon Canyon Festival for L.A. Open Festival (Brent Morris, Director)
(70 minutes; 8 women)
In these connected monologues, or “pieces of a play,” eight women try to figure out what is valuable, and by whose standards. Always with a seriously comic tone, the women at the center of Unclaimed Assets are very much part of a lost generation. But they feel compelled to search for the missing pieces in their individual and very disparate lives, and in their conversations with the audience, much is revealed . . . about the overlooked and the underestimated in ourselves, and our surroundings.
“With bitter-sweet humour throughout, the women’s anecdotes come across like soul-searching for cryptic clues to the other side of their personas . . . This emotional exploration . . . never tries to be overly symbolic but pulls no punches.” —Edinburgh Evening News
“Witty thumbnail sketches of eight confused, over-packaged American women . . . showing comic flair and sophistication, Webb charts well how American women feel, and how US society makes them feel.” —The Scotsman
World Premiere August, 2001 Edinburgh Fringe Festival (Alan Hubbs, Director). Selected pieces performed as part of arts festivals including “Summer Nights in Silverlake,” 1994; L.A. Fringe Productions’ “24 HOURS OF ART” and “Runyon Canyon CAMP*SITES,”1991; televised by Studio Z, Chicago, 1992.
KILLING MISS AMERICA co-written with Brent Morris
(60 minutes; 3 women, 2 men)
“The standard of ideal womanhood” is held hostage in this commercial comedy, and it’s a crisis of major proportions: a battle for women’s rights, the search for personal identity, and the futility of ordering Chinese food at 3 am. Killing Miss America examines the Nation’s fascination with beauty pageants, as well as the individuals who condone and condemn them. Backstage in Atlantic City, the former Miss Idaho is about to get the surprise of her life as an avenging ex-anchorwoman and a desperate actress plot and wait until all of America is watching to greet America’s Miss onstage with a crown… and a gun.
“The satire is genuine, riddled with wicked wit.” —Los Angeles Times
“Full of dark humor.” —Daily News
Rough Theater production staged at Powerhouse Theatre, 1988 (Brent Morris, Director); subsequent productions at Hollywood Actors’ Theatre, 1990; Orange Coast College, 1989; Thousand Oaks Arts Council Center, 1991