Verse Scripts

King Saul Part I: An Elizabethan-style History play, The First Part of King Saul follows the biblical monarch from his ascension through war, to his fall into madness, and his ambivalent relationship with the legendary giant-slayer, David.
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King Saul Part I received a staged reading with the Unrehearsed Shakespeare Company in Chicago, IL, 2013.

King Saul Part II: An Elizabethan-style History play, The Second Part of King Saul follows the biblical monarch in his march toward death, as well as the power struggles that follow his inevitable fall.
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A Thousand Times Goodnight: An Elizabethan-style Comedy based on 1001 Nights. The play follows Scheherazade, a Persian maiden (one of few left) who volunteers to wed the bloodthirsty Sultan (a tyrant with a broken heart), in the hopes of remolding him to a better king. Featuring plays-within-the-play (Aladdin, Ali Baba, and Sinbad), A Thousand Times Goodnight draws its inspiration chiefly from Taming of the Shrew and A Midsummer Night’s Dream.
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A Thousand Times Goodnight received its debut performance with TheaterRED in Milwaukee, WI, 2013.

A Thousand Times Goodnight was produced in Chicago by the Unrehearsed Shakespeare Company in Chicago, IL, 2015

A Thousand Times Goodnight received a staged reading with the Unrehearsed Shakespeare Company in Chicago, IL, 2013.

Countess Bathory: A Elizabethan Tragedy. Inspired by Shakespeare’s Richard III and Richard IICountess Bathory takes all of the exaggerated rumors and legends as fact, depicting Elizabeth has a mad tyrant, fighting desperately to control her passions.
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Countess Bathory received its debut performance with We Three in Chicago, IL, 2016countessbathory_banner2 (2)

Countess Bathory received a staged reading with The Unrehearsed Shakespeare Company in Chicago, IL, 2014.

The Wayward Women (or: Nothing to Do): A new Elizabethan Comedy. Cordelius, a banished lover, and his bondman Julian wash up on a strange land, where women rule and men are the gentler sex. Duchess Penti Celia welcomes them to the Festival of the New Moon, but the celebrations are marred by the hilarious dueling (physical, verbal, and psychological) of the wastrel knights Dame Anu (the virtuous) and Dame Grendela (the flatulent).
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The Wayward Women received its debut performance with We Three in Chicago, IL, 2016.

A scene from The Wayward Women appeared on Poetry Talk September 13, 2016, in Chicago, IL.

The Wayward Women was remounted in rep with The Passion of Boudicca with We Three in September, 2017.

The Wayward Women received its Milwaukee Debut with TheaterRED July, 2017.

The Wayward War: A new Elizabethan History. A prequel to The Wayward Women, The Wayward War tells the story of Penti Celia’s ascension as Duchess of Amosa. Celia’s mother, Penti Marria, reveals before her death that her bastard daughter Nolia has an equal right to the throne of Amosa. Suddenly torn apart by differing ideals, the sisters cannot rule together, nor will either submit to the other’s reign. Allies are set against each other, and friends are forced to watch friends die in a match of freedom against order.

The Wayward War is currently seeking production.

Art by Joan Varitek

The Passion of Boudicca: Queen Boudicca wished to maintain rule over the Iceni (who lived roughly in the Suffolk region) after the death of her husband, King Prasutagus. The Romans felt they were now the rightful owners of the region, and supported this argument by sacking her town, scourging her, and sexually assaulting her daughters. Boudicca countered this point by gathering the local tribes and completely wrecking the Roman army for several years. Taking its inspiration chiefly from Coriolanus and As You Like It (with a tiny sprinkling of King Lear and Henry VI, and particles of others), The Passion of Boudicca pits Pride against Love, Law against Integrity, and Nature against Individuality.
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The Passion of Boudicca received its world premier with We Three in September, 2017.

220px-perkin_warbeckThe Pretension of Richard IV, Part 1: A new Elizabethan History. After Henry VII had ousted Richard III, maligning his memory for centuries to come, he settled confidently into his seat of power. It was not long, however, before a new challenger to the throne appeared. Claiming to be the surviving youngest of the Princes in the Tower, a man calling himself Richard IV emerged and began securing alliances around Europe. Margaret of Burgundy, one of the few remnants of the line of York, used the prince to shore up support for the White Rose, sewing discord and uncertainty all over. With unclear information moving swiftly though, it is uncertain who is supporting whom, who has the better claim, or even who this Richard IV really is. Drawing strong inspiration from Richard II, Henry IV part 1, and Henry VI part 2, The Pretension of Richard IV challenges us to commit despite uncertainty, as certainty is never promised.
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The Pretension of Richard IV, Part II: A new Elizabethan History. Richard regroups and strikes at London from the west, gathering Jane’s Corkish pirates and the simple villagers of Cornwall to march for his cause. He is thoroughly outmatched by the forces of Henry VII, however, and it isn’t long before the King has him cornered. But Henry doesn’t just want to defeat this supposed pretender: he wants to utterly humiliate him and take from him everything he holds dear.

Art by The Monster Ghost

The Pall of Medusa: A new Elizabethan Tragedy. Fearing a sea invasion from Ephesus, the royals of Corinth seek Medusa, an Aeolian sea witch, asking her to summon up a storm to sink the enemy fleet. But when her price proves too high for convenience, and the common folk begin to think foreigners might not be so bad, the King and Queen decide to renegotiate their relationship with her.

The Pall of Medusa received a staged reading with Greenhouse Theater as part of their “Breaking Ground” theater fest in February, 2019.

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