In Process
Eugene Onegin (3W, 2M and bluegrass jam)
a bluegrass adaptation of Tchaikovsky's opera Eugene Onegin
(and Pushkin's verse novel Eugene Onegin)
Book, original music, and lyrics by Sarah Gancher
Commissioned by Dorset Theatre Festival
A bluegrass musical based on Eugene Onegin (both Pushkin’s novel-in-verse and Tchaikovsky’s opera.) In the late 40s, touring bluegrass musician Eugene finds himself stranded in his bandmate Lensky’s Arkansas hometown. There, he’s drawn to Tanya, a gifted young songwriter filled with romantic notions. Her declaration of love to Eugene turns a church hall dance into a drunken row that ends in murder and sets the characters spinning off into wildly different futures. Set in the simple world of post-war Arkansas and the tight-knit Grand Ole Opry community in 60s Nashville, Eugene Onegin explores what it is to build identities, dreams and communities through music. It’s structured as a jam session, where singer-musicians sit in a simple circle of chairs to tell their tale, with seats left open for audience members who might want to sit in.
[2023] Workshop and public showings at The Orchard Project (dir. Jade King Carroll and Dina Vovsi)
[2023] Demo Cutting
[2023] Creativity Fund Workshop at New Dramatists (dir. Jade King Carroll)
[2022] Private Work-in-Progress Showing at Dorset Theatre Festival (dir. Jade King Carroll)
[2021] Commissioned by Dorset Theatre Festival
Untitled Sunny's / Red Hook Project
Site-specific Epic Immersive project
Commissioned by En Garde Arts and The Vineyard Theatre
directed by and developed with Jared Mezzocchi
[2023] Residency at Andy's Summer Playhouse
[2023] Workshop with En Garde Arts
[2022] Residency at Bethany Arts
[2022] En Garde/Vineyard Residency in Red Hook
Jazz Play (working title)
one-act radio play with live jazz
Commissioned by Playwrights Horizons Soundstage
Maestro (2W, 2M and orchestra)
Musical with composer Ben Wexler
Grove/Whitman Commission
[2022] Closed reading
The Hole (3W, 4M)
A workplace comedy about the problem with the patriarchy, set in a Florida morning zoo radio show in 1995.
Some background: “the hole” is an insider radio term that refers to the member of a morning “zoo crew” whose job is to scold the show’s main shock jock by saying things like “come on, that’s not nice!” or “you guys are going to hell!” The hole is the show’s voice of reason, its wet blanket, the person who changes the subject. The hole makes the other personalities on air seem funnier by comparison. The hole is almost always the only woman in the room.
Struggling comedian Rocky has been forced to move back to Fort Carter (a part of New Jersey that happens to be in Florida) to take care of her dying dad. Broke and bored, she jumps at the chance to join the local morning zoo radio show — until she learns that her new boss, shock jock Booger, expects her to be his on-air “hole.” She needs the money, so she tries to fit herself into the format. The only problem is that Rocky is noticeably funnier than Booger, and keeps accidentally upstaging him. This play considers the inherent link between representation and revolution. It asks who gets to be in the center of our stories: “why do you get to talk and I have to laugh?”
[2018] Workshop and Reading with New York Stage and Film (dir. Danya Taymor)
[2018] Workshop and Reading with Asolo Rep (dir. Celine Rosenthal)
[2017] Commissioned by Asolo Rep and the Toulmin Foundation
Eugene Onegin (3W, 2M and bluegrass jam)
a bluegrass adaptation of Tchaikovsky's opera Eugene Onegin
(and Pushkin's verse novel Eugene Onegin)
Book, original music, and lyrics by Sarah Gancher
Commissioned by Dorset Theatre Festival
A bluegrass musical based on Eugene Onegin (both Pushkin’s novel-in-verse and Tchaikovsky’s opera.) In the late 40s, touring bluegrass musician Eugene finds himself stranded in his bandmate Lensky’s Arkansas hometown. There, he’s drawn to Tanya, a gifted young songwriter filled with romantic notions. Her declaration of love to Eugene turns a church hall dance into a drunken row that ends in murder and sets the characters spinning off into wildly different futures. Set in the simple world of post-war Arkansas and the tight-knit Grand Ole Opry community in 60s Nashville, Eugene Onegin explores what it is to build identities, dreams and communities through music. It’s structured as a jam session, where singer-musicians sit in a simple circle of chairs to tell their tale, with seats left open for audience members who might want to sit in.
[2023] Workshop and public showings at The Orchard Project (dir. Jade King Carroll and Dina Vovsi)
[2023] Demo Cutting
[2023] Creativity Fund Workshop at New Dramatists (dir. Jade King Carroll)
[2022] Private Work-in-Progress Showing at Dorset Theatre Festival (dir. Jade King Carroll)
[2021] Commissioned by Dorset Theatre Festival
Untitled Sunny's / Red Hook Project
Site-specific Epic Immersive project
Commissioned by En Garde Arts and The Vineyard Theatre
directed by and developed with Jared Mezzocchi
[2023] Residency at Andy's Summer Playhouse
[2023] Workshop with En Garde Arts
[2022] Residency at Bethany Arts
[2022] En Garde/Vineyard Residency in Red Hook
Jazz Play (working title)
one-act radio play with live jazz
Commissioned by Playwrights Horizons Soundstage
Maestro (2W, 2M and orchestra)
Musical with composer Ben Wexler
Grove/Whitman Commission
[2022] Closed reading
The Hole (3W, 4M)
A workplace comedy about the problem with the patriarchy, set in a Florida morning zoo radio show in 1995.
Some background: “the hole” is an insider radio term that refers to the member of a morning “zoo crew” whose job is to scold the show’s main shock jock by saying things like “come on, that’s not nice!” or “you guys are going to hell!” The hole is the show’s voice of reason, its wet blanket, the person who changes the subject. The hole makes the other personalities on air seem funnier by comparison. The hole is almost always the only woman in the room.
Struggling comedian Rocky has been forced to move back to Fort Carter (a part of New Jersey that happens to be in Florida) to take care of her dying dad. Broke and bored, she jumps at the chance to join the local morning zoo radio show — until she learns that her new boss, shock jock Booger, expects her to be his on-air “hole.” She needs the money, so she tries to fit herself into the format. The only problem is that Rocky is noticeably funnier than Booger, and keeps accidentally upstaging him. This play considers the inherent link between representation and revolution. It asks who gets to be in the center of our stories: “why do you get to talk and I have to laugh?”
[2018] Workshop and Reading with New York Stage and Film (dir. Danya Taymor)
[2018] Workshop and Reading with Asolo Rep (dir. Celine Rosenthal)
[2017] Commissioned by Asolo Rep and the Toulmin Foundation