Short Plays
These Are The Plays That Launched A Thousand Ships.
The Whole “Jay” Thing is Right Here!
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Infidels Aweigh!
A daringly humorous 10-minute play that delves into the absurdities of cultural and religious misconceptions. Set at a bus stop in a small American town, the play features PFC Jinnger Hudson, a Marilyn Monroe-esque Marine with a penchant for alternative medicine; Sgt. Nathan Kuffar, her earnest squad leader; and Aishah Tatum, a young American Muslim woman. The plot twists around mistaken beliefs, including the humorous confusion between the Qur’an and the Kama Sutra. As the characters navigate their prejudices, “Infidels Aweigh!” satirizes the complexities of modern societal dynamics.
Two women. One man. One set.
Four for Breakfast
A quiet weekday morning in a modest neighborhood diner. Dottie Roush, a practical, no-nonsense waitress, seats Arden Daubert, a courteous regular with dementia. He places three plush companions on the tabletop and calls them by name: Miss Clotho, Miss Lachesis, and Miss Atropos, the Greek Fates who spin, measure, and cut the thread of life.
When breakfast arrives, the truth becomes plain. Arden serves the dolls before taking a bite himself. Dottie quietly helps, feeding each in turn so he can keep eating. The empty chair across from him belongs to his late wife; he speaks to her and waits for her answer – which never comes. He mentions children with very busy lives who mean to visit but rarely do. For the length of one unhurried meal, Dottie helps Arden hold his world together with routine, courtesy, and kindness.
One woman. One man. One set.
Whatever This Is Pretending to Be
Four senior executives of the Foundation for American Values Faith PAC Foundation convene for an emergency Zoom meeting.
At the center of the call is Monica, the impeccably groomed CEO, who introduces a new corporate mandate called the Unified Transparency Initiative -- a system requiring staff to declare their intentions out loud before speaking. What begins as an awkward linguistic exercise quickly becomes a revealing ritual, forcing each participant to articulate motivations they would normally keep hidden.
“Whatever This Is Pretending to Be” is a fast, darkly comic satire about performative faith, nonprofit power, and the moral contortions required to turn tragedy into momentum.
Two men. Two women. Virtual.
Confessions From Hell
In a Catholic church confessional, Father Gibbons encounters Francis, a talkative parishioner who has already been absolved—but isn’t convinced it took. Treating confession like a skill to be mastered, Francis keeps returning, desperate for reassurance that he’s truly forgiven.
When Teresa enters for her own confession and finishes in minutes, Francis is outraged by how easily absolution seems to come to her. What begins as a pointed disagreement quickly turns into a competitive spiral, as Francis and Teresa attempt to outdo each other with increasingly outrageous confessions, transforming a private ritual into a public spectacle.
As the contest escalates, Father Gibbons is pushed to his breaking point, forcing a confrontation that raises an unsettling question: what happens when confession becomes performance—and forgiveness is no longer the point?
Two men. One woman. One set.
BuhNuh
The spirit of “BuhNuh” explores the absurdity of existence and the search for meaning in a seemingly futile world. In a desolate, bleak space, the character Billy sits motionless, observed by two figures, A and B, who question the nature of his being, action, and the universe itself. Their philosophical musings oscillate between hope and resignation, challenging the audience to reflect on the nature of identity and purpose. With minimal action, stark dialogue, and a haunting atmosphere, “BuhNuh” delves into the depths of existential thought, offering both absurd humor and profound insight. As the characters ponder the meaning of Billy’s stillness and whether any action holds significance, the play captures the essence of the human condition: restless questioning in a world resistant to answers.
Three characters. One set.
Kaneshna Nyet
Paul Habilic is a charming professional romantic – the kind of man who can sell a lie with a kiss and a pet name. At a secluded campground, he’s just finished a “special weekend” with Anna, a striking young Russian woman who’s emotionally direct, linguistically precise, and not nearly as naïve as Paul would like to believe. He’s trying to hustle her out of the campsite for his next tryst, when disaster arrives in the form of Tomi Lauren, an American woman showing up early for what she thinks is their leap-year anniversary getaway.
What follows is a fast, escalating farce of near-misses and improvised excuses: closed water stations, a “broken” waterfall, a sudden outbreak of Giardia, phantom park rangers, misplaced underwear, and one tent that becomes a revolving door of panic. But when Anna and Tomi finally compare notes, Paul’s romantic script collapses – and the two women discover they’ve been sold the same lines... word for word. The result is both hilarious and oddly satisfying: Paul gets escorted out, and what’s left behind is a moment of shared loss, shared recognition, and a very practical plan for how a special weekend should end.
Two women. One man. One set.
Burt Dracula, Jr.
Burt Dracula has spent his entire life living in the shadow of his legendary brother, Vlad the Impaler. He wants to be dark and terrifying, but he’s more of a discount lounge act than a Prince of Darkness. Tonight, however, is his big moment – his wife, Lucy, is in labor, about to give birth to what may or may not be the Antichrist. With the wildly unqualified Dr. Hankenstein overseeing the delivery, a Wolfman nurse in the middle of an identity crisis, and an awkward vampire hunter named Skippy Van Helsing crashing the party, things spiral into supernatural absurdity. And just when you think it can’t get any more chaotic, the Invisible Man has been there the whole time... but nobody saw it coming.
A fast-paced, razor-sharp horror comedy that lampoons classic monster lore while delivering a biting (and possibly cursed) good time. Perfect for theaters looking for a hilarious, high-energy short play with a spooky twist.
Three men. Two women. One set.
Mission: Incredulous
On a moonlit seaside boardwalk, Mr. Phelps is handed a recorded briefing for a lethal covert operation... and politely turns it down. Enter Ms. Cinnamon, a cool, glamorous rival who overhears the assignment and claims it for herself, complete with luxury accommodations, lavish perks, and a staggeringly large cash advance. What follows is a flirtatious, cutthroat game of spy-versus-spy as the mission ricochets between them, each recalibration exposing how negotiable bravery becomes when comfort, money, and image are on the line. As alliances blur and self-interest sharpens, high-stakes espionage gives way to a seductive duel of leverage, loopholes, and who’s really willing to get their hands dirty. It all leads to a final reckoning neither of them quite planned for.
One man. One woman. One set.
Confessions From Hell
In a Catholic church confessional, Father Gibbons encounters Francis, a talkative parishioner who has already been absolved—but isn’t convinced it took. Treating confession like a skill to be mastered, Francis keeps returning, desperate for reassurance that he’s truly forgiven.
When Teresa enters for her own confession and finishes in minutes, Francis is outraged by how easily absolution seems to come to her. What begins as a pointed disagreement quickly turns into a competitive spiral, as Francis and Teresa attempt to outdo each other with increasingly outrageous confessions, transforming a private ritual into a public spectacle.
As the contest escalates, Father Gibbons is pushed to his breaking point, forcing a confrontation that raises an unsettling question: what happens when confession becomes performance—and forgiveness is no longer the point?
Two men. One woman. One set.
Mission: Incredulous
On a moonlit seaside boardwalk, Mr. Phelps is handed a recorded briefing for a lethal covert operation... and politely turns it down. Enter Ms. Cinnamon, a cool, glamorous rival who overhears the assignment and claims it for herself, complete with luxury accommodations, lavish perks, and a staggeringly large cash advance. What follows is a flirtatious, cutthroat game of spy-versus-spy as the mission ricochets between them, each recalibration exposing how negotiable bravery becomes when comfort, money, and image are on the line. As alliances blur and self-interest sharpens, high-stakes espionage gives way to a seductive duel of leverage, loopholes, and who’s really willing to get their hands dirty. It all leads to a final reckoning neither of them quite planned for.
One man. One woman. One set.
Infidels Aweigh!
A daringly humorous 10-minute play that delves into the absurdities of cultural and religious misconceptions. Set at a bus stop in a small American town, the play features PFC Jinnger Hudson, a Marilyn Monroe-esque Marine with a penchant for alternative medicine; Sgt. Nathan Kuffar, her earnest squad leader; and Aishah Tatum, a young American Muslim woman. The plot twists around mistaken beliefs, including the humorous confusion between the Qur’an and the Kama Sutra. As the characters navigate their prejudices, “Infidels Aweigh!” satirizes the complexities of modern societal dynamics.
Two women. One man. One set.
Burt Dracula, Jr.
Burt Dracula has spent his entire life living in the shadow of his legendary brother, Vlad the Impaler. He wants to be dark and terrifying, but he’s more of a discount lounge act than a Prince of Darkness. Tonight, however, is his big moment – his wife, Lucy, is in labor, about to give birth to what may or may not be the Antichrist. With the wildly unqualified Dr. Hankenstein overseeing the delivery, a Wolfman nurse in the middle of an identity crisis, and an awkward vampire hunter named Skippy Van Helsing crashing the party, things spiral into supernatural absurdity. And just when you think it can’t get any more chaotic, the Invisible Man has been there the whole time... but nobody saw it coming.
A fast-paced, razor-sharp horror comedy that lampoons classic monster lore while delivering a biting (and possibly cursed) good time. Perfect for theaters looking for a hilarious, high-energy short play with a spooky twist.
Three men. Two women. One set.
Four for Breakfast
A quiet weekday morning in a modest neighborhood diner. Dottie Roush, a practical, no-nonsense waitress, seats Arden Daubert, a courteous regular with dementia. He places three plush companions on the tabletop and calls them by name: Miss Clotho, Miss Lachesis, and Miss Atropos, the Greek Fates who spin, measure, and cut the thread of life.
When breakfast arrives, the truth becomes plain. Arden serves the dolls before taking a bite himself. Dottie quietly helps, feeding each in turn so he can keep eating. The empty chair across from him belongs to his late wife; he speaks to her and waits for her answer – which never comes. He mentions children with very busy lives who mean to visit but rarely do. For the length of one unhurried meal, Dottie helps Arden hold his world together with routine, courtesy, and kindness.
One woman. One man. One set.
Whatever This Is Pretending to Be
Four senior executives of the Foundation for American Values Faith PAC Foundation convene for an emergency Zoom meeting.
At the center of the call is Monica, the impeccably groomed CEO, who introduces a new corporate mandate called the Unified Transparency Initiative -- a system requiring staff to declare their intentions out loud before speaking. What begins as an awkward linguistic exercise quickly becomes a revealing ritual, forcing each participant to articulate motivations they would normally keep hidden.
“Whatever This Is Pretending to Be” is a fast, darkly comic satire about performative faith, nonprofit power, and the moral contortions required to turn tragedy into momentum.
Two men. Two women. Virtual.
Kaneshna Nyet
Paul Habilic is a charming professional romantic – the kind of man who can sell a lie with a kiss and a pet name. At a secluded campground, he’s just finished a “special weekend” with Anna, a striking young Russian woman who’s emotionally direct, linguistically precise, and not nearly as naïve as Paul would like to believe. He’s trying to hustle her out of the campsite for his next tryst, when disaster arrives in the form of Tomi Lauren, an American woman showing up early for what she thinks is their leap-year anniversary getaway.
What follows is a fast, escalating farce of near-misses and improvised excuses: closed water stations, a “broken” waterfall, a sudden outbreak of Giardia, phantom park rangers, misplaced underwear, and one tent that becomes a revolving door of panic. But when Anna and Tomi finally compare notes, Paul’s romantic script collapses – and the two women discover they’ve been sold the same lines... word for word. The result is both hilarious and oddly satisfying: Paul gets escorted out, and what’s left behind is a moment of shared loss, shared recognition, and a very practical plan for how a special weekend should end.
Two women. One man. One set.
BuhNuh
The spirit of “BuhNuh” explores the absurdity of existence and the search for meaning in a seemingly futile world. In a desolate, bleak space, the character Billy sits motionless, observed by two figures, A and B, who question the nature of his being, action, and the universe itself. Their philosophical musings oscillate between hope and resignation, challenging the audience to reflect on the nature of identity and purpose. With minimal action, stark dialogue, and a haunting atmosphere, “BuhNuh” delves into the depths of existential thought, offering both absurd humor and profound insight. As the characters ponder the meaning of Billy’s stillness and whether any action holds significance, the play captures the essence of the human condition: restless questioning in a world resistant to answers.
Three characters. One set.