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36 pages

Cast of 12 plus ensemble. Most roles are gender flexible except for those noted. Doubling possible.

James, a young boy, suffers from Angelman Syndrome. This neurodevelopmental disorder causes problems with speech and mobility forcing him to spend his life in a wheelchair. The story shifts from James’ imagination where he dreams of being a superhero called “The Amazing Angel-Man” to the real world, where the realities of his condition have a serious impact on his family, particularly his father. As the play progresses, these two separate worlds start to overlap, leading to an uplifting resolution that upholds the values of hope and imagination. The play was ...

36 pages

10 m, 4 w, 1 flex, 1 boy, some doubling possible

Challenger: To Touch the Face of God tells the powerful story of the Challenger disaster of 1986. It dramatizes the stories of the seven individuals who tragically lost their lives in this event, while also drawing attention to the controversial circumstances which led to one of NASA’s blackest days. Although some of the scenes depicted are fictional dramatizations, many of the sentences are the actual words used by the astronauts themselves. Scenes and settings flow seamlessly together with only lighting to distinguish them. The result is a hard-hitting and ...

38 pages

3 m, 5 w, 5 flexible, ensemble, doubling possible

It’s the final stages of a television talent competition. The show’s immoral and unscrupulous presenter and executive producer Jools wants a particular contestant to win, and he goes to great lengths to influence the public into thinking his way. However, things do not go according to plan. With the pressure mounting under the harshest of spotlights, an unexpected twist shows that in the cutthroat television business, few can be trusted. The play explores how the media can manipulate public opinion, an important theme in today’s unpredictable world. The show ...

19 pages

Approx. 8 m, 5 w, numerous flexible roles and chorus

"Mary Jane of Whitechapel" is set during the Autumn of Terror of 1888 when London was haunted by the spectre of a killer which, even now, we know only by the name of Jack the Ripper. Alternating between the investigation into the killings and the life of Mary Jane Kelly, the Ripper’s final victim, the play re-creates the dark atmosphere of a city horrified by blood and violence. Most of the play is based on real people and incidents: the frantic officers on the case, the scores of suspects, the vigilantes who attack foreigners, and ordinary people, scared of ...