MY PLAYS are queer. They travel a spectrum from ridiculous to surreal and are all set on the same planet. This planet, while shockingly similar to the Earth, is in a parallel universe. My writing uses repetition and assemblage techniques to push the boundaries of theatrical form; to better examine ideas and history; to recycle archetypes and stories. I am inspired by the work of Charles Ludlam and The Ridiculous Theatrical Company and expand upon their traditions in my writing. Typically, I eschew realism as well as heteronormative narratives. I like decadence and the frightening world that lies behind it, I craft journeys around the collapse of it. I also like to write monologues about geology and the cosmos.
FROM SKULL TO GHOST
Set in a rapidly sinking Brooklyn, From Skull To Ghost is an obsessive work about loss and time passed in a vanishing world. A massive sea wall is being built up Fourth Avenue to keep the quickly rising tides at bay. On the other side of the wall, a chosen family gathers in their local bar, to mourn the death of one of their own. People claiming to work for the city are knocking on doors — they should not be let in. The friends keep drinking and burning sage, reliving the night of the funeral as the water gets higher and higher. Then, one by one, they start leaving.
MUTANT WATER BABIES
A ludicrously tragic epic with song, based on The Bakkhai by Euripides.
The walled City-State of New York City was one of the only places with clean drinking water until a mysterious parasite infected the upstate reservoir. Was it all the mega-fracking? The singing water-pipe denies that connection, but she's also an aggressive mouth piece for the administration. THEN! The parasites starts turning all the city residents into mutants! This annoys the Mayor because she works hard to keep her militarized City-State running smoothly. After listening to a self-help tape, a long forgotten deity returns and teams up with a pair of teenage mutants to save everyone (But also maybe punish them? It's hard to say).
Music by Nicholas Williams
6 to 8 actors.
Click here to access rough demo tracks of some of the songs.
ON THE FORMIDABLE AMBIGUITY OF THE FORESEEABLE FUTURE (WE RISE)
Declan's identity was stolen by a bad person so the government got rid of it. Audra just found out that her mother has been paying people to be her friend. They both find solace and guidance in a popular self-help movement, Hope Springs Eternal, but the advice is questionable and when it rips the rock-bottom out from under them they team up to destroy Hope and piece together their lives.
THE DEEPEST PLAY EVER: THE CATHARSIS OF PATHOS
A rag-tag group of clowns are hiding out in a bunker creating and rehearsing an 800 play cycle ad infinitum; every night they risk it all and raise a flag outside the bunker: SHOW TONIGHT! Lo! An audience appears! The clowns finally have the opportunity to perform and begin with play one, The Deepest Play Ever: The Catharsis of Pathos. The Catharsis of Pathos follows the antiheroine Mother LaMadre and her children as they drag their wagon through the Fifth World War and the post-post-apocalyptic wasteland that is New Europe. Together they must navigate all the pitfalls of the dramatic art of drama to find the few remaining books the art-abolishing Evil Empire have yet to destroy and maybe, just maybe, find a way to replace violence with art. Meanwhile, failed artist Davlavdor Salí sells his souls to become the Zombie King of the Evil Empire and sets out to deconstruct the world into nothingness but he needs all the books to do that. Equal parts satire and homage to epic theatre and the struggle for greatness.
10 actors and (at minimum) 2 musicians.
Music and additional lyrics by Michael Wells.
Premiere: 2006 New York International Fringe Festival, extended into Fringe Encore Series. Awarded FringeNYC Excellence Award for Outstanding Playwriting. Produced by CollaborationTown at the New Ohio Theatre in 2012, directed by Lee Sunday Evans.
"Geo Decas O’Donnell’s mashup of classical theater and literary dystopias might be the funniest, most entertaining show in town." - Oleg Ivanov, METRO NY
RATS! [working title]
A cycle of plays about mankind going extinct and rats inheriting the earth.
WORK FOR ALL AGES
My work for all ages uses Joseph Campbell's Hero's Journey as its blueprint. They are layered and are truly meant for ALL AGES.
RIDDLE OF THE TRILOBITES
An epic, puppet-filled musical for all ages set 500 million years ago in the Cambrian Ocean during the Age of Invertebrates. The ocean is changing, new creatures are appearing and the Trilobite Elders fear that their reign as the dominant creature is coming to an end. Hope comes on Molting Day when a young trilo named Aphra is revealed to have prophetic markings electing her to solve the riddle of how “the trilobites cannot live but will not die.” Aphra sets off with several friends on an adventure across the Panthalassic Ocean. The play tackles themes related to growing up, family, loss, our impact on the environment, and extinction. It explores the reality that geological shifts have life-altering impacts on all creatures, encouraging children to think about how mankind behaves toward the planet now and to learn more about the oceans and their preservation.
Co-written with Jordan Seavey. Music and additional lyrics by Nicholas Williams. Developed with Lee Sunday Evans.
6 - 8 actors/puppeteers, lots of characters. 2 -3 musicians.
Developed as part of New Victory Theater's Labworks program. Riddle of the Trilobites received developmental funding from The Henson Foundation, NYSCA and The Dramatist Guild Fund.
Click here to see photos of the puppets, designed and fabricated by Amanda Villalobos.
half hour, single camera comedy
Vanessa Whitman has been Artistic Director of The Hudson River Repertory Theatre in Upstate, NY for decades and has grown the organization from humble basement productions to one of the most preeminent theaters in country; along the way a chosen family of misfits has formed with Vanessa as matriarch. Begrudgingly, the time has come for her to select a replacement. Vanessa gathers her surrogate children: the neurotic Associate Artistic Director, the deluded leading lady and the stoner tech director and informs them that the theatre will go to whomever proves that they love it the most through a lengthy series of tests and challenges. A King Lear-esque battle ensues in this comedy about family, inheritance and artists.
MOST SCRIPTS AVAILABLE UPON REQUEST