CONTROL
By Deborah Vines
Control is a short one-act play that is a play within a play within a “film” within a play within a
“film,” within a play. The play takes the audience on a ride as it opens on a tension-filled scene
between a perverse Nazi commander and a young German girl, who, as his object of affection, is under
his complete control. The scene builds to a climactic fury and when the two players are about to go
over the edge, a man yells loudly from the audience, breaking up the scene, and the actors do a complete
180, becoming totally different people – and we realize this is a play about two actors rehearsing a
scene. The formerly masculine, threatening Nazi is now a complaining, whining actor, and the contrite,
soft-spoken German girl is now a tough-talking Brooklynite. That scene then evolves and reaches a
crescendo when suddenly a woman comes on stage, breaking up that round of action. We then find out
she is a therapist and realize this is not a play about an actor performing badly, but a play about
people who are working through their issues in a drama therapy session. And from there the play continues
to twist and turn until its denouement where the audience is left wondering who is really in control.
CHARACTERS
MAN #1
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Dark-haired, good-looking, large frame, 40s.
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WOMAN #1
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Pretty, blond, petite, 20s.
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MAN #2
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Small-framed, 20s.
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WOMAN #2
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Tall, strong presence, 30s
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VOICE O.S.
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Any voice, male or female.
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SETTING
A bare stage with two wooden chairs that face each other.
TIME
The present.
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FOR THE LOVE OF MIKE
By Deborah Vines
A bittersweet dramedy, an elderly woman takes in a cat, at the behest of her daughter, to ease her
loneliness. The woman forms a deep bond with the cat, who she never wanted in the first place, only
to lose him to an illness. The play is not only about how deeply we can love an animal, but it serves
as a metaphor for the love the woman felt for her deceased husband and the unexpressed anger she has
been carrying since he passed and left her alone.
CHARACTERS
DOROTHY
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60s -70s, crusty, opinionated
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JEAN
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30s, Dorothy’s daughter, controlling
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MIKE
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Pleasant looking, laid back, a glint of humor in his eyes, could be anywhere in age from 40s – 70s
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SETTING
Dorothy’s modest apartment.
TIME
The present.
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HANGMAN
By Deborah Vines
A couple in a movie theater, waiting for the show to begin, experience the psychological impact of
terrorism when they see two men in the theater several rows down, one of which is carrying a backpack.
Their imagination gets the best of them, and a lively, paranoid discussion ensues. In the end we find
out that man with the backpack is not a middle eastern terrorist, but Julio, a waiter at a Mexican
restaurant that the couple frequents.
CHARACTERS
WOMAN
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Adult (could be any age from 20s - 40s, and any race, other than middle eastern or Hispanic),
pleasant looking.
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MAN
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Same description as woman.
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SETTING
A movie theater (indicated by two chairs facing audience).
TIME
The present.
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A HOLIDAY HELPING
By Deborah Vines
Holiday Helping is about a dysfunctional family who reunites for the holidays. Jane Norton, who has
progressively become more and more agoraphobic, is trapped in a marriage of non-communication. Her
husband, Eaton, is highly opinionated arch conservative. They each live in their own isolated and
polar opposite worlds. During the Christmas holidays, Jane, in a last ditch effort to find some
connection with family (or on a sub-conscious level to save her sanity) gathers up all the “loose
ends.” These include Gram, Jane’s mother, who is bordering on senile dementia; Jane and Eaton’s two
boys, each of whom has his own take on life (Slash, a punked-out rock and roller, and Jerome, a highly
intelligent, straight-laced college student, with little to say to anyone); Darla, Eaton’s estranged
sister, who flies in from LA where she is struggling to make it in the arts; and finally Wanda, Jane
and Eaton’s daughter. Everything is turned upside down when Wanda, who is a public defender, reveals
she is pregnant by Jesus, her current boyfriend and former client who was busted for possession of
marijuana. Eaton goes berserk, the family unravels, and through a sudden mishap where Eaton falls down
the stairs injuring his “trick knee,” the family gains an opportunity to speak their truths. Jesus is
the catalyst that finally brings the family back together. The play ends in a tender moment, as each
family member makes quiet amends and Jane finds the strength to go outside.
CHARACTERS
JANE NORTON
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Pleasant looking, early 50s, suburban housewife, tastefully dressed, neurotic, agoraphobic.
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EATON NORTON
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Jane’s husband, 50s, nice looking, arch conservative, highly opinionated.
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GRAM
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A feisty, silver-haired woman in her 70s, and “in her own world.”
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SLASH a.k.a. ELLSWORTH
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Jane and Eaton’s 21-year-old son, who dresses in full heavy metal/rock and roll regalia.
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JEROME
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The Norton’s older son, 23, bookish, preppie looking; in contrast to his brother,
Slash, quite the conservative
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DARLA
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Eaton's sister, late 30s, attractive, stylish, quick-witted.
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WANDA
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Jane and Eaton's daughter, 28, slight in build, on the shy side, and fairly conservative looking.
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JESUS
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A handsome 18-year-old Puerto Rican, dressed like a gang member.
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SETTING
A well-appointed living room/dining room in the Norton’s New England home.
TIME
The present.
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JACKIE AND CLARISSE
By Deborah Vines
This full-length tragic-comedy is loosely based on a true story about an unlikely relationship
that develops over the telephone between Clarisse, who lives and works at a high-profile talent
agency in LA, and Jackie, an ex-con on parole who works in a minimum wage job taking ticket counts
for bands. A victim of spousal abuse, Clarisse finds respite, and in an odd way, love, through her
relationship with Jackie, who is fighting his own battle to remain “straight” in an unforgiving
world. Through Jackie’s ultimate demise, Clarisse finds the courage to leave her husband.
CHARACTERS
CLARISSE *
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Early 40s, average looking, soft-spoken, possessing an innate intelligence.
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JACKIE *
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Street-smart, hyper-kinetic, charmingly uncultured, 30s.
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SETTING
Jackie’s dingy office in Miami Beach and Clarisse’s well-furnished, well-appointed office in Los Angeles.
TIME
The present.
* NOTE: The characters can be played by actors of any race – abuse does not “discriminate.”
The playwright originally wrote the role of Clarisse for a black actress and Jackie for an
Hispanic man.
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LOVE! THAT 4-LETTER WORD
By Deborah Vines
Love! That 4-Letter Word is a full-length two-act musical comedy. The play is set alternately in
the offices of two psychologists and counselors for the lovelorn, Dr. Ian and Dr. Kathryn Lieb, and
different bars “around town.” The Liebs, like some of their clients, are experiencing relationship
problems of their own; Dr. Kathryn wants to separate from her husband. Dr. Lieb, who is going through
a mid-life crisis, has turned his affections on Venus, the Lieb’s cute, sexy receptionist, in reaction
to his wife giving him the old heave-ho. As Dr. Kathryn counsels Carol and Cleaver, a married couple
on the brink of separating, she sees herself through these two, and begins to question her decision
to leave her husband. The other characters who come through the offices, whether in individual session
with the doctors, or in group, slowly uncover their own truths, which in effect enable others around
them to see theirs. Jeffrey, who thinks he is in love with Venus, finds his true self as Sam
(AKA Samantha) unravels her/his own. Hazel, a sprightly red head, who falls in love every time she
turns around, finally comes to grips with her codependency by falling in love, one more time, with the
“wrongest” of wrong men. Sally, who hides her pain in one night stands and alcohol, is the muse that
enables Dr. Ian to let go of his pride and let Dr. Kathryn back into his heart. A nine character play,
Love! tells of the many faces of amore, the challenges of being in love and out of love as seen
through the lives and eyes of these two psychologists and the people who come in and out of their
offices. The plot is replete with twists and turns and surprises in the end. The music runs the gamut
from ragtime through the 40s and 50s, right up to contemporary rock & roll. The score includes several
heart wrenching, haunting ballads and many upbeat and campy tunes.
CHARACTERS
DR. KATHRYN LIEB
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40s, attractive, confused about relationship with husband.
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DR. IAN LIEB
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Late 40s, prideful, going through mid-life crisis, graying hair.
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VENUS
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Early 20s, sexy, aloof, a bit icy, leather-loving.
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JEFFREY
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Mid 20s, high-tech nerd, slovenly dresser.
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HAZEL
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20s, red hair, big energy, co-dependent.
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SAM
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Late 30s (a.k.a. Samantha), neurotic, red hair (into drag).
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CAROL
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Early 30s, attractive, controlling, married to Cleaver.
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CLEAVER
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30s, handsome, frustrated, struggling actor.
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SALLY
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Late 20s, pretty, tall, likes to drink.
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NOTE: Players can include several ethnic groups.
TIME
The present.
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NADINE'S LAMENT
A Short Play
By Deborah Vines
Nadine works for “The Boss,” who is overworked, tired, and a bit on edge. No matter what she does,
she cannot get him to notice her. The play is a metaphor for the frustrations of being young and
single in a fast-paced, over charged world and being unlucky in love. Pushed to the edge with
frustration, Nadine loses it and lets her boss have it. And finally, he notices her and agrees
to shoot her (with his arrow). Her boss is not other than the often-times elusive Cupid.
CHARACTERS
BOSS
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Male, mid 30s, average looking, with an edge.
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NADINE
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Pleasant looking, 25 years old, New York accent.
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SETTING
The boss’s office. One desk on stage should suffice.
TIME
The present.
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WEB-ENABLED
A Short Play
By Deborah Vines
Web-Enabled is a one-act comedy about e-love. Jenny and Carl, both of whom are dissatisfied and
lonely in their marriages, meet through the Internet. Their communications become intense and
passionate. They decide they have to meet each other, to explore what has evolved between them.
The play opens when Carl first enters the hotel where Jenny has reserved a suite. Neither one of
them know what to expect, and when Jenny opens the door, she finds that Carl has misrepresented
himself, both in terms of his physical self and age. What ensues is a dance of awkwardness as Carl,
who has not had any physical contact with his wife in years, tries to get Jenny in bed by trying to
recreate the passion they shared in their e-mails. The comedic play touches upon issues of attraction
and physical beauty and how that dictates our feelings for another person.
CHARACTERS
JENNY
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Late 20s, pleasant looking, tall, slim, wearing a long, tasteful, casual dress.
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CARL
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Short, 50, not really attractive, but not totally unattractive (perhaps a Woody Allen type),
with a dry, sometimes sardonic wit, dressed in shorts, flower shirt, socks and sandals, trying to
appear hip, but missing the mark.
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SETTING
An expensive hotel suite near the California coast in LA.
TIME
The present.
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