Apocalyptic Comedy.  6m 1f.  Approx 1h30 

Three plays about life on the edge of a century:  
 

Part Three of the Love Trilogy

Contemporary Comedy.  3m 1f.  Approx 1h40 net

Tender sets about salvaging his second marriage after a 'minor glitch' early on in the proceedings, while best friend Eugen tries to reconcile his love ideal with 'reality', though not quite as most people know it. Meanwhile, mutual friend Anna comes up trumps with her own brand of surprises.  

LOVE HURTS

Part Two of the Love Trilogy

Contemporary Drama.  4m 4f.  Approx 2h30 net

A group of London urbanites in their thirties juggle their complicated lifestyles while coming to terms with tragedy in their midst, as the recent past catches up with them more quickly than they imagined.

THE POWER OF LOVE

Part One of the Love Trilogy

Contemporary Drama.  4m 2f.  Aprrox 2h30 net

"Tender and Eugen, two barely grown-up thirtysomethings, obliterate their senses in Amsterdam while 'researching' for their screenplay.  Following his code 'It Doesn't Count on Tour', father-to-be Tender sleeps with beautiful publicist Willow, the upshot of which is an HIV infection.  Sebastian Michael's play 'about life on the edge of the century' is stirring, prophetic stuff...insightful and moving."
Time Out

"'The Power of Love' is about young people in the nineties grappling with sex, careers, drugs and AIDS, but it does not exhibit the soulless banality of so many plays with these themes.  This is 'Shopping and Fucking' with more humour and more heart. ... the plot meanders and teases while always keeping an assured grip on the audience's attention: black comedy, tragedy, poetry, soap opera and philosophy jostle joyfully together... 'The Power of Love' draws authenticity from the strength of its characterisation... The friendship between the two main male characters, Tender and Eugen, is the engine that powers the play.  It is quirky but absolutely believable and, as an unashamedly emotional portrayal of male love...ventures into relatively unexplored theatrical territory."
Plays & Players

RINALDO

Drama.  3m 4f.  Approx 2h30 net

Two brothers' incestuous relationship flares up on the occasion of the older's wedding.

Rehearsed Reading at Finborough Theatre London by The Steam Industry; Dir: Lucille O'Flanagan

NEMESIS

Drama.  8m 2f; 1 boy; 4-8 extras.  Approx 2h30 net

A liberal government minister loses her son in an IRA bomb attack and sets out to avenge her child's death.

Rehearsed Reading at BAC London by Greater London Productions; Dir: Ian Jessup
 

CARAMBOLAGE (SLEAZE)

Satirical Farce, part verse.  9m 5f.  Approx 2h net

A Tory would-be PM's political ambitions unravel when his teenage rent boy of yore turns up on the Greek island where he's spending a pre-leadership campaign holiday. 

ALL THE WORLD

Drama.  4m 3f.  Approx 1h45 net

"Set in the West End dressing room of opulent star Peggy Weishaupt, 'All The World' offers a breathlessly excited backstage look at the tawdry glamour and ingenious artifice of the theatrical profession.  Peggy is larger-than-life, with a lived-in body and husky, smoky voice: successful, yet desperately insecure; feted, but possessed by voices from the past.  A faint air of doom hangs about her intense relationship with adored son David.  ...  Everybody falls in love with everybody else, comes to grief, and decides the show must go on! ... Straightforward realism alternates with hightened fantasy, with the script veering from the workaday to the poetic."
Suzy Feay, Time Out

Premiered at the Etcetera Theatre London 1990 by Aesthetics on Stage; Dir: Mehmet Ergen and Sebastian Michael
 

SISTERS

Surrealist Drama.  1m 2f.  Approx 90mins net

"From the title, one might expect some feminist tract, or a worthy family narrative, but you get neither, but a quite engrossing but playful meditation on the idea of sisterhood, fleshed out with arresting and unusual stage antics.  The scene is at an airport, where two sisters, both formidable women in their own rights, meet to attend a family funeral.  The play develops the two characters, Camelia - a stunningly magnetic woman, successful journalist and irrepressible minx, and Anja, more conventionally feminist.  Sparks fly as opening naturalistic scene gives way to a surreal sequence in which the audience itself becomes, in a small way, part of the action."
Joy Hendry, The Scotsman

QED

Concept Multi-Media Performance.   Cast variable.  Duration variable.

"On walking into the performance area, all my ghosts were exorcised.  QED is advertised as theatre but uses dance, a slide show and an original soundtrack as well as the spoken word.  The performance fairly bubbles with intellectual playfulness.  But this hardly implies that the concepts confronted within are slight.  Sequences of movement and words are used as building blocks.  These are repeated, with minor variations by all the cast.  Through this repetition, the bizarre becomes commonplace and we are warned against this. ...  The dynamics of the stage action combine with this to exhilarating effect. ...  Put it this way: I want the accompanying T-shirt."
Pete Strover, Forth Action Review