I've never seen anything important in life that could be wholly classified as comedy, tragedy, farce, or drama. It's all of a piece, in my experience. And so are my plays, most of which can be found on the New Play Exchange.

My work has been read, developed and/or produced by Nylon Fusion Theatre Co. in New York City; the Midwest Dramatists Conference (Kansas City, MO); Baltimore Playwrights Festival; Spooky Action Theater (Washington, D.C.); Panndora Productions (Long Beach, CA); Source Theatre (Washington, D.C.); and the Arts Institute of Washington. 

 

   Awards & Honors

  • Presenting Playwright, 2019 Midwest Dramatists Conference, reading of Scar Tissues

  • Medea Part Deux: That Woman!, reading presented by Baltimore Playwrights Festival at the Kennedy Center Page-to-Stage New Play Festival, Sept. 2, 2019

  • The Drumhellers of Bloody Dick Creek, reading presented by Playwrights Collaborative at the Kennedy Center Page-to-Stage New Play Festival, Aug. 31, 2019

  • Ariadne's Revenge: A Killer App selected and produced for "This Round's On Us: Myth/Reality" festival of short plays, Nylon Fusion Theatre Co., New York City, June 7-8, 2019

  • Medea Part Deux: That Woman! selected for the 2018 "Windows on Our World: Scenes from New Plays," Baltimore Playwrights Festival

 

  • Presenting Playwright, 2018 Midwest Dramatists Conference, reading of The Drumhellers of Bloody Dick Creek

  • Participant, 2018 and 2019 Kennedy Center Summer Playwriting Intensives

  • Semi-Finalist, Road Theatre 2017 Summer Playwrights Festival

 

  • Winner, 2016 New Works Festival, Panndora Productions

 

  • Finalist, 2013 Charles Getchell Award, Southeastern Theatre Conference

 

  • Semi-Finalist, 2012 National Playwrights Conference, O’Neill Theater Center

 

  • Winner, Roger L. Stevens Award, Fund for New American Plays (Kennedy Center/American Express, sponsors)

 

  • Winner, Larry Neal Writers’ Award, D.C. Commission on the Arts & Humanities

 

  • Winner, Source Theatre National Play Competition. 

 

True Will

(Full-length, cast of six: four male, two female)

In the darkest hours of the Battle of Britain, the black-sheep son of a noble family has a plan to save his country and thus prove himself to God, King, and his mother. But he must first get rid of the ghost of his dead fiancée who’s been conjured by his rival, an egomaniacal magus with his own competing plan. A spoof on finding one's real self late in life and on artistic inspiration, featuring Ian Fleming,  Noël Coward, Aleister Crowley, and Rudolph Hess.

"For anyone who has ever wondered where Ian Fleming developed the ideas for James Bond, how Noël Coward came up with the premise for Blithe Spirit or why Nazi Germany’s Rudolf Hess flew to Scotland during World War II in a presumed effort to negotiate peace, wonder no more: William Triplett's brilliantly funny True Will answers all those questions, and in a  style and manner that will delight lovers of history, literature and theater." 

 

-Eric Marchese, The Orange County Register

Medea Part Deux: That Woman!

(Full-length, cast of five: two male, three female)

Fifteen or so years after the worst day of her life, the most notorious mother in Greek mythology, desperate to show she is not just a child-murdering spurned woman (yes, it's Medea), gets a shot at redemption and a return to greatness if she can marry King Aegeus of Athens. But the sudden arrival of the great warrior and schemer Theseus on the eve of the wedding threatens to upend all her plans, plunging her into a struggle against not only the sexism and racism of the times but also her own worst impulses. A parody with edges.

Paperweight

(Full-length, cast of six: five male, one female)

At the last round of the war crime trials in Nuremberg, a young American attorney defends a former minor Nazi officer from seemingly indisputable charges. While passionately believing his client deserves due process, the attorney took the case just as much – if not more – to prove himself to the ghost his dead father, a cold-hearted man who never thought much of his son. But is he right in believing that if he wins the extremely difficult case, he'll be able to let go of still needing his father's approval?

Ariadne's Revenge: A Killer App

(Ten-minute play, cast of two: one male, one female)

Theo descends into an abandoned mine in hopes of finding and killing in its lair whatever horrible beast that has been mutilating men in a small town in Colorado. Instead he finds Mina, who claims to live in the mine with her sister... (Inspired by the myth of Theseus and the Minotaur in  the Labyrinth)

 

The Drumhellers of Bloody Dick Creek

(Ten-minute play, cast of three: two male, one female)

Arvin Drumheller is dead, and nobody could be happier than his son. His wife seems equal parts grieved and relieved. How did it come to this? To find out, we go backward in time and discover how (1) abuse comes in different forms, (2) love can make some serious mistakes, and (3) partial deafness can be a tie that binds.

Take the K Train

(Ten-minute play, cast of three: two male, one female)

Winston boards his usual, crowded, commuter train in broad daylight, and shuts his eyes for the brief ride home. Twenty minutes later he opens them and finds it's pitch dark out, only two other passengers aboard, and the train is going recklessly fast. Otherwise, everything looks and seems normal -- but it isn't. Especially those two other passengers. Is Winston suddenly in a nightmare? If so, whose is it? And how does he escape?

Scar Tissues

(Ten-minute play, cast of two: one male, one female)

Flora, an adult survivor of child sexual abuse, finally has both a chance and the inner strength to bring the man who molested her to justice and possibly save a little girl from the same fate. But the price might be her marriage.

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