The show will run weekends, June 7-23 ‐‐ CLICK HERE FOR TICKETS

The following two roles have not yet been cast. For more information or to make an audition appointment, contact Director Jared Mola at mola.jared@gmail.com
Officer James Bailey		Male, 40s-50s. African-American. No-nonsense on the job, a Trekkie in his off-time.
Kiril Ivakin		Male, 20s-30s. Russian. Appears at the end of the play. A large man, he is described as looking like Ivan Drago from Rocky IV. (Speaks with a Russian accent)

This show is a season extra, and will not be a part of the season ticket package, but season package buyers will be able to purchased it as an add-on at a discount from the single-ticket price.

The show will run two weekends, Oct 11‐20, 2024.
General auditions are currently scheduled for Aug 26 & 27, 2024.

• As well as appearing in, I am also designing sound for our next show, the last of the 2023/2024 season, Superior Donuts, by Tracy Letts, directed by Jared Mola, which runs June 7-23, 2024.

• At this point I am confirmed to design sound for three shows from our forthcoming 24/25 season: Campaigns Inc., by Will Alan, which I am also directing (showing Oct 11-20, 2024), The Minutes, by Tracey Letts, which I am producing and Melissa Ertsgaard is directing (running Jan 31-Feb 16, 2025), and Chancers, by Robert Massey, which Marjorie Strader is directing (showing Mar 28-Apr 13, 2025).

FutureFest 2024 at Dayton Playhouse: I am on board to design sound for this summer's installment of the annual new play festival, which took a one year hiatus but is now back up. This likely means that I won't be auditioning for any of the six finalist, as attending the key rehearsals close to and during Tech Week as sound designer, would a problem, and I will need to attend all six tech rehearsals, as well as some just before. This also precludes me from directing, as well.

Beavercreek Community Theatre in the 2024/2025 season.

• Just as I suspected would happen, Doug Lloyd has asked me to lend my original sound design for the DTG production of The Sugar Witch, by Nathan Sanders, which we mounted at DTG in 2010, for the BCT mounting that goes up October of 2024. I have all the sound files still in my library, and probably still have the Show Cue Systems project file, though it will invariably need tweaked.

1. one is a double album with much electronic, experimental, and new-age type music on it, which I recorded in the mid 1980s.
2. the other is ambient sound, which was recorded several years ago. This one has been remastered for use in the Wednesday's Child production which ran at The Guild, November 3-19, but I'll likely revisit the remastering before I decide about submitting the work for release as an album.

Meanwhile, click here for the official page for my album, Virtually Approximate Subterfuge, which released in November of 2022.

Recently I finished a short play that happens in the same universe as the play above and the novel below. I intended for it to be a ten-minute play, but it's running longer than that. At the moment I have no inclination to cut anything, or at least, not very much.

There's also my novel manuscript, started about twenty years back, which has had a finished draft for almost as long. And, again, is in the same universe as the plays mentioned above, but takes place earlier than either; in one case, over four decades earlier. I haven't actively worked on it in years, barely at all since I came back to theatre. I am trying to gear myself up to go back in for some revision and polishing.