The poet T.S. Eliot struggles to reconcile his homosexuality with societal, professional and religious restrictions. A musical taking place in a Gatsby inspired early Twentieth Century London and within Eliot’s imagination, populated by characters from his writing, each offering different advice.
A writer exposes and explores Emily Dickinson’s struggles with lesbian love, BDSM, insanity, and incest. But as he gazes at the monsters in the abyss, he finds that the abyss is gazing back at him, exposing his own dark secrets and driving him to suicide.
Ezra Pound was the single greatest contributor to the growth of literature and literary celebrities in the Twentieth Century. He was also a Fascism supporter, broadcasting anti-war and anti-Semitic rhetoric during WWII. Should we be measured by our best moments, or our worst?
In Britain, the National Institute for Clinical Excellence (N.I.C.E.) sets up guidelines about who should live and who should die for terminal patients. What happens when they decide your comatose mother must die? What starts out as a debate about issues of nationalized health care quickly turns into a debate about the value of human life. Four siblings are forced to confront death and their own inner demons.
The story of Robert Frost, told as if he has come back from the dead to visit the stage for another of his famous readings and chats with the audience.
“Everyone’s sanity hangs by a thread. It is up to each of us to save ourselves unaided. “–Robert Frost
“I was brought up like a man, and I’m glad for that–though I sometimes wish I had been born a man, just to be complete about it.” –Amy Lowell
San Diego Book Awards
Winner, Best Book/Drama, Eliot
National Best Book Awards
Finalist, Best Stage Play, Eliot
Moondance Film Festival
Winner, Best Stage Play, Frost
Moondance Film Festival
Winner, Best Musical Libretto, Eliot
Finalist, Best Verse Drama, Frost
USA Book News
Finalist, Best Stage Play, Frost
American International Theater, Inc. is a 501(c)3 non-profit organization dedicated to the idea that theater can be both entertaining and educational. We produce movies, plays, musical, and dance events that leave people thinking well after the performance is over. Our goal with each performance is to stimulate discussion and encourage further exploration of a topic.
…manages to achieve moments of absolute breathtaking magic. …shouldn’t be missed.—nytheatre.com
The Emily Dickinson presented in William Roetzheim’s Dickinson is nothing like the woman they teach about in school, and thank goodness for that. …Part of the beauty of Roetzheim’s play is that it spins out Emily’s secrets bit by bit, and always with pieces of her work backing up the hypotheses. He does so in a very theatrical style that keeps the audience interested in the way that a lecture never would. —Stagebuzz.com
Must See. You may not be lucky enough to see the enigmatic Dickinson [because all] performances are sold out. However, I would still call the Theatre to see if you can get in!— San Diego Theatre Scene
…the play offer[s] a characterization of the poet as a fully dimensional woman, not just the ethereal, troubled spirit most often described in history books. She’s intellectual and dreamy, sure, but she’s also flirtatious, romantic and childlike as well as sad, angry and fatalistic. —San Diego Magazine
What patrons witness is a play as puzzling, frustrating and fragmented, and every bit as fascinating as the poet, her life and her poetry. It’s an unsettling evening and that is the point. —San Diego Uptown News
…It’s a highly recommended outing. —Gay and Lesbian Times
Pound’s signature stream-of-consciousness lends itself to Roetzheim’s vignette-style monologues as the play (and spotlight) revolves around the different witnesses brought into the courtroom to be interrogated. …While audiences may need to brush up on their American literature to follow all the name dropping, Pound is no dusty regurgitation of literary criticism. True, it has enough high-brow appeal to indulge poetry buffs but it’s also fun-loving and stimulating thanks to the intelligent but never patronizing script and the brilliant lead actor. Jeff Berg performs with so much assurance, it’s obvious he’s done his homework, bringing honor and homage to the challenging topical landscape Roetzheim has laid out. Together they fuse the two genres of poetry and theater without watering down either, making for an incredibly well-researched script about a man who has reached his breaking point and the special opportunity for audiences to directly react to all of it. —New Theatre Corps, NYC
Author Roetzheim doesn’t shy away from portraying Pound as an unsympathetic, opinionated racist as well as anti-Semitic…Yet when Pound goes on a tirade about American economic policy and profit motive behind the banking industry, his ideas sound clear-headed and refreshingly current. —NYC Onstage
After Pound and various other characters, all of them played by Jeff Berg, have their say, the audience renders its verdict by flashing the cards. It’s an interesting conceit…Pound in essence shapes up as a dialectic examining the role of the artist in relation to his art and society as a whole. —Backstage