*BEING ERNEST* "Even stronger than the writer's ability to create compelling characters is the life they are able to bring through this play's dialogue."

"BEING ERNEST offers a unique perspective on the 1930s by centering on the life of a pulp fiction writer and the struggles he faces both in the office and inside of his mind. The script follows WILLIAM, who on top of feeling unsatisfied with his job and still handling the aftereffects of WWI, bears a striking resemblance to real life author ERNEST HEMINGWAY. Through these three pieces of information, the writer is able to weave a narrative concerning identity and how different people deal with grief and traumatic events. This isn't to say that Being Ernest is dour—in fact, it is bursting with life and a mature wit, specifically in the small interactions that Will has with his colleagues at the paper."

AAF Judge's Commentary

The Devil didn't invent evil, he gave it Wi-Fi.

In a limbo between heaven and hell styled like a 1950s diner, the Devil, Mal’ak, hosts departed souls with his weary sidekick, the Grim Reaper. But when God arrives to shut the place down, Mal’ak bets he can steal one last soul bound for heaven. His wager with Cara, a woman caught between worlds, turns into a twisted game, winner take all.

Confined to a care home, terminally ill literature professor Harold Graves grapples with his past, his regrets, and the slow erosion of control over his final days. His sharp wit and defiance mask a quiet desperation. As he spars with a sharp-tongued drifter who delivered him to his final destination, Harold forms an unlikely bond with a pragmatic priest, forcing him to confront the meaning of faith, redemption, and what—if anything—he'll leave behind.

London - A coffee Shop, a broken water main, and two broken hearts.

A Ski Town Musical

France 1918 - A World War I Epic