“Gleefully wacky and irreverent.”

–The New York Times

“Line by line, Mr. Rudnick may be the funniest writer for the stage in the United States today.”

–The New York Times

“Deeply funny musings and adventures elevate Paul Rudnick to the highest level of American comedy writing.”

–Steve Martin

“One of the funniest quip-meisters on the planet.”

–The New York Times

“Paul Rudnick is a champion of truth (and love and great wicked humor) whom we ignore at our peril.”

–David Sedaris

“Quips fall with the regularity of the autumn leaves.”

–Associated Press

I Hate Hamlet

Hamlet - Paul Rudnick

A young and successful television actor relocates to New York, where he rents a marvelous, gothic apartment. With his television career in limbo, the actor is offered the opportunity to play Hamlet onstage, but there’s one problem: He hates Hamlet. His dilemma deepens with the entrance of John Barrymore’s ghost, who arrives intoxicated and in full costume to the apartment that once was his. The contrast between the two actors, the towering, dissipated Barrymore whose Hamlet was the greatest of his time, and Andrew Rally, hot young television star, leads to a wildly funny duel over women, art, success, duty, television, and yes, the apartment.

“…fast-mouthed and funny…It has the old-fashioned Broadway virtues of brightness without pretensions and sentimentality without morals.”
—Village Voice.

“…unapologetically silly and at times hilarious…affectionately amusing about the theatre…”
—NY Times.

Original Broadway Production starred Evan Handler, Nicol Williamson, Celeste Holm, Caroline Aaron, Jane Adams, and Adam Arkin. Directed by Michael Engler.

Performance rights available from DRAMATISTS PLAY SERVICE.

Purchase on Amazon


jeffrey - Paul Rudnick

Jeffrey, a gay actor/waiter, has sworn off sex after too many bouts with his partners about what is “safe” and what is not. In gay New York, though, sex is not something you can avoid. Whether catering a ditzy socialite’s “Hoe-down for AIDS” or cruising at a funeral; at the gym or in the back rooms of an anonymous sex club; at the annual Gay Pride Parade, or in the libidinous hands of a father-confessor, Jeffrey finds the pursuit of love and just plain old physical gratification to be the number-one preoccupation of his times—and the source of plenty of hilarity. Suddenly,just after he’s reconciled himself to celibacy, Jeffrey’s flamboyant friends introduce him to the man of his dreams, who also happens to be HIV-positive.

“Wildly funny…Just the sort of play Oscar Wilde might have written had he lived in 1990s Manhattan.”
—NY Times.

“The hottest ticket Off-Broadway…even with AIDS lurking in the background, JEFFREY sparkles… Mr. Rudnick has come up with some of the funniest lines and deftest gimmicks onstage today… He is a master of one-liners.”
—Wall Street Journal.

“…the laughter along the way is a battle cry, a defiant expression of who these idiosyncratic characters were before AIDS arrived, and who they will still be after it has gone.”
—NY Times.

Original Off-Broadway Production starred John Michael Higgins, Bryan Batt, Harriet Harris, Tom Hewitt, Edward Hibbert, Patrick Kerr, Richard Poe, and Scott Whitehurst. Directed by Christopher Ashley.

Winner of the OBIE Award, the Outer Critics Circle Award and the John Gassner Playwrighting Award. The script is included in Otis L. Guernsey’s Best Plays.

Performance rights available from DRAMATISTS PLAY SERVICE.

jeffrey - Paul Rudnickjeffrey - Paul Rudnickjeffrey - Paul Rudnickjeffrey - Paul Rudnick

Purchase on Amazon

The Naked Eye

Alex DelFlavio is an ambitious downtown artist who plans to include sexually explicit photographs in his uptown show to advance his career. Nan Bemiss, the wife of a Republican senator who is running for the presidency and a gallery board member, appeals to DelFlavio to remove three of his most “offensive” photographs for the opening. Unexpectedly, Nan is liberated in the process.

“A wry and sometimes savage look at how both artists and politicians turn the sacred—love, sex, family and even death—into marketable commodities.”
—NY Times.

“The playwright is not only a master of the one-liner, but also expertly sends up the social and sexual conventions of wealthy New Yorkers, circa 1994”
–Michael Kuchwara, Associated Press

Original production featured Mary Beth Piel, J Smith-Cameron, Neil Maffin, and Jeremy Geidt. Directed by Christopher Ashley.

Performance rights available from DRAMATISTS PLAY SERVICE.

Purchase on Amazon

The Most Fabulous Story Ever Told

The Most Fabulous Story Ever Told - Paul Rudnick

A stage manager, headset and prompt book at hand, brings the house lights to half, then dark, and cues the creation of the world. Throughout the play, she’s in control of everything. In other words, she’s either God, or she thinks she is. Act One recounts the major episodes of the Old Testament, only with a twist: Instead of Adam and Eve, our lead characters are Adam and Steve, and Jane and Mabel, a lesbian couple with whom they decide to start civilization (procreation proves to be a provocative challenge). Act One covers the Garden of Eden, an ark, a visit with a highly rambunctious Pharaoh and finally even the Nativity. Along the way, Mabel and Adam invent God, but Jane and Steve are skeptical. This brings about the Flood, during which Steve has a brief affair with a rhinoceros and invents infidelity. No longer blissful, Adam and Steve break up only to be reunited as two of the wise men at the Nativity. Act Two jumps to modern day Manhattan. Adam and Steve are together again, and Steve is HIV positive. It’s Christmas Eve, and Jane is nine months pregnant even though she always thought of herself as the butch one. The two women want to marry and want Adam and Steve to join them in the ceremony. A wheelchair-bound, Jewish lesbian Rabbi from cable access TV arrives to officiate. The ceremony is interrupted as Jane gives birth, and Steve confides to Adam that his medication isn’t working and that he’ll probably not survive much longer. Bound by their long life together, and the miracle of birth they’ve just witnessed, the two men comfort each other even though they know their remaining time together will be short.

“Line by line, Mr. Rudnick may be the funniest writer for the stage in the United States today… One-liners, epigrams, withering put-downs and flashing repartee: These are the candles that Mr. Rudnick lights instead of cursing the darkness, although he does a lot of cursing, too… a testament to the virtues of laughing… and in laughter, there is something like the memory of Eden.”
—NY Times.

Funny it is… consistently, rapaciously, deliriously… easily the funniest play in town.”

…there is no one writing for the stage today who is capable of more acid quips or hilarious rejoinders than Rudnick… Even if there’s a part of you that will be chagrined by this play’s uncertain attitude toward religious beliefs, you will find yourself laughing uncontrollably throughout the evening.”
—NY Daily News.

Original Off-Broadway Production featured Alan Tudyk, Becky Ann Baker, Amy Sedaris, Peter Bartlett, Lisa Kron, Orlando Pabotoy, Joanna Adler, Juan Carlos Hernandez, and Kathryn Meisle. Directed by Christopher Ashley.

Performance rights available from DRAMATISTS PLAY SERVICE.

Purchase on Amazon


Valhalla - Paul Rudnick

VALHALLA intertwines two stories: the life of Ludwig of Bavaria, the 1880s Mad King responsible for building a series of storybook castles inspired by Wagnerian operas, and the fictional adventures of James Avery, a wild Texas teenager of the 1940s. These two iconoclasts are tracked from childhood through their deaths, and while they embody separate eras, they are ultimately revealed as time-traveling soul mates. The play explores questions of beauty and madness, as both Ludwig and James pursue lives of operatic passion, bringing them in contact with such diverse figures as a high-school quarterback, the prettiest girl in Dainsville, Texas, most of the characters of Lohengrin and princess Sophie, who declares herself “the loneliest humpback in Europe.” VALHALLA is a comic epic, confronting the price to be paid for wanting, and getting, everything you dream of.

“You can be sure that a winsomely wicked bon mot will fly by every minute or so.”
—NY Times.

“Paul Rudnick’s most ambitious and…his strongest work yet.”
—The New Republic.

“…a dizzy, brisk diptych that connects 19th-century Bavaria to 1940s Texas in a unified field theory of gayness.”
—Time Out NY.

“…a juggling act skillful enough to revive vaudeville.”
—Village Voice.

“If, as Paul Rudnick contends, ‘opera is music gone mad,’ what’s it called when a giddy profusion of one-liners achieves the lunatic rhythm of music?”
—NY Newsday.

“Quips fall with the regularity of autumn leaves.”
—Associated Press.

Original Off-Broadway cast featured Peter Frechette, Sean Dugan, Scott Barrow, Candy Buckley, Samantha Soule, and Jack Willis. Directed by Christopher Ashley.

Performance rights available from DRAMATISTS PLAY SERVICE

Valhalla - Paul RudnickValhalla - Paul RudnickValhalla - Paul RudnickValhalla - Paul RudnickValhalla - Paul Rudnick

Purchase on Amazon

Regrets Only

Regrets Only - Paul Rudnick

This comedy of Manhattan manners explores the latest topics in marriage, friendships and squandered riches. The setting: a Park Avenue penthouse. The players: a powerhouse attorney, his deliriously social wife and their closest friend, one of the world’s most staggeringly successful fashion designers. Add a daughter’s engagement, some major gowns, the president of the United States, and stir.

“One of the funniest quip-meisters on the planet…the temptation is to quote as many of those one-liners as space allows…”
—NY Times.

Hilariously witty…Rudnick’s script is ripe with jokes at the expense of the upper class—taking pokes at plastic surgery, designer fashion and charity functions.”
—Show Business Weekly.

A devastatingly accurate political and social satire.”

As stuffed with riotous Rudnickisms as my mother’s pastries were with sugar and calories.”

Paul Rudnick, ever the stylish and witty playwright, pressed foot to pedal on his imaginative overdrive to see how far it would take him into his new comedy and it seems to have taken him into an elegant terrain.”

Original Off-Broadway cast featured Christine Baranski, Jackie Hoffman, George Grizzard, Sian Phillips, Diane Davis, and David Rasche. Directed by Christopher Ashley.

Performance rights available from DRAMATISTS PLAY SERVICE.

Regrets Only - Paul RudnickRegrets Only - Paul RudnickRegrets Only - Paul RudnickRegrets Only - Paul Rudnick

Purchase on Amazon

The New Century

The New Century - Paul Rudnick

When the playwright is Paul Rudnick, expectations are geared for a play both hilarious and smart, and THE NEW CENTURY is no exception. It is a provocative and outrageous comedy, featuring a collection of hilarious characters. In PRIDE AND JOY, Helene is a Long Island matron, the self-proclaimed “most loving mother of all time” to her three gay children, whom she brags about at the Massapequa chapter of Parents of Lesbians, Gays, Bisexuals, The Transgendered, The Questioning, The Curious, The Creatively Concerned and Others (1 man, 1 woman). The flamboyant MR. CHARLES, CURRENTLY OF PALM BEACH is described by Mr. Rudnick as “an aging homosexual hounded out of New York City by younger gay men, who find his theatrical style a threatening throwback to an earlier, tougher time.” Mr. Charles spends his exile in the company of the hunky Shane, with whom he produces a cable television show, Too Gay (2 men, 1 woman). In CRAFTY, Barbara Ellen is a Midwestern craftswoman and competitive cake-decorator who has lost a son to AIDS (1 woman). In THE NEW CENTURY, all of these hilarious and poignant people collide under surprising and comical circumstances, providing evidence of just where our new century might be heading.

“The one-liners fly like rockets in THE NEW CENTURY, the rollicking bill of short plays by Paul Rudnick… Building on time-honored traditions within gay and Jewish humor, Mr. Rudnick turns stereotypes into bullet-deflecting armor and jokes into an inexhaustible supply of ammunition… Frivolity for his characters is a solid existential choice in a threatening universe.”
—NY Times.

It’s not every day that a comedy writer gets a laugh on every line he intends to be thigh-slappingly funny, but Paul Rudnick does so with THE NEW CENTURY.”

The evening contains so many gut-busting one-liners that those with heart conditions are advised to steer clear.”
—NY Post.

Paul Rudnick just may be the funniest playwright around. A perfect little production!”
—Journal News.

Original Off-Broadway cast featured Peter Bartlett, Jayne Houdyshell, Linda Lavin, Mike Doyle, Christy Pusz, and Jordan Dean. Directed by Nicholas Martin.

Performance rights available from DRAMATISTS PLAY SERVICE.

The New Century - Paul RudnickThe New Century - Paul RudnickThe New Century - Paul RudnickThe New Century - Paul RudnickThe New Century - Paul RudnickThe New Century - Paul RudnickThe New Century - Paul Rudnick

Purchase on Amazon

Standing On Ceremony: The Gay Marriage Plays

Standing-On-Ceremony - Paul Rudnick

Two little words, and suddenly your whole world changes. An A-list lineup of writers offers unique takes on the moments before, during and after “I do.” Witty, warm and occasionally wacky, these plays are vows to the blessings of equality, the universal challenges of relationships and the often hilarious power of love. Paul’s plays include The Gay Agenda and My Husband.

“CEREMONY puts a human face on a hot-button issue and delivers laughter and tears rather than propaganda.”

All you have to do is listen, shed an occasional tear and laugh a lot. There is something for everybody… STANDING ON CEREMONY holds a magnifying glass to the highs and lows, joys and fears, courage and silliness, of people bucking trends and making history. It’s a fine evening, heartily recommended.”
—NY Observer.

A feel-good show celebrating gay marriage. The unifying theme of same-sex marriage gives this collection its strong identity. The individual plays don’t share the same perspective or speak in the same voice. Which keeps things interesting.”

Original Off-Broadway cast featured Craig Bierko, Mark Consuelos, Polly Draper, Harriet Harris, Beth Leavel and Richard Thomas. Directed by Stuart Ross.

Performance rights available from DRAMATISTS PLAY SERVICE.

Cabin Pressure

Cabin Pressure

Part of 59E59 Summer Shorts. Directed by Walter Bobbie.

Cabin Pressure is a one-act monologue which tells us exactly why Ronald Darwell,
a brave flight attendant, is receiving the Presidential Medal of Valor. Ronald has battled both terrorists and extremely rude passengers, and the play is his heartfelt acceptance speech, confession and fever dream.

Rights available from ICM.


Playbills was written for New York PopsUp, a series of events celebrating the return of theater, after the pandemic shutdown. It was performed by Nathan Lane on April 3rd, 2021 at the St. James Theater on Broadway, before a masked, socially distanced, limited audience of healthcare and theater workers. Here’s the full text:

by Paul Rudnick


Okay, okay. First off, you’re not going to believe a word of this, but please, please trust me: this really happened. It’s totally true. Okay, okay. So, like so many people, I’ve been sitting at home, in my apartment, for an entire year now. And for a while, I was working from home, which I’m sorry, but that always sounds like something a serial killer would say. But look at me, from the waist up: my hair is combed, I’m wearing adult clothing, I brushed my teeth, I’m all like,
hi, welcome to me pretending I didn’t just binge-watch anything with Nicole Kidman wearing three wigs. But below the waist: armageddon. I can’t even call them sweatpants, not anymore. They’re like – old skin. They’re welded to me, like Old Navy barnacles. At first I ordered, you know, the fancy versions, athleisure, tapered, with a waistband. Yeah, that lasted a week. Until the waistband got a little snug, and I just thought, I don’t need a waistband judging me. So I went one-size-fits-all. Which means literally everyone in the world can fit into my
sweatpants, at the same time. And here’s the true meaning of the pandemic: online, no one can smell the Doritos.

          (an evil laugh)

And then I got laid off. Furloughed. “Furloughed” is the new “But I do love you, I’m just not in love with you, do you see the difference?” But hey, it happens. To so many people. It’s no one’s fault. Although I blame that graphic of the coronavirus, the one they use on every news show, that little adobe tennis ball, with the red darts sticking all over it. It’s like a dog toy that can kill you. I hate that graphic, not just because it’s a virus, but because it’s always there, like some vicious cartoon character, like Spongebob’s idiot cousin, or like what Pac Man would look like with bad skin in high school. I just want to squish that graphic, to hear the sound it would make under my foot.

Okay, I know, cabin fever. Covid brain. Whatever. But here’s the thing: I remember the exact first day of the lockdown, because I had tickets for a show. And I was debating with myself, should I go, because I love the theater so much, and I wanted to show my support, but was it too dangerous, but then I got a text: the performance had been canceled. And the show was postponed, indefinitely. No shows. No theater. No TKTS. No Playbills. No singing, no dancing, no anything, not until further notice. Boom. Curtain.

And I know, theater is a luxury. Except it’s not. I live on Ramen so I can buy half-price tickets. I alphabetize my Playbills and I get upset if someone touches them with food on their fingers.

(They pause, pulling themselves together from the horror of this)

I go on every theater website and defend every version of Merrily We Roll Along because at least it’s an attempt. Someday Merrily will work, I have to believe that. Or I can’t move my head.

(pulling themselves together)

I’m sorry. And fuck you, Anyone Can Whistle was ahead of its time, and we are not going to talk about casting the movie version of Follies, because, fine, there’s a restraining order. But Meryl is Phyllis! Fuck Cate Blanchett!

I love theater. I can’t explain it, it’s just, when I have tickets to a show,
it lifts my whole day. It’s like a date, with someone who might be wonderful, or might be boring, or might change my life forever. You know?

Except for this past year, and I’ve been watching Zoom readings and old Tony Award numbers on Youtube and movies of great plays, but it’s not the same. Especially Zoom, with everyone in their little squares, it’s like watching Streetcar performed by the Brady Bunch. I mean, I appreciate all of those things, but there’s just not the same tingle of being right there, in a theater, with a live audience, with real live actors, and we’re all in it together, waiting to see what’s going to happen, and jumping to our feet screaming because we loved it so much and then looking under our seats afterwards to find that lady’s inhaler. Although this one time, this lady said she didn’t need her inhaler, not anymore. Because that really long award-winning Irish play had healed her. Sleep can do that.

And I know, be patient, one vaccination at a time, there are lives at stake, but then – okay, okay. Bear with me. Because it happened. Last night at 7 PM. When in the olden days, I’d be heading into the subway, on my way to a show, or just to wait in line for cancellations. But instead I’m sitting here, wondering if there are any more episodes of that Norwegian detective show on Netflix, or if that last episode was actually the ending – I mean, he killed twelve people because they wouldn’t use solar panels? But there’s a knock on my door, except I haven’t ordered takeout or anything from Amazon, you know, the new sex, so I put on my mask and I open the door and right there, standing in my hallway – it’s Hugh Jackman. I know. I know!

And at first I think, no, it’s just the hottest UPS guy ever, or I’m hallucinating, from too much Ramen, but it’s really him and he does the elbow thing and he says, “Hi, I’m Hugh Jackman, may I come in? Mate?”

(Hugh’s “mate” is especially thrilling)

And he says, “I’ve been vaccinated” and I say, but you’re too young, and he says, “Broadway stars have just been classified as essential workers” and I say duh, come right in. And he looks so grateful and he looks around my one bedroom apartment, fine, it’s a studio with an alcove, and he says, “This is lovely.” And I realize – Hugh Jackman’s been cooped up too. He’s lonely. He’s needy. And he wants to be back in a theater as much as I want to see him in one, because he asks me, “Can I sing Ya Got Trouble from The Music Man for you?” And I’m dumbstruck, I’m floored, and I say, but I don’t even have a piano and he says, “It’s fine, I brought my boombox” and he puts the boombox on my couch, right next to the five almost-empty cereal boxes and the towel which is covering the duct tape which is holding the cushion together, and he asks, “Do you know the show?” And I try not to act offended, I just find my Playbill from the Craig Bierko revival and my Playbill from when Robert Sean Leonard took over, and my original cast CD with Robert Preston and my DVD of the movie and my other DVD of the Matthew Broderick/Kristin Chenowith TV version, and my high school yearbook with the photo of me in the drama club waiting for the Wells Fargo wagon and Hugh says, “I get it.” And he’s smiling but a little like, sure, but you haven’t seen The Music Man with Hugh Jackman, so I ask, where should I sit, and he points to a folding chair and just as he’s about to push Play on his boombox – don’t you love that Hugh Jackman has a boombox – there’s another knock on my door. So I say, Hugh, I’m so sorry, I don’t know who that could be but I’ll get rid of them and I open the door and – it’s Patti LuPone.

Yes. I’m not kidding. She’s tiny. But fierce. And she’s got that look on her face, that Patti LuPone look, like, am I going to hug you or treat you like someone using their cell phone during Rose’s Turn? But she’s totally mesmerizing and she says, “Hi. Patti LuPone.” And I try to say something, to tell her I worship her, but my throat is dry and she’s already pushing past me into the apartment and she says. “Oh. Hugh Jackman. So that’s how it is.” And he says, “Patti, darling” and I assume they know each other from, like, the Tony Awards or doing benefits,
and Patti says, “Right before the shutdown I was in previews with the gender-swapped version of Company with a female Bobbie. So I’d really like to sing Ladies Who Lunch for you.” And I’m thrilled, I’m dying, but I want to be fair, so I gesture and I say, “I would love that, but Hugh was here first.” And Hugh and I both, like, duck, but Patti stays calm and she says, “But Hugh wasn’t even in rehearsal and I was gearing up for an opening night so I’ve got Stephen Sondheim blueballs.” But I say, Hugh brought a boombox and Patti says, “I have a full orchestra on my phone and have you ever heard of a show called Evita?” And Hugh says, “I loved the movie with Madonna” and Patti grabs a steak knife and Hugh says, “I’m kidding!” And I take the knife and Hugh says to Patti, “Ladies first” and Patti says, “Thank you, Ironman” and just as Hugh’s saying “Wolverine” he gets it and Patti points to the folding chair and tells me, “Sit.” And she points to the couch and tells Hugh, “You too, Batman. Learn something.” And she stands right near my refrigerator, right in front of my Patti LuPone refrigerator magnet, and I’m hoping she doesn’t notice my Glenn Close in Sunset Boulevard mug, and I’m so excited and so scared and just as Patti opens her mouth to sing there’s a knock on the door and Patti asks, “Are you expecting anyone else? Carol Channing?” And I say, no, of course not, although Hugh and I exchange a glance like, wouldn’t that be fabulous, but then I open the door and – Audra McDonald. Oh my God. But it’s true! Everyone has Lockdown Fever!

And the three of them look at each other and they go “Audra” “Patti”, “Hugh” and I’m terrified that they’re all going to leave so I say, “Isn’t this amazing! So many legends in one rent-controlled apartment!” And I point to all of their bobbleheads lined up on the microwave and Patti puts the Andrew Lloyd Weber bobblehead in the microwave and Audra says, “I don’t have a show coming up so I was going to perform one of my sold-out concerts, but if you’re busy…” and Patti says, “Audra, I love you, but wait your turn” and Hugh says, “What if we all sing You Could Drive A Person Crazy together?” And Audra says, “I love that idea, but first let me ask you, which person in this room has six Tony Awards?” And under his breath I hear Hugh say, “But which person has a film career?” And under her breath I hear Patti ask, “But which person has an assault weapon in her shoulderbag?” And I’m thinking, I wish Kristin Chenowith was here because she’s so sweet and sunshiney and maybe that would calm everyone down but then I thought, or maybe they would pull off her head and eat her.

But instead Audra takes a deep breath and she says, “I’m sorry, I was just surprised to see everyone here, and Patti, as you may have heard, I’m going to play Mama Rose, but out of respect for your incredible, definitive performance, I’m going to wait until after you’re dead” and Patti says, “I appreciate that” and Audra says, “Ballpark?” And Hugh says, “Oh, snap” and there’s a knock on the door, no, a ton of knocks, like a hailstorm, and I open it, and there’s Donna Murphy, Danny Burstein, Sutton Foster, the entire cast of Hamilton and Judi Dench and everyone’s all like, “Um, does Judi have a work visa?” And Judi says, “Of course I do” and Patti says, “Even after the Cats movie?” And they’re all starting to sing and dance at once, and then all of these other, younger people flood in behind them and one of them says, “We’re from off-broadway which is even more exciting and inclusive and innovative” and Patti says, “Fuck you, motherfuckers” and I go, “Patti!” and she says, “No, that’s how you say I love you off-broadway” and then Nathan Lane climbs in the window and asks, “And what am I, chopped liver?” and it happens: I faint.

The lights go out. Just like last March. And when I come to… they’re gone. All of them. And I wonder, was it just a lockdown-induced fantasy? Some impossible dream of things opening back up? Maybe it’s never going to happen. Maybe theater is just – gone. But then I notice something – there’s a note stuck to my refrigerator, with my 42nd Street magnet – from London – and the note says, “You’re out of Ramen. Love, Hugh.”

          The lights fade.

Paul Rudnick


Paul Rudnick’s plays have been produced both on and off Broadway and around the world, and include I HATE HAMLET, JEFFREY, THE MOST FABULOUS STORY EVER TOLD, VALHALLA, REGRETS ONLY, and THE NEW CENTURY. He has won an Obie Award, two Outer Critics Circle Awards and the John Gassner Playwrighting Award, and two of his short plays have been included in STANDING ON CEREMONY: THE GAY MARRIAGE PLAYS.