GHOSTLIGHT plays West Of Lenin, Friday the 13th @ 11:00 PM

In Plays on October 13, 2015 at 7:11 PM



Written by Tommy Smith
Performed by Hannah Victoria Franklin
Directed by Paul Budraitis
Presented by Narcissus Theatre Company

“[Smith’s] words open up onto haunting and darkly grotesque psychic landscapes unreachable by more pedestrian dramatic entertainments, [ranging] in feeling from the experimental flash fictions of Donald Barthelme to the early schizophrenic-styled writing of Peter Handke.” – LA Weekly

Friday the 13th @ 11:00 PM
West Of Lenin, Seattle
(203 N 36th St.)


After the performance of an unrelated play, a woman materializes on the set and starts speaking, illuminated only by the ghost light.


If you cannot attend the live performance, please feel free to watch the following GHOSTLIGHT films:

1. “The Fog”

2. “Lotus Eaters”

3. “Madelines”

4. “Hexakosiohexekontahexaphobia” 


Full GHOSTLIGHT Performance (B&W)

Footage taken from world premiere of GHOSTLIGHT at the Bank Street Theater (NYC) in association with LAByrinth Theater Company and The Playwrights of New York, March 2015, on the set of Lucy Thurber’s THE INSURGENTS.




The Los Angeles Times named Tommy Smith’s FIREMEN among the best stage shows of 2014. FIREMEN also won five LADCC awards, including best writing.

Tommy’s other plays include GHOSTLIGHT (Labyrinth Theatre Company, d. Paul Budraitis), WHITE HOT (Here Arts Center, d. May Adrales & West Of Lenin, d. Braden Abraham); ZERO, PTSD & PIGEON (Ensemble Studio Theatre, d. Billy Carden); THE WIFE (Access Gallery, d. May Adrales); CARAVAN MAN (Williamstown Theatre Festival, music & lyrics by Gabriel Kahane, d. Kip Fagan); DEMON DREAMS (Magic Futurebox, music by DJ Spooky, d. Kevin Laibson); A DAY IN DIG NATION (PS 122, co-written and d. Michael McQuilken); AIR CONDITIONING (Eugene O’Neill Playwrights Conference, d. Steve Cosson); among others.

In addition, his award-winning theatrical collaborations with Reggie Watts – DISINFORMATION, TRANSITION, RADIOPLAY and DUTCH A/V – played at The Public Theatre, Lamama, The Warhol Museum, MCA Chicago, ICA Boston, On The Boards and PICA: TBA, among others.

As a director/writer, Tommy recently created the environmental sound performances, NECTARINE EP (for Flea Theater) LOTUS EATERS EP (for IRT Theater, with voices of Neil Gaiman, Marin Ireland & Reed Birney) and FORTH (for MFB, d. Meiyin Wang).

Tommy is the recipient of the PONY fellowship at The Lark, a two-time winner of the Lecomte du Nouy Prize, a two-time recipient of the E.S.T. Sloan Grant, a winner of the Page73 Productions Playwriting Fellowship, a member of the Dorothy Strelsin New American Writer’s Group at Primary Stages, a recipient of the Creative Capital award, and a two-time winner of the MAP Fund.

Publications include PIGEON for Dramatists Play Service and WHITE HOT in the New York Theatre Review.

Tommy’s first feature FIGMENT was optioned by Ridley Scott’s production company ScottFree. He is currently working on his second feature SLEEPER CAR with director Guy Moshe.

He is a graduate of the playwriting program at The Juilliard School.









FIREMEN wins five LADCC awards

In News, Plays on March 19, 2015 at 4:27 PM

FIREMEN won five Los Angeles Drama Critics Circle Awards, including Best Writing, Best Production, Lead Performance (Ian Bamberg), and Featured Performance (Rebecca Grey).

Read all about it here.

FUGUE press

In News, Plays on March 1, 2015 at 10:39 PM


[A] striking innovation … Parallel elements of the three stories are underscored by impressively choreographed simultaneous delivery of words, phrases and, on occasion, orgasms … Playwright Tommy Smith’s drama is elegantly geometric in its construction and viscerally potent in its staging.”

The Los Angeles Times


Fascinating … A fugue, in music, is a melody repeated in complex patterns; in psychiatry, it’s a dissociative state of mind  – playwright Tommy Smith infuses both meanings into his ambitious new play … the movement, the timing and the brilliant staging of sex, suicide and slaughter make [FUGUE] extraordinary.”

LA Weekly


“Smith leavens his dark, brooding meditation on the mystery of creativity with large doses of wit and humor … at times the same lines are spoken simultaneously in all three of the separate stories, then amplified in counterpoint, with one voice following another, as in a fugue. The result is a play about music which becomes a piece of music itself.”

Total Theater


“The beauty of this play is that these Echo actors and director have all agreed to come together and explore not only the words, but the subtle idea that creative individuals, in some cases, have elements of craziness that influence their flights of genius … an excellent production.”



“[A] formally virtuosic new play about three visionary composers from the Western classical music tradition … By overlapping and interlacing three historical narratives in which emotional trauma is resolved in a defining work of radical artistic transformation, Smith draws an uncomfortably fine line between our darkest, most sociopathic compulsions and the violent discontinuities that shape artistic discourse.”

Stage Raw


“[A] mesmerizing meditation on music and madness … one of the most provocative evenings of theater you’re likely to experience for some time to come.”



Harrowing … [FUGUE] may haunt you well after the lights go up … A couple of audience members sharing my row were audibly offended and left at intermission.”



Renaissance Italy, Tsarist Russia and early-20th-century Austria provide the settings for Fugue [but] geography is the least of the complexities on tap in Tommy Smith’s new play … the tripartite narratives move at once, much like the interlocking themes evoked by the play’s title.”

– interview in American Theatre


FUGUE is 94% Sweet on Bitter Lemons.



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