For License Application & Fees Information or to Purchase a Copy of COLD RAIN or of SYD, please visit NEXT STAGE PRESS. Otherwise, by downloading any of the plays below, you hereby acknowledge that Craig Houk is the sole owner of all rights in and to these plays. None of these plays may be produced or reproduced in whole or in part unless written application is made to and written authorization is received from Craig Houk.
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(3 W, 4 M)
Four vengeful, narcissistic actors, with the assistance of a brutish stage manager and a cynical stagehand, kidnap and hold hostage a theater critic notorious for shutting down productions and ending careers through his malicious reviews. To confound matters, they intend to carry their plan out during a performance of a show they’re all currently appearing in. Less than an hour before the curtain is due to rise, their scheme begins to quickly unravel as we discover that none of the conspirators are familiar with the actual plan or its designed outcome. The results are at once dark and hilarious. Brute Farce is a satirical commentary on the perpetually symbiotic, oftentimes dysfunctional, and occasionally turbulent relationship between actors and reviewers.
Four vengeful, narcissistic actors, with the assistance of a brutish stage manager and a cynical stagehand, kidnap and hold hostage a theater critic notorious for shutting down productions and ending careers through his malicious reviews. To confound matters, they intend to carry their plan out during a performance of a show they’re all currently appearing in. Less than an hour before the curtain is due to rise, their scheme begins to quickly unravel as we discover that none of the conspirators are familiar with the actual plan or its designed outcome. The results are at once dark and hilarious. Brute Farce is a satirical commentary on the perpetually symbiotic, oftentimes dysfunctional, and occasionally turbulent relationship between actors and reviewers.
Performance History/Awards
Finalist, The Loom New Works Festival, Woven Theatre, 2021.
Reviews/Recommendations
“Nothing's better than a group of misfit characters that you both root for and also cringe at their every move! A very funny comedy that had me laughing out loud and holding my breath as each new plot point unraveled and exploded right in front of us. A play that screams to be staged.” - Stephen Kaplan, New Play Exchange
“A brilliantly wonderful chaotic journey made up of wonderfully constructed characters, a well paced and funny plot all framed in perfect farce! This is a play that as I read it all I could think is how much it needs to be on a stage! ” - Rachel Feeny-Williams, New Play Exchange
“A hilarious and brilliant sendup, an homage to Noises Off complete with a reference to sardines. Set in 1920s London, the wacky cast of “meat puppets” deals with narcolepsy, a doomed theatre critic, and technical disasters. A wonderful opportunity for actors and set designers and great fun for the audience. Produce this!” - Kim E. Ruyle, New Play Exchange
“Full of laughs and vile, self-centered characters who suffer the tortures of the damned… Hence all the laughs! This farcical backstage/onstage romp harkens back to classics of the genre and even includes a wink-and-a-nod or two. Furiously frantic and funny with lots of physical humor and wordplay, plus a great challenge for actors and designers alike. Hilarious!” - DC Cathro, New Play Exchange
“A thoroughly entertaining evening of theatre, with nods to endearing melodrama and farce. The playwright keeps things moving briskly, which is critical to this type of play, while giving nice little touches that will make any theatergoer laugh. I especially love the way the set works, becoming a character in and of itself, and allowing us into the backstage shenanigans that mirror the onstage drama.” - Ross Tedford Kendall, New Play Exchange
“Ever wonder what would happen if a bunch of actors watched the Vincent Price movie Theater of Blood and found it aspirational, but lacked the imagination or attention to detail to pull it off? Wonder no more, because now there's Craig Houk's Brute Farce, a wacky and savage backstage/onstage comedy about a murder plot whose vain conspirators display a serious lack of commitment. With high stakes, nutball characters gifted with enormous self-regard and not much else, an over-engineered backstage prompting system, and no recurring gag too cheap to revisit, Brute Farce is a venomous delight.” - Vince Gatton, New Play Exchange
“Actors. Critics. You can’t live with ‘em. And apparently you can’t kill ‘em. Or can you? Does it matter? Hint: it doesn’t, especially when there’s as much fun to be had as there is in this very funny, very dark backstage comedy of errors and terrors. A delightful challenge for directors and designers and a wonderful workout for the actors, I imagine it will be an enjoyable treat for its audiences when staged, which I hope it will be – soon. We all need the laughs!” - Doug DeVita, New Play Exchange
“What happens when the Marx Brothers get together with a road company of "Noises Off" to produce "The Ransom of Red Chief" mashed up with "Death Trap" as written for the stage by Noel Coward starring Abbot & Costello, supported by Bob Hope, Bing Crosby, and Dorothy Lamour, all directed by Mel Brooks? All that and more, including a sardine. Craig Houk has crafted a farce of monumental proportions, done in a way that only someone who truly loves this art form can do. A tribute to fine stagecraft, ingenious casting, imaginative set design, and non-stop laughter.” - Philip Middleton Williams, New Play Exchange
“Craig Houk has constructed the first act of his darkly comic farce "Brute Farce" as intricately as engineers would construct a Rube Goldberg machine. There are many moving pieces in the play: overly detailed revenge plans, low-tech and easily misinterpreted signals, and characters who run from narcoleptic and arrogant to drug-addled and double crossers. I look forward to Houk finishing "Brute Farce" to enjoy the chaos that the machine creates at its climax.” - Steven G. Martin, New Play Exchange
"Love it! Such a diverse set of personalities and it seems like it could be done with minimal set if necessary. It's realistic, funny, and really pulls you in. I read a bit of this when it was in progress. Let me tell you, Houk improved and delivered! This piece has so many laugh-out-loud moments it will certainly bring a smile to the face of the audience. A little mystery, a little drama, a little comedy. I cannot wait to see this on stage one day." - Timothy Gadomski, New Play Exchange
Published by Next Stage Press
(3 W, 2 M)
On the evening of Sunday, June 24th, 1973, thirty-two men perished in a fire at The Upstairs Lounge, a sanctuary bar for working-class homosexual men in New Orleans. On that same evening, several blocks north, nearly a dozen women, including a gifted young nursing student, Sydney (Syd) Trahan, were taken into custody and charged with lewd and lascivious conduct for dancing together at Brady’s, a notorious lesbian bar in the French Quarter. Hopeful that the deadly fire and the controversy surrounding its multiple victims might overshadow Syd’s arrest, Bud, a reputable blacksmith, and Helen, a God-fearing woman, do everything in their power to curtail the impact of their daughter’s transgression on their seemingly near perfect lives.
On the evening of Sunday, June 24th, 1973, thirty-two men perished in a fire at The Upstairs Lounge, a sanctuary bar for working-class homosexual men in New Orleans. On that same evening, several blocks north, nearly a dozen women, including a gifted young nursing student, Sydney (Syd) Trahan, were taken into custody and charged with lewd and lascivious conduct for dancing together at Brady’s, a notorious lesbian bar in the French Quarter. Hopeful that the deadly fire and the controversy surrounding its multiple victims might overshadow Syd’s arrest, Bud, a reputable blacksmith, and Helen, a God-fearing woman, do everything in their power to curtail the impact of their daughter’s transgression on their seemingly near perfect lives.
Reviews/Recommendations
“Until the Pulse nightclub massacre, the 1973 Upstairs Lounge fire in New Orleans was the worst single incident of mass murder of gay people ever recorded. In SYD, Craig Houk builds a compelling family drama on the periphery of that horror, as two families struggle through the uncharted waters of having gay adult children when such a thing could barely be mentioned. The Trahans and Larsens are written with humor, salt, specificity, and empathy, people doing their best, even when their best is not good enough -- or is actually, in fact, the worst. A compassionate and thoughtful work.” - Vince Gatton, New Play Exchange
“This play renders vividly portrays a real, horrific incident while still contrasting it with a touching family drama. What I particularly like is the playwright's ability to convey the events that happen offstage without resorting to tired exposition. Instead, these are rendered immediate and emotional through the characters. The characters themselves are well drawn and I truly lost myself in their story.” - Ross Tedford Kendall, New Play Exchange
“Based on actual events, Houk spins this family tale about being in the closet with a flair for drama and dialogue. It’s a powerful tale of tragedy that sometimes rolls along at a leisurely Southern pace, only to turn in unexpected directions. Intricate relationships unfold and shift and will draw you in. Great stuff.” - DC Cathro, New Play Exchange
"Syd packs a powerful punch. A play about love and family, how hatred can destroy lives. Characters are so richly and distinctly drawn, you feel like you know every single one, and you root for each one of them to beat their demons. What a rare gift. Bravo!" - Lucy Wang, New Play Exchange
"A reminder that love can run just as deeply as hatred for parents and children is brought to life in Craig Houk's tale of two families with differing dynamics and vastly different outcomes to tragedy. The greatest strength of the piece lies in Houk's sure-footed characterizations of the main players. These people feel real and messily complex, which adds to the heartbreak of Beverly's breakdown over the death of her son. While Helen, just as confused and hurt over Syd's behavior toward her, manages to overcome her un-Christian attitudes and find acceptance. This is wonderful and important writing." - John Busser, New Play Exchange
"This might be my favorite Craig Houk play. It juxtaposes two sets of parents in 1970s New Orleans, each with a gay child, and highlights the different ways they respond, and the different trajectories of their children's lives. I loved how the characters were fully formed and nuanced beyond just the stereotype which comes to mind when you think of a conservative, church-going parent of a lesbian. This play sucked me in, and the ending came too soon. I wanted to stay with the characters and see where they go from here." - Lisa Dellagiarino Feriend, New Play Exchange
"The 1970s and two neighbouring families, both struggle in truculent relationships with a child behind closed doors. Houk thus tenderly and craftily creates the world of the American South. With an astute ear for dialogue, the playwright almost imperceptibly changes stereotypes to fully rounded human beings, seamlessly shifting points of view. An architecture of understated symbolism presenting a glimpse of an alternative narrative gives even greater depth to a story about family forced to face changing times and tragedy." - Alice Josephs, New Play Exchange
"A powerful play, Craig Houk makes you feel deeply for the flawed family we meet. Bud and Helen truly love each other. Helen is not yet ready to understand Syd but we root for her to get there, to love her daughter wholly. It's a slow burn, with a great act one/into act two question and a perfect closing image. I loved every word of this piece and hope to see it produced - excellent for four actors around forty and for a female actor that can play nineteen. A perfect work of American Realism." - John Patrick Bray, New Play Exchange
"This powerful and insightful play gives the audience a wealth of questions to ponder and thoughts to filter. Craig Houk's writing is seemingly effortless in it's ability to reach into every corner of each character. A memorable and dynamic piece of story-telling which will stay in the mind long after the curtain has fallen." - Paul Smith, New Play Exchange
"Too many people interpret "made in God's image" as "God hates the same people we do." Almost half a century later there are still parents who reject their children, believing that is what God would have them do, and children who are forced to separate themselves from those who should love them. Craig Houk explores these family dynamics in a dramatic and relatable way that will prompt audiences to reconsider their own relationships. The play reads well and would be impactful on stage. Highly recommended." - Donald E. Baker, New Play Exchange
"How the parents either do or do not come to terms with who their children are is at the root of this tale. Living in a more accepting place and time, it is difficult to imagine the kind of murderous hatred people can feel, even toward their own children. Each parent self-defines as Christian, though each has a different idea of exactly what that means. This is a devastating, often ugly, and ultimately hopeful expression of love, faith, family, and acceptance. Highly recommended!" - David Hansen, New Play Exchange
"I know every single person here, including those who do not appear on stage. I knew them in 1973, I knew them in 1997, and I even know some of them now. And that is one of the greatest strengths of Houk’s cautionary work: although the play takes place in the early 1970s, the Beverlys, the Helens, the Beaus… they all still exist and the fight for acceptance is still raging on, whether the battleground is the family kitchen or the public arena. Thank you, Craig, for continuing to shine your light where it needs to be shone." - Doug DeVita, New Play Exchange
"The world created in this play is nearly 50 years ago and yet so relevant and important for today. In SYD, Craig Houk presents two Southern families navigating gender roles, sexuality and faith while also showing the tragedy of lives lost in different ways. Craig writes with such depth and naturalism where the lines instantly play out in my head while reading. And the rhythms of dialogue punctuate each character so well. This is a play I'd greatly enjoy watching on stage and a delight for performers, too, with its many surprises." - John Mabey, New Play Exchange
"One of the many powerful elements of this atmospheric and haunting play is the tenuous bonds parents have with their children becoming their own person, away from the life that the parents envisioned them. In Craig Houk's skillful hands we see two families deal with their gay children in very different ways, made even more intense by tragedy and recrimination. The moments between a father struggling to understand his daughter, and a mother trying to understand what God has placed before her are achingly crafted, lyrical, and genuine. I would love to see this play produced again and again." - Philp Middleton Williams, New Play Exchange
"Craig Houk sets up what seems to be two wholesome southern American families in 1973. As the play progresses, homophobic comments drive two parallel stories. Many statements lingered with me, such as a character's death being a "message from the Almighty" that his homosexual lifestyle was truly a sin. Houk shines with his exquisite monologues, whether or not we are on the side of the character, and we do hear two varied responses to children being gay. Gender role expectations are often reversed in this rich work. It is a beautiful, haunting play." - Matt Cogswell, New Play Exchange
(5 W, 4 M)
Carly Weekes and her sisters, Lolly and Shirley, are witches. Determined to find Carly a mate, the three cast a circle to summon a popular recording artist from Colorado. However, Shirley casts what appears to be a dubious and deadly spell. Worried that Carly and her new family might now be cursed, Lolly endeavors to reverse the hex, but fails, resulting in her expulsion to an alternate world. Years later, twin sisters Tina and Rose Pacheco mysteriously drown. The case goes cold, but many believe Carly’s oldest son, Johnny, is responsible. Cold Rain is an account of a family bound by black magic, a dark and comical tale of ill-conceived machinations, misdirected resentment, and repressed desire.
Carly Weekes and her sisters, Lolly and Shirley, are witches. Determined to find Carly a mate, the three cast a circle to summon a popular recording artist from Colorado. However, Shirley casts what appears to be a dubious and deadly spell. Worried that Carly and her new family might now be cursed, Lolly endeavors to reverse the hex, but fails, resulting in her expulsion to an alternate world. Years later, twin sisters Tina and Rose Pacheco mysteriously drown. The case goes cold, but many believe Carly’s oldest son, Johnny, is responsible. Cold Rain is an account of a family bound by black magic, a dark and comical tale of ill-conceived machinations, misdirected resentment, and repressed desire.
Performance History/Awards
Cold Rain received a public reading of Act 1 at Studio 1469 on May 8, 2017, featuring Laureen Smith as Carly Weekes-Rekowski, Mindy Shaw as Lolly Weekes, Sue Schaffel as Shirley Weekes, Grant Collins as Bryson Rekowski, Devin Horne as Fisher Hickman, Adrian Jesus Iglesias as Johnny Rekowski, Nerissa Hart as Donna Pagnotto, and Andrew Filicicchia as Joe Rekowski. The piece was directed by Craig Houk. Washington, DC
Cold Rain received its world premiere production as part of the 2018 DC Capital Fringe Festival (Jul 14 - 28). Winning Best Drama of the Festival (Audience Choice) and named one of DC Metro Theater Arts' 2018 'Best of Capital Fringe', Cold Rain featured Desiree Chapelle as Carly Weekes-Rekowski, Elle Emerson as Lolly Weekes, Maura Claire Harford as Shirley Weekes, Grant Collins as Bryson Rekowski, Thomas Shuman as Fisher Hickman, Will Low as Johnny Rekowski, Stephanie Jo Clark as Donna Pagnotto, Blake Gouhari as Joe Rekowski, and Lydia Kraniotis as Lydia Pacheco. The piece was directed by Craig Houk. Washington, DC
Reviews/Recommendations
"Magic, suspense, and familial resentment all converge in this play. The way we see scenes separated by time but all coming together to form a narrative are a perfect fit for the characters, whose pasts come rushing at them with dark consequences. The magic in the story is dangerous, and a mirror to the twisted perceptions of legacy that come up in meaningful and complicated ways." - Ky Weeks, New Play Exchange
"Oh my goodness! This play is epic! It jumps around in time, telling the story of a spell gone awry (because it's also about WITCHES!) There are mysteries surrounding kids who drowned and a woman who disappeared, and everything slowly gets pieced together as we jump backwards and forwards in time. The characters are all well developed, and each of them, in their own way, is a person who doesn't belong. This play is hard work that looks effortless. So good!" - Lisa Dellagiarino Feriend, New Play Exchange
"This is a story that is a mystery wrapped in magic, connections made through incantations, family rivalries and vengeance, along with the dysfunction that comes when people who think they know each other are casting spells, both magic and very, very real. This story moves back and forth through time leaving seeds and crumbs to pick up in much the same manner as all good mysteries built on fear, reminding me of "The Rimers of Eldritch" by Lanford Wilson. Read this play and absorb the sense of foreboding and inevitable power that comes from knowing there's more here than magic." - Philp Middleton Williams, New Play Exchange
"Houk’s play is a beast. Hulking, encompassing, evocative of that special feeling you find in vintage Stephen King, where every word and scene drips world-building of historical proportions. The years long mystery that he slowly reveals is tantalizing and sucks you in until the final pages, and propels us through a cavalcade of family relations that remind us of the timeless truth, we don’t get to choose our family, and they may not always be good people. So can we make better choices than them? Or not?" - Daniel Prillaman, New Play Exchange
"It's been a while since I've read a play that's gripped me so tight and threw me into a space devoid of time, watching, waiting, and caught. COLD RAIN is going to stay with me for a long time. Eventually, I'll come back to learn from it, but for now, I can simply sit in this show in awe. If this show is any indication, then, much like this tantalizing family mystery, Craig Houk is a force to be reckoned with" - Jarred Corona, New Play Exchange
"Epic, sprawling, structurally ambitious, at times wildly funny, at times wildly horrifying, Craig Houk’s COLD RAIN grabs one’s attention from its first lines and keeps it through every twist and turn of its haunting, dark magic-tinged plot. There’s a lot to unpack here, but it stays with you long after you’ve turned the last page (or, I imagine, after you’ve left the theatre), mainly because the characters are so compelling one gets swept up in their individual, interweaving stories." - Doug DeVita, New Play Exchange
(2 M)
Lou Brunazzi & André Cooper live across the hall from each other in the basement of a shabby apartment building in the Bronx. On the landing between their units stands a noisy Radiator, which is connected to a deteriorating boiler. Determined to stop the whistling, hissing & banging that’s keeping him awake at night, André endeavors to turn the thermostat off, but is cut short by Lou who is determined to keep the radiator running at all costs. What begins as a battlefield between two seemingly inconsolable men evolves slowly into a makeshift sitting room where the pair begin to form a unique and lasting bond.
Lou Brunazzi & André Cooper live across the hall from each other in the basement of a shabby apartment building in the Bronx. On the landing between their units stands a noisy Radiator, which is connected to a deteriorating boiler. Determined to stop the whistling, hissing & banging that’s keeping him awake at night, André endeavors to turn the thermostat off, but is cut short by Lou who is determined to keep the radiator running at all costs. What begins as a battlefield between two seemingly inconsolable men evolves slowly into a makeshift sitting room where the pair begin to form a unique and lasting bond.
Performance History/Awards
Radiator received a public stage reading as part of the 2019 Kennedy Center Page-to-Stage New Play Festival on Mon, Sep 2, 2019 featuring Jared Shamberger as André Cooper and Matty Griffiths as Lou Brunazzi. The piece was directed by Carl Randolph. Washington, DC
Radiator received an Honorable Mention as part of Dominion Stage's Fall 2020 Playwriting Competition. Arlington, VA.
Reviews/Recommendations
"Two of the most colorful, laugh-your-ass-off characters that you will ever see on stage. There are a lot of meaningful messages jam-packed into this well-written short play. Funny, poignant, and intelligent, I would love to see this play staged. Truly an American treasure. I give it a standing ovation." - Cindi Sansone-Braff, New Play Exchange
"Two men with nothing in common except a shared space in the hall between their apartments... and a deep and abiding friendship that germinates and grows in spite of their best efforts to keep a distance. Yes, it's a buddy story, but the beauty of "Radiator" is that however often we see it, there is always something about human nature that can be revealed. Lou and André create a bond that takes us immediately into their hearts and ours as well." - Philip Middleton Williams, New Play Exchange
"It takes skill to craft multi-dimensional characters and realistic dialogue, and Houk delivers. His characters (Lou and Andre) portray the gamut of human emotions in a well-paced story arc that takes us through conflict, tension and onward to discovery and a satisfying resolution. A masterful work that blends both humor and pathos!" - Vivian Lermond, New Play Exchange
"My inner Oscar the Grouch is always drawn to prickly, irascible characters, and Craig Houk is consistently good at drawing out the full humanity of the gruffest and grumpiest non-people-persons without ever compromising the sharp edges that make them great. He does it again here, with two characters who defy stereotypes and a gentle story that sees your expectations coming and quietly but defiantly rejects them. A funny, idiosyncratic two-hander with a great sense of humor and well-earned pathos (as long as you don't get too mushy about it. Otherwise it's vaffanculo to you)." - Vince Gatton, New Play Exchange
"After finishing RADIATOR, I felt as though I had just spent the evening hanging out with a couple of my closest buddies. This One-Act takes us through six months in the life of Andre and Lou. And as they get to know each other, we get to know them. Houk has created realistic characters plagued with the quirks and faults of the human condition. The pacing of this piece is the real standout here, as Houk skillfully takes us through the winter months using a radiator as a centerpiece to encapsulate all the woes these men face. Outstanding work!" - Debbie Lamedman, New Play Exchange
"Houk's writing here has a lived-in, worn, comfortable feel, making us right at home with its two leads. Nothing about their relationship or the circumstances they're in is simple to define, but it's that lack of clear or obvious definitions that gives this play its shine. The characters are really not in the best part of their lives, and while the script doesn't wallow in their misery, it doesn't shy away from sitting in the mood it creates." - Ky Weeks, New Play Exchange
"This is a sweetly realized one act play that has some wonderful roles for actors that fall in underrepresented demographics (over 45, actor of color, LGBTQ+). Craig Houk has written some delightful monologues inside this play as well. I can see a variety of theatres (colleges, universities, schools, LORT) producing this. A great amount of potential and good work here!" - Jessie Salsbury, New Play Exchange
"Craig Houk's simple set design is so effective with its central set piece of the radiator that serves as a brilliant catalyst for the emotions that sometimes boil in this moving two-actor piece. Dramatic tension is established in the small talk and loaded pauses, leaving the audience to want to know more about these characters. This makes the rich monologues all the more satisfying. These are characters who, as one of them says, "haven't yet done right." There are intriguing comments about immigrant deportation, general dissatisfaction in life, art, and income sprinkled throughout the larger twist on a love story." - Matt Cogswell, New Play Exchange
(3 W, 1 M)
Set in Clark County Idaho 1952-1953. Pete Anderson, a working-class schmuck, and his wife, Peggy Lynn, a beautician, struggle to conceive, so Pete risks everything to have a child.
Set in Clark County Idaho 1952-1953. Pete Anderson, a working-class schmuck, and his wife, Peggy Lynn, a beautician, struggle to conceive, so Pete risks everything to have a child.
Reviews/Recommendations
"The realism of the dialogue and the setting brought me back to my growing up in a rural agrarian town. The characters, their struggle and their banter are all believable. The well constructed piece begs to be performed. The sample whet my appetite for more." - Midge Guerrera, New Play Exchange
(3 M, 2 W)
Cleary’s Delicatessen has been the most popular dining destination in Clarksville, Tennessee for nearly fifty years. Nowadays the business practically runs itself. It’s best-selling item? Grandma Cleary’s potato salad. Three generations of Cleary men have reaped the rewards of its success. And now young Herb Cleary will be the next to take the reins. One minor problem, however. Herb ain’t right in the head.
Cleary’s Delicatessen has been the most popular dining destination in Clarksville, Tennessee for nearly fifty years. Nowadays the business practically runs itself. It’s best-selling item? Grandma Cleary’s potato salad. Three generations of Cleary men have reaped the rewards of its success. And now young Herb Cleary will be the next to take the reins. One minor problem, however. Herb ain’t right in the head.
(7 W, 2 M, 1 Any Gender)
Lost In Place is an anthology of five short intersecting plays, many of which can stand alone, but are intended to be performed as a group:
BARBARA & JODY - A few weeks into a world-wide pandemic, Barbara is called into a police station to provide a witness statement. Jody, the detective assigned to the case, has a special request.
HANK & TEDDY - Early into a world-wide pandemic, good-natured Teddy, from across the road, checks in on his surly neighbor, Hank. A delicate exchange results in a bad decision.
MARLENE & GINNY - Early into a world-wide pandemic, Marlene and her mother-in-law, Ginny, decide to get fancy and make martinis. Their fun, however, is interrupted by that damn lesbian from next door, who's hell-bent on stealing their rutabagas. Seems Dwayne, Marlene's infant child, has slept through the whole ruckus.
TRINA & ADELE - A year or so into a world-wide pandemic, Adele pays Trina a visit to follow up on a commitment she made.
RHONDA & DANIELLE - Two or more years into a world-wide pandemic, next door neighbors, Rhonda and Danielle, gossip with one another while dealing with the loss of their significant others.
Lost In Place is an anthology of five short intersecting plays, many of which can stand alone, but are intended to be performed as a group:
BARBARA & JODY - A few weeks into a world-wide pandemic, Barbara is called into a police station to provide a witness statement. Jody, the detective assigned to the case, has a special request.
HANK & TEDDY - Early into a world-wide pandemic, good-natured Teddy, from across the road, checks in on his surly neighbor, Hank. A delicate exchange results in a bad decision.
MARLENE & GINNY - Early into a world-wide pandemic, Marlene and her mother-in-law, Ginny, decide to get fancy and make martinis. Their fun, however, is interrupted by that damn lesbian from next door, who's hell-bent on stealing their rutabagas. Seems Dwayne, Marlene's infant child, has slept through the whole ruckus.
TRINA & ADELE - A year or so into a world-wide pandemic, Adele pays Trina a visit to follow up on a commitment she made.
RHONDA & DANIELLE - Two or more years into a world-wide pandemic, next door neighbors, Rhonda and Danielle, gossip with one another while dealing with the loss of their significant others.
Reviews/Recommendations
"Houk's writing is always stellar, but the true masterstroke of this anthology is his choice to never refer to the pandemic as "our" pandemic. We all associate it with COVID obviously, but since it's possible this small town is experiencing something else, we attach ourselves to these people so much more with that small bit of detachment. The world takes on a nigh absurdist bent, where every scene and beat dives into the confusion and anguish we experience as humans when the world changes inexplicably (often cruelly) around us. And in the deepest depths, the moments of celebration we encounter. " - Daniel Prillaman, New Play Exchange
"This is beautiful. The way each piece stands alone, but they all connect when read back to back, it's brilliant writing and storytelling. My personal favorite was between Marlene and Ginny, that ending was out of left field and so shocking. I think what I love about this collection most is how it really shows us how much the pandemic changed humanity. Houk was able to look into the heads of these characters and show us what they were going through during this time." - Cole Hunter Dzubak, New Play Exchange
"These short and deceptively simple stories all offer wonderfully insightful glimpses at the human condition in the midst of a pandemic. We have laugh-out-loud moments combined with bits of high tragedy and simple quotidian weariness. Each play stands alone, but together they are truly formidable and gain power from their minute observations of people struggling with loss, paranoia, depression, and misanthropy. The closing play ties everything together and offers a heart-breaking coda to these deeply humanist tales. This is a piece I would recommend to a future generation to help them understand how it was to live through these times." - Maximillian Gill, New Play Exchange
"The entire anthology of LOST IN PLACE packs a wallop. Each piece on its own is fascinating, but as an entire work, we are taken on an incredible journey through small-town America during a global pandemic. Like a 21st century "Our Town", we meet members of this community in all their surly sadness and quirky idiosyncrasies. These people are authentic human beings experiencing a world that very likely may be coming to its end. Houk's dialogue and characterizations are never forced or stereotypical. They ring true at every turn, to where we see ourselves and our sorrow in these people" - Debbie Lamedman, New Play Exchange
"Individually, these short plays are tender, funny, sad, touching, horrifying… but when read collectively they create a stunning portrait of people coping with a world turned upside down; yes, they may all take place during the current pandemic, but Houk’s piercing view of humanity is filled with universal truths that will allow them to remain fresh, and relevant." - Doug DeVita, New Play Exchange
"This anthology play hits several sweet spots for me: I love apocalyptic fiction, hard-tongued working-class characters, and quilt-like story structure that lets me connect the dots. Craig Houk nails the center of that Venn diagram here, with his funny, sad, and insightful portrait of a small community during a catastrophic global crisis. Hopping around in time from the early days of an outbreak which looks a lot like our covid-19, then extending years later to what might be humanity’s last gasps, this terrific series of two-handers keeps the focus hyperlocal — on the messy, real people just muddling through." - Vince Gatton, New Play Exchange
"Taken individually, these vignettes provide an insight to the way some people respond to the world-wide terror that came upon us. Instead of a macro-vision of humanity and the global impact, Craig Houk shows these ten people and their intersecting moments in their lives. Taken as a whole, "Lost In Place" is a laid-back and laconic view of dealing with change, loss, and fear, and this makes it all that more compelling and intense. Stand alone or together, it's a powerful way to reflect on our human nature." - Philip Middleton Williams, New Play Exchange
(2 M)
Early into a world-wide pandemic, good-natured Teddy - from across the road - checks in on his surly neighbor, Hank. A delicate exchange results in a bad decision. Part of the Lost In Place Anthology.
Early into a world-wide pandemic, good-natured Teddy - from across the road - checks in on his surly neighbor, Hank. A delicate exchange results in a bad decision. Part of the Lost In Place Anthology.
Reviews/Recommendations
"This was a very touching play about how different people dealt with the early part of the pandemic. It would be so easy to paint Hank as a one dimensional crazy person, but instead we see his full humanity. The two disparate men find common ground in their troubled lives, and show the universality of suffering. This play helps us to empathize even with people we might find abhorrent. Produce this! " - J. Lois Diamond, New Play Exchange
"Reading this heartwarming play by Houk, I found myself sitting on the steps of Hanks porch, watching Hank's and Teddy's excellently written interaction. What begins as a neighbourly (I'm English, that word has a U!) meeting soon zips forward into deep discussions and revelations. I really enjoyed being immersed in this play!" - Christopher Plumridge, New Play Exchange
"Like all good comedy, it's humor comes because you see something familiar in it. This isn't just "two neighbors," it's you and the guy across the street. It's your dad and your sibling. It's two friends from you. You smile because you know how this will play out, but then you wince for the same reasons. In just a few pages, Craig creates such warmth, that the final event is both a tragedy and inevitable. Highly recommend." - Brian Cern, New Play Exchange
"What's lovely about this play is that it lives in the in-between place of "neighborly" behavior. In the end, I actually said, aloud, "Nooooooo." which is always a good sign that I've invested in the piece! There's a lovely pro-LGBTQ message in this piece between to cis-het men, and it shows up with regret and melancholy. Excited to read more pieces in this series." - Steven Strafford, New Play Exchange
"Craig Houk’s, Lost in Place: Teddy & Hank, like all great art, is both immediate and timeless. An uplifting story of two neighbors who have never met, both exquisitely distinctive and beautifully human, now living in a shared and challenging circumstance. It is an unsettling reality that each of them views from their own side of the street. Houk delivers characters who are at once powerfully resolute and painfully fragile. And when one of them musters the courage to cross the road, we are reminded that there is always much more that binds us together than separates us." - Jim Lunsford, New Play Exchange
"You can't pick your neighbors, and Houk's tender, funny relatable play-inside-a-pandemic so encapsulates the way in which the people we may share a building or block with, have become important, like a small village. I'll chat with anyone now! I guess I'm the Teddy: Always trying to help? Not sure it's helping? Still, when I take the longview of this street, we haven't lost anyone, except Jodi. She was our Hank and it was her time. Houk's play captures how I've been feeling, with prescient charm." - Rachael Carnes, New Play Exchange
"A really nicely realized character study that never takes the easy choice by making one side or the other 'wrong': neighbors are people and people have differing opinions. During a pandemic, everything is heightened and elongated. This is a sweet piece that exposes both men in more ways than you'd expect. Nicely done." - Toby Malone, New Play Exchange
"The fences are up between these neighbors, but as the planks are pulled away, we see more than how they keep their yards. Their very souls are on the line. Hank definitely comes across as an unlikeable, horrible neighbor. But when he hears Teddy's story, he offers a glimmer of support that humanizes him. But I couldn't help but scream inside when Teddy accepted to share his drink. In a pandemic?! It was actually a cliffhanger of an ending with that acceptance between the two. Loved it, and worried for poor sweet Teddy!" - Jacquelyn Floyd-Priskorn, New Play Exchange
"The engagement of these two contrary characters -- neighborly Teddy and cranky Hank -- could be a set-up for a battle of wills and a theatrical polemic: all the ingredients are there. But that would be a shallow and short-sighted way to send a message, and that isn't even the point of this gentle but impactful play. What starts as a guarded conversation soon gives us insight to each of them, and in a world where trust and closeness comes at a very real price, Craig Houk asks us to decide if it is worth it." - Philip Middleton Williams, New Play Exchange
(2 W)
Early into a world-wide pandemic, Marlene and her mother-in-law, Ginny, decide to get fancy and make martinis. Their fun, however, is interrupted by that damn lesbian from next door, who's hell-bent on stealing their rutabagas. Seems Dwayne, Marlene's infant child, has slept through the whole ruckus. Part of the Lost In Place Anthology.
Early into a world-wide pandemic, Marlene and her mother-in-law, Ginny, decide to get fancy and make martinis. Their fun, however, is interrupted by that damn lesbian from next door, who's hell-bent on stealing their rutabagas. Seems Dwayne, Marlene's infant child, has slept through the whole ruckus. Part of the Lost In Place Anthology.
Reviews/Recommendations
"A funny, quirky, and offbeat slice of pandemic life turns chilling in this short work. Houk paints a world with references to people and events along with offstage characters, and it’s not a pretty world, but it pulls you in and pushes you along toward an ending that will punch you in the gut. Excellent." - DC Cathro, New Play Exchange
"There is an unsettling sense of foreboding from the first lines of this piece, and each moment of escalation, even the comic ones, contribute to growing dread. You know something bad is coming, but you don't know what. Houk's weaving of the morbid and the mundane creates such incredible tension. Excellent and disturbing!" - Emily McClain, New Play Exchange
"Houk plays with us. Just when we believe Marlene and Ginny are about to enter a truce in their tension-taut relationship, and we feel that forgiveness is possible, BAM! A chilling twist that you don't see coming. Well-drawn characters and an engaging plot pull us in, but it is the finale that leaves us gobsmacked. Terrific!" - Vivian Lermond, New Play Exchange
"I'm not sure what rattled me more in reading this short piece: the casualness of the situation that unfolds, or the fact that it disturbs me so. That is not to say that Craig Houk doesn't give us a very well-crafted and suspenseful story with characters of depth and dimension beyond the pages. He does, and more. Perhaps that is what makes it work so well: the intricate but straightforward weaving of this tale. We fully understand what is important to both Marlene and Ginny, and the choices they make, and that is all the more disturbing." - Philip Middleton Williams, New Play Exchange
(2 W)
A year or so into a world-wide pandemic, Adele pays Trina a visit to follow up on a commitment she made. Part of the Lost In Place Anthology.
A year or so into a world-wide pandemic, Adele pays Trina a visit to follow up on a commitment she made. Part of the Lost In Place Anthology.
Reviews/Recommendations
"Craig Houk has a true gift for writing varied, three-dimensional characters of every generation, gender, class, and culture. I could imagine the ease in which the actors would have bringing these exasperatingly ornery women to life because the dialogue and tension are so organic and funny. The ending took me a little by surprise since most of the action in the beginning deals with their trivial gripes. I realized these women are deeply emotional and really need each other. This is really excellent writing." - Andrew Martineau, New Play Exchange
"I fell in love with these "unlikable" women! Houk has brought to life two characters who highlight the pain, vulnerability, and loneliness inside us all, leaving the lasting impression of how truly important it is to build community and take care of each other." - Robin Berl, New Play Exchange
"This whole series has just been so wonderfully crafted. When I saw this one was up, I added it to my reading list immediately and I am glad I did. Lost in Place is going to be a great evening of theatre. And these are two more very full, rich characters actors are going to love diving into!" - Jacquelyn Floyd-Priskorn, New Play Exchange
"Damn, how I know these women: prickly, cantankerous, and not the least bit interested in being liked. The bits of vulnerability that do peek out here are surely due the extremity of the circumstances - but it’s the rarity of those overt little flickers of empathy or kindness that make them so telling, so special, and so moving. A funny, sad, and sigh-worthy addition to the Lost in Place series." - Vince Gatton, New Play Exchange
"There's a lyric from the musical "Zorba!" that states that life is what you do while you're waiting to die. In this moment of life between Trina and Adele, who are separated by more than just social distance, the casual, almost exhausted way that each of them view their lives is very evident and very, very real. The understated and unsaid are powerful elements in this short play, and a gift to actors who take on the roles." - Philip Middleton Williams, New Play Exchange
(2 W)
Two or more years into a world-wide pandemic, next door neighbors, Rhonda and Danielle, gossip with one another while dealing with the loss of their significant others. Part of the Lost In Place Anthology.
Two or more years into a world-wide pandemic, next door neighbors, Rhonda and Danielle, gossip with one another while dealing with the loss of their significant others. Part of the Lost In Place Anthology.
Performance History
Lost In Place: Rhonda & Danielle received an online presentation on Tue, Jul 27th as part of Prince William Little Theatre's Original Works Festival. The presentation featured Stacy Crickmer as Rhonda and Larissa Norris as Danielle. The piece was directed by Ward Kay.
Lost In Place: Rhonda & Danielle received an online presentation on Fri, Jun 25th and Sat, Jun 26th 2021 as part of Rainy Day Collective's First Annual Queer Voices Festival. The presentation featured Gillian C. Kelleher as Rhonda and Kim Saunders as Danielle. The piece was directed by Craig Houk.
Reviews/Recommendations
"Houk taps into the universal experience of love and loss and strikes a cord in this brilliant two-hander that speaks to how two women - Rhonda and Danielle - handle the Covid-19 crisis. A relevant, thoughtful play that resonates!" - Vivian Lermond, New Play Exchange
"Craig Houk’s “Lost in Place: Rhonda and Danielle” is as real as it gets. As humans, we despair and, when we can, try to adjust to survive. A thoughtful piece." - Julie Zaffarano, New Play Exchange
"When you're in the middle of a worldwide crisis—oversaturated with news and emotionally overwhelmed—it's hard to create art about it that resonates. Craig Houk's LOST IN PLACE: RHONDA & DANIELLE is the rare exception. This brilliant two-hander carves out a moment in time where two people are able to connect amid loneliness and upheaval. This play is all about the quiet moments. Months after seeing a Zoom performance, it’s stuck with me." - Sasha Karuc, New Play Exchange
"Lost in Place: Rhonda & Danielle" is a haunting look at what happens when everyone gives up in a pandemic. Well, not everyone: Rhonda and Danielle, two genial neighbors, do their best to carry on despite horrific circumstances. This play is poignant and tragic, but offers a little glimmer of hope at the play's end. Well done!" - Adam Richter, New Play Exchange
"Craig Houk's Rhonda & Danielle is an exceptional ten-minute play. I found this two-hander engrossing and poignant, relatable, and extremely well crafted. I look forward to taking in more plays in Houk's Lost in Place series, and cannot wait to see this play up on it's feet in the near future. Great work, Craig!" - Jeffrey James Keyes, New Play Exchange
"This thoughtful take on the topic of a global pandemic could not be more timely, and although it is part of a larger series, even as a standalone short piece it takes you into a world that clearly stretches so far beyond what you see and hear within the script that it's nothing short of captivating. There's an elegant melancholy to this piece that makes you think and reflect, and that's the beauty of what Houk has rendered here." - Jack Seamus Conley, New Play Exchange
"This short play about love and loss and trying to get by amid a global pandemic is wonderful. It's all the little details that get you: a chair without an owner, an exchange of vegetables and preserves between two neighbors who have been watching everyone in the neighborhood slowly die... Lovely and bittersweet." - Lisa Dellagiarino Feriend, New Play Exchange
"In the midst of a worldwide pandemic, two women discuss matters of importance that aren't really important at all in the face of things. A wonderful play about how we deal with our place in the world, Craig Houk has created a terrific piece for two actresses." - John Busser, New Play Exchange
"There is a subliminal rhythm to this and the other "Lost in Place" plays: the inexorable progression of the inevitable. Rhonda and Danielle talk about life and death in a way that friends talk about everyday things like doing laundry or putting out the recycling. Has the pandemic numbed us to such things as death, suicide, and the passing of millions, or have we always been like this about unfathomable things? Is this how we cope with the moment, or is this the underlying foundation of how we survive? That is the power of this story." - Philip Middleton Williams, New Play Exchange
"The beautiful sadness of this play will linger with me for a long time. We see two neighbors going through the motions in a world empty of life and meaning. And it seems they're starting to wake from the haze of tragedy and make small decisions that will have huge impacts on their day to day existences. So heartbreaking and so terrifyingly relatable. " - Jacquelyn Floyd-Priskorn, New Play Exchange
“I’m downright mad I didn’t write this myself. Anyone who knows me knows how much I like two things: apocalyptic stories and working-class middle-aged women, and this terrific two-hander scratches both itches. Years into a long slow slog of disease, death, and isolation, two neighbors maintain their yard-sit drinking visits...and today, certain decisions have been made, certain steps taken. Funny, sad, brutal, and kind, this short piece delivers the goods, and I’m its happy target audience. Well done." - Vince Gatton, New Play Exchange
“LOST IN PLACE is a subtle play that packs big punches. From the Symbolic gesture of moving a lawn chair to the reveal of what really happened to Woman 1's wife, this play gets you with the details. This play is dark, yet hopeful!" - Monica Cross, New Play Exchange
"Lost in Place" is a tragic view of what could happen as the pandemic progresses and, more hauntingly, most likely reflects true experiences of what already has. The dialogue is succinct yet explodes with symbolism. It is a great piece for both women and is easily adapted to both virtual theater and, dare I say, a return to live theater." - Matt Cogswell, New Play Exchange
(1 W, 1 M)
On the eve of his confirmation to SCOTUS, Edwin Spratt and his wife, Abigail, sit down for an intimate dinner that quickly turns contentious. Edwin has been accused of sexual assault. He can prove his innocence, but it would require revealing a secret that would anger his supporters and put his career and reputation at stake. Companion piece to Tethered: Addison & Eleonore.
On the eve of his confirmation to SCOTUS, Edwin Spratt and his wife, Abigail, sit down for an intimate dinner that quickly turns contentious. Edwin has been accused of sexual assault. He can prove his innocence, but it would require revealing a secret that would anger his supporters and put his career and reputation at stake. Companion piece to Tethered: Addison & Eleonore.
Reviews/Recommendations
"A dark and thrilling piece with tension in buckets right from the beginning. Edwin and Abigail have been crafted as a perfect example as a couple staying together "for the sake of the career". You find yourself watching them holding in bated breath waiting for that one moment where it all breaks apart but Craig Houk holds you spell bound right the way until that last moment and leaves you desperately wanting to know more. Very well created." - Rachel Feeny-Williams, New Play Exchange
"The intersection of public and private spaces in the political lives of the married couples who inhabit those spaces is revealed in sad, caustic dialogue in this smartly written short drama. How often have we seen the pained expressions of a wife of a politician in the hot seat standing behind him during a televised press conference and wonder what was happening behind closed doors? Craig Houk shows us such a scene with brilliant subtlety. The last line gave me chills. Bravo!" - Andrew Martineau, New Play Exchange
"A judge and his socialite wife sit down to dinner the evening before his political appointment to the Supreme Court. Like its companion piece, Addison & Eleonore, sparely economic dialogue and imagery builds up a dislocated world where ruthless ambition overrides natural human relationships and even gender differences. An intriguing and disturbing piece where superficial proprieties mask violent thoughts and actions." - Alice Josephs, New Play Exchange
"The toxic fruit brought to bear by Addison & Eleonore rots beautifully in this sparkling gem that spotlights the loathsome hypocrisy of a certain political party. Edwin & Abigail, as horrible and toxic as Edwin’s parents, are a special breed of contemporary politicians, and as such are legitimate targets for Houk’s precise blows at their mendacity and gall. What’s especially wonderful is what’s not said, what’s left to percolate between the lines, particularly if you’ve read the equally lethal TETHERED: ADDISON & ELEONORE. Funny and horrifying, these are must read, must produce scripts. " - Doug DeVita, New Play Exchange
"Edwin and Abigail are living two lives each. The couple they portray to the public who insist on perfection in their elected leaders, and the flawed, miserable human couple who must exist in their own personal hells with each other. On the eve of a Senate confirmation, they must keep the cracks from showing even as Edwin is being accused of a sexual indiscretion. Confessing his true nature might get him off the hook, but could torpedo his chances at confirmation. This is complex, tension-filled and infuriating stuff. It's wonderfully written. Read with "Tethered: Addison & Eleonore" for added depth." - John Busser, New Play Exchange
"The air hangs thick on this tense little dinner scene, with allusions that recall Tennesee Williams at his most aching and Edward Albee at his most darkly absurd. Though clearly inspired by the Kavanaugh confirmation hearings, this short drama (especially paired with its companion piece, Tethered: Addison & Eleonore) tells its own twisted story of secrets, lies, power, and behind-the-scenes consequences." - Vince Gatton, New Play Exchange
"Read this 10-minute play in tandem with Houk's "Tethered: Addison & Eleonore." The combined portrait of four icy, upper-class, barely-tolerant-of-one-another adults has the scent of well-written Albee. The scent? Well-roasted elitism. In "Tethered: Edwin & Abigail," the atmosphere is positively poisonous with an overlay of repetitive dialogue, offspring issues, and accusations that land but are never acknowledged. Tomorrow is Edwin's biggest day, and Abigail is not going to let him have an easy night before. Produce this 10-minute play alongside "Tethered: Edwin & Abigail" for a chilly, bitter, fabulous night of theatre." - Steven G. Martin, New Play Exchange
Performance History
- TETHERED: Edwin & Abigail (formerly Lest Ye Be Judged) received an online reading with Adventure Theatre MTC, District Dramatists & 4615 Theatre Company as part of their DMV Q FEST on Sunday, April 19th 2020 (Washington, DC).
(1 W, 1 M)
A retired business mogul, Addison Spratt, and his wife Eleonore are hosting a cocktail party at their stately mansion in Bethesda, MD. Heavily intoxicated, the pair unwittingly reveal curious details about their son's childhood, which raises some questions about his virility. Nevertheless, their money, power and influence serve to save the evening and to guard their son's character. Companion piece to Tethered: Edwin & Abigail.
A retired business mogul, Addison Spratt, and his wife Eleonore are hosting a cocktail party at their stately mansion in Bethesda, MD. Heavily intoxicated, the pair unwittingly reveal curious details about their son's childhood, which raises some questions about his virility. Nevertheless, their money, power and influence serve to save the evening and to guard their son's character. Companion piece to Tethered: Edwin & Abigail.
Reviews/Recommendations
"In this short piece the writer expertly constructs the frame of this family. The parents, boozed up and proud as punch of their son (so long as he lives his life the way they want him to!) The play is brilliantly constructed with great roles for older actors. I think this piece would be brilliant on stage as a relatable and funny piece of theatre." - Rachel Feeny-Williams, New Play Exchange
"In this short, the playwright has gifted your older actors with a superb and challenging vehicle - and that's a rare gem. The actors speak out of both sides of their mouths, as the saying goes, and therein lies the fun. Houk doesn't waste his energy on the frivolous, though, taking advantage of the moment to deliver a pointed, political commentary while he has your ear. I have some actors in mind I'd love to see in these rich, lively roles and I bet you do, too. A really nice piece of writing." - Kelly McBurnette-Andronicos, New Play Exchange
"Unfortunately, I have dined with the likes of Addison and Eleonore on numerous occasions. Booze and bullshit, politics and power, secrets and lies, all these themes come together in this well-paced, well-crafted ten-minute play. A great vehicle for two veteran actors to strut their stuff. Set in a stately mansion in Bethesda, Maryland, the play gets darker and darker, as the two characters get meaner and meaner. Powerful and riveting, this play would mesmerize an audience. Bravo!" - Cindi Sansone-Braff, New Play Exchange
"In the best style of the understated plays by Edward Albee and Harold Pinter, Craig Houk gives us a lesson in what the upper crustaceans really say and think when they think no one else is listening. But even if they were, they don't care. This goes beyond politics and position in society; it is an indictment of a people in power who by any rights shouldn't have it, and it's done to a fine turn in this two-hander." - Philip Middleton Williams, New Play Exchange
"With spare and biting dialogue, a cocktail party proves an apt vehicle for this piece about a pitiless couple pursuing political power. Both in addressing their guests and in their private relationship, they disregard the cost of their ambition to their own marriage, their adopted son moulded in their image and any sense of social conscience, consistency and sanity in this absurdist, even poetic play." - Alice Josephs, New Play Exchange
"Addison and Eleonore are horrible, toxic people, perfectly representing a group of horribly toxic people, and Craig Houk has showcased them in a perfectly pitched play that shines a bright, unforgiving light on these horribly toxic people and their horribly toxic ideas, and the horribly toxic possibility of their return to power. Listen to Craig. He knows what he’s talking about." - Doug DeVita, New Play Exchange
"Craig Houk gives us a look at an unsettling couple, on the eve of their possibly closeted son's Senate confirmation. And shows us in no uncertain terms that although Edwin may be their biological son, they are truly only in love with the money and power that their societal status gives them. Appropriately relevant in these politically turbulent times. Read this along with the companion piece, "Tethered: Edwin & Abigail" for another slap in the face." - John Busser, New Play Exchange
"Read this 10-minute play in tandem with Houk's "Tethered: Edwin & Abigail." The combined portrait of four icy, upper-class, barely-tolerant-of-one-another adults has the scent of well-written Albee. The scent? Well-roasted elitism. In "Tethered: Addison & Eleonore," Edwin's 70-something, patrician adoptive parents publicly and savagely reminisce about their son, either due to alcohol or senility. They completely go off the rail, perhaps causing a horrid scene, but then Craig Houk gives Addison one of the best lines of dialogue ever, and things (unfortunately) settle. Produce this 10-minute play alongside "Tethered: Edwin & Abigail" for a chilly, bitter, fabulous night of theatre." - Steven G. Martin, New Play Exchange
SYD published by Next Stage Press
11/3/2021
Proud to announce that my full length drama, SYD, has been published by Next Stage Press.
SYNPOSIS: On the evening of Sunday, June 24th, 1973, thirty-two men perished in a fire at The Upstairs Lounge, a sanctuary bar for working-class homosexual men in New Orleans. On that same evening, several blocks north, nearly a dozen women, including a gifted young nursing student, Sydney (Syd) Trahan, were taken into custody and charged with lewd and lascivious conduct for dancing together at Brady’s, a notorious lesbian bar in the French Quarter. Hopeful that the deadly fire and the controversy surrounding its multiple victims might overshadow Syd’s arrest, Bud, a reputable blacksmith, and Helen, a God-fearing woman, do everything in their power to curtail the impact of their daughter’s transgression on their seemingly near perfect lives.
SYNPOSIS: On the evening of Sunday, June 24th, 1973, thirty-two men perished in a fire at The Upstairs Lounge, a sanctuary bar for working-class homosexual men in New Orleans. On that same evening, several blocks north, nearly a dozen women, including a gifted young nursing student, Sydney (Syd) Trahan, were taken into custody and charged with lewd and lascivious conduct for dancing together at Brady’s, a notorious lesbian bar in the French Quarter. Hopeful that the deadly fire and the controversy surrounding its multiple victims might overshadow Syd’s arrest, Bud, a reputable blacksmith, and Helen, a God-fearing woman, do everything in their power to curtail the impact of their daughter’s transgression on their seemingly near perfect lives.
COLD RAIN published by Next Stage Press
7/29/2021
Proud to announce that my full length drama, COLD RAIN, has been published by Next Stage Press.
SYNPOSIS: Carly Weekes and her sisters, Lolly and Shirley, are witches. Determined to find Carly a mate, the three cast a circle to summon a popular recording artist from Colorado. However, Shirley casts what appears to be a dubious and deadly spell. Worried that Carly and her new family might now be cursed, Lolly endeavors to reverse the hex, but fails, resulting in her expulsion to an alternate world. Years later, twin sisters Tina and Rose Pacheco mysteriously drown. The case goes cold, but many believe Carly’s oldest son, Johnny, is responsible. Cold Rain is an account of a family bound by black magic, a dark and comical tale of ill-conceived machinations, misdirected resentment, and repressed desire.
SYNPOSIS: Carly Weekes and her sisters, Lolly and Shirley, are witches. Determined to find Carly a mate, the three cast a circle to summon a popular recording artist from Colorado. However, Shirley casts what appears to be a dubious and deadly spell. Worried that Carly and her new family might now be cursed, Lolly endeavors to reverse the hex, but fails, resulting in her expulsion to an alternate world. Years later, twin sisters Tina and Rose Pacheco mysteriously drown. The case goes cold, but many believe Carly’s oldest son, Johnny, is responsible. Cold Rain is an account of a family bound by black magic, a dark and comical tale of ill-conceived machinations, misdirected resentment, and repressed desire.
LOST IN PLACE: RHONDA & DANIELLE Virtual Festival Presentations
5/26/2021
Excited to announce that my original short, LOST IN PLACE: RHONDA & DANIELLE, has been accepted into two festivals:
Prince William Little Theatre's Original Works Festival. July 27th, 2021
Rainy Day Artistic Collective's Queer Voices 2021 Festival. June 25th & 26th, 2021
Prince William Little Theatre's Original Works Festival. July 27th, 2021
Rainy Day Artistic Collective's Queer Voices 2021 Festival. June 25th & 26th, 2021
RADIATOR Staged Reading
6/28/2019
Honored and humbled to announce that my original one act play, Radiator, will be presented as part of the 2019 Kennedy Center Page-to-Stage New Play Festival. The reading will feature Jared Shamberger as André Cooper and Matty Griffiths as Lou Brunazzi. The piece will be directed by Carl Randolph.
COLD RAIN World Premiere Production
6/18/2018
Very excited to announce that TICKETS are now on sale for the world premiere production of COLD RAIN. The venue is small and the show is big, so act fast!
CAST: Elle Emerson as Lolly Weekes, Maura Claire Harford as Shirley Weekes, Desiree Chappelle as Carly Weekes-Rekowski, Grant Collins as Bryson Rekowski, Thomas Shuman as Fisher Hickman, Will Low as Johnny Rekowski, Stephanie Jo Clark as Donna Pagnotto, Blake Gouhari as Joe Rekowski, Lydia Kraniotis as Lydia Pacheco.
LOCATION: Westminster Presbyterian Church (Red), 400 I St SW, Washington, DC 20024
DATES: Sat, Jul 14 @ 5:30 PM, Sun, Jul 15 @ 3:30 PM, Sat, Jul 21 @ 11:00 AM, Thu, Jul 26 @ 8:30 PM, Sat, Jul 28 @ 9:45 PM
RUNNING TIME: 90 Minutes
CAST: Elle Emerson as Lolly Weekes, Maura Claire Harford as Shirley Weekes, Desiree Chappelle as Carly Weekes-Rekowski, Grant Collins as Bryson Rekowski, Thomas Shuman as Fisher Hickman, Will Low as Johnny Rekowski, Stephanie Jo Clark as Donna Pagnotto, Blake Gouhari as Joe Rekowski, Lydia Kraniotis as Lydia Pacheco.
LOCATION: Westminster Presbyterian Church (Red), 400 I St SW, Washington, DC 20024
DATES: Sat, Jul 14 @ 5:30 PM, Sun, Jul 15 @ 3:30 PM, Sat, Jul 21 @ 11:00 AM, Thu, Jul 26 @ 8:30 PM, Sat, Jul 28 @ 9:45 PM
RUNNING TIME: 90 Minutes
COLD RAIN Fundraising Campaign
2/20/2018
I am honored (and humbled) to announce that my original work, COLD RAIN, will be presented as part of the 2018 Capital Fringe Festival, a program of the Washington, D.C., non-profit Capital Fringe.
I understand that there's a lot going on in our world today, and in our country especially, that deserves our focused attention. So it's not lost on me that my asking for your financial support on this project appears frivolous and self-serving at this moment in time. And perhaps it is. That being said, I believe that theater is more vital now than ever. To that end, and with this piece in particular, I am offering audiences an opportunity to escape, if only for a moment, into a world that will not only resonate with them on a personal level, but will remind them that taking care of themselves is not a selfish act, but rather an avenue towards taking better care of those around them.
If you are able, please make your non tax-deductible donation here: https://igg.me/at/Indiegogo-ColdRain
I understand that there's a lot going on in our world today, and in our country especially, that deserves our focused attention. So it's not lost on me that my asking for your financial support on this project appears frivolous and self-serving at this moment in time. And perhaps it is. That being said, I believe that theater is more vital now than ever. To that end, and with this piece in particular, I am offering audiences an opportunity to escape, if only for a moment, into a world that will not only resonate with them on a personal level, but will remind them that taking care of themselves is not a selfish act, but rather an avenue towards taking better care of those around them.
If you are able, please make your non tax-deductible donation here: https://igg.me/at/Indiegogo-ColdRain
COLD RAIN Act One Staged Reading
4/5/2017
It's official! Very excited to announce a free public staged reading of Act One of my original two act play, Cold Rain. Check out the following link for details and to reserve your seats: COLD RAIN
CAST: Mindy Steinman Shaw as Lolly Weekes, Sue Schaffel as Shirley Weekes, Laureen Smith as Carly Weekes-Rekowski, Grant Collins as Bryson Rekowski, Devin Horne as Fisher Hickman, Adrian Jesus Iglesias as Johnny Rekowski, Nerissa Sarah Hart as Donna Pagnotto, Andrew Dominic Filicicchia as Joe Rekowski
CAST: Mindy Steinman Shaw as Lolly Weekes, Sue Schaffel as Shirley Weekes, Laureen Smith as Carly Weekes-Rekowski, Grant Collins as Bryson Rekowski, Devin Horne as Fisher Hickman, Adrian Jesus Iglesias as Johnny Rekowski, Nerissa Sarah Hart as Donna Pagnotto, Andrew Dominic Filicicchia as Joe Rekowski
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BRUTE FARCE is in late stage development and I am actively submitting and pitching this riotous comedy to various companies across the United States and in Europe.
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The World Premiere Production of RADIATOR is tentatively scheduled for the Spring 2022. Originally slated for the Fall of 2020, it had to be cancelled/delayed due to the pandemic. The intent is to mount the production with the original cast as follows:
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Sat, Jul 14 - Sat, Jul 28 2018
Westminster Presbyterian Church (Red) 400 I St SW, Washington, DC 20024 |
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BIO
Craig Houk is a DC based Playwright and Dramatists Guild Member. He is also a Producer, Actor & Director with a degree in Theater from Bowling Green State University. Prior to relocating to Washington, DC in November of 2015, he spent two decades working primarily as an actor in the New England area. Houk’s two act drama, COLD RAIN (Next Stage Press) was awarded Best Drama and named one of Best of Festival at Capital Fringe 2018. His other works include SYD (Next Stage Press), BRUTE FARCE (Woven Theatre's The Loom 2021 New Works Festival Finalist), RADIATOR, THE RELUCTANT HEN, LOST IN PLACE ANTHOLOGY, and the TETHERED companion pieces: EDWIN & ABIGAIL and ADDISON & ELEONORE . ARTISTIC STATMENT
While my writing style has been generously compared to Pinter, Albee & Shaffer (and those writers, among others, have indeed influenced my writing) I am admittedly neither profound nor prolific. As a general rule, I write to entertain. And in the process, I do my best to write strong characters with compelling stories to tell; characters that actors might yearn to play; and stories that audiences might yearn to see and hear. MESSAGE TO MY FELLOW ARTISTS
Find your safe space and tuck in tightly, because safe spaces are in very short supply these days. We live in a world where you’re no longer measured by your accomplishments or by what you’ve done to elevate your fellow creatives, but rather defined solely (and harshly) by your missteps. Challenging others is off limits. Admitting your errors, making amends, or striving to mature in an effort to stay relevant and engaged are no longer options. None of that is enough, not anymore, because any minor stumble will assuredly seal your fate. So, please take care of yourself first and foremost. Be authentic, be kind, stay as grounded as you can, and have faith that those who know and love you best will stay aligned. The rest of it doesn’t matter. |
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THEATRE
Colonel in Blue Camp, produced by Rainbow Theatre Project at the Saint Augustine's Episcopal Church, directed by Christopher Janson. Washington, DC
Richard Baxter in The Mollusc, produced by Quotidian Theatre Company at The Writer's Center, directed by Jack Sbarbori. Bethesda, MD
Man #3 (7 roles) in Jeffrey, produced by Rainbow Theatre Project at the DC Arts Center, directed by Robert Mintz. Washington, DC
Garrison in Consider the Ficus, as part of the 2018 DC Queer Theatre Festival at the DC Arts Center, directed by Carl Randolph. Washington, DC
Marvin Friedman/Frates Simpson/Priest in Duck, produced by Tom Block at The Highwood Theatre, directed by Clare Schaffer. Silver Spring, MD
Brian in The Nude, produced by FABUM as part of their A Strong Woman Play Festival, directed by Jameson Freeman. Washington, DC
Edmund Blackadder in Blackadder Goes Forth: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Twinkles in Clown Bar, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
William Hutchinson in Goodly Creatures, produced by Hub Theatre Company, directed by John Geoffrion. Boston, MA
Gavin in Party Time, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Fantasy Man (3 roles) in Wandelaria, produced by Argos Productions, directed by Brett Marks. Boston, MA
Actor 2 (2 roles) in Tiny Kushner, produced by Zeitgeist Stage Co, directed by David Miller. Boston, MA
Edmund Blackadder in Blackadder II: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Josh in My Wonderful Day, produced by Zeitgeist Stage Co, directed by David Miller. Boston, MA
Dave Moss in Glengarry Glen Ross, produced by Independent Drama Society, directed by Brett Marks. Boston, MA
One/Maitre D' in Almost an Evening, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
True/Countess in Act a Lady, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Dyson in Lady, produced by Zeitgeist Stage Co, directed by David Miller. Boston, MA
Victor in One for the Road, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Bruce in 7 Blowjobs, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Philip in Gasping, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Walker Harris in Two Rooms, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Man (6 roles) in Solitaire Six Pack, produced by Ubiquity Stage, directed by Sarah Jones. Boston, MA
Algernon in Importance of Being Earnest, produced by Penobscot Theatre Co, directed by Matthew Arbour. Bangor, ME
Thaddeus/Crumpet (u/s 6 performances) in The Santaland Diaries, produced by Firefly Productions, directed by Steven Maler. Boston, MA
Bellhop in Lend Me a Tenor, produced by The Public Theatre, directed by Janet Mitchko. Lewiston, ME
Arthur Wellesley in The Judas Kiss, produced by Lyric Stage Company, directed by Spiro Veloudos. Boston, MA
Peter in Party, produced by Dollboyz Productions, directed by Jason Southerland. Boston, MA
Man #1 (10 roles) in Jeffrey, produced by Flaming Productions, directed by Wendy Poole. Portland, ME
Louis Ironson in Angels in America Part II, produced by Mad Horse Theatre Co, directed by Andy Sokoloff. Portland, ME
Lucio in Measure for Measure, produced by Acorn Productions, directed by Michael Levine. Portland, ME
Louis Ironson in Angels in America Part I, produced by Mad Horse Theatre Co, directed by Andy Sokoloff. Portland, ME
Larry in Burn This, produced by Acorn Productions, directed by Michael Levine. Portland, ME
Michael in Forget Him, produced by Triangle Theatre. Boston, MA
Brian Meagher in The Last Shaker, produced by Triangle Theatre, directed by Joseph Cambone. Boston, MA
Darius in Jeffrey, produced by Speak Easy Stage Co, directed by Paul Daigneault. Boston, MA
Richard Baxter in The Mollusc, produced by Quotidian Theatre Company at The Writer's Center, directed by Jack Sbarbori. Bethesda, MD
Man #3 (7 roles) in Jeffrey, produced by Rainbow Theatre Project at the DC Arts Center, directed by Robert Mintz. Washington, DC
Garrison in Consider the Ficus, as part of the 2018 DC Queer Theatre Festival at the DC Arts Center, directed by Carl Randolph. Washington, DC
Marvin Friedman/Frates Simpson/Priest in Duck, produced by Tom Block at The Highwood Theatre, directed by Clare Schaffer. Silver Spring, MD
Brian in The Nude, produced by FABUM as part of their A Strong Woman Play Festival, directed by Jameson Freeman. Washington, DC
Edmund Blackadder in Blackadder Goes Forth: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Twinkles in Clown Bar, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
William Hutchinson in Goodly Creatures, produced by Hub Theatre Company, directed by John Geoffrion. Boston, MA
Gavin in Party Time, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Fantasy Man (3 roles) in Wandelaria, produced by Argos Productions, directed by Brett Marks. Boston, MA
Actor 2 (2 roles) in Tiny Kushner, produced by Zeitgeist Stage Co, directed by David Miller. Boston, MA
Edmund Blackadder in Blackadder II: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Josh in My Wonderful Day, produced by Zeitgeist Stage Co, directed by David Miller. Boston, MA
Dave Moss in Glengarry Glen Ross, produced by Independent Drama Society, directed by Brett Marks. Boston, MA
One/Maitre D' in Almost an Evening, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
True/Countess in Act a Lady, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Dyson in Lady, produced by Zeitgeist Stage Co, directed by David Miller. Boston, MA
Victor in One for the Road, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Bruce in 7 Blowjobs, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Philip in Gasping, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Walker Harris in Two Rooms, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
Man (6 roles) in Solitaire Six Pack, produced by Ubiquity Stage, directed by Sarah Jones. Boston, MA
Algernon in Importance of Being Earnest, produced by Penobscot Theatre Co, directed by Matthew Arbour. Bangor, ME
Thaddeus/Crumpet (u/s 6 performances) in The Santaland Diaries, produced by Firefly Productions, directed by Steven Maler. Boston, MA
Bellhop in Lend Me a Tenor, produced by The Public Theatre, directed by Janet Mitchko. Lewiston, ME
Arthur Wellesley in The Judas Kiss, produced by Lyric Stage Company, directed by Spiro Veloudos. Boston, MA
Peter in Party, produced by Dollboyz Productions, directed by Jason Southerland. Boston, MA
Man #1 (10 roles) in Jeffrey, produced by Flaming Productions, directed by Wendy Poole. Portland, ME
Louis Ironson in Angels in America Part II, produced by Mad Horse Theatre Co, directed by Andy Sokoloff. Portland, ME
Lucio in Measure for Measure, produced by Acorn Productions, directed by Michael Levine. Portland, ME
Louis Ironson in Angels in America Part I, produced by Mad Horse Theatre Co, directed by Andy Sokoloff. Portland, ME
Larry in Burn This, produced by Acorn Productions, directed by Michael Levine. Portland, ME
Michael in Forget Him, produced by Triangle Theatre. Boston, MA
Brian Meagher in The Last Shaker, produced by Triangle Theatre, directed by Joseph Cambone. Boston, MA
Darius in Jeffrey, produced by Speak Easy Stage Co, directed by Paul Daigneault. Boston, MA
FILM
Rowan (Featured Actor) in Ascendants: Raven, produced by Charles River Media Group, directed by Don Schechter. Boston, MA
Resistance Member (Extra) in Ascendants, produced by Charles River Media Group, directed by Don Schechter. Boston, MA
Brian (Supporting Actor) in Here is Gone, produced by Painted Sky Productions , directed by Jacquelyn Carr. Boston, MA
Moe (Principal Actor) in Sucker, produced by Magic Club Productions , directed by Peter Pizzi. Boston, MA
Resistance Member (Extra) in Ascendants, produced by Charles River Media Group, directed by Don Schechter. Boston, MA
Brian (Supporting Actor) in Here is Gone, produced by Painted Sky Productions , directed by Jacquelyn Carr. Boston, MA
Moe (Principal Actor) in Sucker, produced by Magic Club Productions , directed by Peter Pizzi. Boston, MA
RECOGNITION
IRNE Best Actor Nominee: Edmund Blackadder in Blackadder Goes Forth: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
IRNE Best Actor Nominee: Edmund Blackadder in Blackadder II: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
IRNE Best Supporting Actor Nominee: Victor in One for the Road, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
IRNE Best Actor Nominee: Philip in Gasping, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
IRNE Best Actor Nominee: Edmund Blackadder in Blackadder II: Live!, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
IRNE Best Supporting Actor Nominee: Victor in One for the Road, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
IRNE Best Actor Nominee: Philip in Gasping, produced by Theatre on Fire, directed by Darren Evans. Boston, MA
PRESS
"A scarily brash Craig Houk.” – John Stoltenberg, DC Metro Theater Arts (Blue Camp)
"[Craig] Houk is hilarious as the photos send Bruce into a trancelike state... " - Boston Globe (7 Blowjobs)
“Emily Levey and Craig Houk find moments to shine in multiple supporting roles.” – André Hereford, Metro Weekly (Jeffrey)
"I found Houk as the cowed pushover of a husband the most fun to watch—his every wince and trepidation was well played." – Roy Maurer, DC Theatre Scene (The Mollusc)
“Enter “The Colonel” (Craig Houk), the very embodiment of a realpolitik Cold Warrior who knows cannon fodder when he sees it.” – William G. Schulz, TheInTowner (Blue Camp)
“Houk is a comedic standout as a handsy Catholic priest whose idea of heaven is gay sex and a good show tune.” – Patrick Folliard, Washington Blade (Jeffrey)
"Craig Houk gives a delightful portrayal of a man deeply in love with his strong willed wife." - Kay Bourne, Edge Boston (Goodly Creatures)
"This is an excellent cast who play their roles with subtlety and grace." "A gentle and lonely Craig Houk." – Mary Ann Johnson, MD Theatre Guide (The Mollusc)
"Houk’s Garrison is compelling as he struggles to find meaning in both his personal and professional life." - Julie Janson, DC Metro Theater Arts (Consider the Ficus)
"The intense Craig Houk as Nixon’s shrink is fun to watch agonizing over weekly sessions he had with the president in an analysis session with angel Metatron." - Kay Bourne, Edge Boston (Tiny Kushner)
"Craig Houk as Anne’s husband provides a welcome playfulness to the somber proceedings, acknowledging that he “never wins in an argument” with his wife." - Beverly Creasey, Boston Arts Review (Goodly Creatures)
"[Craig] Houk is very funny as Hendryk, a pistol of a personality, pursuing outsized romantic thoughts, and dreams birthed by sexual ambivalence." - Kay Bourne, Edge Boston (Tiny Kushner)
"Craig Houk is simply beyond reproach as Blackadder. Once you’ve seen him, you will forget Rowan Atkinson entirely." - Beverly Creasey, Boston Arts Review (Blackadder Goes Forth: Live!)
"Best of all is Craig Houk’s heart-wrenching rage as Dyson, particularly as his fear mounts for his son’s future." - Jules Becker, My South End (Lady)
"This play featured Frank Britton as Nate and Craig Houk as Garrison, who gave some of the strongest performances of the evening." - Julie Janson, DC Metro Theater Arts (Consider the Ficus)
“Members of the ensemble portray several differing, rotating roles with ease; sparkling brio and zest infuse every scene. Members of the ensemble who provide the very human backdrop of this play are Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp. All are superior.” – David Friscic, DC Metro Theater Arts (Jeffrey)
“Ensemble members Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp did a fantastic job with multiple roles each and hit just the right notes to capture each of their characters’ quirks in many varied scenes.” – Liz Ruth-Brinegar, MD Theatre Guide (Jeffrey)
"The interactions between Graham’s surly Sergeant and Bossenbroek’s sassy, Southern Billy are particularly charming, as is Houk’s outsized performance as the Colonel, a stand-in for all the toxic masculinity and ruthlessness associated with the American military.” – William G. Schulz, DC Theatre Scene (Blue Camp)
"Two vignettes stem from Kushner’s fascination with psychoanalysis (with an emphasis on the psycho). In one a patient who has just been terminated (the wonderful Craig Houk) begs his doctor to take him back." - Beverly Creasey, Boston Arts Review (Tiny Kushner)
"[Craig] Houk’s portrayal of Blackadder oozes with just the right blend of oily pseudo-suavity, gimlet-eyed ambition, and sputtering exasperation at the dolts who surround him and the predicaments that engulf him." - Don Aucoin, Boston Globe (Blackadder II: Live!)
“The ensemble cast - Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp - is brilliantly versatile and hilariously funny. They bring a much-needed levity to the show, making it genuinely humorous, but also providing a good counter for the more serious, aching moments.” – Rachael Goldberg, Broadway World DC (Jeffrey)
"Blackadder II stars Craig Houk, one of Boston’s best comic actors, of late having slain Zeitgeist audiences with his furious napping. He takes over Rowan Atkinson’s reins, galloping full tilt into the dubious fray." - Beverly Creasey, Boston Arts Review (Blackadder II: Live!)
"Craig Houk stars as the pompous and ridiculous Edmund Blackadder, who seems very comfortable in the role itself, and manages to capture the arrogance and charm of the character incredibly well. His charisma is one thing to lock on to and he has it in spades." - Christian Hegg, Muffin Eats Dragon (Blackadder II: Live!)
Zeitgeist veterans Becca Lewis and Craig Houk are masters of farce. Houk can, as they say, read the phonebook and get laughs but his fitful nap and fabulous snoring in WONDERFUL DAY are reason alone to see the play. - Beverly Creasey, Boston Arts Review (My Wonderful Day)
"The laughs build to the required farcical frenzy with the appropriate array of entrances and exits, as well as some delicious physical comedy from [Craig] Houk (think John Cleese at his bumbling best)..." - Terry Byrne, Boston Globe (My Wonderful Day)
"Craig Houk is aptly ridiculous as the clueless Josh, who's capable of falling dead asleep, face buried in a sandwich, when read to from The Secret Garden." - Carolyn Clay, Boston Phoenix (My Wonderful Day)
"Craig Houk as the other younger salesman, the mean to the bone Dave Moss, fairly ripples with a merciless ruthlessness." - Kay Bourne, Edge Boston (Glengarry Glen Ross)
"Craig Houk brings a frenetic intensity to the scheming Moss. His “hypothetical” scene with the hapless Aaronow gets lots of laughs." - Beverly Creasey, Boston Arts Review (Glengarry Glen Ross)
"Craig Houk is utterly convincing as the journalist who gets his story but truly regrets the manipulation." - Beverly Creasey, Theatre Mirror (Two Rooms)
"Dyson is quivering with fury. Houk plays him with vein-popping intensity from start to finish." - Don Aucoin, Boston Globe (Lady)
"Particularly notable is Craig Houk as the senator's aide, driven nearly mad with lust by the offending photos. Houk cuts loose in a hilarious burst of unfocused lust that has him licking the furniture and literally putting ants in his pants." - Brian Jewell, Bay Windows (7 Blowjobs)
"Craig Houk paints a powerful portrait of sheer terror, as the object of Gill’s ruthless machinations. Without even speaking, he conveys the extent of the horror we never see---and can only imagine." - Beverly Creasey, Theatre Mirror (One For The Road)
"Houk gives the role of Moss a brash townie confidence… He speaks with confidence about subjects he couldn’t possibly know… and his arrogance makes us believe him." - John Perich, Periscope Death (Glengarry Glen Ross)
"Craig Houk in particular is a standout as gung-ho senior exec Philip...a physical dynamo from word one: he caps a profit report with a full-body spasm like a pitcher's windup." - Sandy MacDonald, Boston Globe (Gasping)
"Houk shows that he has the range and the wit to hold together a diverse gallery of types who, in the end, benefit from his drive and inventiveness." - Robert Nesti, Bay Windows (Desperately Aloof)
"Craig Houk tries to understand, to see under the skin, and to demand help in reaching for resolution. He has anthracite eyes and a hungry face." - Larry, Stark, Theatre Mirror (Two Rooms)
"Houk gets his hooks in early, and keeps you there for more than 90-minutes. Quite a feat for any young actor." - Robert Nesti, Bay Windows (Desperately Aloof)
"Houk's over-the-top portrayal as the bellhop is genuinely funny." - Dan Marois, Sun Journal (Lend Me a Tenor)
"A characterization that suggests Charles Busch at his best." - Robert Nesti, Bay Windows (Desperately Aloof)
“The rest of the cast is rounded out by a talented ensemble consisting of Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp, who expertly transform themselves into a variety of comedic characters.” – John Bavoso, DC Theatre Scene (Jeffrey)
"Houk manages a deft spin of comedy and pathos throughout, moving from the sharply satiric to the sweetly sentimental." - Robert Nesti, Bay Windows (Desperately Aloof)
"Craig Houk is quick out of the starting gate as Algernon. With facial expressions and body English galore, Houk blooms with Algernon’s pursuit of amusement and determination to take over the Ernest persona in order to woo the fair Cecily." - Roxanne Moore Saucier, Bangor Daily News (The Importance of Being Earnest)
"Aside from one woman, his characters are all gay men, but any stereotypes drop away quickly as his hour and twenty minute gallery presents more and more compelling portraits of unique individuals. Tears replace laughter as the evening progresses... excellent gallery of engrossingly interesting portraits." - Larry Stark, Theatre Mirror (Desperately Aloof)
"Craig Houk, channeling John Cleese, gets a hilarious massage (from an unseen masseur) which hurls him head over heels on top of a tiny collapsible table. They should sign him up posthaste for the next Olympic gymnastic team! Then, if that weren’t enough, he out Chaplins the master on imaginary ice, not to mention dropping trou in classic slapstick form." - Beverly Creasey, Theatre Mirror (Gasping)
"[Craig] Houk as True (and, in the play-within-the play, as the Countess) shows incredible range. He delivers his Countess like a snippy, vengeful Dame Edna in a corset that has been laced too tightly. But he is also completely convincing as the womanizing, moonshine-sipping True." - Christopher Muther, Boston Globe (Act A Lady)
“Craig Houk's Richard is a perfect blend of the character's defining traits: he's affable, a bit of a pushover (though not as much as one assumes on sight), and genuinely trying to do right by his family. Houk also provides the audience with some lighthearted humor - his small facial expressions and reactions are delightful, and give you a sense that the character is more formidable than the others assume.” – Rachael Goldberg, Broadway World (The Mollusc)
"[Craig] Houk is hilarious as the photos send Bruce into a trancelike state... " - Boston Globe (7 Blowjobs)
“Emily Levey and Craig Houk find moments to shine in multiple supporting roles.” – André Hereford, Metro Weekly (Jeffrey)
"I found Houk as the cowed pushover of a husband the most fun to watch—his every wince and trepidation was well played." – Roy Maurer, DC Theatre Scene (The Mollusc)
“Enter “The Colonel” (Craig Houk), the very embodiment of a realpolitik Cold Warrior who knows cannon fodder when he sees it.” – William G. Schulz, TheInTowner (Blue Camp)
“Houk is a comedic standout as a handsy Catholic priest whose idea of heaven is gay sex and a good show tune.” – Patrick Folliard, Washington Blade (Jeffrey)
"Craig Houk gives a delightful portrayal of a man deeply in love with his strong willed wife." - Kay Bourne, Edge Boston (Goodly Creatures)
"This is an excellent cast who play their roles with subtlety and grace." "A gentle and lonely Craig Houk." – Mary Ann Johnson, MD Theatre Guide (The Mollusc)
"Houk’s Garrison is compelling as he struggles to find meaning in both his personal and professional life." - Julie Janson, DC Metro Theater Arts (Consider the Ficus)
"The intense Craig Houk as Nixon’s shrink is fun to watch agonizing over weekly sessions he had with the president in an analysis session with angel Metatron." - Kay Bourne, Edge Boston (Tiny Kushner)
"Craig Houk as Anne’s husband provides a welcome playfulness to the somber proceedings, acknowledging that he “never wins in an argument” with his wife." - Beverly Creasey, Boston Arts Review (Goodly Creatures)
"[Craig] Houk is very funny as Hendryk, a pistol of a personality, pursuing outsized romantic thoughts, and dreams birthed by sexual ambivalence." - Kay Bourne, Edge Boston (Tiny Kushner)
"Craig Houk is simply beyond reproach as Blackadder. Once you’ve seen him, you will forget Rowan Atkinson entirely." - Beverly Creasey, Boston Arts Review (Blackadder Goes Forth: Live!)
"Best of all is Craig Houk’s heart-wrenching rage as Dyson, particularly as his fear mounts for his son’s future." - Jules Becker, My South End (Lady)
"This play featured Frank Britton as Nate and Craig Houk as Garrison, who gave some of the strongest performances of the evening." - Julie Janson, DC Metro Theater Arts (Consider the Ficus)
“Members of the ensemble portray several differing, rotating roles with ease; sparkling brio and zest infuse every scene. Members of the ensemble who provide the very human backdrop of this play are Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp. All are superior.” – David Friscic, DC Metro Theater Arts (Jeffrey)
“Ensemble members Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp did a fantastic job with multiple roles each and hit just the right notes to capture each of their characters’ quirks in many varied scenes.” – Liz Ruth-Brinegar, MD Theatre Guide (Jeffrey)
"The interactions between Graham’s surly Sergeant and Bossenbroek’s sassy, Southern Billy are particularly charming, as is Houk’s outsized performance as the Colonel, a stand-in for all the toxic masculinity and ruthlessness associated with the American military.” – William G. Schulz, DC Theatre Scene (Blue Camp)
"Two vignettes stem from Kushner’s fascination with psychoanalysis (with an emphasis on the psycho). In one a patient who has just been terminated (the wonderful Craig Houk) begs his doctor to take him back." - Beverly Creasey, Boston Arts Review (Tiny Kushner)
"[Craig] Houk’s portrayal of Blackadder oozes with just the right blend of oily pseudo-suavity, gimlet-eyed ambition, and sputtering exasperation at the dolts who surround him and the predicaments that engulf him." - Don Aucoin, Boston Globe (Blackadder II: Live!)
“The ensemble cast - Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp - is brilliantly versatile and hilariously funny. They bring a much-needed levity to the show, making it genuinely humorous, but also providing a good counter for the more serious, aching moments.” – Rachael Goldberg, Broadway World DC (Jeffrey)
"Blackadder II stars Craig Houk, one of Boston’s best comic actors, of late having slain Zeitgeist audiences with his furious napping. He takes over Rowan Atkinson’s reins, galloping full tilt into the dubious fray." - Beverly Creasey, Boston Arts Review (Blackadder II: Live!)
"Craig Houk stars as the pompous and ridiculous Edmund Blackadder, who seems very comfortable in the role itself, and manages to capture the arrogance and charm of the character incredibly well. His charisma is one thing to lock on to and he has it in spades." - Christian Hegg, Muffin Eats Dragon (Blackadder II: Live!)
Zeitgeist veterans Becca Lewis and Craig Houk are masters of farce. Houk can, as they say, read the phonebook and get laughs but his fitful nap and fabulous snoring in WONDERFUL DAY are reason alone to see the play. - Beverly Creasey, Boston Arts Review (My Wonderful Day)
"The laughs build to the required farcical frenzy with the appropriate array of entrances and exits, as well as some delicious physical comedy from [Craig] Houk (think John Cleese at his bumbling best)..." - Terry Byrne, Boston Globe (My Wonderful Day)
"Craig Houk is aptly ridiculous as the clueless Josh, who's capable of falling dead asleep, face buried in a sandwich, when read to from The Secret Garden." - Carolyn Clay, Boston Phoenix (My Wonderful Day)
"Craig Houk as the other younger salesman, the mean to the bone Dave Moss, fairly ripples with a merciless ruthlessness." - Kay Bourne, Edge Boston (Glengarry Glen Ross)
"Craig Houk brings a frenetic intensity to the scheming Moss. His “hypothetical” scene with the hapless Aaronow gets lots of laughs." - Beverly Creasey, Boston Arts Review (Glengarry Glen Ross)
"Craig Houk is utterly convincing as the journalist who gets his story but truly regrets the manipulation." - Beverly Creasey, Theatre Mirror (Two Rooms)
"Dyson is quivering with fury. Houk plays him with vein-popping intensity from start to finish." - Don Aucoin, Boston Globe (Lady)
"Particularly notable is Craig Houk as the senator's aide, driven nearly mad with lust by the offending photos. Houk cuts loose in a hilarious burst of unfocused lust that has him licking the furniture and literally putting ants in his pants." - Brian Jewell, Bay Windows (7 Blowjobs)
"Craig Houk paints a powerful portrait of sheer terror, as the object of Gill’s ruthless machinations. Without even speaking, he conveys the extent of the horror we never see---and can only imagine." - Beverly Creasey, Theatre Mirror (One For The Road)
"Houk gives the role of Moss a brash townie confidence… He speaks with confidence about subjects he couldn’t possibly know… and his arrogance makes us believe him." - John Perich, Periscope Death (Glengarry Glen Ross)
"Craig Houk in particular is a standout as gung-ho senior exec Philip...a physical dynamo from word one: he caps a profit report with a full-body spasm like a pitcher's windup." - Sandy MacDonald, Boston Globe (Gasping)
"Houk shows that he has the range and the wit to hold together a diverse gallery of types who, in the end, benefit from his drive and inventiveness." - Robert Nesti, Bay Windows (Desperately Aloof)
"Craig Houk tries to understand, to see under the skin, and to demand help in reaching for resolution. He has anthracite eyes and a hungry face." - Larry, Stark, Theatre Mirror (Two Rooms)
"Houk gets his hooks in early, and keeps you there for more than 90-minutes. Quite a feat for any young actor." - Robert Nesti, Bay Windows (Desperately Aloof)
"Houk's over-the-top portrayal as the bellhop is genuinely funny." - Dan Marois, Sun Journal (Lend Me a Tenor)
"A characterization that suggests Charles Busch at his best." - Robert Nesti, Bay Windows (Desperately Aloof)
“The rest of the cast is rounded out by a talented ensemble consisting of Craig Houk, Emily Levey, Joshua Street, and Rick Westerkamp, who expertly transform themselves into a variety of comedic characters.” – John Bavoso, DC Theatre Scene (Jeffrey)
"Houk manages a deft spin of comedy and pathos throughout, moving from the sharply satiric to the sweetly sentimental." - Robert Nesti, Bay Windows (Desperately Aloof)
"Craig Houk is quick out of the starting gate as Algernon. With facial expressions and body English galore, Houk blooms with Algernon’s pursuit of amusement and determination to take over the Ernest persona in order to woo the fair Cecily." - Roxanne Moore Saucier, Bangor Daily News (The Importance of Being Earnest)
"Aside from one woman, his characters are all gay men, but any stereotypes drop away quickly as his hour and twenty minute gallery presents more and more compelling portraits of unique individuals. Tears replace laughter as the evening progresses... excellent gallery of engrossingly interesting portraits." - Larry Stark, Theatre Mirror (Desperately Aloof)
"Craig Houk, channeling John Cleese, gets a hilarious massage (from an unseen masseur) which hurls him head over heels on top of a tiny collapsible table. They should sign him up posthaste for the next Olympic gymnastic team! Then, if that weren’t enough, he out Chaplins the master on imaginary ice, not to mention dropping trou in classic slapstick form." - Beverly Creasey, Theatre Mirror (Gasping)
"[Craig] Houk as True (and, in the play-within-the play, as the Countess) shows incredible range. He delivers his Countess like a snippy, vengeful Dame Edna in a corset that has been laced too tightly. But he is also completely convincing as the womanizing, moonshine-sipping True." - Christopher Muther, Boston Globe (Act A Lady)
“Craig Houk's Richard is a perfect blend of the character's defining traits: he's affable, a bit of a pushover (though not as much as one assumes on sight), and genuinely trying to do right by his family. Houk also provides the audience with some lighthearted humor - his small facial expressions and reactions are delightful, and give you a sense that the character is more formidable than the others assume.” – Rachael Goldberg, Broadway World (The Mollusc)
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