Category: Uncategorized

  • An Interview with Playwright Alyssa Cokinis on In Memory Of

    By Melody Erfani

    In a world where memories can be traded like currency, what would you be willing to give up just to survive?

    In Memory Of, written by Alyssa Cokinis, directed by Pax Bennett, and presented by Spark Plug Theatre Collective, imagines a dystopian future where identity, grief, and resistance collide. Set in the aftermath of a civil war, the play explores a society where survival comes at the cost of one’s own memories—raising urgent questions about autonomy, surveillance, and what it means to remain human in an increasingly transactional world.

    I spoke with Cokinis about the origins of the play, its emotional landscape, and what she hopes audiences will carry with them long after the performance ends.


    Melody Erfani: In Memory Of is such an evocative title—what first sparked the idea for this piece?

    Alyssa Cokinis: In Memory Of was first conceived in 2018 during a time of major personal and professional transition. I was grappling with the idea of commodifying my time and identity just to survive—whether that was through day jobs or trying to gain recognition in the arts.

    I’ve always been drawn to dystopian storytelling—The Hunger Games and The Giver were huge influences growing up. I started wondering: what if, instead of money, we had to pay with memories—parts of ourselves—in order to live? That idea stayed with me for years.

    I revisited the play in 2025, while witnessing ongoing global crises and thinking deeply about how memory is documented, erased, and controlled. It became clear to me there was still more to say.

    Actors Nicki Darling (L) and Matthew Grand (R) portray characters Vale and Dom. Darling (shoulder-length curly dark brown hair, pale complexion) as Vale wears a blue plaid flannel and blue jeans with brown boots, looking concerned. Grand (short blonde hair, pale complexion) dons all black and is gesturing their right hand up.

    Melody Erfani: Without giving too much away, what kind of world are you inviting audiences into?

    Alyssa Cokinis: The play takes place in a post–civil war United States where lawmakers have implemented something called the Memory Currency Act. The idea is that by paying in memories instead of money, everyone is on equal footing—but of course, that’s not really true.

    We follow Vale, who has returned to the U.S. after living abroad and is navigating grief, displacement, and the cost of survival. They’re isolated, struggling, and questioning the system around them.

    While the emotional landscape is dark, there are also moments of humor, connection, and hope. At its core, the play is about relationships—how people care for each other, resist together, and find humanity even under surveillance.

    Actors Nicki Darling (L) and Tate Ivy (R) portray characters Vale and Laurel. Darling sits on a bench with a hand up to their face, laughing, while Ivy (wearing a keffiyah wrapped around their head with short red hair peeking out, pale complexion) dons all black and stands with their arms out, imitating something. A black and grey backpack sits on the bench next to Darling and in front of Ivy.

    Melody Erfani: What themes or questions are at the heart of the play for you right now?

    Alyssa Cokinis: I keep coming back to questions like: What does it mean to live in a surveillance state? What is “real” in an age of generative AI? Who owns our memories and lived experiences?

    The play also explores queerness, identity, grief, resistance movements, and the cost of freedom. It asks whether small, individual actions can make a difference against systems that feel overwhelming—and whether collective action can truly create change.

    Actors Tate Ivy (L) and Nicki Darling (R) portray characters Laurel and Vale. In this photo Ivy dons a blue shirt with grey horizontal strips. Ivy and Darling have their pinky fingers locked in a promise as they sit on black cubes.

    Melody Erfani: Has anything surprised you in the development process?

    Alyssa Cokinis: Absolutely. The characters have deepened so much through rewrites and collaboration with actors. I also found myself adding more humor than I initially expected—it became essential to balancing the weight of the story.

    One of the biggest surprises was introducing a fifth character who appears late in the play but reshapes how we understand everything that came before.

    A photo in bluelight of a projection with green and white coding.

    Melody Erfani: How has working with Spark Plug Theatre Collective and the Fertile Ground Festival shaped the piece?

    Alyssa Cokinis: Spark Plug Theatre Collective has been an incredible partner. Their WRITE | IGNITE initiative is designed to support new plays through workshop-style productions, and being part of its inaugural cohort has been really meaningful.

    The team—our dramaturg Amanda Clark, director Pax Bennett, and actors—have asked thoughtful, challenging questions that have helped expand the world and deepen the characters. And the intimate space at Ki Coffee allows the audience to be right there with the actors, which is exactly what this story needs.

    Actors Nicki Darling (L) and Anita Rohira (R) as characters Vale and Kandala. Darling stands looking serious, and Rohira (brown and pink highlighted shoulder-length hair, brown complexion), wearing blue jeans and a purple/yellow/green vertical striped top, looks at Vale while mid-sentence. Both stand in front of a projection of the Hawa Mahal of Jaipur, India.

    Melody Erfani: What do you hope audiences walk away thinking or feeling?

    Alyssa Cokinis: Things are bleak right now—and they may continue to be—but there are always pockets of joy and resistance that we have to actively choose.

    Hold your people close. And fight like hell.


    Performance Details

    In Memory Of runs April 10–12 at 7:30 PM at Ki Coffee in Beaverton, Oregon.

    Run time is approximately 90–95 minutes.

    Tickets are $15, with pay-what-you-will options available. Seating is limited to 24 audience members per performance.

    Tickets: https://sparkplugtheatrecollective.ludus.com/index.php?show_id=200520809


    Melody Erfani is a theatre creator and director and the founding artistic lead of LES Shakespeare Co. Her work blends movement, new writing, and classical adaptation to illuminate untold stories, often centering immigrant and neurodivergent experiences. Recent projects include Bee زنبور97 Orchard Street, and The Words Will Come, an immersive memory play about dyslexia. She holds an MFA in Directing from the Actors Studio Drama School and has trained with the Lincoln Center Directors Lab and Shakespeare’s Globe. She has also received residencies at HB Studios 2017, 2024, Barns Art Collective, Drama League First Stage Residency, and Osleth Family Foundation.  www.melodyerfani.com


    Email somescriptslitmag@gmail.com if you’d like to contribute a theatre review or artist interview from the city you’re in!

  • [Review] A Feel-Good Feast at The Grange: The Great British Bake Off Musical (The Grange Theatre, Northwich, UK)

    [Review] A Feel-Good Feast at The Grange: The Great British Bake Off Musical (The Grange Theatre, Northwich, UK)

    guest review by Melody Erfani

    I had such a joyful night at The Great British Bake Off Musical at The Grange Theatre last night. I’ve never watched the TV show and I don’t usually gravitate toward musicals (I can’t believe I’m admitting that), but this one completely won me over. Set inside the famous baking tent, the musical follows a group of amateur bakers battling it out for the top spot, but underneath the flour and frosting, it’s really about friendship, self-belief, and carrying on even when things fall apart. It’s funny, warm, and unexpectedly moving. I’ll dish and spill that my husband even got a bit teary during one scene.

    Salt & Pepper Productions, led by Artistic Director and founder Joanna Milborne-Chatt, have created something that feels well beyond “community theatre.” Under Helen Mayne’s direction and Joanna’s choreography, the show looks and feels polished from start to finish. The lighting, set, and costumes all serve the story beautifully, and the big musical numbers have a real sense of build and cohesion that showcases the size and strength of the ensemble. The music, led by Michael J Scott, and the orchestra were also a joy to hear and added a real richness to the evening.

    The cast are wonderful to watch. The dynamic between the two judges, Pam (Debbie Allen) and Phil (Joe Clarke), keeps the show buoyant and engaging; they anchor the evening with humour and an easy rapport. Paige Grindrod gives a heartfelt, truthful performance as Gemma, playing off Sam Salisbury’s Ben with a lovely, believable connection. Daisy Foden brings an easy charm to Lily, lighting up the stage whenever she appears. I also really enjoyed Stuart Dutton as Russell; his quirky presence adds a distinctive flavour that lifts every scene he’s in. Zuzie Lowe as Babs has a powerhouse voice, and her solo was a real highlight. Laura Johnson as Izzy brings serious acting chops to one of the show’s antagonists.

    If I have one critique, it’s that Izzy’s storyline feels a little brushed aside by the script. Johnson hints at deeper layers and stakes that I would have loved to see explored further. That’s more a comment on the writing than on this production.

    My personal show-stealer was Billy Clarke as Hassan. His rapping, presence, and overall vibe were absolutely electric; I found myself hoping he wouldn’t be “cut” from the competition and wishing for just one more number every time he left the stage.

    On top of all that, it’s worth noting that Salt & Pepper Productions are supporting Headway, the brain injury charity, with this run, so your ticket doesn’t just buy you a great night out: it also helps raise funds for an important cause.

    The Great British Bake Off Musical opened last night and continues at The Grange Theatre tonight (Thursday), Friday, and Saturday at 7:30pm, with an additional 2:00pm matinee on Saturday. If you’re looking for an uplifting evening with sharp performances and impressive production values, I highly recommend snapping up tickets while you can.

    Melody Erfani is a theatre creator and director and the founding artistic lead of LES Shakespeare Co. Her work blends movement, new writing, and classical adaptation to illuminate untold stories, often centering immigrant and neurodivergent experiences. Recent projects include Bee زنبور97 Orchard Street, and The Words Will Come, an immersive memory play about dyslexia. She holds an MFA in Directing from the Actors Studio Drama School and has trained with the Lincoln Center Directors Lab and Shakespeare’s Globe. She has also received residencies at HB Studios 2017, 2024, Barns Art Collective, Drama League First Stage Residency, and Osleth Family Foundation.  www.melodyerfani.com

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    Email somescriptslitmag@gmail.com if you’d like to contribute a theatre review from the city you’re in!

  • NEW: Theatre Reviews!

    some scripts is excited to announce that theatre reviews will now be published on our blog!

    What does this mean? It means that our founder/editor, Alyssa, and (in the future) other theatre artists will post reviews of shows they’ve seen around the world–or on their screens. The goal is to foster a curiosity for theatre happening in a city near you or, perhaps, on the other side of the world.

    Stay tuned for the first some scripts review: Beginnings & Endings by Sarah Lynn Brown, directed by Melody Erfani and produced by Bag&Baggage Productions (Hillsboro/Portland, Oregon). Playing now through March 8th!

  • Review of Monologues by LGBTQIA+ Writers for LGBTQIA+ Actors in Little Village Magazine!

    A huge thank you to Little Village Magazine and Isaac Hamlet for publishing and Rob Silverman Ascher for writing this lovely review of Monologues by LGBTQIA+ Writers for LGBTQIA+ Actors! Give it a read here:

    Speaking as someone who calls Iowa my home state, where I grew up, having the magazine I read all the time in college publish this review is surreal in the best way.

    Some of our contributors mentioned by name for their wonderful monologues are Thomas J. Misuraca, Cassidy Guimares , Sophie Katz, David Blitzman, Cal Walker , Glenn Alterman, A’liya Spinner, and Aly Kantor.

    Thank you, Little Village! 💞🌈

  • Monologues by LGBTQIA+ Writers for LGBTQIA+ Actors: OUT NOW!

    Monologues by LGBTQIA+ Writers for LGBTQIA+ Actors: OUT NOW!

    some scripts is pleased to present our 2023 publication, the anthology Monologues by LGBTQIA+ Writers for LGBTQIA+ Actors.

    This anthology has been an act of love, protest, frustration, solidarity, work, and so much more. I’m honored to have put it together.

    You can buy a print copy now here: bit.ly/queer-monologues-print

    Ebook copies are coming soon!

    All proceeds will first go to the upkeep of some scripts, then remaining proceeds will be donated to Trans Lifeline.

    Thank you for all your support! Here’s to being queer all year. 🙂

    -Alyssa, Founder & EIC

  • Resources for Standing with the AAPI Community

    We must all take the time to stand in solidarity with the Asian-American and Pacific Islander community in light of the recent shooting in Atlanta by a white supremacist targeting and murdering six Asian women and the ongoing rise in racism and anti-Asian violence across the United States. It is still sadly ongoing, and furthermore we should always be working in solidarity and dismantling systems of oppression and harm, especially those of us who are white. Here are some links for resources:

    If anyone has anything else to add (resources or anything at all), please feel free to share with some scripts.

  • Black Lives Matter. Black Lives in Theatre Matter.

    Theatre has not listened. some scripts also needs to take responsibility. We would like to take this moment to say #BlackLivesMatter and to continue creating change for our growing magazine that caters to an industry that has ignored the lived experiences of Black and Brown folx.
    This video is a must-watch for the white folx who follow us or who have been contributors. Please watch. And please begin to take tangible action in our theatre and arts institutions. “You have a choice to not recognize it.”
    Malindi says important things and ways forward that the theatre industry must listen to. Subscribe to her here.