November 30, 2020

Why do I meditate? Why do I need input all the time? Why am I constantly avoiding living in the moment?  These and other non-rhetorical questions are posed as I consider my state of mind in transformative moments of my life from the set of Dead Poets Society, to an ancient village in central Italy to a darkened theatre in Sacramento. 

July 14, 2019

Full production, B Street Theatre in Sacramento. Summer 2019. 

Winner, B-Street Comedy Festival, Summer 2018

Production, Iron Age Theatre, September 2015, Barrymore Recommended

Finalist, Julie Harris Playwrighting Award, 2013.

​

"A courageous, compelling new play, calling attention to a lesser known

aspect of World War I: the participation of German Jewish soldiers."

- Carol Rocamora, Broad Street Review

Finalist,  Eugene O’Neill conference 2016

National New Play Network, 2012

​

Christy crafts a delicate journey where brother turns against sister.

Zahia's journey is one of those prime roles where the audience goes

on a full ride of emotions and empathy.

-- Heather Helinsky, Dramaturg

Playpenn Playwrights Conference, July 2010

Produced by Passage Theatre in October 2010

Winner, the Brown Martin Barrymore Award in 2011

​

"A powerful new play... to pull out the rug from an audience

and make it gasp even once is an achievement; to do it twice

is close to miraculous."

—Peter Filichia, NJ Star Ledger, October 2010

​

Commissioned by Premiere Stages, Spring 2013

Produced by Premiere Stages, Fall, 2014.

2020 Development Grant, Interact Theatre, 2013

Reading, Playwrights Theatre of NJ, Fall 2015. 

​

“ This is a remarkably intelligent piece of work - at times frightening but also lively and (darkly) humorous.

- David Lee White, Associate Artistic Director, Passage Theater

Produced by Access Theater August, 2003, and Broken Watch Theatre Company, August 2006

Published by Playscripts Inc., April 2007

​

“Mr. Christy has a real gift for contemporary, insightful, darkly funny

dialogue that reflects believable human interaction.” 

– Anita Gates, NY Times August, 2006