Brian Otaño

Plays written by Brian Otaño

TARA
THE OCEAN AT YOUR DOOR
WHAT WE TOLD THE NEIGHBORS
BETWEEN THE SANDBAR AND THE SHORE
ZERO FEET AWAY

SYNOPSES:

TARA
(Drama; 3 female-identifying roles, 2 male-identifying roles)

An investigation into a teacher accused of sexual abuse lands at the door of 30-year-old Ricky Ramos, who is named as the teacher’s first victim. The details of the investigation unfold, challenging Ricky’s skewed perspective of his role in the relationship and casting a damning light on a culture mired in silence and homophobia. When Ricky invites his teacher to his family vacation home in the hopes of finding some answers and clarity, Ricky’s mother and daughter learn the truth about their relationship and the teacher’s misdeeds. A tense, bloody confrontation ensues, compelling the family to contend with their past, while looking ahead to a future that might have a glimmer of hope.

Workshops/Readings: New York Theatre Workshop, The Parsnip Ship Podcast Reading Series, Page 73/Space on Ryder Farm.

ZERO FEET AWAY
(Comedy; 6 male-identifying roles, 1 gender-neutral role)
Max and Peter are models of 21st century urban coupledom: independent, successful and not completely sold on monogamy. Enter Fever, an eerily prescient mobile dating app that changes their relationship in a matter of phone taps. When Max and also-coupled friend Clark are offered a major career opportunity in Texas, the two couples must decide whether their professional and romantic relationships can withstand the trials of distance. A contemporary love story about fidelity, maturity, and the masochism of online dating, Zero Feet Away explores whether the direction of progress is best guided by endless choice or singular commitment.

Workshops/Developmental Readings: Roundabout Underground Series, New York Theatre Workshop, Ars Nova’s Out Loud Series, Celebration Theater’s Celebrating New Work Series (LA).

THE DOOLEY STREET TRILOGY is a decades-spanning trilogy of supernatural dramas centered around two families enmeshed in a shared history of love and violence in a haunted pocket of Brooklyn.

Between the Sandbar and the Shore: The First Dooley Street Play
(Drama; 5 female-identifying roles, 3 male-identifying roles)

1981. Jack and Linda Santangelo are screwed. He’s fresh off a heroin detox, she’s two months pregnant and suddenly, their choice to live off the grid as gutter punks on New York’s Lower East Side isn’t an option anymore. They return to Sheepshead Bay, a waterfront neighborhood in an idyllic corner of Brooklyn, they find out Jack’s father has passed away– thus saddling them with a possibly haunted house. When the couple strikes up an unlikely friendship with Oscar and Gertie Linares, their straight-laced next-door neighbors, it seems the ghosts of Jack’s past have slipped away. When a tragedy strikes that sends Jack down a horrific spiral, the two families are forced to reckon with the scourge of his addiction, the ghosts that plague their love nests and the lengths they’ll go to for the sake of preserving and protecting their children and the lives they’ve built.

Workshops/Developmental Readings: LARK Play Development Center, New Dramatists, Labyrinth Theater Company, The Amoralists, IAMA Theatre Company (LA).

What We Told the Neighbors: The Second Dooley Street Play
(Drama; 5 female-identifying roles, 4 male-identifying roles)

1996. Ten years after the events of Sandbar, the Santangelo and Linares families face a grim turning point. Linda is fighting a losing battle with cancer, leaving Gertie to single-handedly care for their teenage kids, JP and Renee. When Linda wakes up to find Jack’s spirit lingering in the backyard, the two families are thrown into a tail spin as Jack threatens to unearth the hard truths about Linda’s illness, as well as his own untimely death.

Workshops/Developmental Readings: Atlantic Theater Company’s Latino Mixfest, Labyrinth Theater Company.

The Ocean At Your Door: The Final Dooley Street Play
(Drama; 5 female-identifying roles, 4 male-identifying roles)
1977. Linda and Jack, both 16, seek help from Jack’s father after Linda wards off a vicious attack perpetrated by her mother’s boyfriend. When Jack fails to convince his father to intervene, he takes matters into his own hands, setting the stage for an encounter that will forever change the course of his and Linda’s lives.

2019. Sheepshead Bay has disintegrated into a lawless disaster area due to tidal encroachment. Oscar and Gertie Linares remain, clinging to an outdated idea of home and to the ghosts that watch over them. When their son JP and his wife Allison return to Sheepshead Bay, they discover a corpse buried under the family pool, opening a decades-old wound. Gertie and JP must face down the legacy of violence that they share with the ghosts next door and decide whether they will escape Sheepshead Bay and start a new life on higher ground or remain and face their fate.

Workshops/Developmental Readings: LARK Play Development Center, New Dramatists Van Lier Project, Ars Nova Playgroup, Labyrinth
Theater Company.

BIO:

BRIAN OTAÑO grew up in Brooklyn, NY, where he worked as a playwright and a scenic artist at the Metropolitan Opera for nine years before moving to LA to write and develop for television. His plays include Tara (Page 73′s Interstate 73 Reading Series, The Parsnip Ship Podcast Reading Series), The Ocean at Your Door (New Dramatists Van Lier Project), What We Told the Neighbors (Atlantic Theater’s Latino Mixfest), Between the Sandbar and the Shore (IAMA Theater Company Reading Series) and Zero Feet Away (Roundabout Underground Series). Residencies/Fellowships: NHMC TV Writers Fellowship, Page 73’s Interstate 73 Writers Group, New York Theater Workshop 2050 Fellowship, New Dramatists Van Lier Fellowship, ArsNova’s Playgroup. His work has been performed, developed and workshopped with NYTW, Roundabout Theatre Company, Page 73, Ars Nova, Atlantic Theater Company, New Dramatists, INTAR, LAByrinth, Celebration Theatre and IAMA Theatre Company. Education: BFA, Dramatic Writing (SUNY Purchase College).