Marsha L. Grant
Original Scripts Archive
Marsha L. Grant was a longtime member of Epilogue Players and was active throughout the Indianapolis theatre community. She was an award winning director, sound designer, producer, and playwright.
Her original titles were produced at Epilogue Players and other theatres in Indianapolis and around the country. When she passed away in 2020, her family requested that Epilogue Players make her scripts available for production.
In addition, The Indianapolis ENCORE Association has created an award in Marsha’s name for production of best original script by an Indiana Playwright to be awarded at its annual celebration.
The following scripts are available for download and review for individuals and organizations interested in producing the shows. Any organization wishing to produce the shows must give credit to the author, Marsha L. Grant, in all materials promoting the show.
Permission is given to organizations to produce any of the following shows royalty-free. In exchange for the rights to produce this play, please consider voluntarily sending an honorarium to Epilogue Players in an amount left to your discretion. Checks payable to Epilogue Players, Inc. Mail to Epilogue Players, Attn: Treasurer, 1849 North Alabama Street, Indianapolis, IN 46202.
In addition, please let us know when and where you presented the plays so that we may keep a record on this page. Email to webmaster@epilogueplayers.com.
Saint Susan – A play in three acts (1998)
The life and work of Susan B. Anthony told with drama, humor, music, and large multi-racial cast; bare stage, min set pieces. A captivating look at women’s history in the US; perfect vehicle for high school and college drama departments. Produced by Epilogue Players, Inc. Indianapolis in March 2002 and played to packed houses with extra performances added. Response was overwhelmingly positive
Saint Susan – 55-min readers theatre script based on the 3-act play (1998)
One man, 5 women. A historical look at the lives of Susan B. Anthony and Elizabeth Cady Stanton, who devoted their lives to giving women the same rights as their male counterparts in the male-dominated culture of the 19th century. This has been performed at schools, churches and women’s organizations throughout Indiana.
A Lacey Summer (1997)
Two acts; single set-interior, contemporary, 4 women, 2 men, various ages. Three elderly sisters bound by circumstance and southern tradition find their world turned upside down when a smart-mouthed teenager arrives to spend the summer with them.
Maggie’s Choice – (1997)
Two acts, single set-interior, contemporary, 4 women, 2 men, various ages. After thirty years of marriage Maggie kicks her husband out of the house so that she can find herself. Is she crazy, as her family and friends claim, or simply fulfilling the basic need of self-realization? Will she succeed without destroying those nearest and dearest to her?
Praise the Lord and Pass the Peanut Butter – (1997)
Two-act comedy; 4 men, 5 women, Single set, 90 min. Set on the banks of the Ohio, a small town pastor’s trials and tribulations as he tries to save his church from the wrecking ball and the clerical heirarchy while surrounded by a disgruntled secretary, two homeless river rats and their golden retriever, and other characters in crisis after the flood of the decade.
The Legend of Sally B. – (1995)
Two acts, single set-exterior, 4 women, 2 men , various ages. A contemporary fantasy in which a staid widow of mature age reluctantly comes to terms with life and love aided by a mysterious and unexpected summer tenant. Set in a small mid-western college community the action takes place on the front porch of a Victorian town house. Featured at the Indiana Theatre League’s playwright conference in 1996.
No Smoking in the Ladies’ Room – (1995)
Two acts, single set-interior, contemporary, 5 women, one man, various ages. Holed up in the ladies’ room of a discount department store, three friends bewail their divorced status when in walks an elegant woman who proposes to solve their dilemma. Unlike “The First Wives Club,” her organization has financial resources and expertise which sound too good to be true. If the three friends acquiese, will the Devil claim their souls?
THE ONLIEST ONE ALIVE: The story of Hyacinth Thrush – (2003)
Fifty-five min. readers theatre script adapted from the biography as told to Marian Townsend by Hyacinth Thrash, the sole survivor on site at Jonestown, Guyana following the suicide/massacre. African American cast of 2 women, one man. Poignant, funny, incredibly sad, and yet uplifting—in their own words.
THE MYRTLE BEACH FAMILY CAMPGROUND – (2003)
Four women, four men, single unit set, 90 min. The story line of this 2-act comedy was developed around the author’s friends who met up every July at a campground in Myrtle Beach SC for over 30 years. All the incidents were actually experienced—a French Quebec family whose daughter married “Mr. Myrtle Beach,” a broken marriage, fire ants, sunburns, thunderstorms, alligators, hurricanes–almost every word is true.
Marianne Longtree– (1997)
Two acts, single set-interior, period, 4 women, 6 men , various ages. Set in a general store at a crossroads in north central Oklahoma, a young Tonkawa girl finds love with a CCC boy, but local prejudices and changing times complicate the road to romance. Having survived The Great Depression only to find their country on the brink of another world war, this endearing cast of characters must re-examine their lives and beliefs in the autumn of 1939.
The Homestead at Roundgrove– (1993)
A docudrama in three acts. Roundgrove is the name of the township in Kay County, Oklahoma where Marsha Grant’s paternal grandfather, James B. Greenshields, homesteaded in 1893 following the Cherokee Run. The play is based on his life from 1907 to 1941. All of the events depicted in the storyline of the play actually happened.
Marsha Grant’s portfolio also includes the following play, which is managed by Heuer Publishing. Click on the title to go to the publisher’s site.
Ghost Story In this comedy of errors and a laptop computer, Eve, a corporate whistle-blower, and her daughter, Caro, are awaiting a trial in which Eve must testify. Fearing a preemptive strike by the accused, they are sequestered in a broken-down “safe house” on Chesapeake Bay, only to find that they are not the only occupants. The house is already home to the ghosts of the legendary pirate Edward “Blackbeard” Teach, gang leader and kidnapper Ma Barker, and the famous Depression-era bank-robbing couple Clyde Barrow and Bonnie Parker. The ghosts want their peace and oceanfront property back and set about with high-tech plans to scare the mother and daughter far away. The plot is right out of today’s headlines as well as yesterday’s history books, and the ending will leave your audiences surprised and delighted. With easy sets and fun roles, this play is a hoot for the whole cast.