[In Reunion Run] there is much to learn from the struggle of these convincing characters. These friends and lovers are different in outlook and core beliefs and their differences provide the kind of moral ambiguity that sweetens dramatic plots. Their struggle for center and clarity is an extended metaphor for all reunion runs, individual, corporate, and political. Too often the race to enter combat recklessly is accompanied by the knowledge that death is likely to result. Yet we forge ahead exercising our humanity and our hubris. Thanks to playwright John Doble for the unsettling yet necessary reminder.

What works about this play is its ability to showcase post deployment reintegration. Jessica Myhr (Ronnie) portrays an Army officer dealing with post traumatic stress syndrome beautifully.

John Doble's new collection of one-act plays takes on the subject of first dates with only five actors, two chairs, one table, and a handful of props...The three plays are uncommonly thoughtful for one-acts…Doble offers a bold if distinctly un-PC approach to first dates, which will undoubtedly spur conversation.

These plays are fun, offering unique viewpoints on that scariest of things, the blind date. Writer John Doble deftly avoids anything trite.

A Serious Person “focuses on a blind internet date in which a man must deal with an eccentric and admittedly bipolar airline ticketing agent. Rather than spend time with typical first date small talk, she shares her strange and laughable theories which include speculating that cannibalism is a basic part of human nature… As zany as some of the lines are, the script rings true as an accurate depiction of the ways we fumble for human connection in this era of disconnection.

Tatyana and the Cable Man “is a smoke break monologue delivered by Russian immigrant Tatyana (Jessica Ayers). She expounds on her love of CNN and a recent series of dates with the guy who installed her cable. Ayers illuminates the story, making it come alive on stage even though she's the only one out there.” 

Coffee House, Greenwich Village: “The playwright has woven a web of dialogue in which the characters appear by turns to fiercely dominate and then submit to one another through light, impersonal small-talk…a story of Hitchcockian scope.” 

Race relations are hardly a novel theme, but it's refreshing to see a play tackle the issue head on. "The Mayor Who Would Be Sondheim," by John Doble, has some striking things to say on the topic.

Mr. Doble has worked in city government and on election campaigns, so the scenarios ring true...

It's a sparkling debate and very dramatically compelling to witness. . . .a worthwhile, well-considered, intelligent offering from the Fringe and I was glad to have seen it. [read more. . .]

A Serious Person “focuses on a blind internet date in which a man must deal with an eccentric and admittedly bipolar airline ticketing agent. Rather than spend time with typical first date small talk, she shares her strange and laughable theories which include speculating that cannibalism is a basic part of human nature… As zany as some of the lines are, the script rings true as an accurate depiction of the ways we fumble for human connection in this era of disconnection.” 

Playwright John Doble talks about his new one-act play, A Serious Person. Read the interview on the popular theater blog Call Me Adam.

Hilariously on target! [read more. . .]

Tatyana and the Cable Man “is a smoke break monologue delivered by Russian immigrant Tatyana (Jessica Ayers). She expounds on her love of CNN and a recent series of dates with the guy who installed her cable. Ayers illuminates the story, making it come alive on stage even though she's the only one out there.” 

Next up is the hilarious Tatyana and the Cable Man, written by John Doble. On a cigarette break at work, Tatyana, a Russian immigrant to the US, lays out the details of her love-life to a silent co-worker. She's been dating the titular cable man, who initially sounds atrocious - a hard-hearted Fox News watching Republican without an ounce of sympathy. Tatyana explains how she gradually thaws him with a combination of intelligence, culture and good old fashioned socialism.

...If you looked up assertive Russian woman in the dictionary you'd get a picture of Tatyana; yet she's sympathetically and smartly fleshed out in a real person. We laugh along with her, enjoy her company and appreciate her intelligence. The gradual evolution of her confused, quietly infatuated cable man is also fun to hear, a detailed picture building in our minds of his behaviour. This was the best thing I saw all night, the humour perfectly dry and the tone precision nailed down.

The playwright has woven a web of dialogue in which the characters appear by turns to fiercely dominate and then submit to one another through light, impersonal small-talk…a story of Hitchcockian scope.

"Coffee House, Greenwich Village," by John Doble, opens the second part of the festival. It is an engaging, jarring play with a quite unexpected ending.

Coffee House, Greenwich Village with that as its setting is John Doble’s uproarious black comedy reminiscent of the sensibilities of Elaine May, Jules Feiffer and Christopher Durang.  

Coffee House, Greenwich Village, by John Doble, unravels a tale of intricately complex characters, à la Bonnie and Clyde. 

Doble develops personalities through specific details and concrete incidents rather than author commentary. As in the dramatic monologues of Robert Browning, the narrators reveal more than they intend to and often admit to not understanding the motivations behind their actions.


Doble's stories are both serious and accessible. I'm looking forward to reading more from this author and would recommend this book...

Seven...tender tales of growing up in America. Doble's first collection of short stories presents a number of boy-next-door protagonists trying to wrest their way into adulthood in the face of adversity both common and rare.

The work's shortest piece, "The Accordion's Greatest Hits," which charts the transformation of affection from the budding of new love to the onset of ennui, also proves to be an engrossing tale–understated character development leads readers to ponder the very nature of attraction and consider how the same mysteries of character that initially drew one to a beloved may, if left unsolved, drive one away.

To Protect the Poets [is] first-rate, timely and intelligent. Playwright John Doble’s keen sense of dialogue and character development enhances the balanced portrayal of two different points of view.

To Protect the Poets is a remarkable, thought-provoking and important addition which continues this Festival’s [FringeNYC] venerable two-decade tradition of selecting diverse and interesting worthwhile plays. [read more. . .]

To Protect The Poets is a beautifully written and crafted production that will stay with you days after seeing it. John Doble’s characters are masterfully written. [read more. . .]

. . . a taut drama. I couldn’t stop thinking about this play and all the issues it raised. [read more. . .]

If you enjoy grappling with moral dilemmas, and if you want to see a modern rendition of Romeo and Juliet then To Protect the Poets may just be what you’re looking for. [read more. . .]

Playwright John Doble talks about To Protect the Poets. Read the interview on the popular theater blog Call Me Adam.

This one is the shortest play of the night, featuring two strangers meeting and forming a connection. . . . the characters, Benjamin (Alexander Huber) and Geraldine (Bryn McLaughlin), soon find that they are both there for the same dark reason. . . . An attraction quickly grows between them. . .. The staging is simple, but well-paced. Both performers play out this story with excellent chemistry and compelling stage presence.

It is spellbinding to see Josephine turn Zachery down with consistent fortitude. . . and when (Josephine) walks out of the “spa,” it's on the level of an “I'm everywoman” moment. [Blue Cat]

This is a strong character piece. It's intimate, and intimacy is crucial for . . . the audience experience. [We Screenplay]

It is written in a clear, clean and charming style. [Stage 32; recommend]

An engaging romantic drama, [this] does a great job developing its . . . characters and the unexpected relationship that results between them. [Launch Pad]

Every so often, a script comes along that truly succeeds in all it tries to be, a story with so much heart it's almost criminal not to see it on the big screen. This is one of those stories. [Blue Cat]

. . . extremely strong dramatic stakes and a plot that cruises along. . . . Overall, this is a tough read emotionally but a really compelling one. [The Black List]

. . . a strong female protagonist (in) a role traditionally filled by a male character. It’s beyond refreshing to see this. . . [Stage 32, double recommend]

The writer has crafted an incredibly compelling lead in Vonda. [ISA]

The story is inspiring and powerful . . . . The script is well-written, with clear, concise and vivid descriptions that allow the reader to immerse themselves in the story and its environment. [We Screenplay Diverse Voices, Finalist]

. . . this is a script that is well structured and holds the reader’s attention from start to finish. [Stage 32]

“The Rommel Gambit” was a very well told story that worked. The story itself was strong and a nice job was done of setting it up quickly and then getting into the action. The actual storytelling was even better. [The Nicholl Fellowship; top 6%]

The two lead characters are well-written, strong, likable characters that the audience can connect to. Their struggle to do the right thing in the face of such insurmountable evil rings true with the reader, especially in the current political climate. Their arc throughout the story is touching and the ending scene is absolutely lovely. [The Black List]

“The Rommel Gambit” . . . sets itself apart from its peers. [Stage 32; double recommend]

Short, funny and inventive. Excellent dialogue and premise. I love the ending. [Shawnee Playhouse Audience Feedback]