Sue Gisser trained at the Royal Academy of Dramatic Art in London, Steppenwolf West, the Groundlings, iOWest, Second City, Antaeus Academy, Theatricum Botanicum, and holds a BFA from Mason Gross School of the Arts at Rutgers.

In her professional career, Sue is blessed to seldom work with a director, show, or theatre company only once. She’s recurred on Shameless, Strangers with Candy, and Solved; did multiple spots in campaigns for Burlington Coat Factory, Mercury Insurance, and Cedar Fair; her films include The Activist and In the Air– both by Award-Winning French Director/Composer Cyril Morin; and she completed over 20 tours, between Open Window Entertainment, and the George Street Playhouse, and the Shoestring Players – with whom she performed at the National Black Arts Festival in Atlanta, and the Edinburgh Festival Fringe.

Summer 2023 finds Sue making her Hollywood Fringe Festival debut, starring in the World Premiere of Michael Perlmutter’s one woman show Bloodsuckers (a survival guide) and performing concurrently with Feel Your Feet – an innovative game-based, musical improv company, of which she is a founding member and game developer. With Bloodsuckers… Sue’s thrilled to have found such a fun way to fulfill her dream of doing a “TEDTalk.” She’s honored and delighted to be part of the Theatre Ghosts Project, to bring Izzy to life, to work with the endlessly inventive Michael Perlmutter, and play with the incomparable Ann Noble. This Fall, Sue’s over the moon to be performing with Ann again, this time acting side-by-side in the world premiere of Suse Sternkopf’s Slow Thunder at Theatre 68.

Sue’s extra proud of the voiceover work she’s done over the last 3 years with Open Door Playhouse, Bernadette Armstrong’s pandemic-baby Theatre Company. Heralding in the renaissance of Radio Plays, Open Door Playhouse focuses on opening the door for marginalized artists and communities, to find voice and representation on the podcast stage.

Sue’s forever grateful to Johnny Clark, VS. Theatre Company, Gareth Williams, and the Station House Writers Room at Detroit Street Films – without whom she never would have survived the pandemic, and never would have met Michael Perlmutter, Ann Noble, and Jeffrey Johnson, her teammates in the Theatre Ghosts Project. The warmth, inspiration, and support of these theatrical families, and the safe-creative environments they provide to play, and grow with such extraordinary artists, are the gift of a lifetime.

Sue sends a huge shout out to her family-family, blood and chosen, “for being my north star, for seeing me, believing in me,

and having my back, for all the ways you show up for me, and love me no matter what, there are no words… thank you. Thank you. You are my heart.”

IG: @suegisser



Ann is an award-winning playwright/new media writer, actor, solo performer, director, arts educator, private acting coach and jail chaplain. Her work has been produced all over the country and the world, and she has performed/directed in Chicago, NYC, D.C., Edinburgh, Sydney, and extensively in SoCal; theatrical credits here include work with: South Coast Rep, ICT of Long Beach, EST of Santa Barbara, Malibu Playhouse, Sierra Madre Playhouse, Antaeus (company member), Moving Arts, LA’s LBGT Center, Echo (company member), The Victory, Inkwell, The Road, Rogue Machine (company member), Boston Court, Warriors For Peace, LifeChild Prods, Two Heads Are Better Prods, LA’s Holocaust Museum, Museum of Tolerance, YWCA and Homeboy Industries. IG: @sparksjacks and more info about her work with the incarcerated at


Michael Perlmutter is an award-winning playwright, actor, director, screenwriter. His plays include Crimson, Severance Play, Three Witches, Polite Conversations and Wine, Random Lives, and, of course, the Theatre Ghosts Project (six plays—and counting—intended for ‘After-Hours Theatre’)
His plays have been performed in Los Angeles, New York, London, St. Louis, Israel, Soule, and numerous “where-is-that-again?-cities” throughout the US and UK.

Michael is a member of Dramatist Guild, ALAP (Alliance of Los Angeles Playwrights), Station House, VS. Theatre Companies, and NPX (National Play Exchange). Michael graduated from CalArts back before we had cellphones (so yeah, he’s old). Michael resides in Southern California, minutes from his three grown children and their spouses (in other words, they haven’t moved away—across country…so, he’s done something right…or just hasn’t fucked it up yet).


REBECCA SCHOENBERG / Technical Director/Stage Manager

Unless you’ve come here to experience books on tape, please don’t underestimate the importance of what Rebecca brings to the project. A true professional, Rebecca brings a steady ear, eye, and hand to the magic that is theatre. Treating our play like it’s the only one that matters. I’m sure the other 86 plays at the Broadwater feel the same.


THEATRE GHOSTS is a collection of plays intended for ‘After-Hours’ theatre.

With so much theatre being created for 90 minutes or less presentations, theatre houses often close their doors by ten at night. Leaving venues dark, yet presumably available to create additional revenue and/or bring in a new audience; one that doesn’t even consider night life starting till after 9:00 pm.

Each THEATRE GHOST piece is a stand-alone one act play, created to be performed on a stage already dressed for another production, regardless whether that production be Noises off, Music Man, As You Like It, or Raisin in the Sun. The Theatre Ghosts plays utilize each venue as a theatre space—generally the same theatre space itself that the audience is attending…any dialogue pertaining to location or venue may and should be adjusted to match the venue.

Each play adheres to the following restrictions:

  • Utilizes the Theatre as its own venue (a theatre)

  • Respects the current set as a Hot Set—not to be disturbed

  • Running time of 45 – 75 minutes (max)

  • Runs without intermission

  • Props and set pieces are a minimum

  • Should not require special lighting

  • 1 to 4 actors (max)

Anton Chekhov said it best in his letter to fellow writer, Alexander Tikhonov,: “All I wanted was to say honestly to people: ‘Have a look at yourselves and see how bad and dreary your lives are!’ The important thing is that people should realize that, for when they do, they will most certainly create another and better life for themselves. I will not live to see it, but I know that it will be quite different, quite unlike our present life. And so long as this different life does not exist, I shall go on saying to people again and again: ’Please,

understand that your life is bad and dreary!’”

While first we must be entertaining. That is our job. If we can be funny, even better. But where the rubber meets the road we are holding up the mirror to nature (you know the quote—we all know the quote). And in the telling, if we can help someone—through laughter, escape, intrigue, even spectacle, portraying true human relationships warts and all—rekindle their own desire to change their lives for the better—it was all worth it.

– Michael Perlmutter



Of course, we can’t do this alone. Never could, wouldn’t want to.

So, in no particular order: Thank you:

THANK YOU, BUSTER. For letting us play.

Thank you:

Detroit Street Films

VS. Theatre Company

Lindsey Dunn, Dave and Claudia Perlmutter, Fred and Winnie Odom, Sam Adelman, Sasha and Andrew Hawkes, Kim Hlavac, Doug Sept, Gareth Williams, Bill Walthall, Jecca and Candice Schmidt, Michelle Horan, Eden Young, David and Leann Perlmutter, Jan Buttram, Jay Dunigan, Mark Dylan Brown, Sharon Reinhold, Matthew Sherwood, Amy Marcs, Cynthia Killion, Lisa Strom, Julie S (mysterious, right?), Nish Nishimura, Joshua and Amber Perlmutter, Leslie Upson & John Webber, Marla Covotsky, Nicolas diPiero, Kimmie Perlmutter & Derek Dotson, Michelle O’Shea, Susan Angelo, John & Wynne Dobyns, Brenda Lynn & Jim Bynum, Captain Black (not that Captain Black), and the Floating Head (I know who you are).

And while you’re enjoying the Fringe, check out these other shows that go bump in the night:


Derek, a member of the audience, recent died in the theatre lobby. Johnny died in 1948 during the building’s construction. Johnny wants Derek gone but Derek knows his daughter, a would-be actress, has been coming to this theatre to visit his memory. Fran and Masry, a couple of free spirited young souls who passed away in 191, “help” as these four spirits vie for the position of resident Theatre Ghost. There can only be one.

A wisp, a witch, and a waitress all learn to live in an apartment where the souls are as overdue as the water bill. This sapphic saga of loving and loathing in a world of occultic observations proposes the query, just what or who are we willing to endure through life, death, love, and regret?

Like all women, Jo Dellapina has been called her fair share of things, many not so flattering. She reflects back on society’s labels for her from 5 to 50, deciding which to accept and which to jettison like yesterday’s fish. Equal parts comedic and heart wrenching, this show is meant for anyone who wonders who they are, enjoys pop culture, has sought love, has been a teenager, is worried about aging, or likes the Ramones (you’ll have to see it to understand). Note: the stories in this show may be fully true, total bullshit, or something in-between.

What do you do when the worldwide outbreak of a brain virus hits your town, causing people to attack each other? Your dad is gone, your mom is in denial, and your brother might be a zombie. Could you do what needs to be done? Would you sing about it? Welcome to the small town of Sidie Hollow, where everyone, especially 17 year old Roley, is learning how to deal with some major life changes. And zombies.

Losing your Humanity is a new musical which explores the way a family might deal with a zombie outbreak that hits close to home. When your town is overrun by zombies, how do you keep from losing your humanity?

Contains zombie violence, violence against zombies, sexual assault, some graphic language and gunshots. 

It’s Hedda like you’ve never seen her.

Hedda is trapped in a new home with a new husband. She spends her time manipulating those around her and denying her pregnancy. But when old acquaintances come knocking on the Tesman’s door, the next two days are spent unraveling the past, evading the future, and firing General Gabler’s infamous pistols.

Hedda Gabler examines gender roles and social constructs, and it shows us what may have happened had Nora never left home at the end of A Doll’s House. Through Patrick Marber’s fresh adaptation, magical realism and a few well placed balloons, we strive to show how relevant this 132 year old play really is.

Learn More at

Vampires aren’t real (heh-heh-heh-heh)

Why? Who told you different?


On the day I die a lot will happen.

A lot will change.

The world will be busy.

On the day I die, all the important appointments I made will be left unattended.

The many plans I had yet to complete will remain forever undone.

The calendar that ruled so many of my days will now be irrelevant to me.

All the material things I so chased and guarded and treasured will be left in the hands of others to care for or to discard.

The words of my critics which so burdened me will cease to sting or capture anymore. They will be unable to touch me.

The arguments I believed I’d won here will not serve me or bring me any satisfaction or solace.

All my noisy incoming notifications and texts and calls will go unanswered. Their great urgency will be quieted.

My many nagging regrets will all be resigned to the past, where they should have always been anyway.

Every superficial worry about my body that I ever labored over; about my waistline or hairline or frown lines, will fade away.

My carefully crafted image, the one I worked so hard to shape for others here, will be left to them to complete anyway.

The sterling reputation I once struggled so greatly to maintain will be of little concern for me anymore.

All the small and large anxieties that stole sleep from me each night will be rendered powerless.

The deep and towering mysteries about life and death that so consumed my mind will finally be clarified in a way that they could never be before while I lived.

These things will certainly all be true on the day that I die.

Yet for as much as will happen on that day, one more thing that will happen.

On the day I die, the few people who really know and truly love me will grieve deeply.

They will feel a void.

They will feel cheated.

They will not feel ready.

They will feel as though a part of them has died as well.

And on that day, more than anything in the world they will want more time with me.

I know this from those I love and grieve over.

And so knowing this, while I am still alive, I’ll try to remember that my time with them is finite and fleeting and so very precious—and I’ll do my best not to waste a second of it.

I’ll try not to squander a priceless moment worrying about all the other things that will happen on the day I die, because many of those things are either not my concern or beyond my control.

Friends, those other things have an insidious way of keeping you from living even as you live; vying for your attention, competing for your affections.

They rob you of the joy of this unrepeatable, uncontainable, ever-evaporating Now with those who love you and want only to share it with you.

Don’t miss the chance to dance with them while you can.
It’s easy to waste so much daylight in the days before you die.

Don’t let your life be stolen every day, by all that you’ve been led to believe matters, because on the day you die—the fact is that much of it simply won’t.

Yes, you and I will die one day.

But before that day comes: let us live.


Jonathan Pavlovitz


“Our goal is not to leave this world the way we found it; but better for our being here.”