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Esoteric and Mystery Plays

   A Trilogy
   Three Unusual Scientists
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Three Unusual Scientists
The trilogy, Three Unusual Scientists, about the three great American "new energy" scientists, offers the three books (described below) in one book.

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Three Unusual Scientists
Amplitude of Force

Amplitude of Force

A Play about John Keely. This one–act play, with a running time of approximately 45 minutes, has a single set — the second floor of Mr. Keely’s workshop, a demonstration area, Philadelphia, Pennsylvania. The time is late November, 1888. The play is as factual and as true to John Keely’s biography as possible, based largely on the book Keely’s Secrets, by Dale Pond. Mr. Keely returns to his small workshop after his brief, unjust imprisonment and reorients himself to his daily work and lofty goals. He plays his zither, and tones of the high chords set in motion the "musical globe," one of the demonstration pieces on the set. During the course of the play, he receives several visitors and all express despair and anger at the ill treatment of their friend by the press and the legal system.
Photo of John Keely
John Keely's Musical Globe


The Ambient Medium The Ambient Medium

A Play about Nikola Tesla. This long one–act play with a cast of 5 has an abstracted dual set depicting Tesla’s office and laboratory at the foot of Pikes Peak near Colorado Springs, Colorado. The year is 1899 and Tesla and his assistant Czito are preparing for a potentially dangerous experiment with a goal towards utilizing what Tesla calls "the greatest visible power of the ambient medium," or surrounding atmosphere, thunder and lightning. During the few hours of repose before the experiment, Tesla is visited by Joseph Dozier, a carpenter, and a young girl, Julie Stevens. When the great experiment fails, Tesla has a spiritual visitor.


The Fulcrum The Fulcrum

A Play About Walter Russell. This drama completes the trilogy, Three Unusual Scientists. This historically accurate drama, approximately 50 minutes long, is set in the anteroom of Walter Russell’s painting and sculpture studio in Carnegie Hall, New York City. The time is May, 1933. Russell pauses in his work on the "Mark Twain Memorial Sketch Model," commissioned by Harper Brothers, as he is expecting a visitor, Mrs. Clara Gabrilowitsch, the daughter of Samuel Clemens, who will view his new work of Twain. But before her visit, a young friend of the sculptor rushes in. He has brought an influential art critic in hopes of dissuading her from writing a highly critical article about Walter Russell, whose work she has never seen.

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