Three best friends on a girls’ weekend retreat learn a gang rapist has been released from prison nearby. Incensed by the atrocious nature of the crime against a teenaged girl, and incarceration of only one of its perpetrators, the moms find themselves novice killers and arbiters of justice. A black comedy thriller written, directed, and produced by Atwood, currently on the 2019 festival circuit.
WINNER: Best Film, Best Writing, Best Cinematography Short, Best Socially Conscious Narrative, and Best Adventure.
BFF neighbors Jan (a suburban divorcee) and Kev (a gay academic) have created a shabby-Shangri-La on the fifth floor of their rent-stabilized Harlem walk-up. They're over thirty, over educated, and nearly over New York. Wildly awkward, charmingly earnest social encounters in NYC.
Two new full length 22-min Season One episodes on the 2019 festival circuit.
Triplets of Kings County
It's chore day for the TRIPLETS OF KINGS COUNTY, but after their family photo album is destroyed, the biggest chore of all becomes remembering the night that their parents died, in this Honeymooners-inspired segment à la Audrey Meadows. Created by Michael Wolf, Terence O'Brien, and Colin O'Brien.
A suburban housewife falls for a man who's mistaken her for a prostitute. A short film written, directed and produced by Atwood, from a scene in her feature screenplay WENDY, FREEBIE premiered at the Manhattan Film Festival, WINNER Best Romantic Drama.
“Angela Atwood serves as wonderful comic relief”
Theater in the Now
"Angela Atwood stands out in particular for her complete and subtle portrayal of Tommy’s overbearing mother, creating a character of depth and complexity in an easily caricatured role. She has one of the more heart breaking moments of the piece, when she tries to be, in her words, a “good mother” to the obstinate Tommy, and becomes rather despicable instead."
Lillian Meredith, nytheatre.com
” Atwood’s deftly funny—and drunken—take on a frustrated, ripe trophy wife cracked me up.”
“The mother and son Vaughn are despicable soul-less characters whose racist and elitist cores are captured with surgical precision by Angela Atwood and Kellan Peavy.”
Theatre Reviews Limited