The main character in misanthropic novelist Victor Pagán’s third novel is Vivien Langford, who happens to be the world’s biggest and sexiest movie star. Vivien Langford, however, is a flesh-and-blood human being — an accomplished writer herself — and she’s having none of it. Outraged by his unwanted misappropriation of her persona, she immediately sues to stop the book’s distribution. But she goes further — much further. Contacting Victor directly in a series of FaceTime exchanges, she proceeds to dismantle his misogynistic, condescending character (and meager oeuvre), finally leaving him one option for redemption: She’ll allow his book to come out if he agrees to a very public humiliation.

Based on true events.



VICTOR PAGAN — A published novelist but with almost no books sold. A confirmed misanthrope.

GUY — A guy. A blogger and fanboy of Vivien’s. Earnest — likable in spite of that. RICHONDA BAINES — Victor’s agent. Ready to cut ties.

VIVIEN LANGFORD — Quite possibly the biggest movie star working today. A successful writer before her acting success. Takes no shit.

CLAIRE SHEPHARD — Founder and publisher of Pauper Publishing. Keeps her niche publishing house going out of a pure love of literature.

Note: There are also four small, voice-only parts which could easily be covered by the five actors.




Contest History for “Intellectual Property”

· Finalist, 2019 McNerney Playwriting Award, College of Charleston, SC

·Finalist, 2019 Free Spirit Theatre, Solihull, UK

· Finalist, 2017 HRC Showcase Theatre Playwriting Contest, NY


Festival History for “Intellectual Property”

· Selection and Reading, 2018 Different Festival, Santa Fe Playhouse, Santa Fe, NM

· Selection and Reading, 2018 Ruckus Rockwell Theatre Festival, NYC & Los Angeles

“Intellectual Property” has also had staged readings in Chicago at Chicago Dramatists, the Ubiquitous Players, and Naked Angels Chicago.




I dig Intellectual Property a lot. A dark, twisted, real-warts satire, worthy of the best Coen Brothers comparisons — especially toward the end and Victor’s unraveling. (Conlon should get his agent to lock up Bryan Cranston for his manic-panicked “Victor” creation — ASAP! Just a wonderful darkly unhinged satirical portrait.) Only a real writer with a few pelts on the wall can truly nail down the intricacies, paranoia, angst, insecurities, bravura, and GERD that goes into manifesting these scary creatures on the page.

A wicked acidic sense of humor is poised and ready to cobra strike at all times, but that obscure Cliff Richard “Devil Woman” ring-tone had me BIG-belly laughing unashamedly loud on a crowded cattle-car cheap-o plane. Priceless, Richard! Truly!!

– David Barr III, winner of the National Playwriting Award, The Black Theater Alliance Award, and the Edgar Allan Poe Award


Writers rely on the idea that a public figure, dead or alive, is fair game in fiction. After all, it’s not libel if everyone knows it isn’t real. It should be cut and dry, right? Conlon creates an even more cut and dry circumstance in a fiction within his fiction, then very cleverly blurs the lines. The play asks questions about not just the boundaries of the law, but about the parameters of respect.

INTELLECTUAL PROPERTY uses our preconceptions about the characters, their craft, and the circumstances in ways that are frequently hilarious and consistently surprising! Terrific work!

– Scott Sickles, 5-time Writers Guild of America Award Winner



Approximately 90-100 minutes



Preview available here

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