books
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The Broadway production of The Great Gatsby is a dazzling and heartfelt reimagining of Fitzgerald’s classic, blending roaring-twenties glamour with timeless emotional truth. I saw the show on October 19, 2025, and it was a night of remarkable performances, lush design, and surprising intimacy. While audiences eagerly anticipate Jeremy Jordan’s return to the role of Jay Gatsby, Ryan
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Let’s be honest: the Bard has had a good run. Four centuries of English teachers whispering “iambic pentameter” like it’s a Hogwarts spell, theatre majors in black turtlenecks defending Twelfth Night as peak comedy, and countless people nodding solemnly at jokes they didn’t actually understand. But somewhere between a Publix parking lot and an alligator-infested drainage canal,
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Structuring a Closing Argument Like a One-Act Play The difference between a good closing argument and a forgettable one is the same difference between a standing ovation and a bored cough in row B: structure. Not evidence. Not emotion.Structure. Because whether you’re pleading for justice or staging a one-act in a black box theatre with three
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Where the citations weep, and the subtext sues for emotional damages This is not a poem. Not in the traditional sense. There is no meter here, no rhyme, no stanzas. Just a body of text so plain, so devoid of soul, it could’ve been written by the IRS. And yet – beneath it – buried
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A meditation on holding professional gravity and creative chaos in the same breath I wore a tie to a deposition this morning and quoted Foucault to my kid at lunch. Both acts felt subversive. Let’s begin with the obvious: contradiction is not a flaw in the system. It is the system. I’m a trial lawyer who writes
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Dramatic Archetypes in the Legal World – and How to Counter Them Litigation, for all its procedural decorum, is theatre. There’s a script (your pleadings), a stage (the courtroom), a captive audience (jury or judge), and, most importantly, characters. Now, some attorneys enter the courtroom like extras in a background deposition scene – unmemorable, beige,
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(Or, why your unmarketable dream project written at 2 a.m. in a hoodie stained with Pad Thai might just be your magnum opus) Let’s begin with a premise no marketing team wants to hear: the idea that makes your friends tilt their heads and say “…Huh” might be the thing that actually works. I’m not
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By Brian S. Brijbag, Esq. I’ve stood in courtrooms, neck deep in depositions, cross-examinations, and medical exhibits — building arguments on logic, precedent, and pain. And I’ve also stood on stage in a community theater, wearing eyeliner and shouting about cursed pies and funeral rehearsals for divine absences. This used to confuse people.Honestly, it used
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By Brian S. Brijbag, Esq. There’s a special kind of theatre that doesn’t just entertain — it unhinges your expectations, flips them inside out, and then serves them back to you with a sly wink and a perfectly timed blackout. When people ask what kind of plays I write, I sometimes fumble.“Absurdist.”“Dark comedy.”“Meta-theatrical, structurally chaotic, character-driven…
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By Brian S. Brijbag, Esq. There are regions that shape stories.And then there’s Florida, which doesn’t just shape them — it inhales them, spins them around, wraps them in alligator skin, and sets them loose on I-75 wearing flip-flops and holding a Publix sub. Florida isn’t just a setting.Florida is a genre.And once you write theatre here,
Brian Brijbag 