TED SOD is the author of SAND NIGGERS; LUCKY STAR; THE LOST ART OF CONVERSATION; THE COUSINS GRIMM; 27, RUE DE FLEURUS/MY LIFE WITH GERTRUDE (Published by Samuel French); STEALING; DAMAGED GOODS; THE KISS; A RUDE AWAKENING OFF BROADWAY AND PINE and SATAN AND SIMON DESOTO (Published by Heinemann Books). His plays for young audiences include: MAKE ME PELE FOR A DAY; THREE WISHES and CONQUEST OF FEARS.
Sod produced, wrote, and acted in CROCODILE TEARS, an independent feature film based on his play “Satan and Simon DeSoto”, which may available on DVD somewhere in the world. He produced and directed TWILIGHT DANCE, a documentary about senior citizen ballroom dances, in association with KCTS, a PBS affiliate in Seattle. He produced PAPA'S PRINCE, a film short about a young girl with an active imagination and two Dads, which he co-wrote with Blake McCarty.
Sod was awarded Washington State Arts Commission’s playwriting fellowship; and has received grants or residencies from PEN Center USA, The Berrilla Kerr Foundation, Art Matters, Artist Trust, The Edward Albee and Blue Mountain Foundations and the Seattle and King County Arts Commissions.
An Excerpt from "Crocodile Tears"
27, Rue de Fluerus (My Life with Gertrude):
Credit Ted Sod and Lisa Koch, writers of "27 Rue de Fleurus," with the provocative notion of fashioning a revisionist musical from Alice B. Toklas' corrective version of her life with literary giant Gertrude Stein. –Marilyn Stasio, Variety
Add this small charmer to this season's cornucopia of off-beat new musicals like The Adding Machine, The Slugbearers of Kayprol Island and Next to Normal. -Elyse Sommer, Curtain up
27 Rue de Fleurus gets its sweetness from a genuine love of its subject, the "marriage" of Gertrude Stein and Alice B. Toklas and the all-female cast sings excellently. – Michael Feingold, Village Voice
Bookwriter Ted Sod, who collaborated on the lyrics with Lisa Koch, have both done the most important thing right: They’ve made Stein and Toklas human beings who are struggling through the confines of a marriage, with Stein “playing” the husband, and Toklas the wife. Not since Night Music has a score contained so many waltzes. But they’re all lovely-to-beautiful. – Peter Filichia, Theatremania
The Cousins Grimm:
The Cousins Grimm involves a smart-and-sexy lesbian and a nebbish gay man both claiming some kind of kinship to the Brothers Grimm, and deciding to write gay versions of classic Grimm tales, only to find the characters taking over their actual lives. It is warm-hearted, sweet and amusing material that delivers a nice cache of self-aware laughs and, more importantly, offers up some very likable tunes by Off-Broadway songwriters I have long admired. - Chris Jones, Chicago Tribune
This delightful new musical unfolds as an ambitious rework of backstage Broadway musicals and a fresh–gay oriented take on the timeless Fairy Tales of the Brothers Grimm. Originality together with empathetic characters singing fun tunes makes for a light evening of musical comedy. I enjoyed this smart riff on fairy tales. -Tom Williams, ChicagoCritic.com
“The Cousins Grimm” is jam-packed with laughs—so much so that one audience member said that her mouth hurt from smiling. In between the witty jokes, the crazy costumes and the larger-than-life characters, viewers catch a glimpse of themselves in stories about struggling against losing hope and losing love. Ted Sod’s script and Michael Biello’s lyrics are both amusing and poignant, and even the most biting and edgy moments in the script have a lot of heart. “The Cousins Grimm” is a lovely combination of satire and romance, and manages to let the audience laugh at fairytales without forgetting their charm. -Ilana Kowarski, New City Stage
An inventively black comedic spin on an old morality tale...good script, fine perfs and outstanding production design. -Mark Woods, Variety
Defiant, darkly funny and ultimately touching. -Desmond Ryan, Philadelphia Inquirer
Crackling. A stinging allegory. -Kevin Thomas, Los Angeles Times
Full of clever lines. Compellingly original. This polished production doesn't look at all like the no-budget, first-time labor of love it is. -Eils Lotozo, Philadelphia Weekly
'Crocodile Tears' surpasses it's budget limitations to become a true original -Paula Nechak, Seattle Post-Intelligencer
You should see this movie for the same reason some distributor should snatch it up: Its very, very good -Bruce Reid, The Stranger
A masterful depiction by author Ted Sod of the process of denial and then the excruciating pain when the façade is torn off. Deftly interweaves song and dialogue, past and present, outward behavior and inner thought. -Freddie Brinster, The Journal-American
Sod’s witty, deftly crafted new play (gets a) skillfully acted, entertaining production by the Alice B. Theatre. Score ‘Damaged Goods’ as another winner. -Wayne Johnson, The Seattle Times
Make Me Pele for a Day:
Playwright Ted Sod finesses a win in which heart scores the goal and spectacle goes on record with a fantastic assist in “Make Me Pele for a Day. Sod, a blessedly uninhibited playwright turns wild imagination loose on low self-esteem. -Joe Adcock, Post-Intelligencer
A Rude Awakening Off Broadway and Pine:
Ted Sod’s (play) is the evening’s final exposure and a very moving one. Its theme of AIDS never overcomes by virtue of its “message.” Its use of humor helps pace the work and allows the audience to face the ravages of the disease, and all the stronger for having seen it. -Jon Blake, Post-Intelligencer