The Wizard of Oz (2017), directed by Abraham Benson-Goldberg. Original song translations by Abraham Benson-Goldberg.
This production of the Wizard of Oz was performed by 42 rising seventh graders, in Hebrew, with 4 weeks of rehearsal. The focus of the process was: why does Dorothy make a family in Oz, knowing that her time is limited? Just as the summer session is a defined time with a clear end, so too is Dorothy's journey in Oz--but the value of making that family is what it does to make her journey bearable and worthwhile.
With the addition of a song from Wicked and a pastiche of "I won't say I'm in love" from Hercules, this unique production used an escape from the proscenium to enter the runway world of the Yellow Brick Road, the Emerald City, and the castle of the Wicked Witch of the West, only to return the way Dorothy came and ultimately, curtain down as she rejoined Auntie Em and Uncle Henry on the proscenium.

To Kill a She-Goat (2017), a devised piece written and performed by campers, directed and guided by Abraham Benson-Goldberg. A Camp Ramah in Wisconsin production. 
Based on the short story by S.Y. Agnon "The Fable of the Goat," the works of Hannah Arendt, and the Viewpoints method of Anne Bogart, over two weeks these campers devised a 45 minute play around identity, behavioral norms, and the asymmetry of knowledge we all experience every day, and the costs of acting as if that asymmetry of knowledge doesn't exist. The show was performed three times--once to the age-group of the campers, once to all the campers in the upper age-groups, and once to visiting parents on Visitor's Day.

Song of Puppets (2014), a devised piece written by campers, performed by staff, and directed and guided by Abraham Benson-Goldberg.
Based on the Song of Solomon, this performance as exegesis project was funded by a Covenant Foundation Grant received by Camp Ramah in Wisconsin.
Each week, the camp community reads a chapter of the 8 chapter long liturgical poem. The campers involved in this project used close readings of the text decoupled from the traditional rabbinic interpretation: instead we focused on the relevant conversations of romantic relationships as they paralleled campers' everyday teenaged lives. From there, the campers wrote scripts for that explored those close-readings to the larger camp community. With a cast of caring staff members, I would then direct that scene for performance with the two puppets: Solomon and Shulamit. At the end of the summer, the 8 performances were to be stitched together into one full-length piece.