Peter Ackerman. Plays: Things You Shouldn’t Say Past Midnight (The Promenade), adaptation for Broadway Revival of The Pajama Game (Roundabout, Tony for Best Musical Revival), and The Urn (Page 73, Irish Arts Center). Movies: Ice Age and Ice Age III; Dawn of the Dinosaurs. Radio Play: I’d Rather Eat Pants, commissioned by NPR and broadcast serially on Morning Edition. Children’s Book: The Lonely Phone Booth (Godine, Spring ’10).
Janet Allard. Recent works include:Vrooommm! A NASComedy (SPF 2007, published by Samuel French). Commissioned by Signature Theatre, Vrooommm! was developed at Theatreworks iand at Playlabs in Minneapolis. The Unknown: a silent musical, was developed with Page 73 and was granted an award from the Jonathan Larson Foundation. The Unknown appeared at Joe’s Pub and the New York Musical Theater Festival in 2005. Untold Crimes of Insomniacs premiered at the Guthrie Lab in April, 2004. Incognito, Loyal and Fashionistas, all Guthrie Theater Commissions are published by Playscripts, Inc. Ms. Allard is the recipient of two Jerome Fellowships at the Playwrights’ Center in Minneapolis. Her work has been seen at The Guthrie Lab, The Kennedy Center, Mixed Blood, Playwrights Horizons, Yale Rep, The Yale Cabaret, Theater Row, The Women’s Project and Productions, Perseverance Theatre, The House of Candles, Access Theater in New York City and internationally in Ireland, England, Greece, and New Zealand. She is a Macdowell Colony Fellow, and a Fulbright Fellow (1998 New Zealand and the South Pacific) and has taught at Bennington College, The New School, University of Minnesota and Victoria University, New Zealand. She is a core member of the Playwrights’ Center, has attended the Graduate Musical Theatre Writing Program at NYU as a bookwriter/lyricist, and has an MFA in Playwriting from Yale School of Drama. She recently worked on the Fox Television series New Amsterdam.
Robert Askins was born in Cypress, Texas in 1980. He moved to New York in 2005. Rob has received two E.S.T./Sloan grants, and an Arch and Bruce Davis Award for Playwriting. He has been commissioned by Divercity Theatre and Baylor University. Rob’s play Princes of Waco was produced and developed by Youngblood and developed by 9th and Madison. Most recently, his play Matthew and the Pastor’s Wife was a part of Marathon 2010 at the Ensemble Studio Theatre.
Clare Barron is a playwright and performer from Wenatchee, Washington. Her plays include Baby Screams Miracle (Clubbed Thumb Summerworks); Solar Plexus (Ensemble Studio Theatre’s Marathon of One-Act Plays); Dirty Crusty (Youngblood’s Unfiltered); and a boy put this girl in a cage with a dog and the dog killed the girl (developed at Colt Coeur, The Bushwick Starr, and The Atlantic Center for the Arts). She is a current member of the Soho Rep Writer/Director Lab and Youngblood at EST. She is a two-time finalist for the Clubbed Thumb Biennial Commission and is the recipient of an EST/Sloan grant to develop a play about a prehistoric fish. As an actor, Clare recently appeared in the world premiere of Heidi Schreck’s The Consultant at Long Wharf Theatre directed by Kip Fagan. She’s also acted with Target Margin Theater and EST. Clare studied at the Grotowski Institute, the Hemispheric Institute, and Yale as an undergrad where she wrote pieces for the Theater of Desire Cabaret helmed by Deb Margolin. She helps administer the Pataphysics Playwriting Workshops at The Flea, makes short films with director Kobi Libii, and is a member of Masrah Ensemble – a theater company in Beirut, Lebanon. In 2013 she traveled to Beirut to play Mae in an Arabic-English production of María Irene Fornés’ Mud.
Greg Beam got his start as a dramatist at the University of Chicago, penning sketches for the comedy troupe Off-Off Campus (whose alumni include Tony Award-winners David Auburn and Greg Kotis, and podcast superstar Sarah Koenig, none of whom he knows personally) and got serious about writing while pursuing his MFA in Acting at UC-Irvine. His play Keepsake premiered at the Old Red Lion Theatre in London in 2014; it was called “smart, stylish, sharply realistic drama with a crackling tension” (TimeOut London) and “something important in the modern theatre” (British Theatre Guide). Other productions include Conatus Interruptus (By the Light of a Match Festival), The Drama Lesson (TinyRhino), The Hard Way (Around the Coyote Festival), and The Bloody Romantic, co-written with Eric Poulin (The Broken Compass at Chicago Dramatists); he has been published in Independent Playwrights, Euphony, and The Chronicle of Higher Education. Greg was amember of the writing team for the sketch show Hot Fun in the Wintertime, which played at the Cherry Lane Theatre in 2013, and the web series Wendy, currently in production. He has been a two-time semifinalist for the O’Neill Center National Playwrights Conference and is a member of the 2015 Interstate 73 writers group at Page 73. As of this writing, he is hip-deep in his second novel, part of a multi-format cycle based on Buddhist cosmology, which he promises is way less pretentious than it sounds. His best work to date is an insanely lovable infant named Milo.
Adam Blau is a Los Angeles-based composer whose highly eclectic works have appeared in film, television and theater. A native New Yorker, Adam’s early professional forays into the world of composing included the cult favorite Monica! The Musical, a full-length musical comedy that satirically retells the Monica Lewinsky scandal. The show, produced by Page 73, played to sold-out audiences and made several runs in New York before being killed off by a vast right-wing conspiracy. Adam has assisted composer John Swihart (How I Met Your Mother, Napoleon Dynamite) and composer Christophe Beck (Buffy the Vampire Slayer, We Are Marshall). As Beck’s sole assistant, Adam orchestrated, arranged, performed, and composed for films like The Sentinel, School for Scoundrels, and Year of the Dog, among numerous others. Just as Adam set to strike out on his own, he composed a whole bunch of delightfully retro-quirky music featured in the Robin Williams comedy License to Wed. After leaving Beck’s nest, Adam (a TV junkie at heart) has steered his composing skills in the direction of television. He wrote music for ABC’s Day Break, the 2006 series starring Taye Diggs. He also contributed additional music to the reality show Tori and Dean: Inn Love, where his music was featured in nearly every episode of the show’s second season. His music has been heard on sitcoms and reality shows from CMT to CBS.
Daniel J. Blau is a Los Angeles-based writer who has quite nearly become quite famous quite a number of times. Since 1999, Daniel has been a staff writer for the internet juggernaut Television Without Pity, where he skewers popular television shows 6,000 words at a time. Since October of 2007, he has also spearheaded the site’s video division, where he writes, produces, and edits the TWoP original show “The Week Without Pity.” For some reason, it rarely dawns on him that such a job would pose a conflict of interest with his other job of “television writer.” Daniel has worked on both reality and scripted offerings for such networks as ABC, HBO, VH1, UPN, and Oxygen, and has appeared on several VH1 shows all seemingly titled “The Fifty Greatest…” He is also a frequent contributor to The Advocate, where he writes about television and pop culture.
Seth Bockley is a playwright, director and performer. Recent commissions include the book for February House, a collaboration with lyricist and composer Gabriel Kahane for the Public Theater, which will be included in the Public Theater’s 2011-2012 season, and CommComm for the Goodman Theater. Chicago directing credits include 1001 by Jason Grote; Jon, winner of the 2008 Jeff Citation for Best New Adaptation (Collaboraction); The Twins Would Like to Say (Dog & Pony); and Laika’s Coffin and Winter Pageant 2010 for Redmoon Theater, where he spent two years as a Directing Apprentice through TCG’s New Generations program. In July he will direct the world premiere of Jason Grote’s Civilization (all you can eat) for Clubbed Thumb’s SummerWorks series at HERE Arts Center. In August he begins a collaboration with Mexico City-based clown artist Artus Chavez through TCG’s “Global Connections: On The Road” grant. He is a member of the Goodman Theater’s Playwrights’ Unit and a recipient of the Goodman’s Ofner Prize.
Alexander Borinsky is a playwright and performer. He makes work with American Centaur and is a member of Youngblood at The Ensemble Studio Theatre. His full-length plays include Going Out and Coming Back (EST/Youngblood), Lost Tribe (Target Margin Lab; w/ dir. Michael Leibenluft), Little Hearts (Lincoln Center Directors Lab, w/dir. Colleen Sullivan), Unpleasant men (The Claque), Longing (Oh Well) (Theater for the New City), Ruth (EST/Sloan commission), The Polish Egg Man (Upstream Theater) and The Autobiography of Ryan Dowler. This spring, he traveled to Beirut as Masrah Ensemble’s playwright-in-residence, where he continued to develop Baltimore, a solo piece. He’s lived, rehearsed, and performed in backyards, basements, bars, kitchens, parks, and under a circus tent in Vermont. This fall he’ll begin work with Rady&Bloom on something they’re currently calling Untitled Water Project.
Deron Bos‘ plays include Very Simple, The City She Wants Me, Putting the Days to Bed, Kate and Anne Marie, Little America, Flagstaff, 707 Pine, and 21 Shots. His work has been produced and developed at Circle X Theatre in Los Angeles, Page 73 and Soho Rep in New York, and Printer’s Devil Theatre in Seattle. He has been published by The Brooklyn Review and Rain City Projects. He earned his MFA in Playwriting from Brooklyn College, where he studied with Mac Wellman.
Andy Bragen, a graduate of Brown University’s MFA Program in Literary Arts, was the winner of the 2007 Clubbed Thumb Biennial Commission. Other honors include a 2009-2010 LMCC Workspace Residency, a Tennessee Williams Fellowship from Sewanee: The University of the South, a Jerome Fellowship, a New Voices Fellowship from Ensemble Studio Theatre, a Dramatists Guild Fellowship, and residencies at Millay Colony and Blue Mountain Center. The Hairy Dutchman, commissioned by the University of Rochester, was produced at the university in April 2009. His second collaboration with jazz saxophonist John Ellis, The Ice Siren, premiered at the Jazz Gallery in May 2009. Spuyten Duyvil, which Andy developed at the 2004 Seven Devils Playwrights Conference, was produced by Brown/Trinity Playwrights Rep. in July 2008. Greater Messapia was produced at Queens Theatre in the Park in March 2004. Also a translator, Andy works directly from French and Spanish, and with a co-translator from the Japanese. Vengeance Can Wait, workshopped at the 2006 Playlabs Conferences in Minneapolis, was produced at PS122 in April 2008. Other plays and translations have been seen and heard at numerous theatres in New York and elsewhere, including The Guthrie Theatre, Ars Nova, Rattlestick, LAByrinth, EST, Repertorio Español, Soho Think Tank, Page 73 Productions, NYU’s hotINK Festival, The Illusion Theatre, The Aurora Theatre, and the Lark Theatre. More information is available at www.andybragen.com.
George Brant’s plays include Elephant’s Graveyard, The Mourners’ Bench, Any Other Name, Salvage, Grizzly Mama, Three Voyages of the Lobotomobile, and Dark Room. A Core Writer at the Playwrights’ Center, his scripts have been produced internationally by Trinity Repertory Company, City Theatre, London’s Gate Theatre, and the Traverse Theatre, among others. He has received a Kennedy Center National Playwriting Award, the Smith Prize (for Grounded), an Edinburgh Fringe First Award (for Grounded), an OAC Individual Excellence Award, and the Keene Prize for Literature. He has been awarded writing fellowships from the MacDowell Colony, the McCarter Theatre Center, and the Michener Center for Writers. He is published by Samuel French, Oberon Books and Smith & Kraus.
Stephen Brown’s work has been seen or developed with Primary Stages, Theatre at St. Clements, ESPA/59E59, Access Theatre, and the Kennedy Center Playwrights Intensive. He has been a semi-finalist for the O’Neill Playwrights Conference, the P73 Playwriting Fellowship, the Ars Nova Playgroup, and the Lark Playwrights Week. He is a nominee for the Terrence McNally Award. He takes classes at ESPA and received a BA from Trinity University.
Eliza Clark has had plays developed at Manhattan Theatre Club, the Studio at Cherry Lane Theatre, Page 73 Productions, Ensemble Studio Theatre, The Provincetown Playhouse, The New York International Fringe Festival, and Yale University. She received a commission from the Yale O’Neill Studio in 2006 and is currently working on a commission from South Coast Repertory. Eli was a member of Ensemble Studio Theatre’s emerging writers group, Youngblood. She was the 2010 P73 Playwriting Fellow. Her play Edgewise was co-produced by Page 73 and The Play Company in November-December of 2010. Eli graduated from Yale University in 2007 and is currently living in Los Angeles where she wrote for Season One of AMC’s Rubicon, and is developing a pilot for Teen Nick.
Kara Lee Corthron‘s plays have been produced and developed by the Vineyard Theatre, CENTERSTAGE (Baltimore), ACT Seattle/Hansberry Project, New Dramatists, Naked Angels, New Georges, Raw Impressions (HERE Arts Center), E.S.T., Page 73 Productions, manhattantheatresource, Electric Pear Productions, The Shalimar, Penumbra Theatre, Horizon Theatre (Atlanta), African Continuum Theatre (D.C.), and Voice & Vision, among a few others. Last year, she was a staff writer for the critically-acclaimed NBC drama, Kings. Kara’s honors include the Princess Grace Award, a 20/20 New Play Commission from InterAct Theatre, the Helen Merrill Award for Emerging Playwrights, Lincoln Center’s Lecomte du Nouy Foundation Award (three-time recipient), commissions from South Coast Rep, Naked Angels, New Georges, and E.S.T./Sloan, the Theodore Ward Prize, the New Professional Theatre Writers Award, residencies at the MacDowell Colony, Skri›uklaustur (Iceland), the Millay Colony for the Arts and Ledig House, and she was a finalist for the second consecutive year for New Dramatists membership (’08 and ’09). Kara is an alumna of the Juilliard School and Page 73’s inaugural year of the writers group Interstate 73, member of the Play Group at Ars Nova, the Dramatists Guild, ‘Wright On! Play Group (co-founder), BMI/Lehman Engel Librettist Workshop, Blue Roses Theatre, the Writers Guild of America, the Barrow Group Women’s Development Project, and is a New Georges Affiliated Artist.
Frances Ya-Chu Cowhig has been a finalist for the Blackburn Prize, received residencies at Yaddo, MacDowell, Ragdale, and the Santa Fe Art Institute, and is under commission from South Coast Rep and Seattle Rep. Her plays have been produced at Trafalagar Studios 2 on the West End, Interact Theatre, and the Contemporary American Theatre Festival; and developed at the Hedgebrook Women Playwrights Festival, Seattle Rep, PlayPenn, the Alley Theatre, Marin Theatre Company, Ojai Playwrights Conference, the Playwright’s Foundation and Yale Rep. Frances received an MFA in Writing from the James A. Michener Center for Writers at UT Austin, a BA in Sociology from Brown University, and a certificate in Ensemble Created Physical Theatre from the Dell’Arte International School of Physical Theatre. Her work has been published by Glimmer Train, Methuen Drama, and Yale University Press. Frances was born in Philadelphia, and raised in Northern Virginia, Okinawa, Taipei and Beijing. She is currently a National New Play Network Playwright-in-Residence at the Marin Theatre Company in Mill Valley, California.
Meghan Deans is the author of the plays Ashore, Internet Famous, and The Last Invention. She is the recipient of an E.S.T./Sloan grant, an alumna of Ensemble Studio Theatre’s Youngblood Writers Group, and was a finalist for the 2011 Clubbed Thumb Biennial Commission. She also writes recaps of X-Files episodes for Tor.com and lyrics for songs about World’s Fairs. BA: Eugene Lang College. Raised: Lansing, New York.
A first-generation South Asian American playwright and performer, Mashuq Deen is a P73 Interstate writing group member (2014-15), a NYFA Fellowship recipient (2013), a New York Theatre Workshop 2050 Fellow (2013-14) and Usual Suspect, an alumni member of the Public Theater’s Emerging Writers Group (2009), an affiliate artist with the Hemispheric Institute of Performance and Politics (2012-13), a former LMCC SPARC Fellow (2013), as well as one of the artists chosen for the 2013 Tofte Lake Center emerging artist retreat. Full length plays: Shut-Up! (Dennis Johnston Playwriting Prize, James Baldwin Award), Tank and Horse (Berkshire Fringe Festival), and Draw the Circle (produced at InterAct Theatre and presented at Hampshire College, PACE University; staged readings: Public Theater, Dixon Place, Berkshire Fringe, NYTW at Dartmouth, Passage Theatre, and Queens Theatre in the Park). His new play, People Are Made of Flesh and Bone, about the 1984 anti-Sikh massacres in India, is currently in development (readings: Hemispheric Institute). Deen is currently working on a new project as part of his NYTW Fellowship exploring how mental illness is treated in hospitals. He received his MFA at the ASDS/New School of Drama.
Steve DiUbaldo is a playwright, screenwriter, poet, and teaching artist based in New York City. Plays include, Under the Water Tower, Boomer’s Millennial Hero Story, It’s Only Quiet in the Dark, Coyote and the Origin of Death and The Solitudes, among others in progress. His work has appeared in production and workshop in Chicago, Los Angeles and New York. Onstage at: Rattlestick Playwrights Theater, A Red Orchid Theater (Chicago) with terraNOVA Collective, Cherry Lane, Tisch School of the Arts, LAByrinth, Greenwood Cemetery (commissioned by the NYU Ireland House for his adaptation of William Sampson’s The Catholic Question in America), Loyola Marymount University with the “Del Rey Players,” the Lyric Theater (LA), Pico Playhouse, the Underground (LA), and Jimmy’s #43 with Rising Phoenix Rep’s “Cino Nights.” He is a member of the Rattlestick Playwrights Theatre apprentice company, “The Middle Voice,” which will have a workshop production of his new play, Exposure, in 2015. He was a 2014 terraNOVA Collective “Groundbreaker,” is a member of Page 73’s 2015 Interstate 73 writers group and was a recipient of “The Rita and Burton Goldberg Playwright Foundation Fellowship” and the “Excellence in Playwriting Award” at NYU, where he received his MFA in Dramatic Writing in 2013.
Amy Evans received an MA in Writing for Performance from Goldsmiths College in London in 2002. Her first play, Achidi J’s Final Hours, was joint winner of the 2002 Verity Bargate Award and was produced at the Finborough Theatre in London in 2004. She has since worked with a number of theatre companies in London and New York, including the National Youth Theatre, Dumbfounded Theatre Company and The Culture Project. Her short play, Many Men’s Wife, was first produced as part of a festival of short plays at the Tricycle Theatre addressing the crisis in Darfur and was later published in the volume How Long is Never (Josef Weinberger Publications, 2007). Amy is the recipient of a number of grants and awards, including a Peggy Ramsay Foundation Bursary and a Ludwig Vogelstein Foundation Grant. She has had residencies at Hedgebrook Women Writers’ Retreat on Whidbey Island, BRICstudio Performing Arts Residency in Brooklyn, and the Institute for Cultural Inquiry Kulturlabor in Berlin. Her work has appeared in several publications, including Velocity: The Best of Apples and Snakes performance poetry anthology (Black Spring Press, 2003) and ‘Mythen, Masken, Subjekte: Kritische Weißseinforschung in Deutschland (Unrast, 2005), a multi-disciplinary publication on critical whiteness studies in Germany. She is currently under commission with the Tricycle Theatre in London on a new play about the politics of English as Second Language and with Dumbfounded Theatre Company on a new play inspired by the life of Nina Simone. She is based in Brooklyn, New York.
Dorothy Fortenberry is a winner of the 2011 Helen Merrill Emerging Playwrights Award. Her plays include Good Egg, Caitlin And The Swan, Species Native to California, and the play with music Status Update, which will be produced by Center Rep this fall. Her work has been developed at Arena Stage, Ars Nova, Geva Theatre, and Oregon Shakespeare Festival, among others, and produced by Chalk Rep, Red Fern Theatre, Live Wire, and The Management. She has received an EST/Sloan commission, a fellowship to the MacDowell Colony, a residency at the Djerassi Program, and a Walter E. Dakin Fellowship at the Sewanee Writers’ Conference. A graduate of the Yale School of Drama, Dorothy lives in Los Angeles with her family.
Michael Friedman is a founding Associate Artist of The Civilians, and has been the Composer/Lyricist for the company’s productions [I Am] Nobody’s Lunch; Gone Missing; Canard, Canard, Goose? and This Beautiful City. He also wrote music and lyrics for The Brand New Kid, Bloody Bloody Andrew Jackson, God’s Ear, and the upcoming Alice in Wonderland and Saved. His music has also been heard at the New York Shakespeare Festival/Public Theater, New York Theatre Workshop, Playwrights Horizons, The Roundabout Theatre Co., Second Stage, Soho Rep, Theater for a New Audience, Signature, and The Acting Company, regionally at The Kennedy Center, The Huntington Theatre Co., La Jolla Playhouse, Hartford Stage, Humana Festival, ART, Berkeley Rep, Dallas Theatre Center, Williamstown Theatre Festival, Portland Center Stage, and internationally at London’s Soho and Gate Theatres, and the Edinburgh Festival. Film work includes On Common Ground and Affair Game. He was also the dramaturg for the recent Broadway revival of A Raisin in the Sun, directed by Kenny Leon. He is an Artistic Associate at New York Theatre Workshop, a Princeton University Hodder Fellow, and a recipient of a MacDowell fellowship. He received a 2007 Obie award for sustained excellence.
Sarah Gancher is a playwright with a passion for epic stories, big ideas, and deep comedy. Her plays have been produced or developed at institutions such as London’s National Theatre, Edinburgh’s Traverse Theatre, Budapest’s Quarter6Quarter7 Festival, PS122, La Mama, Ars Nova, NYC SummerStage, New York Stage and Film/Powerhouse, the Women’s Project, the Great Plains Theater Conference, Portland’s Fertile Ground Festival, and Telluride Theatre, among others. She frequently collaborates with devising ensembles such as NYC’s The TEAM, Colorado’s Telluride Theatre, Portland, Oregon’s Hand2Mouth, and Blue Man Group. She is the winner of the 2013 Founder’s Award from New York Stage and Film, a recipient of the Jewish Plays Project’s OPEN Residency, a 2012—2014 Time Warner Fellow at the Women’s Project Playwrights Lab, and a 2012—2013 member of the Ars Nova Play Group. Upcoming: The Architecture of Becoming with Women’s Project at City Center.
Nick Gandiello is the 2015 P73 Playwriting Fellow. His plays include Oceanside (Merrimack Repertory Theatre), Sunrise Highway (Ojai Playwrights Conference), Black Fly Spring (Xavier University), Swept (Williamsto
Madeleine George‘s plays have been produced and developed by 13P, Clubbed Thumb, Soho Rep, About Face Theatre, Two River Theater Company, New York Theatre Workshop, The Playwrights’ Center/Guthrie Theater, and the O’Neill Playwrights Conference, among other places. Her play Precious Little, first staged in the Clubbed Thumb Summerworks series, will be produced by Cornell University’s Schwartz Center for Performing Arts in Ithaca, Rivendell Theatre Company in Chicago, and City Theatre in Pittsburgh in the spring of 2011. Madeleine has received a MacDowell Fellowship, the Princess Grace Playwriting Award, a Manhattan Theatre Club Playwriting Fellowship, and the Jane Chambers Award. She is a resident playwright at New Dramatists, an alum of the Soho Rep Writer/Director lab and the Lark Playwrights’ Workshop, and a founding member of the Obie-Award-winning playwrights collective 13P (Thirteen Playwrights, Inc.).
Peter Gil-Sheridan is a multidisciplinary artist whose plays include The Deadly Belles, Everyday I Wake the Fool, Glow, Vanishing Son, and Topsy Turvy Mouse which has been produced by Cherry Lane Theatre (mentor: Michael Weller), Borderlands Theatre in Tucson, and Gustavus Adolphus, developed at Sundance Institute’s Playwright Retreat at Ucross, New York Theatre Workshop and was named the winner of The Smith Prize from National New Play Network for outstanding political work. Topsy Turvy Mouse is published by Playscripts, Inc. His play, What May Fall, was commissioned by the Guthrie Theatre and was performed there in 2009, followed by a production with Fordham’s Alumni Company directed by Morgan Gould and will be done at Theatre of Note in Los Angeles next month. Residencies: Jerome Fellowship (Playwright’s Center, Minneapolis), A Theatre Group in Silverton, CO (annual), The Millay Colony (Austerlitz, NY) and the Ucross Foundation (Clearmont, Wyoming). Peter recently completed a new play, Ritu Comes Home, for the InterAct Theatre’s 20/20 Commission in Philadelphia. Most recently, he was a member of the Soho Rep Writer/Director Lab where he wrote Cockfight and the Playground at the Lark Theatre, where he developed The Rafa Play. He received his MFA from The University of Iowa’s Playwright’s Workshop and his BA from Fordham University at Lincoln Center.
Kirsten Greenidge had the world premiere of her play Bossa Nova at Yale Repertory Theatre in 2010. Her play Rust was produced by the Magic Theater in 2007. Kirsten was the playwright-in-residence at Woolly Mammoth Theatre Company as part of the NEA/ TCG Theatre Residency Grant where she worked on her play The Curious Walk of the Salamander. Kirsten’s work includes Proclivities, At Sunday Dinner and The Interpretation of Being, 103 Within The Veil: A Theatrical Collage, (2005 Independent Reviewers of New England Award for Best New Play), The Gibson Girl; Hinges Keep A City: Neighborhood Stories, Sans-Culottes In The Promised Land, Fast and Loose: An Ethical Collaboration, Familiar (winner of the Kennedy Center’s Lorraine Hansberry Award), and Devil Must Be Deep. She has enjoyed development experiences at Magic Theatre, Page 73, Madison Rep, Hourglass Theatre, Playwright’s Horizons, Bay Area Playwrights Festival, Sundance at Ucross, New Dramatists, and The O’Neill. Kirsten is also working on commissions with CompanyOne, Cardinal Stage, South Coast Rep, and the Kennedy Center/White House Historical Society. Kirsten attended Wesleyan University and The Playwright’s Workshop at the University of Iowa, and is a member of New Dramatists.
Jason Grote was Page 73’s 2006 P73 Playwriting Fellow, where he worked on his plays 1001 and This Storm Is What We Call Progress. Page 73’s New York Premiere of 1001 was listed in Time Out New York‘s Top Ten for 2007. The play has had a total of eleven productions throughout the United States, receiving such honors as Best New Play from Denver’s alternative weekly Westword; critics’ top ten lists in The Rocky Mountain News and The Boulder Daily Camera; and Best Performance nominee from L.A. Weekly. The Washington, DC production of 1001 was featured by Voice of America in a Farsi-language segment broadcast into Iran. The play is published by Samuel French, and Jason is currently working on a musical adaptation of the play with Marisa Michelson in Montclair State University’s New Works Initiative. Jason’s play Civilization (all you can eat) will be performed at Clubbed Thumb’s Summerworks 2011, directed by Page 73 writer Seth Bockley. Jason’s other plays include Maria/Stuart, Hamilton Township, Box Americana, Darwin’s Challenge, and Half-Moon Mirror. He has received commissions from The Denver Center, ACT/Seattle, Clubbed Thumb, The Working Theater, and The Keen Company, and he has been published by Samuel French and Playscripts, and in The Back Stage Book of New American Short Plays 2005 (edited by Craig Lucas). Other honors include Best Performance of 2008 from The Austin Chronicle (for Hamilton Township) and Best of Fringe 2009 from The Seattle Times (for Maria/Stuart). He wrote the screenplay for What We Got: DJ Spooky’s Quest for The Commons and was the co-host of “The Acousmatic Theater Hour “on WFMU for one year. He has created devised theater with David Levine, Radiohole, Maureen Towey, and Karinne Keithley, and is currently developing a live radio play to coincide with the Tim Burton retrospective at The Museum of Modern Art. He is a member of PEN and New Dramatists; visit him at www.jasongrote.com
Jennifer Haley is a Los Angeles-based playwright whose work has appeared around the country, most recently at the Lark Play Development Center in New York and the The O’Neill National Playwrights Conference, where she workshopped her play The Nether. This year she also developed Froggy at the Sundance Theatre Lab, The Banff Centre and A.C.T. in San Francisco. Neighborhood 3: Requisition of Doom was produced at the Actors Theatre of Louisville Humana Festival of New American Plays in 2008 and has seen continuing productions at theaters, colleges and high schools nation-wide. The play is published by Samuel French and Playscripts, Inc. Breadcrumbs saw its world premiere at the Contemporary American Theater Festival in July 2010 and was nominated for the ATCA/Steinberg New Play Award. Jennifer was awarded a citation for the 2009 American Theatre Critic’s Association (ATCA) Francesca Primus Prize, and 2008 fellowships from the MacDowell and Millay artist colonies. She earned an MFA in playwriting at Brown University, where she studied playwriting with Paula Vogel (How I Learned to Drive), screenwriting with Erin Cressida Wilson (Secretary), and won the Weston Award for Drama and the Joelson Prize in Creative Writing. In 2009 Jennifer founded The Playwrights Union, a network of theater artists in Los Angeles writing for stage, tv and film.
Sarah Hammond was raised in Hong Kong and South Carolina. She is the author of Green Girl (SPF at the Public Theatre, Bay Area Playwrights Festival), Kudzu (Trustus Theatre), The Extinction of Felix Garden (Ars Nova reading), and House on Stilts (Page 73 reading, Royal National Theatre reading). Honors include the Heideman Award (Actors Theatre of Louisville), two MacDowell Colony Fellowships, a residency at the Royal National Theatre in London, and commissions from South Coast Rep and Broadway Across America. Her short plays “Hum of the Arctic” and “Cancer Walking Through These Woods” can be found in anthologies from Smith & Kraus and Playscripts Inc. She is a New Dramatists playwright and lives in Brooklyn.
Mary Hamilton has developed plays in Iowa City, Philadelphia, Chicago and New York City. She has been a member of Page 73’s Interstate 73 writers group and New Georges’ The Jam. The recipient of the Iowa Provost’s Fellowship, she participated in the 2010 Unplugged Festival at American Theater Company, 2009 Play Penn conference, 2008 Wordbridge Playwriting Conference and 2002 Young Playwright’s Incorporated. Her work has been a finalist for the Yale Drama Series, Lark Pony Fellowship, the O’Neill Playwrights Conference, the Princess Grace Award, and the Lila Acheson Wallace Playwriting Program at Julliard.
Karen Hartman is a playwright and librettist whose current projects include Goliath, a drama set in the Gaza Strip (Winner of the 2008 Dorothy Silver Playwriting Prize, commissioned by the National Foundation for Jewish Culture, workshops at the Public Theater, New York Theatre Workshop, McCarter Theater, Magic Theatre, Voice & Vision, Williamstown, and others); a contemporary female Don Juan tale entitled Donna Wants (A.C.T.’s First Look Festival, Theater at Boston Court); and the book for A Sea Change, music and lyrics by Annmarie Milazzo. Carmen, La Gitana, directed by Cirque de Soleil’s Franco Dragone, with music by John Ewbank, lyrics by Annmarie Milazzo, and book co-written with Sarah Miles, performed in Madrid, September 2008. Her plays are Gum (Women’s Project, Center Stage, Magic Theater, Page 73, published by Theater Communications Group and Dramatists Play Service, in continuous production nationwide); Going Gone (N.E.A. New Play Grant, Cincinnati Playhouse in the Park); Anatomy 1968 (Summer Play Festival on Theater Row); Girl Under Grain (Best Drama in NY Fringe, extended by Page 73); Troy Women (based on Euripides, Yale Repertory Theater/School of Drama, published by Backstage Books in Divine Fire), and Leah’s Train. Musical works include Alice: Tales of a Curious Girl, based on Lewis Carroll with music by Gina Leishman (AT&T Onstage Award, Dallas Theater Center, published by Playscripts, Inc.), and Motherbone, an opera composed by Graham Reynolds (Loewe Award, Salvage Vanguard Theater). Her work has been supported by the Rockefeller Foundation, the N.E.A., the Helen Merrill Foundation, the Jerome Foundation, a Daryl Roth “Creative Spirit” Award, a Hodder Fellowship, and a Fulbright Scholarship to Jerusalem. An alumna of New Dramatists, Yale University, and Yale School of Drama, Karen has taught playwriting at Yale School of Drama and many other venues, and also teaches private writing workshops.
Cory Hinkle‘s plays include Little Eyes, Cipher, Phosphorescence, and SadGrrl13 and have been produced or developed at the Guthrie, ART, Williamstown Theater Festival, the SPF Summer Play Festival, The Playwrights Foundation, Illusion Theater, Rattlestick, Salvage Vanguard, Workhaus Collective, Page 73 Productions, Hangar Theater, and Red Eye Collective, among others. Cory is a co-creator of Fissures (Lost and Found) commissioned by Actor’s Theater of Louisville and scheduled to premiere at the 2010 Humana Festival. He has been commissioned by the Guthrie, is a former MacDowell Colony fellow, Sewanee Writer’s Conference Fellow and recipient of a Jerome Travel and Study Grant. He is a Core Member of the Playwrights’ Center, a member playwright of the Workhaus Collective and he received two Jerome fellowships through the Playwrights’ Center. Cory earned his MFA in Playwriting from Brown University and his work is published by Playscripts Inc. and Heinemann.
J. Holtham‘s plays include: Creative Writing, Lovers to Bed, 11th Hour, Race Music, Household Name, Splendid, and Daylight Savings (What Happens Now). His work has been seen and developed at the Ensemble Studio Theatre (Posterity, Thicker Than Water 2001), BE Company, Williamstown Theatre Festival, the Magic Theatre (SF), Clubbed Thumb, the Vital Theatre, New Dramatists, Broken Watch Theater Company, the 24Seven Lab and others. His play Manifesto was commissioned by Time Warner and Second Stage Theatre. Several of his plays are published by Playscripts, Inc. He is a member of E.S.T. and an alumnus of Youngblood. MFA: The Actors Studio Drama School/New School for Social Research. He has worked as a teaching artist for TDF, Vital Theatre, and MCC. In addition, he writes the blog, 99 Seats. He is a proud product of the New York and New Jersey public education systems.
Quiara Alegría Hudes. Broadway: In the Heights (book, 2008 Tony Award for Best Musical, Tony nomination for Best Book, Pulitzer Finalist). Off-Broadway: In the Heights (Lucille Lortel Award, Outer Critics Circle Award). Off-off: Elliot, A Soldier’s Fugue (Pulitzer Finalist). Regional: 26 Miles (Alliance Theatre), Barrio Grrrl! (book and lyrics, Kennedy Center for the Performing Arts). National tours: In the Heights and Barrio Grrrl! Workshops: Water By the Spoonful (Hartford Stage), Like Water for Chocolate (book, Sundance at White Oak Project). Film and TV: In the Heights (screenplay, Universal Pictures), Untitled Quiara Hudes Project (sitcom, NBC). B.A. from Yale, MFA from Brown, resident writer at New Dramatists. Mentor and Board Member for Philadelphia Young Playwrights, who produced her first play in the tenth grade.
Samuel D. Hunter is from Moscow, Idaho. He recently received the 2011 Obie award for Playwriting. In May 2010 Page 73 premiered his play Jack’s Precious Moment; later that year A Bright New Boise was produced by Partial Comfort Productions. He received a BFA in Dramatic Writing from NYU in 2004, an MFA from the Iowa Playwrights Workshop in 2007, and graduated from the Lila Acheson Wallace Playwright-in-Residence Program at Juilliard. Sam is a two-time recipient of Lincoln Center’s Le Compte du Nuoy Award, a current member of Playgroup at Ars Nova, and was awarded the 2008-2009 Playwrights of New York (PONY) Fellowship from the Lark Theater, where he was a member of the Lark Playwrights Workshop. His plays include: I Am Montana (produced at London’s Arcola Theater in June 2009, produced at Montana Repertory Theater in November 2008, developed at the Flea Theater, 2007 Seven Devils Playwrights Conference, 2008 Ojai Playwrights Conference, 2008 Juilliard New Play Festival, 2007 Bay Area Playwrights Festival), Idaho / Dead Idaho (2009 Princess Grace Award Runner-Up, developed at the 2009 Seven Devils Playwrights Conference, Ars Nova, Juilliard, the Lark Theater, and Rattlestick Playwrights Theater), Norman Rockwell Killed My Father (developed at the 2005 O’Neill Playwrights Conference), Abraham (A Shot in the Head) (produced at Richard Foreman’s Ontological-Hysteric Theater), Hells Canyon (developed at Juilliard and the 2009 LAByrinth Summer Intensive), God of Meat (developed at the Lark Theater, Partial Comfort, the Playwrights Foundation in San Francisco, and Stanford University), and his newest plays, Atlasing Sodom (developed at the Kennedy Center’s MFA Playwrights Workshop in July 2009, readings at Primary Stages, Playwrights Horizons, and the NNPN National Showcase), and Five Genocides (recently translated into Spanish and presented in Mexico City). Sam has taught at the University of Iowa, Fordham University, and in the Palestinian Territories at Ashtar Theater (Ramallah) and Ayyam al-Masrah (Hebron). At Ashtar, he was co-writer on The Era of Whales which was produced in the West Bank and at the Istanbul International Theater Festival in Turkey.
Laura Jacqmin was the winner of the 2008 Wasserstein Prize, a $25,000 award to recognize an emerging female playwright. Her plays include Look, We Are Breathing (2010 Sundance Institute Theatre Lab on Governors Island, dir. Mark Brokaw), January Joiner (P73’s 2010 summer Yale residency, dir. May Adrales) and Ski Dubai (Steppenwolf Theatre Company’s 5th Annual First Look Repertory of New Work). Milvotchkee, Visconsin will be featured in the Lark Theatre’s 2010 Playwrights Week, dir. Christian Parker. Other plays include Folk Song, I Am Frightened of My Body, Dental Society Midwinter Meeting (which enjoyed a sold-out run in Chicago in summer 2010, and will be remounted in early 2011), And when we awoke there was light and light, and Do-Gooder (nominated for the 2011 Cherry Lane Theatre Mentor Project). Her work has been produced and developed by the Goodman Theatre, Ars Nova, Icicle Creek Theatre Festival, Joe’s Pub, Ensemble Studio Theatre, Victory Gardens Theater, Chicago Dramatists, The 24 Hour Plays Off-Broadway, Contemporary American Theatre Festival and more. She lives in Chicago where she is currently working on commissions from the Goodman Theatre, Arden Theatre Company, InterAct Theatre and the Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project. She is a member of the Goodman Theatre’s 2010-2011 playwrights unit. BA Yale University; MFA Ohio University. www.laurajacqmin.com
David Jenkins is a New York-based playwright, producer, and founding member / Artistic Director of Human Animals. His first play, middlemen, was produced in New York in 2009 (Human Animals) and premiered in Santiago, Chile in the spring of 2011. It will be produced by NJ Rep in 2013 and at the Oslo International Theater in Norway in 2014. Human Animals’ production of his latest play, Post Office, was named one of “The Top Ten Off-Off Broadway Productions of 2011” by Paper Magazine. As an actor, he has worked extensively in Chicago’s storefront theaters and on stages throughout the country, including San Francisco’s ACT and Yale Rep. He holds an MFA from NYU’s Graduate Acting Program, where he was the proud recipient of the Paul Walker Scholarship. Jenkins’s plays include: middlemen, Small Claims, Post Office, Laissez-Faire and the forthcoming Blues for a Broken Trumpet. He is currently teaching scene study at New York State’s Fishkill Correctional Facility in collaboration with Rehabilitation Through the Arts.
Julia Jordan was awarded a 2007 Lucille Lortel Playwriting Fellowship. She is the author last year’s Dark Yellow at Studio Dante, with Elias Koteas. It was shortlisted for the Susan Smith Blackburn Award and is being made into a feature film by Glen Luchford, starring John Hawkes and Melinda Walters. Tatjana In Color won The Francesca Primus Prize, was short-listed for the Susan Smith Blackburn Award and was included in Best Plays by Women 1997. Boy at Primary Stages with T.R. Knight, was given a Susan Smith Blackburn Award honorable mention and won a Drama Desk Award for Knights portrayal of the lead character. Other plays include St. Scarlet, Nightswim and Smoking Lesson. Her plays for children include Summer of the Swans, Guitar with music by Duncan Sheik, and Walk Two Moons with music by Lucas Pappaelias. As a musical librettist she has written The Mice, which was part of Harold Princes 3HREE and Sarah, Plain and Tall which won a Kleban Award and an ATT Onstage award. She was the first librettist ever to be given a Jonathan Larson Award. She is currently working on a musical adaptation of Bernice Bobs Her Hair by F. Scott Fitzgerald, for which she is writing both book and lyrics. Adam Gwon is composing. Her short film The Hat premiered at Sundance and was the most played short shown on IFC in 2001-2002. She wrote the book to The Moscow Circus’s Winter Queen tour. She is a Juilliard Playwright Fellow, Manhattan Theater Club Fellow, Member of New Dramatists and the Dramatists Guild. She holds an M. Phil. in Creative Writing from Trinity College, Dublin and teaches advanced playwriting at Barnard and Primary Stages.
MJ Kaufman is a playwright whose work has been seen at the Huntington Theatre, New York Theater Workshop, Yale School of Drama, Bay Area Playwrights Festival, Clubbed Thumb, New Georges, Aurora Theater, Crowded Fire, Fresh Ink Theatre, New Harmony Project and performed in Russian in Moscow. They have received awards and commissions from the Program for Women in Theater, the Playwrights Foundation, the National Foundation for Advancement in the Arts, Young Playwrights Inc., and the Huntington Theatre, where they are also a playwriting fellow. MJ received the 2013 ASCAP Cole Porter Prize in Playwriting, the 2013 Global Age Project Prize, and the 2010 Jane Chambers Prize in Feminist Theatre. MJ is currently a member of the Clubbed Thumb Emerging Writers Group, The Falcons, an Audrey Resident at New Georges and a Resident Artist at The Drama League. Originally from Portland, Oregon, MJ attended Wesleyan University and recently received an MFA in playwriting from the Yale School of Drama.
Kevin Kautzman is a playwright originally from North Dakota. An alumnus of the University of Minnesota, where he studied history and philosophy, he holds an MFA from the University of Texas at Austin. He began studying playwriting in London at The Royal Court Theatre and became a core writer out of the Young Writers Program. He has received commissions from History Theatre and Red Eye, and his work has been performed and/or developed at places including The Des Moines Social Club, Fox Valley Repertory, The Landing Theatre Company, The Living Theatre, Mondays Dark, The New Theatre Project, Nouveau 47, The Players’ Guild Theater, The Playwrights’ Center, Scriptworks, The Soho Theatre Studio (UK), South Camden Theatre Company, The Tristan Bates Theatre, and The UK National Student Drama Festival.
His honors include Jerome and Michener fellowships; Tennessee Williams and Kenyon Institute scholarships; and the Kernodle New Play, International Student Playscript Competition, Repertory Theatre Iowa’s Alpha Project, and Southwest Playwriting awards. He is represented by Max Grossman at Abrams and lives in New York, where he is a partner at the web development agency e9digital. More at kevinkautzman.com.
Greg Keller‘s first play, The Young Left, was produced at The Cherry Lane Theatre as part of the 2008 Mentor Project. His second play, Dutch Masters, was produced by LAByrinth Theater Company in May 2010, and will be produced at The Berkshire Theatre Festival in the summer of 2011. In February 2010, his third play, The Seduction Community was performed at The Juilliard School where he was a Lila Acheson Wallace Playwrighting Fellow, and two time recipient of the Lecomte Du Nouy prize. His untitled fourth play was workshopped at The Colony in Missoula, Montana in July 2010.
Meghan Kennedy‘s plays have been produced in Dublin, Ireland, Austin, Texas and New York City. Her work has been a finalist for the 2011 PlayPenn Conference, the 2011 Seven Devils Conference, the 2010 & 2011 Bay Area Playwrights Festival and a semi-finalist for 2007 Princess Grace Award. She was named a 2010 Core Apprentice at The Playwrights’ Center in Minneapolis. Meghan just received her M.F.A. from The Michener Center at UT Austin where she was a Fellow in Playwriting. She holds a B.F.A. in Dramatic Writing from the Tisch School of The Arts at NYU. She lives in Brooklyn.
Kait Kerrigan is a Brooklyn-based playwright, lyricist, and bookwriter. In 2006 her musical Henry and Mudge was produced by Theatreworks USA, and went on to win her the Kleban Award for Most Promising Librettist. Her work has been developed and performed internationally. Her plays include Disaster Relief, Imaginary Love, Transit and we have to hold hands. Her musicals, written with composer Brian Lowdermilk, include The Unauthorized Autobiography of Samantha Brown, Tales from the Bad Years, The Woman Upstairs, Wrong Number, The Freshman Experiment and the forthcoming Republic. Kerrigan is an alumna of Barnard College, and a member of ASCAP, the Dramatists Guild, and founding member of NewMusicalTheatre.com. For more information, visit www.kerrigan-lowdermilk.com.
Krista Knight has had plays produced produced by The Ontological Hysteric Theater, Walden Theatre, Hangar Theatre, Brown University, LiveGirls!, Harvest Theatre, Goshen College, The Attic Theatre, The New Perspective Festival, The Pan Theatre, and The Bus Barn Stage Company among others. Commissions include The Assembly, Livegirls!, The Berkeley Rep Theatre School, and Class Act. Krista has been in Residence at Tofte Lake, New York Mills, WordBRIDGE Playwrights Lab, the Atlantic Center for the Arts, Interplay in Australia, UCROSS, the Santa Fe Art Institute, Yaddo, and MacDowell. Her first musical Salamander Leviathan won the 2011 KCACTF Musical Theater Award from the Kennedy Center. It will be part of Ant Fest at Ars Nova on Halloween and will be developed by the Playwrights Center in Minneapolis in June 2012. 2007 Page 73 Playwriting Fellow. 2011-2012 Shank Playwriting Fellow at the Vineyard Theatre. BA: Brown University. MA: Performance Studies from NYU. MFA Playwriting: UC San Diego. www.KristaKnight.com
Aaron Landsman makes plays and other performances that are often staged in intimate, everyday locations. His sited works include: Appointment, an ongoing series of works for single viewers in small offices; Open House (2008), commissioned by The Foundry Theatre and presented in 24 New York City homes; and What You’ve Done (2005), a co-production of Houston’s DiverseWorks Art Space and Project Row Houses. His stage plays have been presented in New York, Philadelphia, Cleveland, and Minneapolis, as well as in Sweden, Norway, and Belarus. Also an actor, Aaron has performed with Elevator Repair Service Theater since 2004, touring three continents and appearing Off-Broadway. Aaron is a 2010 Artist-In-Residence at HERE, where he is developing a new multi-media theater work, City Council Meeting.
Kimber Lee’s plays include different words for the same thing, fight, tokyo fish story and brownsville song (b-side for tray), which recently received a world premiere at the 2014 Humana Festival and will have its New York premiere in the fall of 2014 at LCT3. Her work has also been presented by the Lark Play Development Center, Page 73, Hedgebrook, Seven Devils, Bay Area Playwrights Festival, Hansberry Project at ACT/Seattle and Dramatists Guild Fellows Program. Kimber is a Lark Playwrights Workshop Fellow (2013-2014), a member of Ma-Yi Writers Lab, and is currently working on commissions for Lincoln Center Theater/LCT3 and South Coast Rep. Recipient of the 2014 Ruby Prize and the 2013-2014 PoNY Fellowship. MFA: UT Austin.
Dan LeFranc graduated from the the MFA playwriting program at Brown University, and was in residence there as the 2007-2008 John C. Russell Fellow in Playwriting. Page 73 premiered his play Sixty Miles to Silver Lake in 2009 (2010 New York Times Outstanding Playwright Award). His play The Big Meal premiered at American Theatre Company in Chicago and will be included in Playwrights Horizons 2011-2012 season. His plays have also been seen or developed at Actors Theatre of Louisville, The Vineyard Theater, MCC, The Kennedy Center, American Repertory Theatre, ArsNova, Clubbed Thumb, Portland Center Stage, Woolly Mammoth Theater Company, The Magic Theater, Milwaukee Repertory Theater, Perishable Theater, foolsFury, Kitchen Dog Theater, Santa Cruz Actors’ Theatre, Contemporary Arts Center of Cincinnati, UCSB Summer Theater Lab, and the Page 73 Summer Residency at Yale, among others. Dan is a member of the MCC Playwrights Coalition, the Soho Rep Writers/Directors Lab, and teaches playwriting at the Brown/Trinity Rep Consortium. His short play “Hippie Van Gumdrop” is published in The Backstage Book of New American Short Plays 2005, edited by Craig Lucas.
Alex Lewin‘s plays have been developed at Arena Stage, Geva Theatre Center, MCC, The New Group, Ensemble Studio Theatre, the O’Neill Playwrights Conference, the Lark, Emigrant Theatre (Minneapolis), Bailiwick Rep (Chicago), and New York Theatre Workshop, where he is an Artistic Associate. He is the recipient of the Ted & Adele Shank Professional Playwriting Fellowship, and a commission from Ensemble Studio Theatre and the Alfred P. Sloan Foundation, and he’s been a finalist for the L. Arnold Weissberger Award. Alex has held residencies at EST’s Lexington Center for the Arts, the O’Neill Playwrights Conference, Chautauqua Theatre Company, and New York Theatre Workshop’s summer development program at Dartmouth College. Alex holds an MFA in Playwriting from the University of California at San Diego. He was a 2009-10 Playwrights Realm writing fellow, and a member of Interstate 73, the MCC Playwrights’ Coalition, and the Dramatists Guild. He lives in Manhattan with his cat, Charlie Chaplin.
EM Lewis received a 2012 Fellowship in Playwriting from the New Jersey Council for the Arts, and the 2010?2011 Hodder Fellowship at Princeton University. She won the 2009 Steinberg/ATCA New Play Award for Song of Extinction and the 2008 Primus Prize for Heads from the American Theater Critics Association. Her work has been produced around the world, and published by Samuel French. She’s the NJ Rep for and a proud member of the Dramatists Guild. Recent: Song of Extinction at the Guthrie and at CUNY Hostos College, Apple Season in the Six Women Playwriting Festival, playwright-in?residence for the New Voices for the Theater program in Richmond, VA, and the world premiere of Goodbye, Ruby Tuesday at HotCity Theater in St. Louis, MO. Current: working on an epic new play set in Antarctica, and an intimate two?hander set in her home state of Oregon. www.emlewisplaywright.com
Jerry Lieblich is a Brooklyn-based playwright. He is a (proud!) current member of Page 73’s Interstate 73 writers group, an alum of the Soho Rep Writer/Director Lab and Smith + Tinker (HERE Arts Center), an Edward F. Albee Foundation Fellow, and is the writerly half of the devising team Tiny Little Band. His plays include D Deb Debbie Deborah (Soho Rep W/D Lab), Ghost Stories (PRELUDE 2014), Untitled Tech Startup CEO Piece (THROW at The Chocolate Factory), Nostalgia is a Mild Form of Grief (|the claque| Reads, Pipeline Theater Company), Eudaemonia (not just 3 New Plays), and 1927 (Ars Nova ANT Fest). He has been a finalist for the Heideman Award (Actors Theatre of Louisville), T.S. Eliot US/UK Exchange (Old Vic Theatre), Global Age Project (Aurora Theater), and New Works Festival (Kitchen Dog Theater). He also writes regularly for Culturebot, is a published scientist and used to work at a zoo. BA: Yale. www.tinylittleband.com
Kenneth Lin is an award-winning playwright whose works said Saïd, Agency*, Po Boy Tango, Intelligence-Slave, Genius in Love, and The Lynching of a White Man in Rural, CA have been premiered, commissioned, and developed at theaters throughout the country, including the Alliance Theatre, Northlight Theatre Company, Alley Theatre, South Coast Rep, Manhattan Theatre Club, the Wilma Theatre, Arena Stage, and Page 73 Productions. He is the winner of the Princess Grace Award, The Alliance Theatre’s Kendeda Graduate Playwriting Competition, The Williamstown Theatre’s L. Arnold Weissberger Award, and the TCG Edgerton New Play Prize. He was recognized by the Dramatists Guild as a top “Playwright to be Watched.” Lin is an alumnus of Cornell University, the U.S. Fulbright Fellowship, and Yale School of Drama where he was awarded the Cole Porter Prize for excellence in playwriting. More information is available at www.endofscene.com
Heather Lynn MacDonald. Originally from New Hampshire, Heather currently lives in Harlem with her husband, Anuj Shah. Her plays have been produced and developed by The New Group, Naked Angels, A.R.T. Theatre Institute, Summer Play Festival, Page 73 Productions, Atlantic Theater Company, Philadelphia Theatre Company, Hangar Theatre, and The New York International Fringe Festival. She is the recipient of a NYSCA Individual Artist grant and NYFA fellowship; additional honors include residencies at the MacDowell Colony, Yaddo, Page 73, and the Orchard Project. Her play Expats was a Susan Smith Blackburn nominee, her play Retrospective was a Princess Grace Award finalist, and her play Indian Point was an Actor’s Theater of Louisville Heideman Award finalist. Heather spent the past three years participating in Barrington Stage Company’s Playwrights Mentor Project leading workshops for high school students in Western Massachusetts. She was a member of Page 73’s Interstate 73 Writers Group. Heather holds a MFA from Columbia University where she received the Brander Matthews Fellowship, and a BFA from NYU’s Tisch School of the Arts.
Sam Marks. NYC Productions: Brack’s Last Bachelor Party (Babel Theater Company directed by Geordie Broadwater), The Joke (Studio Dante directed by Sam Gold), Nelson (Partial Comfort Productions directed by Kip Fagan), Craft (The Bat Theater Company directed by Robert O’Hara), and The Bigger Man (Center Stage). His work has also been produced by Circle X (LA) and at the Perishable Theater (Providence) and workshoped at The Flea, The Vineyard Theater, and the Berkshire Playwrights Festival. Sam’s plays have also been developed and seen at Manhattan Theater Club, New York Theater Workshop, Playwrights Horizons, and The Rattlestick Theater. A graduate of Brown’s Graduate Playwriting program, where he studied with Erin Wilson and Paula Vogel, Sam was named “50 to Watch” by The Dramatist Magazine. Sam developed two series for cable based on his plays Craft and The Joke. He is currently working on a feature screenplay based on an episode of This American Life. His short political film, F–k New York, immensely popular on the Internet, was optioned for series development by MTV. Sam has taught playwriting and screenwriting at Brown, Harvard, and Providence College. He was a member of I-73, the Page 73 writers group. He lives in Brooklyn with his wife, Greer, and their son, Ozzy.
Kara Manning’s plays include Sleeping Rough, Mind the Gap, Killing Swans, Proposed Closure (Totalshambles) and afterdark. Her plays have been performed or developed via the Royal Court Theatre, Out of Joint, Hampstead Theatre, the O’Neill Playwrights Conference, Manhattan Theater Club, Atlantic Theater, Playwrights Horizons, MCC Theater, Page 73 Productions, Women’s Project, NYTW, High Tide Festival Productions and others. Sleeping Rough was also developed at Theatreworks Silicon Valley as part of its 2012 New Works Festival. Kara is the 2007 recipient of the Princess Grace Award in playwriting. She is a MacDowell Colony Fellow and recipient of a 2010-2011 Princess Grace Special Projects grant and a 2011 EST/Sloan Foundation commission. She is a member of MCC Theater’s Playwrights Coalition and an alumnus of the Royal Court’s International Residency and Women’s Project Playwrights Lab. Kara has written for Rolling Stone, MTV News and NPR. She presently works for WFUV/The Alternate Side and is the literary manager of the Irish Repertory Theatre. Graduate of Columbia University’s M.F.A. program in playwriting.
Michael Mitnick‘s theatre credits include Sex Lives of Our Parents (world premiere 2ndStage Uptown), Fly By Night (Playwrights Horizons 2014; Dallas Theater Center; TheatreWorks), Ed, Downloaded (world premiere Denver Center Theatre Company), Spacebar: A Broadway Play by Kyle Sugarman (world premiere City Lights; developed by The Lark and Studio 42), Babs the Dodo (world premiere at Washington Ensemble Theatre), & elijah (world premiere at LOCAL Theatre Company). He is also writing the book for the Broadway bound musical version of the classic film Animal House. He wrote additional lyrics for a stage spectacle of King Kong which is running now in Australia. He wrote the screenplay for the adaptation of the Newbery-winning novel The Giver. Member of Ars Nova and P73 Playgroups. 2012 Visionary Playwright Award. Michael is currently writing commissions for The Roundabout, Manhattan Theatre Club and Theatre Masters in conjunction with The Goodman Theatre. He received his MFA in Playwriting from the Yale School of Drama. He lives in Brooklyn.
Caroline V. McGraw is the 2013 P73 Playwriting Fellow. Her plays include The Bachelors, The Vaults, Tall Skinny Cruel Cruel Boys, Debut Track One Chord One Verse One (or, The Shed), The King Is Dead, and Trade. Her writing has been produced and developed around the country, including at the Cherry Lane Theatre by Young Playwrights Inc., the Abingdon by Highwire Theatre, Yale Cabaret, American University’s New Works Series, the Cleveland Play House Next Stage Festival, F*It Club/Interborough Rep, WordBRIDGE Playwrights Laboratory, AracaWorks, Theatre4, the Intiman Theatre Festival/One Coast Collaboration, the Amoralists, Portland Center Stage, and Washington Ensemble Theatre, where Tall Skinny Cruel Cruel Boys will have its world premiere in Spring 2013. She is the winner of the Young Playwrights Inc. National Festival and the AracaWorks Graduate Playwriting Award. She is a New Georges Affiliate Artist and member of the Jam. She has mentored and taught playwriting at Yale, Horizon Theatre, New Haven Co-op High School, and Wesleyan University. Caroline is a native of Cleveland Ohio, and a graduate of Marymount Manhattan College. She recently completed the MFA Playwriting program at the Yale School of Drama, where she studied with Paula Vogel.
Megan Mostyn-Brown Plays include: Girl, The Secret Lives of Losers, 4th of July, Going After Alice, The Hawk Has No Home, Lizards, Objects Are Closer Than They Appear, Other People’s Problems and The Rest of Your Life. Her plays have had productions at: The Guthrie Theater, The Cherry Lane Theater, Union Station Theater, Carelton College, Bennington College, NYC International Fringe Festival, MadCat Theater, The 52nd Street Project and The Actor’s Theater of Louisville apprentice program. Her plays have been workshopped at: The Women’s Project, LAByrinth Theater Company, Rattlestick Playwrights Theater, The Public Theater, The Warehouse Theater, New Georges, Barrington Stage Company, The Old Vic/ New Voices New York Exchange, The Tribeca Theater Festival, Duke University and The HBO Comedy Arts Festival in Aspen, CO. Cherry Lane Mentor Project (mentor: Theresa Rebeck). Honorable mention in the Herrick Theater Foundation New Play Competition. Inaugural winner of the Leah Ryan FEWW award. Girl was turned into a sound play by Coyote Rep and is available as a podcast on iTunes. Girl, The Secret Lives of Losers, and Lizards are published by Samuel French. Megan is a member of LAByrinth Theater Company and the 2010-2011 Page 73 Writers Group. She has been a member of he Women’s Project Playwrights Lab and a guest playwright at New River Dramatists, Electric Pear Theater Company, The Orchard Project, The Royal Court Theatre and the 24/7 Lab. Megan is a graduate of Northwestern University.
Carlos Murillo is an internationally produced playwright and director. His plays include Mayday Mayday Tuesday, A Thick Description of Harry Smith, Diagram of a Paper Airplane, Dark Play or Stories For Boys, Mimesophobia, A Human Interest Story, Offspring of the Cold War, Schadenfreude and many others.
Dark Play premiered at The Humana Festival of Actors Theatre of Louisville, and has received productions throughout the US and in Germany, Hungary, Poland, and Slovakia. His plays have been seen at Theatre @ Boston Court, Actors Express, Salt Lake Acting Company, Circle X, The NYC Summer Play Festival, Soho Rep, En Garde Arts, The Hangar Lab, Collaboraction, Walkabout Theatre, Theatre Seven, Minneapolis’ Red Eye, Seattle’s Group Theatre and others. His work has been seen at the Sundance Theatre Lab, The Public, Bay Area Playwrights Festival, The Watermill Center, The Playwrights’ Center in Minneapolis, The Kennedy Center, Portland Center Stage, South Coast Rep and others. His plays have been published by Dramatists Play Service, Playyscripts, Smith & Kraus, and Theatre Forum. Awards include The Ofner Prize from the Goodman, The National Latino Playwriting Award (1996 & 2006), The Otis Guernsey Award from the William Inge Theatre Festival, a Jerome
Fellowship, and a Minnesota State Arts Board grant. Carlos is currently working on commissions for Steppenwolf and Adventure Stage in Chicago. He is the Head of the BFA Playwriting Program at The Theatre School and is a resident playwright of New Dramatists in New York and Chicago Dramatists. He lives in the south side of Chicago with his wife, Lisa Portes, and their two children Eva Rose and Carlos Pablo.
A recent graduate of the playwriting fellowship program at Juilliard, Janine Nabers is currently the 2013-2014 Aetna New Voices fellow at Hartford Stage. Her plays include Annie Bosh is Missing, Welcome to Jesus, Serial Black Face, A Swell in the Ground, the book to the Sylvia Plath / Ted Hughes musical Mrs. Hughes and the book to the Kate Nash / Andy Blankenbuehler musical Only Gold. Recent awards include: the 2013 NYFA playwriting Fellowship, the 2012 New York Theatre Workshop fellowship and the 2011 Page 73 Playwriting Fellowship. Janine is currently a member of MCC Playwrights Coalition and the Dorothy Strelsin New American Writer’s Group at Primary Stages. She is an alumna of Ars Nova Play Group, Soho Rep Writer/Director Lab, The Dramatist Guild playwriting Fellowship, the MacDowell fellowship and the 2010 & 2011 Sundance Theater Program. Currently Janine is working on commissions from Playwrights Horizons, Hartford Stage and The Alley Theatre. MFA: The New School for Drama.
Antoinette Nwandu is a Brooklyn-based writer via Los Angeles. She is a member of the Ars Nova Play Group and a Dramatist’s Guild Fellowship alum. Her plays have been produced and developed by Fire This Time, Theatre Morgan, The Movement Theater Company, WordBRIDGE Laboratory, and Dreamscape Theatre. Awards include the Kennedy Center American College Theatre Festival’s Lorraine Hansberry Playwriting Award, the Negro Ensemble Company’s Douglas Turner Ward Prize, and a literary Fellowship at the Eugene O’Neill Playwrights Conference. Antoinette is a proud member of the Dramatist’s Guild. Education: Harvard, University of Edinburgh, NYU Tisch.
Dan O’Brien‘s play The Cherry Sisters Revisited premiered at the 2010 Humana Festival of New American Plays, with original music by Michael Friedman and directed by Andrew Leynse. Dan’s play The House in Hydesville premiered at Geva Theatre Center in 2009. Dan is the recipient of the 2009-2010 McKnight National Residency and Commission from the Playwrights’ Center. He was recently the Hodder Fellow Playwright-in-Residence at Princeton University, the inaugural Djerassi Fellow in Playwriting at the University of Wisconsin-Madison, and a two-time Tennessee Williams Fellow at the University of the South (Sewanee). Previous productions include The Dear Boy (Second Stage Theatre), The Voyage of the Carcass (Stage 13 / SoHo Playhouse), Moving Picture (Williamstown Theatre Festival), Key West (Geva Theatre Center), Am Lit (Ensemble Studio Theatre), The Voyage of the Carcass (Page 73), and Lamarck (Perishable Theatre). He has received playwriting commissions from Manhattan Theatre Club, Williamstown Theatre Festival, Ensemble Studio Theatre Sloan/First Light Grant, and residencies and fellowships from O’Neill Playwrights Conference, New Harmony Project, Yaddo, Bread Loaf Writers’ Conference, TCG Future Collaborations, and the Thomas J. Watson Foundation. Awards include the American Theatre Critics Association’s Osborn Award for an emerging playwright. Dan is a Core Writer with the Playwrights’ Center. Visit his website at www.danobrien.org
Scott Organ‘s play Phoenix had its world premiere at the 2010 Humana Festival and can be found in New Playwrights: The Best Plays of 2010. A movie based on the play is in pre-production. His short plays can be found in New American Short Plays 2005, edited by Craig Lucas, Best American Short Plays 2002-2003, and Great Short Plays: Volume 9, and have been performed throughout the country. His full-length plays have benefited from development at The New Group, The Atlantic Theater Company and The Barrow Group and have been performed throughout the country. He is also the author of the screenplays Better Man (Scriptapalooza semi-finalist), Phoenix, and Ghost Song; and the tv pilot The Pines.
Sylvan (formerly Sally) Oswald is originally from Philadelphia. Sylvan’s plays include Nightlands, Sun Ra, Pony, and Vendetta Chrome. Sylvan is the recipient of a Six Points Fellowship for 2010-12, a Dorothy Strelsin Fellowship at Soho Rep for 2010-2011, a Jerome Fellowship from the Playwrights’ Center in Minneapolis, a Thurber House Playwriting Fellowship, and fellowships from The MacDowell Colony, The Millay Colony for the Arts, and the Dramatists Guild. Sylvan’s work has been developed or presented at About Face Theater, Clubbed Thumb, Portland Center Stage, The Foundry Theater, LMCC, The McCarter Theater, New Georges, Page 73, and Soho Rep, among others. Sylvan wrote text for puppet-theater artist Dan Hurlin’s Disfarmer at St. Ann’s Warehouse in 2009, and is currently at work on Zoetrope, a music-theater project with composer/director Alec Duffy and designer Mimi Lien, and a new opera with composer Nora Kroll-Rosenbaum. Sylvan is a graduate of the Brown University MFA playwriting program, and a resident playwright at New Dramatists.
Brian Otaño grew up in Brooklyn, NY. His plays include The Ocean at Your Door, What We Told the Neighbors, Between the Sandbar and the Shore and Zero Feet Away. Brian’s numerous short plays have been performed at Ars Nova, INTAR, Manhattan Theater Source, Cakeshop and Theatre 3. His work has been developed and workshopped with New Dramatists, Ars Nova, Atlantic Theater Company, LARK Play Development Center, The Attic Theater Company, Judson Memorial Church and Space on Ryder Farm. Brian is a current member of Page 73’s Interstate 73 writers group. Residencies/Fellowships: New York Theater Workshop 2050 Fellowship, New Dramatists Van Lier Fellowship, ArsNova’s Playgroup. Education: BFA, Dramatic Writing (SUNY Purchase).
Kristen Palmer is a playwright and arts educator. She was a 2008-09 Jerome Fellow at the Playwrights’ Center and her play, The Melting Point, was a finalist for the 2008 National Playwright’s Conference at the O’Neill Center. Her plays include: Local Story produced by Overlap Productions (NYC), Theatre of NOTE (LA) and MadCap Players (Washington DC); Departures, produced by Blue Coyote (NYC); All the Girls Love Bobby Kennedy produced by Marist College, presented by Orlando Shakespeare Festival, and New Georges (NYC); The Melting Point was developed in the Soho Rep Writer/Director Lab, at the Playwrights’ Center and New Georges; The Heart in Your Chest developed with Page 73, the William Inge Center for the Arts, and Circle X Theatre; and many shorter ones including Sad (written with Adam Szymkowicz) and Something Decent commissioned by Blue Coyote for their Standards of Decency Festival. She received a BA in Dramatic Arts at Bretton Hall College and an MA from NYU’s Gallatin School. She is an associate artist of New Georges, a Soho Rep Writer/Director Lab Alumni, and was a member of Page 73’s writing group. In 2008 she was the Fall Writer in Residence at the William Inge Center for the Arts. Originally from Virginia, she has lived and worked in Yorkshire, England; Washington, DC; Seattle, WA; Minneapolis, MN; and Brooklyn, NY.
Eric Pfeffinger is a member of the Dramatists Guild whose work has been produced by Actors Theatre of Louisville, the Geva Theatre Center, the Source Festival, the Phoenix, City Theatre of Miami, the Vital Theatre, the Bloomington Playwrights Project, and elsewhere. He’s developed work through readings and workshops at PlayPenn, Chicago Dramatists, the Geva, the Rattlestick, the Abingdon, and elsewhere. He’s written plays on commissions from the Signature, the InterAct, and Imagination Stage. and his plays have been published by Dramatic Publishing and Dramatics magazine. He’s been a visiting playwright and writer-in-residence at assorted universities, he’s worked in literary offices where he passed on several future big things, he’s operated a lathe and is co-author of the novel The High-Impact Infidelity Diet, available at your finer airport bookstores.
Jason Gray Platt‘s work has been produced and developed around the country by American Repertory Theater, Round House Theater, Red Bull Theater, Ensemble Studio Theatre, Clubbed Thumb, Abingdon Theatre Company, The Inkwell, The Inconvenience, P73, and Samuel French. At Vassar he was awarded the Marilyn Swartz Seven award for best play in 2005, and the Molly Thacher Kazan Memorial Prize for distinction in the theater arts in 2006. He was also the runner-up for the 2007 Princess Grace Award in playwriting and a finalist for the 2011 O’Neill Conference. Originally from Arizona, Jason now lives in Brooklyn and works for The Wooster Group. BA: Vassar; MFA: Columbia.
Max Posner was the 2012 P73 Playwriting Fellow, a 2013 MacDowell Colony Fellow and is currently Writer-In-Residence at Williamstown. He received the 2011 Heideman Award from Actor’s Theatre of Louisville and the 2015 Helen Merrill Emerging Playwright Award. Max is working on commissions for South Coast Repertory, Playwrights Horizons, and a libretto for the Brooklyn Youth Chorus. He’s an alum of the Soho Rep Writer/Director Lab, Ars Nova Playgroup, The Working Farm, Interstate 73, and a frequent volunteer at the 52nd Street Project. Max’s plays have been developed at Playwrights Horizons, Soho Rep, Actors Theatre of Louisville, Page 73, Clubbed Thumb, Williamstown Theatre Festival, Manhattan Theatre Club, Roundabout Underground, Atlantic Theatre Company, Ars Nova, The Bushwick Starr, New York Theater Workshop, The Hangar Theatre, The Juilliard School and Space on Ryder Farm. He’s a graduate of Brown University and recently completed a two-year Lila Acheson Wallace Fellowship at Juilliard. Max was born and raised in Denver and lives in Brooklyn.
Gabrielle Reisman is a playwright and director based in New Orleans and New York. She is a member of the 2015 Interstate 73 writers group and participated in Page 73’s 2014 summer residency. She is a founding member of Underbelly, a theatre collaborative that stages immersive journey-plays in forgotten spaces, and is the director of Brooklyn Yard. Gabrielle’s plays have been produced in train stations, backyards, and warehouses across the country and have been translated into German. She’s taught playwriting and theatre-making at UT Austin, The Kenyon Playwrights Conference, and in New Orleans’s public schools. Gabrielle was an NNPN Playwright in Residence at Southern Rep in New Orleans. She is an affiliated artist with New Georges, a resident playwright for The NOLA Project, and a MacDowell Colony Fellow. Gabrielle was the recipient of a Rosa Parks Award from The Kennedy Center and has developed work at The Orchard Project, EST and the Lark among others. She received a BA from The University of New Orleans and MFA from The University of Texas at Austin.
Molly Rice’s plays have been developed/ produced in NYC and in theaters across the country. Her plays include Don’t Stop (developed by Voice and Vision), Line (produced by Perishable Theater), Watch (produced by the Strand Theater in Baltimore), and the original musical Canary (developed by Rattlestick and Playwrights Horizons). Heinemann Press, Clarkson Potter, the University of Mary Hardin-Baylor Press, Salvage Vanguard Press, Perishable Press, Austin Script Works Press, and DEVICE have published her plays, and her articles have appeared in the Kenyon Review, American Theater and the Austin Chronicle. Residencies include the Visible Bartlett Island Retreat (2009), Page 73 Summer Residency at Yale (2008), Missoula Colony (2007), Voice and Vision (2006), and Hangar Theater (2005); awards include the Weston Award for Graduate Playwriting (Brown University) and the Women’s International Playwriting Festival (Perishable Theater), as well as nominations for the Kesselring Fellowship, the PONY Award, Cherry Lane Mentor Project, and New York Innovative Theater Award (Outstanding Original Short Play). Molly was a Lucille Lortel fellow at Brown University (2004-2007), where she earned her MFA in Playwriting. She has taught graduate and undergraduate students at Brown, the University of Rhode Island, and Kenyon College; she currently teaches at Marymount Manhattan College and continues to teach Site-Specific Theater in an old mansion at Brown. She is Resident Writer and Artistic Developer of Motherlodge, a live arts exchange linking local American culture-rich communities and New York theater/music/film artists, and is currently working on The Saints Tour, a bus tour of the “secret saints” of a community, featuring local musicians and community service organizations. The play will be produced by Motherlodge this spring in Louisville, KY and the West Village, with help from Actors’ Theater of Louisville, the Louisville Salvation Army, HERE Arts Center, Judson Church, Barrow Street Theater, and Rattlestick.
Harrison David Rivers‘ play When Last We Flew (Sundance/NYTW/Lincoln Center/Freedom Train) received the 2011 GLAAD Media Award for Outstanding Off Off Broadway Play, the 2010 FringeNYC Excellence in Playwriting Award and was named one of the Top 10 LGBTQ 2010 FringeNYC productions by The Advocate. Other plays include look upon our lowliness (The Movement Theatre Company), lydie, or (s)he who looks inside, awakes (Williamstown Theatre Festival FreeWrite/New Dramatists/NYTW), the bandaged place (NYTW/Dartmouth), And She Said, He Said, I Said Yes (Joe’s Pub/HERE Arts Center), sistahs, a love story (New Dramatists/The Movement Theatre Company/Collective:Unconscious), FELL (New School for Drama Theater/Columbia University) and we are misquoted texts, made right when you say us (Be Company/3LD Art & Technology Center/The Movement Theatre Company). His short plays have been produced at the Atlantic Theater, Atlantic Stage 2, Second Stage, Joe’s Pub and the American Airlines Theater on Broadway. Harrison was a 2010-11 Van Lier Fellow (New Dramatists) and a 2009-10 Emerging Artist of Color Fellow (NYTW). He holds an MFA in Playwriting from Columbia University.
Mia Rovegno is a Brooklyn-based director, playwright, and puppeteer who devises, adapts and collaborates with living playwrights. Founding artistic director of HummingbirdWORKS and company member with foolsFURY, she has worked with Clubbed Thumb, MTC, Yale Rep, LCT3, Redmoon Theater, Bread and Puppet, Shadowlight, and Intersection for the Arts, among others. Her plays Kill The Keepers (co-written with Dan LeFranc) and Apartment have been developed by foolsFURY, Page 73 Yale Summer Residency, and Empire Street Lab at Perishable Theater. New work development: A.R.T., Soho Rep, The Civilians, New Dramatists, The Flea/Dixon Place, Brown/A.R.T. Institute Bakeoff, Harvard Playwrights Festival, Brown New Plays Festivals, Brown Summer Playwrights Rep, Hangar Theatre. Favorite productions: Polaroid Stories, Elektra, Girls on the Clock, The Maids, Tartuffe. Workshop productions: Origin Story, Inked Baby, Some of the Rooms, Diagram of a Kidnapping, fracture/mechanics, Love in the Time of Channukah. Guest director residencies: Harvard University, A.R.T. Institute, and Brown University. BS in Performance Studies: Northwestern. MFA in directing: Brown/Trinity Rep Consortium. Teaching: Assistant Professor in the Hunter College Dept. of Theatre, former adjunct faculty of New College of California, teaching fellow and guest lecturer at Brown University. Recipient of Drama League Fellowship, Jonathan Alper Directing Fellowship with Manhattan Theatre Club, and SDC Directing Observership. 2010 Ockrent Directing Fellowship Nominee. Member of 2009-10 Soho Rep Writer/Director Lab, 2010 Lincoln Center Theater Directors Lab, 2010-12 Women’s Project Directors Lab.
Sarah Sander‘s work has been developed and/or produced at the Kennedy Center, LARK New Play Development Center, DC Center of the Arts, Florida Studio Theatre, Inkwell Theatre, University of Iowa, the Hatchery Festival and Project Y in association with Middlebury College. She’s been named a finalist for Juilliard’s Lila Acheson Playwriting Fellowship, WordBridge, and the Actors Theatre of Louisville’s Heideman Award amongst others. Honors also include nominations for the Susan Smith Blackburn Prize, National Theatre Conference’s Stavis Award and Williamstown Theatre Festival’s Weissberger Award. For the 2009-2010 season she served as one of three National New Play Network’s Playwrights-in-Residence (Florida Studio Theatre). A graduate and Norman Felton Fellow at the University of Iowa Playwrights’ Workshop, she received her BA in Chinese and English from Middlebury College.
Matt Schatz is a playwright and songwriter who was a finalist for the 2009 Fred Ebb Award for excellence in musical theatre songwriting. Matt’s plays and musicals include The Tallest Building in the World (Luna Stage, spring 2011), Love Trapezoid (Developed with EST/Sloan and Page 73), Pinning Hope (Creative Destruction’s “Obama Drama” Festival) The Baby is Blue (Incumbo Theater Company/Midtown International Theatre Festival) and Hearing Things. Matt has written music and lyrics for Roanoke (Actors Theater of Louisville, Heideman Finalist, published as part of Humana Festival 2009: The Complete Plays), Co-op (EST), Before the Moment (EST/Sloan, 2008 AFI Sloan Summit in Los Angeles), and lyrics for Oh My! (IRT Theater’s Artist in Residence Program). Matt is a three-time recipient of an EST/Sloan Commission, a two-time Shubert Fellow, and has been a finalist/semi finalist for the Page 73 Playwriting Fellowship, the Princess Grace Playwriting Fellowship, and the Magic Theatre’s Sloan Initiative. Member: the BMI Advanced Musical Theatre Workshop and the Dramatists Guild. Alumnus: Page 73’s Interstate 73, Youngblood Playwrights Residency at EST. MFA: Carnegie Mellon University. mattschatz.com
Becca Schlossberg’s plays include: Guidance, Cal & Grey, All We Are, Hands, Punches, 3boys(available through Original Works Publishing),Just Like I Wanted (available through Playscripts Inc.), The Secrets of Aiden Brooks, Merrily³, The Marvels and Wonders of 1001 Nights(adaptation), and Where Did the Bees Go. She is a three time recipient of the Robert Fischer Oxnam Award in Playwriting in conjunction with Ensemble Studio Theatre. She is also the co-founder and associate artistic director of Sunglasses After Dark Productions (sunglassesafterdark.org) She happily resides in Brooklyn, NY. BA: Drew University; MFA: The New School for Drama.
Heidi Schreck is a playwright and OBIE-winning actor whose plays include Creature, Backwards into China, Stray, Mister Universe, Memorial Day, and Spirit Lake. Her work has been produced or developed by Soho Rep, Vineyard Theatre, New Georges, The Foundry, Printer’s Devil, On the Boards, FronteraFest, the UNO Festival, Consolidated Works, and National Public Radio. She was a member of the 2006 Soho Rep Writer/Director Lab and is an affiliated artist with the OBIE-winning companies New Georges, Clubbed Thumb, and Theatre of a Two-Headed Calf. She has been a finalist for the Eugene O’Neill Playwrights Conference and the Bay Area Playwrights Festival. Her play Stray was published in The Manifesto Series, an anthology of new work edited by Erik Ehn, and her plays Backwards into China and Memorial Day are published through Rain City Projects. Heidi writes about new plays for The Brooklyn Rail and worked as a journalist in Russia in the late 1990s. Her newest play There Are No More Big Secrets is partially inspired by the years she spent working in Siberia and St. Petersburg. As an actor, Heidi has worked with Actors Theatre of Louisville, Clubbed Thumb, The Empty Space, The Foundry, MCC, New York Theatre Workshop, Playwrights Horizons, PS 122, New Dramatists, Printer’s Devil (founding member), Soho Rep, SPF, Sundance Theatre Lab, and others. She was named one of Time Out New York’s favorite actors in 2007, and in 2008 she received an OBIE for her work as an actor in Two-Headed Calf’s Drum of the Waves of Horikawa at HERE Arts Center. Heidi lives in Brooklyn with her husband Kip Fagan.
Emily Schwend’s plays include Carthage, South of Settling Splinters, Route One Off, Take Me Back, and Behind the Motel. In 2012, her play South of Settling was produced in Steppenwolf’s Next Up Rep. Her ten-minute play, Halfway, is the winner of the 2013 Heideman Prize and was produced at the Humana Festival of New American Plays at the Actors Theatre of Louisville. She is the recipient of a 2014 Tow Foundation grant for the creation, development and production of a new play through Second Stage Theatre in New York. Her work has been developed at The New Group, Roundabout Theatre Company, ACT Theatre, Marin Theatre Company, Partial Comfort Productions, Ars Nova, the Alliance Theatre, the Source Festival in DC, and the O’Neill National Playwrights Conference, among others. She is a frequent contributor to Christine Jones’s Theatre for One booth. She is a two-time Lecomte du Nouy Prize winner, the recipient of a MacDowell Fellowship, the 2011 ACT New Play Award winner, the 2009 David Calicchio Emerging American Playwrights Prize winner, a finalist for the 2011 ATCA/Steinberg prize, and a 2009 Kendeda Graduate Playwriting Competition finalist. She is a two-time Interstate 73 member. She is a proud alumna of the playwriting programs at Juilliard and Tisch.
Tommy Smith is a New York-based playwright. His plays include Sextet (Washington Ensemble Theatre; Roger Benington, director), The Wife (IRT Theater; May Adrales, director), White Hot (produced at HERE Arts Center; May Adrales, director), PTSD (Ensemble Studio Theatre; Billy Carden, director), The Break-Up (produced at Flea Theater; Sherri Kronfeld, director), Beautiful Night (commissioned by E.S.T.; Evan Cabnet, director), Air Conditioning (selected for Eugene O’Neill Playwrights Conference; Steve Cosson, director), Goodnight Mecca (produced at Williamstown Theatre Festival; Gabriel Kahane, composer & lyricist; Kip Fagan, director), among others. His work has also appeared at PS 122, Yale Cabaret, The Ontological Theatre, The Lark Play Development Center, A Contemporary Theatre, Portland Center Stage, Soho Rep Writer/Director Lab, The Huntington Theatre; internationally, he has been produced in Prague, Edinburgh, Amsterdam, Montreal, and Athens. He is a two-time winner of the Lecomte du Nouy Prize, a recipient of the E.S.T. Sloan Grant, a winner of the P73 Playwriting Fellowship and a member of the Dorothy Strelsin New American Writer’s Group at Primary Stages. Publications include White Hot in the 2008 New York Theatre Review and Streak in Laugh Lines: Short Comic Plays, printed by Vintage. He is a graduate of the playwriting program at The Juilliard School, and serves as Artistic Associate for The Cape Cod Theatre Project. Tommy co-created (with Reggie Watts) the theatre piece Disinformation, which played at the Under The Radar Theatre Festival at The Public Theatre, The Portland Institute for Contemporary Art’s Time-Based Art Festival, The Museum of Contemporary Art (Chicago), The Warhol Museum (Pittsburgh) and ICA (Boston). Tommy won the MAP Fund Award and Creative Capital Award for their follow-up show Transition, which played at the PICA: TBA Festival, Under The Radar, and On The Boards. Their collaboration Radio Play played at PS122 in May 2011). Other collaborations include Occurrence (Galapagos, The Tank, Ars Nova, Portland’s Leftbank, ICA) and Dutch A/V (IRT Theater).
Peggy Stafford ‘s plays have been developed and produced at theatres across the country including Women’s Project, Soho Rep, Page 73, Dixon Place, Bottom’s Dream, HERE, Annex Theatre, On The Boards, Empty Space Theatre, and The Playhouse in Northern Ireland. Her play Wapato was commissioned by the Off-Broadway Women’s Project and opened their 2007 season. She was a member of the Soho Rep’s Writer/Director Lab and her play Little Miss 1565 was developed through their Phase 2 Program. She’s an affiliated artist with New Georges and was a 2006-08 member of the Women’s Project Playwright’s Lab. Her film, A Problem With Sharks, premiered in 2002 at The Seattle International Film Festival and screened nationally. She has scripted for kids’ television including Nickelodeon’s Noggin and Kids’ Discovery Channel. Current projects include the libretto for an opera with Madelyn Kent and Maja Milanovic to be workshopped at Zvezdara Teatar in Belgrade in 2010; the book for Sunrise in Hyde Park with lyrics and music by Tom Weinberg, to be produced at the Art House Theatre in Provincetown in August 2010; and a new play, The Jewel Casket, based on a box by Joseph Cornell. Peggy studied playwriting with Maria Irene Fornes, Mac Wellman, and Paula Vogel through Pataphysics at The Flea Theater and holds an MFA in Creative Writing from Bennington College. She was awarded a fellowship from the MacDowell Colony, was a recipient of Northern Ireland Arts Council Travel Grant and Rain City Project Sweetness Grant, and proud member of the Brooklyn-based experimental writer’s collective Machiqq, as well as The Dramatists Guild.
Victoria Stewart graduated from the Playwrights’ Workshop at the University of Iowa. Her plays include Live Girls (Urban Stages, WHAT, Stage Left), Hardball (SPF), 800 Words: The Transmigration of Philip K. Dick (Workhaus Collective, Hourglass Group, Live Girls Productions), Leitmotif (South Coast Rep, Page 73), Nightwatches (Overlap Productions), The Last Scene, and an adaptation of Henry James’ The Bostonians. She has received the Francesca Primus Award, a McKnight Advancement Grant, the Helen Merrill Award, the Susan Smith Blackburn Award (finalist), and the Jerome Fellowship as well as residencies at Ucross/Sundance, Hedgebrook, Hermitage Artist Retreat and the Donmar Warehouse. She is a producing member of the Workhaus Collective and a core member of the Playwrights’ Center. In 2009, she was the Martha R. Ingram Artist-in-Residence at Tennessee Repertory Theatre where she developed her newest play, Rich Girl. She is one of the collaborators on Fissures (lost and found) which was presented at the 2010 Humana Festival. She is now working on a screenplay for HBO about the recording industry’s battle with Napster.
Gary Sunshine has been the recipient of a NYFA fellowship and a Helen Merrill Award for Emerging Playwrights. His play Sweetness was produced in the Summer Play Festival (SPF); Mercury was produced at HERE in association with Eve Ensler; The Names of Foods was produced by the eXchange; other recent productions include Kahn & Kant (Drama League Directors Project), Al Takes a Bride (Actors Studio; Sydney Mardi Gras Festival; King’s Theater) and My President (Echo Theater Company). His work has been seen/developed at the Royal National Theatre Studio, New York Stage & Film, Playwrights Horizons, NYTW’s Just Add Water Festival, Theatre of Note, Page 73 Productions, Rattlestick, the New Group, the New Company (London), Underwood Theater, MCC Theater, the Actors Studio, and Rising Phoenix Rep. His one-act play Al Takes a Bride was published in The Best American Short Plays of 2001 (Applause), and by Playscripts, Inc. Gary wrote, co-created, and co-produced the documentary What I Want My Words To Do To You (Freedom of Expression Award, Sundance Film Festival; Audience Award, Lake Placid Film Festival; Crystal Award, Heartland Film Festival; HBO Audience Award for Top Documentary, Provincetown International Film Festival), which premiered nationwide on PBS’s P.O.V. He is a staff writer on HBO’s Hung and has written for CBS’s As the World Turns (WGA Award nomination). His first screenplay, Moscows, is currently in preproduction with Starry Night Entertainment. He received an AB from Princeton and an MFA from NYU’s Dramatic Writing Program, and is a resident playwright at New Dramatists.
C. Denby Swanson graduated from Smith College, the National Theatre Institute, and the University of Texas Michener Center for Writers, where she was a fellow in playwriting and screenwriting. She has been a Jerome Fellow, a William Inge Playwright in Residence, and a McKnight Advancement Grant recipient. Her work has been commissioned by the Guthrie Theater, 15 Head a Theatre Lab, Macalester College, and The Drilling Company, and featured in the Southern Playwrights Festival, the Women Playwrights Project, the Lark Theater’s Playwrights Week, PlayLabs, the WPA Festival at Salvage Vanguard, JAW: A Playwrights Festival at Portland Center Stage, and residencies at New York Stage & Film. Her full length adaptation, Atomic Farmgirl, has been developed by the Drilling Company, at the Culture Project’s Impact Festival and at the Icicle Creek Theatre Festival, and won a prize in the 2009 Earth Matters on Stage Festival at the University of Oregon. She won a 2008 Susan Smith Blackburn Special Prize for her short play The Potato Feast, which was also nominated for a 2008 New York Innovative Theater Award. Her blues play Blue Monday was developed at ZACH Theatre Center as part of the NEA/TCG National Theater Residency Program for Playwrights. She is a former Artistic Director of Austin Script Works and on the faculty at Southwestern University. Her work is published by Smith & Kraus, Heinemann, and Playscripts, Inc.
Cori Thomas is a playwright and actress who lives in New York City. Her plays include: His Daddy (2009 River Crosses Rivers at EST and New Federal Theatre, Smith and Kraus Best Short Plays of 2010); When January Feels Like Summer (World Premiere, City Theatre Co. Pittsburgh 2010; Sundance Theatre Lab ’08 , Momentum ’08, Finalist Juilliard Fellowship, Finalist O’Neill Festival, Nominated for Susan Smith Blackburn Prize ’08); My Secret Language of Wishes (2011 Mixed Blood Theatre; St Louis Black Rep, Columbia College Chicago, University of Louisville, 2007 Theodore Ward Prize. KY). Pa’s Hat (Liberian Legacy 2010 Pillsbury House Theatre); our lives, our fortunes, and our sacred honor (2nd Place 2004 Theodore Ward Prize). She is a lifetime member in Acting/Writing of Ensemble Studio Theatre, a 2009 P73 Fellowship finalist, member of 2008/2009 Interstate 73; Wright on!, New Georges Affiliated Artist. Cori’s plays have been developed at Sundance Institute, The Goodman Theatre, City Theatre Pittsburgh, Page 73, Rockefeller Brothers Foundation, Playwrights Horizons, EST, New Federal Theatre, Going To The River, and Queens Theatre in the Park. Cori is currently working on a commission for South Coast Rep.
Tracy Thorne’s play, We Are Here, received its world premiere on the mainstage at New York Stage and Film and was also produced at the Contemporary American Theater Festival. It was nominated for the Susan Smith Blackburn Prize and is published by Dramatists Play Service. Her play, The Nature of Things, developed and workshopped at SohoRep in 2013, was nominated for The Kilroys list. Tracy recently finished a new play, True Love, and her others include Will and Testament, A Ridiculous Trade and Quick Bright Things. Her plays have been finalists and semi-finalists at the O’Neill, PlayPenn, New Harmony, Bay Area Playwights and Seven Devils. They have also received workshops and/or readings at various American theatres – MCC, The Cherry Lane, NYS&F, Florida Stage, The Lark, The Dramatists Guild and The Women’s Project – to name a few. Tracy is a recent recipient of the Elizabeth George commission from South Coast Rep. She was a member of the SohoRep Writer/Director Lab, a playwriting fellow at The Lark and is currently a member of Page 73’s 2015 Interstate 73 writers group. She’s written a screenplay called Natural History and just finished a television pilot, Lucy Lives Uptown. Tracy worked as an actor in New York and London, collaborating with directors such as Matthew Warchus, Phyllida Lloyd, Anna Deavere Smith, Tony Kushner and Thomas Babe. So too, she appeared in some movies and on TV. Tracy studied History at Smith College, is a graduate of The London Academy of Music and Dramatic Art and lives in Harlem USA with her family.
Richard Toth is a performer, director and playwright based in New York City. He has developed and produced his own work with such institutions as HERE Arts Center, Perseverance Theatre, California Theatre Center, Irish Repertory Theatre and The Weasel Festival. As director of Misery Loves Company, an international theatre collective he co-founded in Prague, his work incorporated American slapstick with traditional puppet and folk theatre traditions of the Czech Republic. With the company, he directed the Eastern European premiere of Angels in America, an original adaptation of Gozzi’s King Stag and many locally developed pieces including his own play Dumb (co-written with visual artist W. Hollister). As a performer, Richard has worked as a featured circus clown for Ringling Brothers and Barnum and Bailey in the U.S, and Circo Americano in Europe. He toured nationally as a puppeteer with Hudson Vagabond Puppets. MFA in playwriting from Brooklyn College.
Mfoniso Udofia is a New York based storyteller, actor, slam poet and teaching artist. She attended Wellesley College for Political Science and obtained her MFA in Acting from San Francisco’s Tony award-winning American Conservatory Theater. During this stay in the Bay Area, Udofia pioneered a youth initiative, The Nia Project, which provided artistic outlets for youth residing in Bayview/Huntspoint. Some of Ms. Udofia’s plays include: The Grove, Sojourners, runboyrun, Her Portmanteau, Lilyvine, hunger and Sherman: ablackcomedy. Udofia’s play, Sojourners, was just seen at the 2014 NNPN conference as part of the National New Play Showcase, and she will be traveling to San Francisco, Winter 2015, to workshop her play, runboyrun, with the American Conservatory Theater’s M.F.A program. Her work has also been developed and/or presented by Playwrights Realm, Sundance Theatre Lab, Makehouse, Soul Productions, terraNOVA, Page 73, The New Black Fest, Rising Circle’s INKTank, At Hand Theatre Company, The Standard Collective, Liberation Theatre Company and JJCEO Youth Programs in Birmingham, Alabama. She has received a commission from Dr. Barbara Ann Teer’s National Black Theater to write the 4th installation in the Ufot Family Cycle, Her Portmanteau. Udofia has been a finalist NYTW’s 20/50 Fellowship, The Source Festival, Lark Playwrights’ Week and the 2013 Many Voices Fellowship. She has also achieved semifinalist status for the 2014 Cherry Lane Mentor Project and the Eugene O’Neill National Playwrights Conference. Follow her at @mfudofia and check out her site www.mfonisoudofia.com for the latest news.
Lauren Weedman made her television debut on Comedy Central’s Emmy Award-winning The Daily Show with Jon Stewart in 2001 as a featured Correspondent. It was at that same time that Lauren was a regular on NPR’s national, political satire show “Rewind,” and appeared in her solo show, Homecoming, Off-Broadway at the Westside Theatre. The New York Times said of Lauren and Homecoming, “Like Bob Newhart in his early stand-up routines, she’s particularly good at making her points — and making us feel clever. Most important, she’s just plain funny, physically and verbally.” For two years, Lauren was also a cast member for the long running local-turned-national comedy show Almost Live for Comedy Central. After studying, writing, and performing in Amsterdam for five years, Lauren returned to the States with a bang. Her first play, Homecoming, began as a 15-minute performance art piece that grew into a full-length show that ultimately toured with the Seattle Repertory Theatre. Later that year, Homecoming was featured at HBO’s U.S. Comedy Arts Festival in Aspen, Colorado and later found its way to New York City. Homecoming earned Lauren the honor of being published in Women Playwrights: The Best Plays of 2002. In the fall of 2002, The Empty Space Theatre in Seattle premiered her latest solo work, Rash, directed by Trip Cullman with music by David Russell and produced by Arielle Tepper Productions. Later that year, Rash was recognized by the Seattle Times’ Footlight Awards, with nods for both Best New Play and Best Solo Performance. Both Rash and Lauren received tremendous reviews, including: “Weedman comes so very close to celebrating indulgence rather than just contemplating it that when she manages to do both things at once, it’s dizzyingly brilliant: She ends up hitting all her targets — including herself” (Seattle Weekly) and “Since first turning up on Seattle stages in the early 1990s, Lauren Weedman has proved herself one terrifically funny gal. And more people know that since she moved to New York two years ago and earned some well-deserved breaks in TV and Off-Broadway” (Seattle Times). In 2004, Lauren’s show Wreckage, was selected for The NOW Theatre Festival at the REDCAT Theatre at The Disney Music Hall after a successful run at the Upright Citizens brigade theatre in Los Angeles. It was an LA Weekly pick-of-the-week describing Lauren and her work as “breathtaking—a female Robin Williams.” Lauren’s most recent performance, Bust, was voted Best of the Arts by the Seattle Times, Seattle Magazine, and Boise Weekly. Her performance of the show landed her on the cover of LA Weekly‘s Comedy Issue. It was her work in Bust that led her to receive the Alpert Award in the Arts for Playwriting. The award took her to a six-week fellowship at the Macdowell Artist Colony in New Hampshire. Her show No…Your Shutup (aka Off), directed by Jeff Weatherford, was commissioned by Boise Contemporary Theater and was featured as a part of Los Angeles’s REDCAT Theater New Works festival in the summer of 2009. Lauren currently lives and performs in Los Angeles. She has appeared multiple times on RENO 911! for Comedy Central, as well as Curb Your Enthusiasm for HBO. She also starred opposite Eddie Griffin in Pryor Offenses, a Showtime pilot based on the life of Richard Pryor. Last year, Sasquatch Books released her first book, a collection of comedic essays, A Woman Trapped in a Woman’s Body (Tales From a Life of Cringe), which the Kirkus Review identified as one of the Top Ten Indy Books of 2007. Lauren recently appeared on the HBO series Hung as “Horny Patty,” as well as opposite Eddie Murphy in Imagine That for Paramount and opposite Steve Carell and Tina Fey in the Fox feature Date Night.
Ken Weitzman‘s previous plays include, The As If Body Loop (Humana Festival ’07), Arrangements (Atlantic Theatre Company, Pavement Group), Spin Moves (Summer Play Festival), Stadium 360 (Out of Hand Theater), Memorabilia (Alliance Theatre), Hominid (Theatre Emory), Fire in the Garden (Castillo Theatre). Ken’s plays have also been developed and presented at, among others, New York Stage and Film, Steppenwolf Theatre Company, Playwrights Horizons, Arena Stage, the Geva Theatre, the Mark Taper Forum, Williamstown Theatre Festival, Dad’s Garage, Florida Stage, Page 73 Productions. Ken’s play The Catch was part of the Denver Center’s Colorado New Play Summit. Commissions: Arena Stage, South Coast Rep, the Alliance Theatre, Theatre Emory, and Actors Theatre of Louisville. Currently, Ken is the Playwright-in-Residence for Out of Hand Theater Company. Awards: 2003 L. Arnold Weissberger award for Arrangements, the McDonald Playwriting Award for The As If Body Loop (best new play in San Diego), and the Elizabeth George Commission for an Outstanding Emerging Playwright (chosen and awarded by South Coast Rep). Ken received his MFA from the University of California San Diego, and has taught playwriting at the University of California San Diego, Emory University, and currently at Indiana University.
Samuel Brett Williams hails from Hot Springs, Arkansas, where he was raised in a strict Southern Baptist environment. He received his BA in English and Political Science from Ouachita Baptist University in Arkadelphia, Arkansas, and his MFA in Playwriting from Rutgers University, where he studied under Lee Blessing. Brett’s plays have been developed at the Eugene O’Neill National Playwrights’ Conference, the Kennedy Center for the Performing Arts, the Lark Play Development Center, Naked Angels, Yale University, and Page 73 Productions. His plays have been produced at Cherry Lane Theatre, Ars Nova, Stageworks/Hudson, Mile Square Theatre, the D.C. Arts Center, and New Orleans Theatre Experiment. Brett is published in Best New American Plays 2004-2005, Best New American Plays 2006-2007, and by Northwestern Press. Recently, he received the Helen Merrill Emerging Playwright Award and a National New Play Network Commission to adapt the Book of Revelation into a play. In September 2010, Project Y produced his play, The Revival, on Theatre Row. He teaches Basic Composition, Expository Writing, and Playwriting for Rutgers University.
Leah Nanako Winkler is from Kamakura, Japan and Lexington, Kentucky. Her plays include KENTUCKY (2015 Kilroys List, Unfiltered 2015 at Youngblood/EST), DEATH FOR SYDNEY BLACK (terraNova Collective dir.Kip Fagan), The Internet ( Incubator Arts Project), HAPPY DANCE DANCE PRINCESS SHOW (The Brick), Double Suicide At Ueno Park!!! (35th Marathon of One-Act Plays at Ensemble Studio Theatre) and more. With playwright Teddy Nicholas, she cowrote Flying Snakes in 3-D!!!ˆ which enjoyed performances in 2011-2012 at Ars Nova (ANT Fest), The Brick Theater (mainstage) and the New Ohio Theatre (Ice Factory). Leah’s work has been developed at Playwrights Horizons/Clubbed Thumb, New Georges, New York Theatre Workshop, The Bushwick Starr, The Flea Theatre and more. She has performed short experimental work all throughout the city at places like little theatre @ Dixon Place, Prelude Festival, Bowery Poetry Club and more. She is a current member of Youngblood , an alumnus of Terra Nova Collective’s Groundbreakers Playwright Group, an affiliated artist at New Georges, a 2013 Playwright in Residence with the New Group/Urban Arts Initiative. She was a member of Young Jean Lee’s Theater Company from 2007-2009 (assistant to Young Jean Lee) , a two time recipient of the NYU’s A/P/A commission for researching and writing about hapa identity and one of her essays was a part of the exhibition, Visible & Invisible at the Japanese American National Museum in 2013. Her collections of short plays, NAGORIYUKI & Other Short Plays and The Lowest Form Of Writing are available on amazon. Four of those plays are translated and published be translated and published in Nanjing University’s Stage and Screen Reviews ( China, December 2014 edition). Her one-act Taisetsu na Hito was a 2014 winner for the Sam French OOB Festival and was published by them in 2015. Follow her @leahnanako