Archive for the ‘Page 73’ Category

Announcing our four Residency playwrights!

Wednesday, August 2nd, 2017

 

We can’t wait for these four incredible playwrights to join us for our annual Summer Residency next week – and we’re so excited to share a sneak peek of what they’ll be working on!

beckford-burrell headshot editBleu Beckford-Burrell is a Jamaican-American actor/playwright from New York City, with an M.F.A in Acting. She is a member of the Obie Award-winning Youngbloods playwright group at Ensemble Studio Theatre. Her work includes Lyons Pride, P.S. 365, Forecon, Broken Record and Masque. She is excited to be a part of the Page 73 family this summer. Bleu will be using her residency as a writing retreat.

 

 

Caswell headshot smallJohn J. Caswell, Jr. is the 2017 P73 Playwriting Fellow and is a queer, Mexican-American playwright and director originally from Phoenix, AZ. He is also the Artistic Director of Progressive Theatre Workshop, a company that has made plays for the past ten years. He has developed and shown work across Arizona and in New York City at HERE, Dixon Place, Joe’s Pub at The Public Theater, Primary Stages, and more. His work has been named a finalist for the Princess Grace Award, the O’Neill NPC, the Woodward Newman Drama Award, and the Impact Residency at The Drama League. His plays are frequently cited as examples of queer-themed theatre, most recently referenced in articles appearing in Theatre Topics, The International Journal of the Creative Arts in Interdisciplinary Practice, and the European Journal of Comparative American Studies. Included as a consummate demonstration of auto-ethnographic theatre, his play SHOTS: A Love Story was published as part of Johnny Saldaña’s book Ethnotheatre: Research From Page to Stage published by Left Coast Press. John will be using his residency as a writing retreat.

 

chung headshot editMia Chung’s plays include You For Me For You, Catch As Catch Can, and This Exquisite Corpse.  She recently received the Stavis Playwright Award, the Frederick Loewe Award in Music-Theatre, and a Playwrights’ Center Jerome Fellowship.  You For Me For You recently had a Korean premiere at the National Theatre Center of Korea, a UK premiere at The Royal Court Theatre, a US premiere at Woolly Mammoth Theatre, and multiple regional productions, including Company One, Crowded Fire Theater, InterAct, Mu Performing Arts/Guthrie Theater, Portland Playhouse; the play is published by Bloomsbury Methuen Drama.  In 2018, the play will run in Chicago, Michigan, and upstate NY.  Mia’s work has been supported by awards, commissions, fellowships, residencies and workshops, including BAPF, Berkeley Rep Ground Floor, Blue Mountain Center, Civilians’ R&D Group, Hedgebrook, Huntington Theatre, Icicle Creek, Inkwell, JAW, LAByrinth, Ma-Yi Writers Lab, NEA, NYTW, the Orchard Project, Playwrights Realm, RISCA, South Coast Rep, Southern Rep, Stella Adler Studio, TCG, and the Unicorn Theatre.  She is a New Dramatist. Mia will be using her residency to collaborate with director Ken Rus Schmoll on Catch As Catch Can.

 

Deen headshot smallMashuq Mushtaq Deen was a 2014 member of Interstate 73 and is an award-winning queer theater artist and a resident playwright at New Dramatists. His work will be produced at Mosaic Theatre, Rattlestick Playwrights Theatre, and InterAct Theatre next year. Full-length plays: The Betterment Society, The Shaking Earth, Draw the Circle (premiered at PlayMakers Rep), Tank & Horse (premiered at Berkshire Fringe Festival), and Shut Up! Deen’s plays have been presented/developed by New Dramatists, The Public Theater, NYTW, InterAct Theatre, Page73, Ma-Yi, Dixon Place, and other places. Awards and Grants: Helene Wurlitzer’s Chesley/Bumbalo Foundation Award, MacDowell Colony’s Arch and Bruce Brown Fellow, New York Foundation for the Arts Fellow; James Baldwin Award, Dennis Johnston Playwriting Prize honorable mention; Residencies/Fellowships: New Harmony Project, MacDowell Colony, Bogliasco Foundation, Helene Wurlitzer Foundation, New York Theatre Workshop 2050 Fellow; Writing Groups: Public Theater’s Emerging Writers Group and Alumni Writers Group (current), Page73 Interstate writing group; Member: NYTW Usual Suspect, Ma-Yi Writers Lab, Public Theater Alumni Writers Group, Dramatists Guild. He is represented by the Gurman Agency LLC. Deen will be using his residency to collaborate on The Betterment Society with director Jessi Hill and composer Nell Shaw Cohen.

 

This Summer, Page 73 Alums Are Everywhere!

Monday, May 8th, 2017

 

Looking to satisfy your Page 73 craving? Here’s just a taste of what our fabulous playwrights are up to this summer! We hope to update this page throughout the summer with news from more of our talented alumni, so if you know of anything we’ve missed, email info@page73.org and let us know!

 

Antoinette Nwandu headshotANTOINETTE NWANDU
2015 Summer Residency

World premiere of Pass Over, developed in part at our 2015 Summer Residency, at Steppenwolf Theatre running June and July.

Tuvalu or the Saddest Song will be developed at the Sundance Institute’s 2017 Theatre Lab.

 

Mfoniso Udofia headshotMFONISO UDOFIA
2015 Interstate 73 member, 2013 Summer Residency

Sojourners and Her Portmanteau at New York Theatre Workshop, running now through June.

In Old Age was one of 4 plays selected for Portland Center Stage’s JAW Festival in July.

Adia and Clora Snatch Joy will be developed at the Ground Floor at Berkeley Rep’s Summer Residency Lab.

 

Kate Attwell headshotKATE ATTWELL
2016 Interstate 73 member

Testmatch, which we held a reading of last month, was one of 4 plays selected for development at Portland Center Stage’s JAW Festival in July.

 

 

Ngozi Anyanwu headshotNGOZI ANYANWU
2016 Summer Residency

The Homecoming Queen, developed in part at our 2016 Summer Residency, will be one of 2 plays in development at the New Harmony Project 2017 Conference.

 

 

Mashuq Deen headshotMASHUQ DEEN
2014 Interstate 73 member

One of 4 Writers in Residence selected for the New Harmony Project 2017 Conference.

 

 

 

Mary Hamilton headshotMARY HAMILTON
2010-2011 Interstate 73 member

The Quiet Ones was one of 8 plays selected for the Eugene O’Neill Theater Center’s 2017 National Playwrights Conference.

 

 

Steve DiUbaldo headshotSTEVE DIUBALDO
2015 Interstate 73 member

Exposure, which we presented a reading of last June, was one of 8 plays selected for the Eugene O’Neill Theater Center’s 2017 National Playwrights Conference.

 

 

Alex Borinsky headshotALEX BORINSKY
2014 Summer Residency

Of Government will be one of 3 plays included in Clubbed Thumb’s Summerworks 2017.

 

 

 

Heidi Schreck headshotHEIDI SCHRECK
2009 P73 Fellow, Page 73 World Premiere of Creature (2009)

What The Constitution Means To Me will be one of 3 plays included in Clubbed Thumb’s Summerworks 2017.

 

 

Max Posner headshotMAX POSNER
2012 P73 Fellow, Page 73 World Premiere of Judy (2015)

Giddiness will be developed at the Ground Floor at Berkeley Rep’s Summer Residency Lab.

 

 

 

Sylvan Oswald headshotSYLVAN OSWALD
2009-2010 Interstate 73 member

TRAINERS, or The Brutal Unpleasant Atmosphere of This Most Disagreeable Season will be developed at the Ground Floor at Berkeley Rep’s Summer Residency Lab.

 

 

Molly Beach Murphy headshotMOLLY BEACH MURPHY
2017 Interstate 73 member

Cowboy Bob is one of 3 projects selected for development at the 2017 Yale Institute for Music Theatre.

 

 

 

Amina Henry headshotAMINA HENRY
2016 Interstate 73 member

Ducklings performing at JACK, running late May to June.

 

 

 

Harrison Rivers headshotHARRISON RIVERS
2011-2012 Interstate 73 member

World premiere of Where Storms Are Born at the Williamstown Theatre Festival, running in June.

And She Would Stand Like This, produced by The Movement at ART/NY, running June and July.

 

Sarah HammondSARAH HAMMOND
2008-2009 Interstate 73 member

Jack + Jill (collaboration with Emily Goldman) at the Samuel French Off-Off Broadway Short Play Festival

 

 

Kara Lee CorthronKARA LEE CORTHRON
2007-2008 Interstate 73 member, 2009 Summer Residency

Welcome to Fear City at the Contemporary American Theater Festival

Announcing 2017 Members of Interstate 73

Tuesday, January 17th, 2017

We are thrilled to announce the eight members of our 2017 Interstate 73 Writers Group!

John J. Caswell, Jr.
Cat Crowley
Keelay Gipson
Kristine Haruna Lee
Molly Beach Murphy
Gabrielle Reisman
Sarah Sander
Susan Soon He Stanton

 

john-j-caswellJOHN J. CASWELL, JR.

John is the Artistic Director of Progressive Theatre Workshop, a company that makes plays about queer things. He has developed and shown work at HERE, Dixon Place, The Public Theater, Theatres at 45 Bleecker, Primary Stages, and more. He has been a finalist for both the Princess Grace Award and The Woodward Newman Drama Award. His play SHOTS: A Love Story was published by Left Coast Press in Johnny Saldana’s Ethnotheatre: Research From Page to Stage. Company website: www.progressivetheatreworkshop.org

 

cat-crowleyCAT CROWLEY

Cat Crowley is a queer playwright living in Brooklyn. Her work has been developed/performed at Ars Nova, Dixon Place, #serials@TheFlea, The Duplex, The Tank, The Red Room, Primary Stages/ESPA, Irondale Arts Ensemble, The Breadbox Theatre Co. (California), and others. Cat has just finished the year 2016 as part of the Fresh Ground Pepper PlayGround PlayGroup and was named a semifinalist for the 2017 Page 73 Fellowship. BFA Tisch Drama, NYU. www.catcrowley.com

 

 

keelay-gipsonKEELAY GIPSON

A multi-disciplinary artist including work as an activist and award-winning playwright, Keelay has been awarded the Van Lier Fellowship at New Dramatists, a Public Artist Residency for the City of New York, and the MacDowell Colony Residency. His work has been seen at the Wild Project, HERE Arts Center, Premiere Stages at Kean University, The Theater at Alvin Ailey, National Black Theater, Rattlestick Playwrights’ Theater, New York Theatre Workshop and Brooklyn Academy of Music. www.keelaygipson.com

 

KRISTINE HARUNA LEE

Kristine Haruna Lee is a playwright/performer/director and a founding member of harunalee theater company, currently in residence with Ars Nova’s Makers Lab. Recent plays include Dog Gone Day (BAX Artist-in-Residence), Sugar Shack (La MaMa Club), War Lesbian (Dixon Place Residency & Commission) and has developed work with the Bushwick Starr, York College, JACK, Prelude Festival, Target Margin Lab, and Asian American Writer’s Workshop. She is a recipient of the New Dramatists Van Lier Fellowship, is a member of the New Georges Jam, and Interstate 73. She teaches at NYU. BFA NYU Tisch, MFA Brooklyn College. harunalee.com

 

murphy-headshotMOLLY BEACH MURPHY

Molly Beach Murphy is a playwright and director from Galveston, Texas. Plays include: Cowboy Bob; Big Bend in the Red Dirt Desert; Molly Murphy & Neil deGrasse Tyson On Our Last Day On Earth. Her work has been developed at New York Theatre Workshop Adelphi Residency, Ars Nova Project Residency, Fresh Ground Pepper, Williamstown Theatre Festival, NYMF, Incubator Arts Project, The Habitat, Signature Theatre, New Georges Affiliated Artist. Molly will be a 2017 First Stage Artist in Resident at the Drama League to develop her newest play GALVESTON. BFA: Southern Methodist University. www.mollybeachmurphy.com

 

Gabrielle ReismanGABRIELLE REISMAN
Gabrielle is a playwright/director based in New York and New Orleans. She is a founding member of Underbelly and director of Brooklyn Yard. Gab has developed work with Page 73, Sundance Theatre Lab, Clubbed Thumb/Playwrights Horizons, the Orchard Project and the Ingram New Works Lab among others. She is a MacDowell Colony Fellow, a Core Writer with the Playwrights Center, former NNPN Playwright-in-Residence at Southern Rep and currently under commission from the EST/Sloan Project and New Plays at Barnard.

 

sarah-sanderSARAH SANDER

Sarah Sander’s work has been developed/produced at Bay Area Playwrights Festival, Columbia University, |the claque|, DC Arts Center, Florida Studio Theatre, Kennedy Center, Lark, NYSF, the Public Theater, Raven Theater, among others. She’s a New Georges Affiliated Artist and alumni of the Public Theater’s Emerging Writers Group, Dramatist Guild Fellowship and P73’s Interstate 73. Residencies: MacDowell, Millay and SPACE at Ryder Farm. MFA: University of Iowa.

 

Susan StantonSUSAN SOON HE STANTON

Susan Soon He Stanton is originally from the consonant-free town of Aiea, Hawai‘i. Her work has appeared at Clubbed Thumb, East West Players, Playwrights Horizons, Kennedy Center, The Flea, Honolulu Theater For Youth, Southern Rep, Joe’s Pub, Oregon Shakespeare Festival, Perry Mansfield, and others. She is a two-time Sundance Institute’s Theater Lab Resident. She is an alumna of The Civilians R&D Group, Public Theater’s Emerging Writers Group, SoHo Rep Writer-Director Lab, The Women’s Project Lab, and Hedgebrook. Awards and honors include Kilroy’s List 2015 & 2016, a Susan Smith Blackburn nomination, Po’okela Award for best new play, and a NET Partnership Grant with Satori Group. BFA: NYU Tisch, MFA: Yale School of Drama.

 

Announcing our 2017 P73 Playwriting Fellow

Tuesday, January 17th, 2017

We are thrilled to announce our 2017 P73 Playwriting Fellow!

John J. Caswell, Jr.

 

john-j-caswell

 

John is an incredibly talented playwright who we are proud to have selected for the fourteenth annual P73 Playwriting Fellowship. John will receive a $10,000 award and a development budget to use in collaboration with Page 73 throughout 2017. We will produce at least one public workshop for John this year, and look forward to inviting you!

 

 

John is a queer, Mexican-American playwright and director originally from Phoenix, Arizona, and the Artistic Director of Progressive Theatre Workshop, a company that has made plays for the past ten years. He has developed and shown work across Arizona and in New York City at HERE, Dixon Place, Joe’s Pub at The Public Theater, Primary Stages, and more. He has worked closely with Richard Foreman and Ontological Hysteric Theater, studied with Circle Repertory Company founder and Tony Award winner Marshall W. Mason, and learned directly from Anne Bogart and SITI Company at Arizona State University. His play God Hates This Show: Shirley Phelps-Roper in Concert – Live from Hell (HERE, Joe’s Pub) was named a “Best of 2013” by Time Out New York, who called it “batshit crazy.” His play Cake was named a 2016 Princess Grace Award finalist, a Drama League Impact Residency semifinalist, and was workshopped most recently at Dixon Place. He has also been named a finalist for the Joanne Woodward and Paul Newman Drama Award, and is the recipient of grants from the Pave Program in Arts Entrepreneurship at Arizona State University, as well as The Arizona Commission on the Arts. His work is cited frequently as an example of queer-themed theatre, most recently referenced in articles appearing in Theatre Topics, The International Journal of the Creative Arts in Interdisciplinary Practice, and the European Journal of Comparative American Studies. Included as a consummate demonstration of auto-ethnographic theatre, his play SHOTS: A Love Story was published as part of Johnny Saldaña’s book Ethnotheatre: Research From Page to Stage published by Left Coast Press. He lives in Astoria, Queens with his partner and a Chihuahua named Desi. www.progressivetheatreworkshop.org

 

Congratulations also to the 2017 Fellowship Finalists: Ngozi Anyanwu, Alexander Borinsky, and Claire Kiechel!

“Gentle, Incremental Hedonism”: An Interview with Caroline V. McGraw

Tuesday, October 18th, 2016

Caroline V. McGraw headshot

Playwright Caroline V. McGraw

Producing Artistic Director Michael Walkup and Ultimate Beauty Bible playwright Caroline V. McGraw took a break from rehearsals to grab a coffee and a rainbow donut and talk about the latest Page 73 premiere.

Michael Walkup: The first time we sat and talked about this play must have been, what, three years ago?

Caroline McGraw: Almost four!

MW: Really?

CM: It was late 2012, you were interviewing me for the Fellowship and this was the play I told you I wanted to write.

MW: Did you have pages yet?

CM: I had about fifteen pages and I didn’t know where it was going.

MW: Well, for the record, you got the [2013 P73 Playwriting] Fellowship, and got to writing.

CM: And I brought in pages to Interstate 73 meetings.

MW: Our writers group, that’s right, I always wanted to read [the role of] Tiffany. Since even those first pages the friendship among the three women has been so vivid. I may risk over-generalizing here, but it seems we’re in an age when stories of platonic love are being treated with the same importance as romantic love, which was always the domain of traditional comedy. But today I watch a lot where friends invest in their love, can be disappointed by it, cause problems with it, and it’s not juvenile or less-important-than.

CM: I think there are socioeconomic reasons that “platonic lifemate” relationships are making a comeback – people getting married later or not at all, high cost of living, shifts in family structures. But I think historically platonic love has at times been on the same plane as romantic love -your best pal got just as many sonnets as your lover. I think it’s an area that’s rife for drama. The friendships at the center of Ultimate Beauty Bible have all the highs and lows of a love relationship: chemistry, attraction, jealousy, fear of loss. The women think they should be looking for fulfilling romantic relationships, when their friendships are as complex as any romance.

MW: So you finished a draft during your year as the 2013 P73 Playwriting Fellow, and we did a workshop.

CM: With Stephen Brackett, who’s directing the premiere!

MW: We introduced you two and the relationship stuck.

CM: I learned a lot about the play doing that workshop.

MW: The play centers on women working at a fashion magazine, and so it necessarily is talking about a material, capitalist world. It seems to me, though, that you find something spiritual amidst the material, am I reading that right?

CM: I find the way women relate to each other through beauty and fashion deeply spiritual. It’s a communion. Transformation. My grandmother had shelves and shelves of high-end, amazing makeup, perfumes, and clothing, and from when I was very little, we played with them together. Patting lotion on her face or trying on her clothes helped me to see her and be a part of her. I always wanted to do my friends’ makeup because it was a way to draw on them, to hold their face and study who they are. I love emptying out other women’s makeup bags and just seeing what they choose to decorate themselves with. It feels like, even just in the past few years, that women have embraced – and Chimamanda Ngozi Adichie just said this last month – that femininity and feminism aren’t mutually exclusive.

MW: I’ve been reading Hanna Rosin’s The End of Men and thinking about your play. She’s interested in how women are embracing new roles – in work, sex, family – that they had been denied historically, but that men aren’t proving to be as adaptable to new roles. In Ultimate Beauty Bible, your female characters seem more professionally fulfilled than the men.

CM: I haven’t read that book, but I did just read a statistic that more American workforce-aged men are out of work now than at any time since the Great Depression. It’s complicated by a lot of factors, but women are definitely taking the reins. Something I was interested in exploring in Ultimate Beauty Bible is women in women jobs – not that there aren’t men in fashion and beauty, but that my female characters are successful in a women’s sphere. And they’re ruthlessly productive – they take the “light” matters of fashion and beauty heavily. The idea of the housewife who devotes herself wholly to home and hearth is a wealthy construct – women have been working outside the home forever. It feels like the rise of the woman comes from being able to have visibility in the professional sphere, kicking ass at pleasurable, higher-profile endeavors. I wanted my female characters to be as visible, metaphorically and aesthetically, as possible.

MW: The inciting incident of the play prompts the three friends, who are in their early thirties, to face mortality. We all have heard “live every day like it’s your last,” but on the other hand couldn’t that advice could be seen as careless? No one winds up with a 401(k) if every day is the end. In thinking about your characters’ mortality, do you come down on a side of that?

CM: I think we all want to think of ourselves as people who, given a particular reason, could change who we are. We could start to live more fully, boldly, whatever that might entail. I don’t know if people are able to change that quickly, even if an outside circumstance shakes them. Life is an accumulation – no one is who she is by accident. In the play I try to explore all sides of the argument I have with myself about how I might behave if I got life-altering news: the person who tries to change but can’t seem to, the person who thinks her life is just fine the way it is, and the person who really just dives with abandon into a more hedonistic, live-like-there’s-no-tomorrow style. I can see the merit, and the folly, in all of them. I think I might be on the “gentle, incremental hedonism” tip if such a thing exists.

MW: Sitting with your play for these past few weeks – heck, years – makes me think: how much life IS someone supposed to have lived by their mid-thirties? Asking for a friend.

CM: As someone in her, ahem, early 30s, I feel like you’re supposed to have lived enough that you have a lot of good memories and stories of bad breakups and ill-advised piercings (is that just me?), but not so much that you can’t possibly imagine what else could happen. I’ve had a lot of fun and carpe’d the diem, but I also know there’s a lot more I’m going to do. That feels like a good balance.

 

You can purchase tickets to Ultimate Beauty Bible at page73.org/tickets and learn more about the creative team here.

Announcing our 2017 Semifinalists!

Tuesday, October 11th, 2016

We are thrilled to announce the 16 semifinalists for the 2017 P73 Playwriting Fellowship!

We look forward to reading more from these writers who stood out from among a field of 400 applicants. Finalists for the Fellowship, as well as members of our 2017 Interstate 73 writers group, will be announced later this fall!

Ngozi Anyanwu
Will Arbery
Jocelyn Bioh
Liza Birkenmeier
Alexander Borinsky
John J. Caswell, Jr.
Sam Chanse
Cat Crowley
Blake Hackler
Jeremy Kamps
Claire Kiechel
Ryan King
Molly Beach Murphy
Jonathan Payne
Ariel Stess
Kate Tarker


anyanwuNGOZI ANYANWU

Ngozi Anyanwu is an actor, playwright, and producer. Education: University of California San Diego’s (MFA acting) Point Park University (B.A). She will be appearing in the upcoming HBO show The Deuce. Good Grief (Kilroys list 2016, semifinal) will have its world premiere at the CTG/Kirk Douglas Theatre in 2016/17. The Homecoming Queen was presented as part of The Fire This Time’s Inaugural’s Writers group, and most recently had a workshopped reading at Yale with Page 73’s summer residency. Anyanwu is also a recipient of the Djerassi Artist Residency, as well as Space on Ryder Farm and the LCT playwrights residency.

.

arbery-headshot

WILL ARBERY

Will Arbery is a playwright from Texas + Wyoming. He’s the current winner of the Edes Foundation Prize for Emerging Artists. He’s an alum of Clubbed Thumb’s Early Career Writers Group, Theater Masters, Alliance Theatre’s Kendeda group, Tofte Lake Center’s Emerging Artist Residency, and Variety’s “110 Students to Watch.” His play The Mongoose was an L.A. Times Critic’s Pick. Upcoming: a micro-residency at the Bushwick Starr. His dance work with BOOMERANG is upcoming at Steppenwolf and MCA Chicago. MFA: Northwestern. www.willarbery.com

 

bioh-headshotJOCELYN BIOH

Jocelyn Bioh is a Ghanaian-American writer/performer born and raised in New York City. Plays include School Girls (Kilroys List 2016) Nollywood Dreams (Kilroys List 2015) and The Ladykiller’s Love Story of which she conceived the story and wrote the libretto with music/lyrics by Cee Lo Green. She has received commissions from MTC and Atlantic Theatre Co.  B.A in English/Theatre from The Ohio State University and MFA in Playwriting from Columbia University.

 

birkenmeier-headshotLIZA BIRKENMEIER

Liza Birkenmeier is a member of EWG at the Public Theater and a Playwrights Realm Fellow. She is currently collaborating with New Georges and 3LD on a project that will premiere in the summer of 2017. Her work has been developed at Ars Nova, Rattlestick, Lincoln Center, University Settlement, Dixon Place, and elsewhere. Her play radio island was a finalist for the inaugural Relentless Award and was included on the 2016 Kilroys List. www.lizabirkenmeier.com

 

View More: http://eileenmenyphotography.pass.us/alex-the-witchesALEXANDER BORINSKY

Alexander Borinsky was born in Baltimore. He has made work with the warm support of the LMCC Workspace program, the Working Farm at SPACE at Ryder Farm, Target Margin Theater, Page 73, Masrah Ensemble in Beirut, and Youngblood, and is working on commissions from Clubbed Thumb and Playwrights Horizons. This fall he will finish his MFA in playwriting at Brooklyn College and serve as Artist-in-Residence at University Settlement, where he is exploring weird classrooms. www.rustchukfarm.org

 

caswell_1JOHN J. CASWELL, JR.

John is the Artistic Director of Progressive Theatre Workshop, a company that makes plays about queer things. He has developed and shown work at HERE, Dixon Place, The Public Theater, Theatres at 45 Bleecker, Primary Stages, and more. He has been a finalist for both the Princess Grace Award and The Woodward Newman Drama Award. His play SHOTS: A Love Story was published by Left Coast Press in Johnny Saldana’s Ethnotheatre: Research From Page to Stage. Company website: www.progressivetheatreworkshop.org

 

chanse-2016-1SAM CHANSE

Sam Chanse’s plays include The Other InstinctFruiting Bodies Lydia’s Funeral Video, and gilgamesh & the mosquito (composer Bob Kelly). A Rita Goldberg Playwrights’ Workshop Fellow at the Lark and member of New Dramatists, Ars Nova’s Play Group, and Ma-Yi Writers Lab, her work has also been supported by the Playwrights Realm, Sundance/Ucross, EST/Sloan, Leviathan, Yale Institute of Musical Theatre, Civilians R&D Group, The Claque, and MacDowell. MFA playwriting: Columbia; MFA musical theater writing: NYU. www.samchanse.com

 

crowley-headshotCAT CROWLEY

Cat Crowley is an NYC based queer writer and performer. Her work has been performed at Ars Nova, Dixon Place, #Serials at The Flea, The Tank, Salty Brine’s Spectacular Living Record Collection… at The Red Room, 24 Hour Plays: Nationals, Irondale Arts Center, Judson Church, Bowery Arts and Science, and The Breadbox Theatre (San Francisco, CA). She is a current member of the Fresh Ground Pepper Playground PlayGroup. BFA Tisch, NYU. www.catcrowley.com

 

hackler-headshotBLAKE HACKLER

Blake Hackler is a lifetime member of the BMI/Lehman Engel Workshop and was a recipient of the Harrington Award for Excellence in Musical Theatre Writing. His play, This Sweet Affliction, received a workshop produced by Primary Stages in 2015, and was named runner up for the 2016 ATHE Playwriting Award. An inaugural member of Dallas Theatre Center’s playwriting unit, Blake holds faculty positions at SMU and Yale University, and is a Fulbright Senior Scholar. MFA, Yale School of Drama.

 

kamps-headshotJEREMY KAMPS

Jeremy Kamps’ work has been produced/developed with Esperance Theater Company, Company Cypher at the National Black Theatre of Harlem, Ugly Rhino, Dixon Place, Hudson Valley Shakespeare, The Amoralists and New York Theatre Workshop; member of the Public Theater Emerging Writers Group. He has also been recognized for awards for his play GUTTING (The Ruby Lloyd Apsey Award, Goldberg Prize) and WATER HYACINTH (Hudson Valley Writers Center and NYU Festival of New Works). MFA: NYU.

 

kiechel_headshot-2CLAIRE KIECHEL

Claire Kiechel is a playwright and theater maker living in New York. Her plays include: PILGRIMS (upcoming at the Gift Theatre; Lark Playwright’s Week 2016; the Kilroys’ 2016 THE LIST); LULU IS HUNGRY with composer Avi Amon (ANTFEST 2016); SOME DARK PLACES OF THE EARTH (New School for Drama). She is a current member of Youngblood, an alumna of The Civilians 2015-16 R&D Group, and a 2016 recipient of South Coast Rep’s Elizabeth George Emerging Writers Commission. www.clairekiechel.com

 

king-headshotRYAN KING

Ryan King is from Austin, TX, and now lives in Brooklyn. His plays: Burying Augustus, Gigantic F***ing Worms, Later Hour, Loveshack in ’87, Always On, and others.  He’s a current member of the Primary Stages New American Writers Group and the 2016 Working Farm at SPACE on Ryder Farm.  He’s a former member of the 2014-2015 Clubbed Thumb Early Career Writers Group. His plays have been developed by Cape Cod Theatre Project, Naked Angels, Clubbed Thumb, Colt Coeur, Primary Stages, Theater of NOTE and others.

 

murphy-headshotMOLLY BEACH MURPHY

Molly Beach Murphy is a playwright and director from Galveston, Texas. Plays include: Cowboy Bob (Upcoming Ars Nova Project Residency), Big Bend in the Red Dirt Desert, Molly Murphy  & Neil de Grasse Tyson On Our Last Day On Earth.  Her work has been developed at Williamstown Theatre Festival, New York Theatre Workshop, Ars Nova, Fresh Ground Pepper Playground Playgroup, NYMF, Incubator Arts Project, The Habitat, Signature Theatre, New Light Theater Project, New Georges Affiliated Artist BFA: Southern Methodist University. www.mollybeachmurphy.com

 

payne-headshotJONATHAN PAYNE

Jonathan Payne’s work has been developed at the Tristan Bates Theatre (UK), Ars Nova, Fringe Festival NYC, The Bushwick Star, and the Fire This Time Festival. He’s been a fellow at New Dramatists, Playwrights Realm and The Dramatist Guild, as well as an Ars Nova Play Group. He received a BA from the GSA Conservatoire (UK) and an MFA in Playwriting from Tisch School of the Arts. He is a current fellow at the Juilliard Playwrights Program.

 

stessheadshot-100kb-1ARIEL STESS

Ariel Stess is a Brooklyn-based playwright and director originally from Santa Fe, New Mexico. Her work has been developed or produced by The Bushwick Starr, Clubbed Thumb, Playwrights Horizons, New Georges, The Lark, Dixon Place, and Mabou Mines. Recent productions: I’M PRETTY FUCKED UP (Clubbed Thumb) and HEARTBREAK (The Bushwick Starr & New Georges). She is currently working on a commission for Playwrights Horizons and a memoir.

 

tarker-headshotKATE TARKER

Kate Tarker’s plays include THUNDERBODIES (nominee, 2017 L. Arnold Weissberger Award), An Almanac for Farmers and Lovers in Mexico (2015 Kilroys List), and Laura and the Sea (2016 Kilroys List; finalist for 2016 L. Arnold Weissberger Award and Princess Grace Award). Developed by The Lark, Ars Nova, NYTW, The O’Neill, among others. Jerome Fellowship, MacDowell Colony, Ars Nova Play Group. Commissions: The Wilma, Theater Masters Visionary Playwright Award. Collaborations: Pig Iron and SITI Company. M.F.A. Yale. www.katetarker.com

Page 73 playwrights in 2016-17 seasons, around the country!

Friday, August 26th, 2016

playwright-map

Each season we love watching as theaters around NYC and all around the country announce productions and significant development opportunities for playwrights who Page 73 has supported through our own productions and development programs. We thought you might be interested, as well!

This season, we thought we’d keep a running list here. We’ll be updating periodically throughout the season as more productions are announced, and we hope if one of these is taking place near you, you’ll check it out! Please feel free to email us at info [at] page73.org if you hear of something that we haven’t listed here.

 

Opening August

Robert Askins, 2010-2011 Interstate 73
Hand to God, Studio Theater, Washington, D.C. July 7 – September 18, 2016.

Mashuq Deen, 2014 Interstate 73
Draw the Circle, PlayMakers Rep, Chapel Hill, NC. August 24 – 28, 2016.

George Brant, 2014 New York premiere of Grounded
Marie and Rosetta, Atlantic Theater Company, NYC. August 24 – October 2, 2016.

 

Opening September

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
Water by the Spoonful, Curious Theatre Company, Denver, CO. September 1 – October 15, 2016.

Gabrielle Reisman, 2014 Summer Residency, 2015 Interstate 73
Flood City, The NOLA Project, New Orleans, LA. September 1 – September 17, 2016.

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
In the Heights, Phoenix Theatre, Phoenix, AZ. September 7 – October 2, 2016.

Jiehae Park, 2016 Interstate 73
Peerless, Moxie Theatre, San Diego, CA. September 11 – October 9, 2016.

Kimber LeePage2 workshop of different words for the same thing
brownsville song (b-side for tray)Theatre Alliance, Washington, D.C. September 15 – October 9, 2016.

Robert Askins, 2010-2011 Interstate 73
Hand to God, Victory Gardens Theater, Chicago, IL. September 16 – October 16, 2016.

Jennifer Haley, 2010 Summer Residency
The Nether, Third Rail Repertory Theatre, Portland, OR. September 30 – October 22, 2016.

George Brant, 2014 New York premiere of Grounded
Grounded, InterAct Theatre Company, Philadelphia, PA. September 30 – October 23, 2016.

 

Opening October

Robert Askins, 2010-2011 Interstate 73
Hand to God, Gable Stage, Coral Gables, FL. October 1 – 30, 2016.

Samuel D. Hunter, 2009 Interstate 73, 2010 world premiere of Jack’s Precious Moment
The Harvest, Lincoln Center Theater, NYC. October 8 – November 20, 2016.

Kimber LeePage2 workshop of different words for the same thing
brownsville song (b-side for tray)Ensemble Theatre Cincinnati, Cincinnati, OH. October 11 – 30, 2016.

Karen Hartman, first-ever Page 73 workshop, Gum, in 1997
Roz and Ray, Seattle Repertory Theatre, Seattle, WA. October 14 – November 13, 2016.

Harrison Rivers, 2011 Interstate 73
Sweet, National Black Theatre, NYC. October 19 – November 20, 2016.

Cori Thomas, 2014 New York premiere of When January Feels like Summer
When January Feels like Summer, Central Square Theatre, Cambridge, MA. October 20 – November 13, 2016.

MJ Kaufman, 2015 Summer Residency
Sagittarius Ponderosa, NAATCO, NYC. October 24 – November 19, 2016.

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
Miss You Like Hell, La Jolla Playhouse, San Diego, CA. October 25 – December 4, 2016.

Jennifer Haley, 2010 Summer Residency
The Nether, Theatre Aquarius, Hamilton, Ontario. October 26 – November 12, 2016.

 

Opening November

Andy Bragen, 2007-2008 Interstate 73
Don’t You F**king Say a Word, 59E59 Theaters, NYC. November 4 – December 4, 2016.

Robert Askins, 2010-2011 Interstate 73
Hand to God, Curious Theatre Company, Denver, CO. November 5 – December 17, 2016.

Hansol Jung, 2016 P73 Playwriting Fellow
Among the Dead, Ma-Yi Theater Company, NYC. November 6 – 26, 2016.

Gabrielle Reisman, 2014 Summer Residency, 2015 Interstate 73
Storm, Still, Tulane University, New Orleans, LA. November 9 – 13, 2016.

Leah Nanako Winkler, 2015 Summer Residency, 2016 world premiere of Kentucky
Kentucky, East/West Players, Los Angeles, CA. November 10 – December 11, 2016.

Dan LeFranc, 2007 Summer Residency, 2009 world premiere of Sixty Miles to Silver Lake
Rancho Viejo, Playwrights Horizons, NYC. November 11 – December 23, 2016.

Karen Hartman, first-ever Page 73 workshop, Gum, in 1997
Roz and Ray, Victory Gardens Theater, Chicago, IL. November 11 – December 11, 2016.

 

Opening January

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
The Happiest Song Plays Last, Curious Theatre Company, Denver, CO. January 14 – February 17, 2017.

Clare Barron, 2014 P73 Playwriting Fellow, 2014 world premiere of You Got Older
Baby Screams Miracle, Woolly Mammoth, Washington, D.C. January 23 – February 26, 2017.

Jennifer Haley, 2010 Summer Residency
The Nether, A Red Orchid Theatre, Chicago, IL. January 26 – March 12, 2017.

Robert Askins, 2010-2011 Interstate 73
Hand to God, Playhouse on the Square, Memphis, TN. January 27 – February 19, 2017.

 

Opening February

Morgan Gould, director of 2016 world premiere of Kentucky
I Wanna F***ing Tear You Apart (playwright and director), Studio Theater, Washington, D.C. February 1 – 19, 2017.

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
Elliot, A Soldier’s Fugue, Profile Theatre, Portland, OR. February 2 – 17, 2017.

Robert Askins, 2010-2011 Interstate 73
Hand to God, Berkeley Repertory Theatre, Berkeley, CA. February 3 – March 19, 2017.

Meghan Kennedy, 2011-12 Interstate 73, 2013 Summer Residency
Napoli, BrooklynLong Wharf Theatre, New Haven, CT. February 15 – March 12, 2017.

George Brant, 2014 New York premiere of Grounded
Grounded, Milwaukee Repertory Theatre, Milwaukee, WI. February 22 – April 2, 2017.

Nick Gandiello, 2015 P73 Playwriting Fellow, 2014 Interstate 73, 2013 Summer Residency
The Blameless, The Old Globe, San Diego, CA. February 25 – March 26, 2017.

 

Opening March

Jennifer Haley, 2010 Summer Residency
The Nether, The Gamm Theatre, Pawtucket, RI. March 2 – 26, 2017.

Heidi Schreck, 2009 P73 Playwriting Fellow, 2009 world premiere of Creature
Grand Concourse, SpeakEasy Stage Company, Boston, MA. March 3 – April 1, 2017.

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
Yemaya’s Belly, Cara Mia Theatre, Dallas, TX. March 4 – 19, 2017.

Jiehae Park, 2016 Interstate 73
Peerless, Marin Theater Company, Marin, CA. March 9 – April 2, 2017.

George Brant, 2014 New York premiere of Grounded
Grounded, Seattle Public Theater, Seattle, WA. March 23 – April 16, 2017.

Jiehae Park, 2016 Interstate 73
Hannah and the Dread Gazebo, Oregon Shakespeare Festival, Ashland, OR. March 29 – October 28, 2017.

 

Opening April

Robert Askins, 2010-2011 Interstate 73
Hand to God, Dobama Theatre, Cleveland, OH. April 21 – May 21, 2017.

Jiehae Park, 2016 Interstate 73
Peerless, Company One Theatre, Boston, MA. April 27 – May 28, 2017.

 

Opening May

Heidi Schreck, 2009 P73 Playwriting Fellow, 2009 world premiere of Creature
Grand Concourse, Seattle Public Theater, Seattle, WA. May 18 – June 11, 2017.

Robert Askins, 2010-2011 Interstate 73
Hand to God, Arts Club Theatre, Vancouver, BC. May 25 – June 25, 2017.

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
In the Heights, Zach Theatre, Austin, TX. May 31 – July 2, 2017.

 

Opening June

Antoinette Nwandu, 2015 Summer Residency
Pass Over, Steppenwolf, Chicago, IL. June 1 – July 9, 2017

Quiara Alegria Hudes, 2004 P73 Playwriting Fellow, 2006 world premiere of Elliot, A Soldier’s Fugue
26 Miles, Profile Theatre, Portland, OR. June 15 – July 2, 2017.

 

Opening August

George Brant, 2014 New York premiere of Grounded
Grounded, Westport Country Playhouse, Westport, CT. August 15 – September 2, 2017.

 

Dates Not Announced

Mfoniso Udofia, 2014 Summer Residency, 2015 Interstate 73
Sojourners and Her Portmanteau, New York Theatre Workshop, NYC.

Meghan Kennedy, 2011-12 Interstate 73, 2013 Summer Residency
Napoli, BrooklynRoundabout Theatre Company, NYC.

Sixteen Actors in a Room

Wednesday, April 20th, 2016

 

Page 73 is excited to be partnering with Ensemble Studio Theatre for the world premiere of Leah Nanako Winkler’s Kentucky, directed by Morgan Gould. A major reason our collaboration with EST is helping bring Leah’s play to the stage is that Kentucky features an unusually large cast — sixteen actors!

Page 73’s Producing Artistic Director Michael Walkup talked with Leah and Morgan about the audacity of presenting a large-cast play off-Broadway.

Michael Walkup: Kentucky features a cast of 16, which I think we can all agree is not a typical choice an early-career playwright makes in drafting a new play. Leah, when you started writing this play, did you always imagine it requiring a large cast?

Leah Nanako Winkler: I started this play during a summer when I was in three huge, seminal weddings back-to-back (my two best high school friends’ and my little sister’s). That meant I was interacting with a lot of people from my past, so it was obvious to me that these types of figures – a mom, a dad, a sister, her groom, his parents, best friends, a grandma, and a wedding party – would all shape the protagonist, Hiro’s, journey, too.

And then after I wrote the damn thing everyone told me it was crazy to have such a large cast.

MW: Morgan, when you first read Kentucky, did you imagine using double-casting to package the play as more easily producible?

Morgan Gould: As a person who has produced and worked at theaters for a long time, I figured if I was ever lucky enough to direct a full production of Kentucky I may have to double-cast it. Actors cost money (as well they should)! But I never wanted double-casting. Each person (and animal, in one case!) feels so specific that double-casting always felt forced, like a matter of convenience rather than of purpose.

MW: EST and Page 73 are glad that coming together for this production enabled us to hire a full cast of 16. How does that multitude of bodies on stage help you tell the story of Kentucky?

MG: The heart of the piece is coming back to a landscape that is populated with all the figures from one woman’s past. Each one of them brings something special to the texture of the world. It is the story of how large and unwieldy our pasts are – how they inform us, how they shape us. I always have felt that the piece is epic in that way.

LNW: Going home for a wedding doesn’t usually mean seeing four people at a dinner table. It means having strange and harrowing yet beautiful mini-reunions in spurts with the many, many people in our lives who have shaped us. Our diverse cast reflects the Kentucky I grew up in, and I think having so many characters to interact with deepens everyone’s arc.

MW: What’s been the most fun part of having 16 actors in one room?

MG: I feel a little like a football coach wrangling 16 actors, who are aged 24 up to 79. The second we think we have everyone in the room, someone is in the bathroom. But it’s a ball. This cast is so raucous and joyous. They play tricks on each other. They laugh. They care for each other. It’s like an insane elementary school classroom of talented people. It adds such life to the play.

LNW: Each performer brings something so specific and special. It’s incredible to see. There’s also always someone I can talk to! I love it so much, I’m going to miss it. It’s been an honor and a privilege to get to play with so many people.

Announcing our 2016 P73 Playwriting Fellow

Wednesday, February 10th, 2016

We are thrilled to announce our 2016 P73 Playwriting Fellow!

Hansol Jung

 

Hansol is a remarkable playwright who we are proud to have selected for the thirteenth annual P73 Playwriting Fellowship. Hansol will receive a $10,000 award and a development budget to use in collaboration with Page 73 throughout 2016. Her plans for the year include work on a play exploring the drug industry and further development of a romantic tragedy between a North Korean defector and her South Korean lover. We will produce at least one public workshop for Hansol this year, and look forward to inviting you!

Headshot_HansolJung2015Hansol Jung is a playwright and director from South Korea. Productions include Cardboard Piano (Humana Festival at Actors Theater of Louisville), Among the Dead (Ma-Yi Theatre Company), No More Sad Things (co-world premiere at Sideshow Theatre, and Boise Contemporary Theatre), Wolf Play and Wild Goose Dreams. Commissions from Playwrights Horizons, Seattle Repertory Theatre, Artists Repertory Theater, the Virginia B. Toulmin Foundation grant with Ma-Yi Theatre and a translation of Romeo and Juliet for Play On! at Oregon Shakespeare Festival. Her work has been developed at the Royal Court, New York Theatre Workshop, Berkeley Repertory’s Ground Floor, Sundance Theatre Lab, O’Neill Theater Center’s New Play Conference, Lark Play Development Center, Salt Lake Acting Company, Boston Court Theatre, Bushwick Starr, Ma-Yi Theater Company, Asia Society New York, and Seven Devils Playwright Conference. She is the recipient of the Page 73 Playwright Fellowship, Rita Goldberg Playwrights’ Workshop Fellowship at the Lark, 2050 Fellowship at New York Theater Workshop, MacDowell Colony Artist Residency, and International Playwrights Residency at Royal Court. She has translated over thirty English musicals into Korean, including Evita, Dracula, Spamalot, and The 25th Annual Putnam County Spelling Bee, while working on several award winning musical theatre productions as director, lyricist and translator in Seoul, South Korea. Jung holds a Playwriting MFA from Yale School of Drama, and is a proud member of the Ma-Yi Theatre Writers Lab.

Announcing 2016 Members of Interstate 73

Wednesday, February 10th, 2016

We are thrilled to announce the seven members of our
2016 Interstate 73 Writers Group!


Alex Lubischer
Amina Henry
Caroline V. McGraw
Jeremy Tiang
Jiehae Park
Kate Attwell
Kevin Artigue


Alex LubischerAlex Lubischer
’s plays include Bobbie Clearly, pig.gov part 1, The Xylophone West, Acts of Contrition, Weird Kids, and Survey No. 5. In Chicago, his scripts have been produced by Haven Theatre, The Fine Print Theatre Company, Collaboraction, and Tympanic Theatre Company, among others. He has developed new work at Steep Theatre Company, Victory Gardens Theater, Interrobang Theatre Project, Route 66 Theatre Company, the Great Plains Theatre Conference, and Actors Theatre of Louisville. Alex has been a semifinalist for the P73 Playwriting Fellowship, a finalist for the O’Neill National Playwrights Conference, and a resident playwright at the Kimmel Harding Nelson Center for the Arts. He is a current member of Page 73’s Interstate 73 writers group. He received his B.A. from the University of Southern California and is a proud alumnus of the National Theater Institute. Alex was born and raised in Platte County, Nebraska and lives in Brooklyn. www.alexlubischer.com

amina-henry-hsAmina Henry is a playwright and arts educator. Her work has been produced, presented, and/or developed at: Oregon Shakespeare Festival, Kitchen Dog Theater, The Flea (NYC), The New Group (NYC), Clubbed Thumb (NYC), Barefoot Theatre (NYC), Little Theater @ Dixon Place (NYC), the cell (NYC), Theatre for the New City (NYC), HERE Arts Center (NYC), Drama of Works (Brooklyn, NY), The Brick (Brooklyn, NY), and HERO Theater, as well as Brooklyn College and Texas State University. She was a 2012-2013 Core Apprentice playwright at The Playwrights Center. She was a 2013 Finalist for the Leah Ryan FEWW Playwriting Prize for her play Bully, and Bully is on the 2015 Kilroy List, a curated survey of the top 7% recommended plays by female and female-identified playwrights in the US. Amina Henry is a graduate of Yale University, NYU’s Performance Studies MA program and Brooklyn College’s MFA Playwriting program.

caroline headshotCaroline V. McGraw’s plays have been seen all around the country, at companies such as Lesser America, New Georges, Washington Ensemble Theatre, Theater Ninjas, the Yale Cabaret, AracaWorks, Naked Angels, Washington National Opera/The Kennedy Center, Second Stage, Williamstown Theatre Festival, Studio 42, IAMA Theater Company, and Ars Nova ANT Fest, among others. She has been in residence at Portland Center Stage’s JAW Festival, Wordbridge Playwrights’ Lab, and SPACE on Ryder Farm. Four of her full-length plays have been nominated to the Kilroys List. She is an alum of the New Georges Jam and the Civilians R&D Group, and she is a member of the Primary Stages Dorothy Strelsin New American Writers Group and I73.  Caroline was the 2013 Page 73 Playwriting Fellow and is the 2016 Page 73 Tow Foundation Playwright-in-Residence. She is working on a commission from Yale Rep. She is a graduate of the Playwriting program at the Yale School of Drama, where she studied under Paula Vogel.

Jeremy Tiang [photo credit Oliver Rockwell]Jeremy Tiang’s plays include The Last Days of Limehouse, Butterfly (Yellow Earth, London), and A Dream of Red Pavilions (Pan Asian Rep); he has also translated plays by Cao Yu, Han Lao Da and Quan Sy Ren. He has been a finalist for the New York Theater Workshop 2050 Fellowship, Playwrights’ Center Many Voices Fellowship, and Soho Rep Writer/Director Lab. His short stories and essays have appeared in The Guardian, Esquire, Asia Literary Review, Drunken Boat and Best New Singaporean Short Stories, and his story collection It Never Rains on National Day was published by Epigram Books in 2015. Jeremy has also translated more than ten books from Chinese, including novels by Yan Geling, Zhang Yueran and Su Wei-chen, and he received an NEA Literary Translation Fellowship, a PEN/Heim Grant Award, a Henry Luce Foundation Fellowship, and the People’s Literature Award Maotai Cup. He lives in Brooklyn. www.JeremyTiang.com

jiehae park smilingJiehae Park’s peerless recently received its world premiere at Yale Rep and was part of the 2015 Cherry Lane Mentor Project; she is one of the writers of Wondrous Strange (2016 ATL/Humana Festival). Her work has been developed through the Soho Rep W/D Lab, Playwrights Horizons, Berkeley Rep’s Ground Floor, the Emerging Writers Group at the Public, NYTW, Dramatists Guild Fellowship, Ojai Playwrights Conference, Bay Area Playwrights Festival, Playwrights Realm, and the amazing Ma-Yi Writers Lab. Her plays have won the Leah Ryan Prize and Princess Grace Award (Hannah and the Dread Gazebo) and were included in two years of the Kilroys List. Commissions: Playwrights Horizons, McCarter Theatre. Residencies: MacDowell, Yaddo, Hedgebrook, and McCarter/Sallie B. Goodman. She will be a 2016-17 Hodder fellow at Princeton.  As a performer: La Jolla Playhouse, Studio Theatre, Tiny Little Band, REDCAT, and the upcoming Sleep with Ripe Time/The Play Co. BA, Amherst; MFA, UCSD.

Processed with VSCOcam with g3 preset

Kate Attwell is a playwright, director and performer. She is a founding member and writer/performer of queer identified performance collective I AM A BOYS CHOIR, credits include The Public Theater (Under the Radar: Incoming!), BAM (Everybooty), REDCAT, La Mama, JACK, Dixon Place, The Wassaic Project. Her work has also happened at The Stratford New Works Lab, The Bushwick Starr (Reading Series), JACK, Dixon Place, The Brick Theater, Poet’s House, River to River Festival, Tisch, The Wickham Theatre, The Yale Cabaret and many found spaces. She is a participant in the Mabou Mines Resident Artist Program and the Public Theater’s Devised Theatre Working Group. Training: BA The University of Bristol, MFA Yale School of Drama; also UT Austin and LISPA.

ARTIGUE- headshotKevin Artigue is a playwright and filmmaker. He’s a current member of the 2016 Interstate 73 Writers Group and recently completed the Public Theater’s 2014-2015 Emerging Writers Group. His play THE MOST DANGEROUS HIGHWAY IN THE WORLD was featured at the National New Play Network’s 2014 National Showcase of New Plays and will be produced by Golden Thread in San Francisco in May 2016 (directed by Evren Odcikin). His plays have been performed and developed with the Public Theater, Theatre of NOTE, Playwrights Foundation, Great Plains Theatre Conference, Yale Cabaret, Iowa New Play Festival, Golden Thread, and the Playwrights’ Center in Minneapolis, where he was a Core Apprentice. A graduate of the Iowa Playwrights Workshop, Kevin was awarded a Provost’s Visiting Writer Fellowship at the University of Iowa, where he taught creative writing. Film: Holy Ghost People (SXSW Film Festival), Resistance (short).