October 18th, 2016

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

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.

October 11th, 2016

Announcing our 2017 Semifinalists!

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


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.




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

August 26th, 2016

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


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.

April 20th, 2016

Sixteen Actors in a Room


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.

February 10th, 2016

Announcing our 2016 P73 Playwriting Fellow

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.

February 10th, 2016

Announcing 2016 Members of Interstate 73

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.

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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).

October 19th, 2015

Announcing our 2016 Semifinalists!

We are thrilled to announce the 17 semifinalists for the 2016 P73 Playwriting Fellowship!

We look forward to reading more from these writers who stood out from among a field of 350 applicants. Finalists for the Fellowship, as well as members of our 2016 Interstate 73 writers group, will be announced later this fall!

Alex Lubischer

Aurin Squire

Caitlin Saylor Stephens

Christina Quintana

Dan Aibel

Elizabeth Archer

Hansol Jung

Helen Banner

Howard Emanuel

Jerry Lieblich

Jiehae Park

Kate Attwell

Kate Tarker

Liza Birkenmeier

Philip Howze

Sam Chanse

Sarah Sander


Alex Lubischer is a Chicago-based playwright. Alex’s most recent play, Bobbie Clearly, was developed at Steep Theatre Company, Victory Gardens Theater, and Actors Theatre of Louisville and was a 2015 National Playwrights Conference Finalist. Other plays include The Xylophone WestActs of ContritionWeird Kids, and Survey No. 5www.alexlubischer.com


Aurin Squire is a playwright, reporter, and multimedia artist. He graduated from Juilliard’s Playwriting Fellowship in May and from New School with an MFA in playwriting. His play “Obama-ology” premiered December 2014 at London’s Finborough Theatre and received a school production at the Royal Academy of Dramatic Arts in June 2015. Squire has had fellowships and residencies at Royal Court Theatre, Brooklyn Arts Exchange, The Dramatists Guild, and National Black Theatre.


Playwright/performer of: WHEN WE WENT ELECTRONICTwo Men Missing in The Hudson River, From The Basement Of My HeartThe Unofficial Race Time Of A. Pineda and JOLEY. Development: The Lark, Labyrinth, New Georges, The Flea, Dixon, Orchard Project, SPACE. 2014+2015 Kilroys Honorable Mention. NNPN Nomination. 2015 Romulus Linney Scholar. New Georges Affiliated Artist/The Jam. BA Sarah Lawrencewww.caitlinsaylorstephens.com


Christina Quintana is a writer with Cuban & Louisiana roots. Her plays include GUMBO, with music by Brett Macias (Musical Theatre Factory),    SCISSORING (Finalist, Alliance/Kendeda Nat’l Playwriting Competition), & ENTER YOUR SLEEP (Elm Theatre). Her poem “He-lium” was recently featured on Radiolab & she is a member of Youngblood. For more, cquintana.com


Dan’s plays have been developed and/or produced by the Detroit Rep, the Blank Theatre, the Sundance Institute, The New Group, Stage Left, Syracuse Stage, Flashpoint Theatre Co. and Outsider’s Inn Collective. A 2014 Sundance Theatre Lab fellow, Dan’s plays have been published by Smith & Kraus and Playscripts, Inc.


Elizabeth holds an MFA in Writing for Screen+Stage from Northwestern University and a BA in English from Fordham University. Her plays have been staged/performed in Denver, Chicago, and Washington, D.C. Her play Isle of Her was a semi-finalist for the 2015 Eugene O’Neill National Playwrights Conference.


Hansol Jung’s works have been developed at the Royal Court, New York Theatre Workshop, Berkeley Rep, O’Neill Conference, among others. She is a Rita Goldberg Playwrights’ Workshop Fellow (Lark), 2050 Fellow (New York Theater Workshop), and alumni of MacDowell Colony Artist Residency. Hansol is a proud member of Ma-Yi Writer’s Lab.


Helen is a Manhattan-based playwright. She grew up in the British Channel Islands and studies at Cambridge and NYU Tisch School of the Arts. She is an associate artist with New Georges and a participant in the 2015-16 Ingram New Works Lab at Nashville Rep.


Plays and musicals developed by Roundabout, NYTW, Naked Angels, Penguin Rep, The Flea, starring Chita Rivera, Ana Gasteyer, Michael Stahl-David, Jenn Gambatese, Penny Fuller, Marin Ireland; directed by Sheryl Kaller, Stafford Arima.  Winner “Holland New Voices Award,” GPTC.  Screenplay for My Name is David, w/Keith Powell (“Toofer” on “30 Rock”) Adapero Oduye (12 Years a Slave), Judy Reyes (“Scrubs”), Rich Sommer (“Mad Men”).  Currently: Two new plays; original musical with Tony Yazbeck.  As an actor: Paper Mill Playhouse, Pittsburgh CLO, Houston TUTS, Shakespeare Theatre of New Jersey, etc.


Jerry Lieblich’s work has been developed and performed at Playwrights Horizons, Clubbed Thumb, Soho Rep, Page 73, The Chocolate Factory, and PRELUDE. Plays include D Deb Debbie Deborah (Clubbed Thumb – NY Times and TimeOut NY Critic’s Pick) and Ghost Stories (with Tiny Little Band – TimeOut NY Critic’s Pick). www.tinylittleband.com


Jiehae Park’s work has been produced or developed through the Cherry Lane Mentor Project, Playwrights Horizons, Soho Rep, Berkeley Rep, the Public, & Ma-Yi. Awards: Leah Ryan, Princess Grace. Commissions: Playwrights Horizons, Actors Theater of Louisville. Residencies: MacDowell, Yaddo, Hedgebrook, & McCarter/Sallie B. Goodman.   Upcoming:  PEERLESS (Yale Rep).


Kate Attwell is a writer, director and performer. Her work has been seen at BAM (Everybooty), CATCH Performance Series, The Wassaic Project, The Stratford New Works Lab, The Bushwick Starr (Reading Series), JACK, LaMaMa, Dixon Place, The Brick Theater, Poet’s House, Tisch, The Wickham Theatre, The Yale Cabaret. Upcoming: Under the Radar Festival. BA The University of Bristol, MFA Yale School of Drama. She is a founding member of I AM A BOYS CHOIR.


Kate Tarker’s plays include THUNDERBODIESAn Almanac for Farmers and Lovers in Mexico (2015 Kilroys list), and Laura and the Sea (nominated for L. Arnold Weissberger Award). Ensemble generated work: Good Job Horses (A Majestic Comedy), and The Most Beautiful Thing in the World. Playwrights’ Center Core Writer. MFA Yale.


Liza Birkenmeier is currently a member of Play Group at Ars Nova and an Artist-in-Residence at University Settlement. Her work has been seen or heard at BAX, Dixon Place, The Catch Series, LACE, Invisible Dog, The Working Theatre, the San Diego Museum of Art, and Ars Nova.


 Phillip Howze is a playwright whose work includes abominableTiny Boyfriend and all of what you love and none of what you hate. A graduate of Yale School of Drama, his plays have been developed at Bay Area Playwrights Festival, The Bushwick Starr, Dixon Place, Theater Masters, Sundance Institute Theater Lab, and Yale Cabaret.


Sam Chanse has developed her work with Ma-Yi, the Lark, the Yale Institute for Music Theatre, Leviathan, the Claque, Second Generation, and Kaya Press. She is a member of the Ma-Yi Writers Lab and the 2015-16 Civilians R&D group, and a 2015 Sundance Ucross Playwright Fellow and MacDowell Fellow.


Sarah’s work has been developed/produced at Columbia University, |the claque|, DC Arts Center, Florida Studio Theatre, Kennedy Center, the LARK and New York Stage and Film. She’s a MacDowell and Millay Fellow, member of the Public’s Emerging Writers Group (2015) and alumni of Page 73’s Interstate 73. MFA: University of Iowa.

June 22nd, 2015

Announcing our next world premiere!



It’s the winter of 2040, and the world has changed – but maybe not by much. Timothy’s wife Judy has just left him, and he isn’t taking it well. His sisters, Tara and Kris, are trying to help him cope while working on their own love lives. The three of them seem to spend a lot of time in their basements, and the kids are starting to ask questions. Judy is a subterranean comedy about family life when technology fails and communication breaks down.

with Birgit Huppuch, Deirdre O’Connell and Danny Wolohan

Full cast announcement coming soon!
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Click here to learn more about Max!

Photo of Max by Evan Smith

March 23rd, 2015

Have a question about our application?

We may have the answer here! Check out our FAQs video, and remember to get to apply by April 15th!


Application FAQs from PAGE 73 on Vimeo.

February 25th, 2015

Announcing the 2015 Interstate 73 Members!

Congratulations to the 2015 members of Interstate 73!

The I73 writers group meets twice a month in Fort Greene, Brooklyn, giving its members an opportunity to share new pages, engage with other emerging writers, and receive developmental feedback and support. Each writer will also have the option of receiving a public or private reading sometime during the year.

We’re excited to work with these seven writers over the next year as they develop current drafts and generate new material.

Read more below about the newest members of the Page 73 family.

Greg BeamGreg 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 a member 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.

Steve DiUbaldoSteve 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.

Jerry LieblichJerry 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

Brian Otano

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).


Gabrielle ReismanGabrielle Reisman is a playwright and director based in New York and New Orleans. She is a member of the 2015 Interstate 73 writers group and participated in Page 73’s 2014 summer residency. She is a founder 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.

Tracy ThorneTracy 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.

Mfoniso UdofiaMfoniso 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.