Application due: January 30, 2014
The Playwrights' Center invites committed professional playwrights to apply for the Core Writer Program. Created in recognition of the particular needs of emerging and established writers, the program offers significant resources intended to further a playwright's career and is available to writers nationally.
Playwrights who have benefited from the Core Writer Program include Christina Anderson, Trista Baldwin, Lee Blessing, George Brant, Carlyle Brown, Lonnie Carter, Constance Congdon, Marcus Gardley, Jeffrey Hatcher, Sherry Kramer, Carson Kreitzer, Melanie Marnich, Winter Miller, Gregory Moss, Qui Nguyen, Kira Obolensky and Elaine Romero.
Core Writer Benefits
Access to the Ruth Easton Lab Collaboration Fund (requests for proposals are sent to Core Writers in summertime) to develop new plays. Supported work must be developed at The Playwrights’ Center. For national writers this means a writer must travel to Minneapolis for the duration of the development activities. The Center will provide casting, space, and theater artist pay for development workshops. Limited funding is available to support travel and housing.
An individual profile page on the Center’s website enabling playwright to post a photo, bio, list of current plays, 10-page play samples, downloadable resume, a link to a directory of published works, and private messaging system.
New Plays on Campus
Priority access to the Center’s New Plays on Campus program that matches writers and plays to colleges and universities fostering new play productions on campuses nationwide.
Rehearsal Space / Photocopy Privileges
Free use of the Center’s rehearsal space (subject to availability) and photocopying privileges.
Priority access to playwright exchanges, residencies, and master classes.
Each term is three years; Core Writers may re-apply for additional terms.
Questions may be addressed to Artistic Administrator Amanda Robbins-Butcher.
Christina Anderson's plays include: Hollow Roots, Good Goods, Inked Baby, and Man in Love. Her work has appeared at the A.C.T., Penumbra Theater, About Face Theater, Playwrights Horizons, Crowded Fire, and other theaters across the country. Awards and honors include Susan Smith Blackburn nomination, Lorraine Hansberry Award, Van Lier Playwrighting Fellowship, Wasserstein Prize nomination, and Lucille Lortel Fellowship. She has a B.A. from Brown University and will soon have an M.F.A. from the Yale School of Drama. American Theatre Magazine selected Anderson as one of fifteen up-and-coming artists, "whose work will be transforming America's stages for decades to come."
Trista Baldwin is the recipient of two Jerome Fellowships, a McKnight Advancement Grant, a Saison Foundation residency and a Performing Arts Japan grant from the Japan Foundation. Plays include ANGEL FAT (The Lark New Play Development Center), KILL ME DON'T GO (Workhaus), AMERICAN SEXY (The Flea, The Guthrie), MESUJIKA DOE (Morishita Studios, Tokyo, Japan), SAND (Women's Project), DOE (Santiago a Mil Festival, Chile), PATTY RED PANTS and CHICKS WITH DICKS.
Currently in development is a new play in continued collaboration with Shirotama Hitsujiya and a commission for the History Theater about the surprising, and deeply American, history of cheerleading.
A native of the woods of Washington State, and sometime-New Yorker, she currently makes her home in Minneapolis, where she teaches playwriting and screenwriting at St. Cloud State University, is a co-founder of the Workhaus Collective, and a Core Writer of the Playwrights' Center. Trista is also the mother of two young daughters, who keep her writing like it's the end of this world. Her work is published by Heinemann and Playscripts.
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Lee Blessing's play's include: A Walk In The Woods (Broadway and London's West End), Going to St. Ives, (Outer Critic’s Circle Award, Best Play, Obie for ensemble performance); Thief River (Drama Desk nomination, Best Play); Cobb (Drama Desk award, best ensemble); Chesapeake, Eleemosynary and Down The Road. In the 1992-93 Signature Theatre season: Fortinbras, Lake Street Extension, Two Rooms and the world premiere of Patient A.
Recent regional world premieres: A Body of Water at the Guthrie Theater and the Old Globe Theatre; Lonesome Hollow, Flag Day and Whores, all at the Contemporary American Theatre Festival; The Scottish Play at La Jolla Playhouse; Black Sheep at Florida Stage and The Winning Streak at George Street Playhouse. Other plays: Independence, Riches, Oldtimers Game and Nice People Dancing To Good Country Music and Perilous Night, which will be stage-read at the Colorado New Play Summit in January.
Other awards: The American Theater Critics Circle Award, the L.A. Drama Critics Award, The Great American Play Award, The Humanitas Award and the George and Elisabeth Marton Award among others. Nominations for Tony and Olivier awards, as well as for the Pulitzer Prize. Blessing is married to playwright and TV writer Melanie Marnich and lives in New York He heads the graduate playwriting program at Mason Gross School of the Arts, Rutgers University.
George Brant's plays include Elephant's Graveyard, The Mourners' Bench, Any Other Name, Grizzly Mama, Grounded, Salvage, Three Voyages of the Lobotomobile, Defiant, Dark Room, Good on Paper, Ashes, NOK, The Lonesome Hoboes, One Hand Clapping, The Royal Historian of Oz, Lovely Letters, Three Men in a Boat, Borglum! The Mount Rushmore Musical, Tights on a Wire and Night of the Mime.
His work has been produced and developed by such companies as Trinity Repertory Company, the Kennedy Center, Cleveland Play House, Asolo Rep, Bay Area Playwrights Festival, Dobama Theatre, the Playwrights' Center, New Harmony Project, WordBRIDGE Playwrights Lab, the Hangar Theatre, Theatre 4, Equity Library Theatre, Premiere Stages, Florida Studio Theatre, Trustus Theatre, Elemental Theatre Collective, Balagan Theatre, the Drama League, the Disney Channel, Factory Theatre, Debutantes and Vagabonds, StreetSigns Theatre Company, and zeppo theater company, among others.
His scripts have been awarded the David Mark Cohen National Playwriting Award from the Kennedy Center, the Smith Prize, the Keene Prize for Literature, and an Ohio Arts Council Individual Excellence Award for 2012. He has received writing fellowships from the James A. Michener Center for Writers, the MacDowell Colony, the Djerassi Resident Artists Program and the Blue Mountain Center as well as commissions from Dobama Theatre and Theatre 4. George received his M.F.A. in Writing from the University of Texas at Austin and is a member of the Dramatists Guild. He is published by Samuel French and Smith & Kraus.
Carlyle Brown is a writer/performer and artistic director of Carlyle Brown & Company based in Minneapolis, which has produced The Masks of Othello: A Theatrical Essay, The Fula From America: An African Journey, Talking Masks, Are You Now Or Have You Ever Been… and Therapy and Resistance. His plays include The African Company Presents Richard III, The Little Tommy Parker Celebrated Colored Minstrel Show, Buffalo Hair, The Beggars' Strike, The Negro of Peter the Great, Pure Confidence, A Big Blue Nail, Dartmoor Prison and others. He has received commissions from Arena Stage, the Houston Grand Opera, the Children's Theatre Company, Alabama Shakespeare Festival, Actors Theatre of Louisville, The Goodman Theater, Miami University of Ohio and the University of Louisville. He is recipient of playwriting fellowships from the New York Foundation for the Arts, National Endowment for the Arts, McKnight Foundation, the Minnesota State Arts Board, Jerome Foundation, Theatre Communications Group and the Pew Charitable Trust. Mr. Brown has been artist-in-residence at New York University School of the Arts Graduate Acting Program, The James Thurber House in Columbus, and Ohio State University Theater Department where he directed his music drama, Yellow Moon Rising. He has been a teacher of expository writing at New York University; African-American literature at the University of Minnesota; playwriting at Ohio State University and Antioch College; African American theater and dramatic literature at Carlton College as the Benedict Distinguished Visiting Artist, and "Creation and Collaboration" at the University of Minnesota Department of Theater. He has worked as a museum exhibit writer and story consultant for the Charles Wright Museum of African American History in Detroit, and the Kentucky Center for African American Heritage in Louisville, Kentucky. Mr. Brown is a core alumnus of the Playwrights' Center in Minneapolis and he is an alumnus of New Dramatists in New York. He has served on the board of directors of The Playwrights' Center and Theatre Communications Group, the national organization for the non-profit professional theater and is a member of the board of the Jerome Foundation. He is a member of the Charleston Jazz Initiative Circle at the Avery Research Center for African American History and Culture at the College of Charleston in Charleston, South Carolina where his works and papers are archived. He is the 2006 recipient of The Black Theatre Network's Winona Lee Fletcher Award for outstanding achievement and artistic excellence, a 2008 Guggenheim Fellow, a 2010 recipient of the Otto Rene' Castillo Award for Political Theatre, and 2010 United States Artists Friends Fellowship.
Constance Congdon has been called "one of the best playwrights our country and our language has ever produced" by playwright Tony Kushner in Kushner's introduction to her collection Tales of the Lost Formicans and Other Plays. In addition to Tales of the Lost Formicans, which has had more than 300 productions worldwide, Congdon's plays include: Casanova, Dog Opera, both produced at the Public Theatre, Losing Father's Body (Portland Stage - Maine), Lips (Primary Stages), Native American (Portland Stage - Maine, Lyric Hammersmith Studio), The Children of the Elvi (Key City Public Theater), A Mother, starring Olympia Dukakis, and a new verse version of The Misanthrope, both commissioned and produced by American Conservatory Theater. Also at ACT: Moontel Six, a commission by the A.C.T. Young Conservatory and subsequently performed at London's National Theatre, followed by another production of the two-act version at San Francisco's Zeum and directed by Young Conservatory Director, Craig Slaight. The Automata Pietà, another YC commission, received its world premiere at San Francisco's Magic Theatre in 2002; Nightingales went to the Theatre Royale Bath's Youth Theatre. Congdon's No Mercy, and its companion piece, One Day Earlier, were part of the 2000 season devoted to Congdon at the Profile Theatre. Her latest play, Paradise Street, developed at New York Theatre Workshop, received its premiere production in Los Angeles at The Attic Theater by the Title 3 Company. She has also written a number of opera libretti and seven plays for the Children's Theatre Company of Minneapolis. Congdon's plays have been produced throughout the world, including Cairo and Berlin. Her plays are published, mainly, by Broadway Plays Publishing. Samuel French published Dog Opera. A collection of four of her plays has been published by TCG, Inc. Her new verse version of Tartuffe will be included in the next Norton Anthology of Drama, and is already out in a single-volume Norton Critical edition. She just finished Take Me to the River, commissioned by the Denver Theater Center. Her adaptation of A Servant of Two Masters was at Yale Rep, season 2010, and continued to The Shakespeare Theater in D.C. and the Guthrie Theater. Her adaptation of Moliere's The Imaginary Invalid has been produced in several regional theaters, most recently at Portland City Stage. In the works is No Little Rebellion, a play about the Daneil Shay's rebellion, commissioned by a consortium of Shakespeare theaters. She's been writing a long time and can thank the NEA, the Rockefeller Foundation, the W. Alton Jones Foundation, the Guggenheim Foundation, New York Newsdays Best Play Award, the Arnold Weisberger Award, the Berilla Kerr Award, and, most recently, the Helen Merrill Award for making this more possible. Congdon was just honored with an award "for distinguished service to the American theater" at the Great Plains Theater Conference. She's an alum of New Dramatists and a member of the Dramatists Guild and of PEN. Congdon has been teaching playwriting at Amherst College for two decades.
Jenny Connell Davis's plays include Dragon Play, The Scientific Method, The Psyche Project and A Play on War (an adaptation of Mother Courage and Her Children). Her stage plays been developed or produced with Ars Nova, NAATCO, Theatre MITU, New York Stage and Film, Shrewd Productions, Stage Left, and The Gift Theatre. Her short films have screened at festivals worldwide, including SxSW and Toronto. She has been a finalist or semi-finalist for the O'Neill, Seven Devils, BAPF, the Nicholl, and the Heideman. She is a proud member of Scriptworks (Austin), The Gift Theatre (Chicago) and former member of the Ars Nova Play Group (New York). Jenny trained as an actor at Court and Steppenwolf theaters in Chicago, and in playwriting at UT Austin.
Gabriel Jason Dean's plays have been produced or developed at New York Theatre Workshop, the Lark, New York Stage & Film, Oregon Shakespeare, the Kennedy Center, PlayPenn, ASSITEJ International, Red Orchid Theatre, Theatre Row, Hangar Theatre, Aurora Theatre, Dallas Children’s Theatre, People’s Light and Theatre and Illinois Shakespeare Festival to name a few. Gabriel has received multiple honors from the Kennedy Center including the Paula Vogel Prize, Ken Ludwig Prize, Theatre for Young Audiences Award, Runner-Up for the Harold & Mimi Steinberg National Playwriting Award and being developed at the New Visions / New Voices Conference. Other honors include the James A. Michener Fellowship at UT-Austin, Runner-Up for the New Dramatist's Princess Grace Award, New England Theatre Conference Aurand Harris Award, Essential Theatre New Play Prize and winner of the Samuel French Off-Off Broadway Festival. His plays have been finalists or semi-finalists for the Seven Devils Conference, The O’Neill Theatre Conference, JAW at Portland Center Stage, Bay Area Playwright’s Festival, Interact’s 20/20 Commissions, Page 73 Fellowship, the Julliard Wallace Fellowship, Lark Play Development Center and Aurora Theatre Global Age Project. His scripts are published through Samuel French, Dramatic Publishing and Playscripts. Gabriel is a CORE writer at the Playwright's Center in Minneapolis and on faculty for Spalding University’s Brief-Residency MFA Program. www.GabrielJasonDean.net
Dan Dietz’s plays include tempOdyssey, Tilt Angel, Americamisfit, and The Sandreckoner. His work has been commissioned, developed and presented at such venues as Actors Theatre of Louisville, the Guthrie Theater, the Public Theater, the Kennedy Center, Curious Theatre, NJ Rep, Salvage Vanguard Theater, Studio Theatre, the Playwrights’ Center, and Tiyatro-Z (Istanbul, Turkey). Dietz has been an NEA/TCG Theatre Residency Program for Playwrights recipient, a National New Play Network Rolling World Premiere recipient, a Josephine Bay Paul Fellow, and a James A. Michener Fellow, and has been nominated for the Weissberger Award and the ATCA Steinberg Award. Dietz has twice been a recipient of the Heideman Award.
Christine Evans' work has been produced, published and awarded in the U.S., Australia and the U.K. Her plays are published by Samuel French (Trojan Barbie), in Theatre Forum (Issue #35), and Smith & Kraus. War Plays, an anthology of her plays on that theme, was published by NoPassport Press in 2011.
Productions include multi-award winning Trojan Barbie (American Repertory Theatre, 2009; Playbox Theatre, U.K. 2011; Charing Cross Theatre, 2011); Weightless, Mothergun and All Souls' Day (Perishable Theatre; Actors' Theater; Boston Theater Marathon); Slow Falling Bird (Crowded Fire, San Francisco; Metro Arts, Brisbane), Fishbowl (Red Fern, “30+ NYC” and Boston Theater Marathon); My Vicious Angel (Belvoir St. Theatre; Adelaide International Festival, Australia; A.B.C. Radio Drama, Sydney) and Pussy Boy (Belvoir St. Downstairs). Evans' plays have been read or workshopped at the Young Vic and at the Royal Academy of Dramatic Art (RADA), London; the Bay Area Playwrights' Festival, the hotINK Festival of New Plays, Synchronicity Theatre, Playwrights' Theatre of New Jersey, Trinity Repertory Theatre, the Irish Repertory Theatre (NYC), Cutting Ball's "Risk Is This" Festival, Boston Playwrights' Theatre, the Process Series at UNC Chapel Hill, the Z Space, and elsewhere.
Honors include an Australia Council New Work Award ($50,000) to develop You Are Dead. You Are Here., the Rockefeller Center Bellagio Residency Award, a Fulbright Award in Visual and Performing Arts, the Rhode Island State Council on the Arts (RISCA) Playwriting Fellowship Award (2009) and Merit Award (2011); two Perishable Theatre Women's Playwriting Competition awards, two MacDowell Colony Fellowships, the Rella Lossy Playwriting Award, the 2007 Jane Chambers Playwriting Award, the "Plays for the 21st Century Award" and the Weston Prize for Dramatic Writing. Christine is a 2011 Resident Artist at HERE Arts (NY), and a Women's Project Playwrights' Lab Alum. She holds an M.F.A. and Ph.D. from Brown. She held a five-year position as Briggs-Copeland Lecturer on English at Harvard University from 2007-12 and in 2012, joined Georgetown University as Assistant Professor in Performing Arts. www.christine-evans-playwright.com
Barbara Field has had work produced across the United States, Canada and Europe. She served as playwright-in-residence at the distinguished Guthrie Theater from 1974 to 1981, creating a number of pieces: her translations include Marriage (Gogol), Monsieur de Moliere (Bulgakov), and Pantalgleize (Ghelderode). Adaptations for the Guthrie from novels include Camille (Dumas) and Playing With Fire, a response to Mary Shelley’s Frankenstein. An adaptation commissioned by the Seattle Children’s Theater of Great Expectations later played at the Guthrie and traveled the country on an 8-month tour. A revival of Great Expectations recently won a Los Angeles Drama Critics Circle Award. Field’s adaptation of A Christmas Carol has been a part of the Guthrie’s and the Missouri Rep’s seasons for 27 years. For the Seattle Children’s Theater she adapted The Boxcar Children in 1999. Her adaptation of Dreams in the Golden Country was recently performed at the Kennedy Center and on a national tour. Her adaptation of Scaramouche was recently seen at the Washington Shakespeare Theatre.
Her original work includes Neutral Countries, first produced at the Actors Theater of Louisville’s Humana Festival in 1983, where it was named Best American Play; Coming of Age for the Indiana Rep; Quality Time for the Pennsylvania Stage Company; Boundary Waters for California’s South Coast Rep (it subsequently won a 1992 DramaLogue Award); and Off the Ice for the Repertory Theater of St. Louis. Currently, she is working on I Was a Rat! for the Seattle Children’s Theatre.
She has written one original opera libretto, Rosina (with composer Hiram Titus), which was commissioned and produced by the Minnesota Opera, and has subsequently been seen elsewhere around the country. With Titus she created a musical, The Skinflint, for the Repertory Theater of St. Louis. She has just completed a new comedy, The Book of Vashti.
Field is a founding member of The Playwrights’ Center, Minneapolis, and is a site reporter for the National Endowment for the Arts. A book of seven of her plays for the Guthrie Theater, New Classics from the Guthrie Theater was published in 2003 by Smith & Kraus.
Barbara Field’s first anthology: Collected Plays, Volume One will be released later this month and available for purchase at The Playwrights’ Center. Collected Plays includes six of Field’s original works: Materia Medica, Matrix, Neutral Countries, The Education of Paul Bunyan, Boundary Waters, and Off The Ice.
“There are many virtues to a single-author collection. One is the opportunity to really hear what’s distinctive in a playwright’s voice across a number of plays.” – Michael Bigelow Dixon, Foreward, Collected Plays.
“Off The Ice…a delightful three-ring circus…Field has crafted an imaginative, bawdy, surprise-a-minute play, sprinkled with some brilliant dialogue and driven by the thrilling theme: ‘The whole point of emancipation is you own yourself.’ “– Patricia Corrigan, St. Louis Post-Dispatch
“We walked out of Boundary Waters uplifted and high on the miracle of life. What an intelligent, articulate work… All the way home we talked non-stop, energized by the myriad concepts and dichotomous connections that Barbara Field presented. Critic’s Choice.” – Shirle Gottlieb, Drama-Logue.
Marcus Gardley is a poet-playwright who has won the Helen Merrill Award, Kesselring honor, Gerbode Emerging Playwright and the ASCAP Cole Porter Prize. His most recent play Every Tongue Confess (2011) had a critically acclaimed run at Arena Stage starring Phylicia Rashad and directed by Kenny Leon. It was nominated for a Helen Hayes Award. Another play, … and Jesus Moonwalks the Mississippi, was produced at Cutting Ball Theater (2010) and was nominated for the Bay Area Theater Critics Outstanding Playwright Award. He’s had six productions including This World in a Woman’s Hands (2009), and dance of the holy ghost (2005). M.F.A., playwriting, Yale School of Drama. Member: New Dramatists. He is currently a Visiting Lecturer in Playwrighting at Brown University.
Idris Goodwin is a playwright, spoken word performer and essayist. His play How We Got On, developed at The Eugene O'Neill Theater Center premiered at The 2012 Humana Festival of New Plays. How We Got On (Playscripts, 2013) is being remounted by theaters across the country and was nominated for a ATCA Steinberg New Play award. He is currently developing work with Berkeley Rep, Denver Center Theater, Steppenwolf, StageOne and New Harmony Project. These Are The Breaks (Write Bloody, 2011), his debut collection of essays and poetry, was nominated for a Pushcart Prize. He’s performed on HBO, The Discovery Channel, Sesame Street and National Public Radio. He teaches performance writing and Hip Hop aesthetics at Colorado College.
Christina Ham's plays have been developed both nationally and internationally with the Center Theater Group, Goodman Theater, Guthrie Theater, Ensemble Studio Theatre, Penumbra Theatre, Off-Broadway at the SPF Summer Play Festival, SteppingStone Theatre, and the Tokyo International Arts Festival, among others. Christina is the recipient of a McKnight Advancement Grant and Jerome Fellowship from the Playwrights' Center in Minneapolis, the Marianne Murphy Women & Philanthropy Award in Playwriting, and a 2006 MacDowell Residency. She is a two-time nominee for the Cherry Lane Theatre Mentorship Program, a nominee for the L. Arnold Weissberger Award, and was nominated for the Center Theater Group's Richard E. Sherwood Award for Distinguished Emerging Theater Artist. She has received commissions from the Guthrie Theater, Ensemble Studio Theatre/Alfred P. Sloan Foundation, and Red Eye Theater, among others. Her feature-length screenplay Booker was a finalist for Tribeca Film Institute's All Access program. Her plays are published by Dramatic Publishing, Heinemann, PlayScripts, Inc., and Smith and Kraus. A graduate of the University of Southern California and UCLA's M.F.A. Playwriting program, Christina is a Core Writer of the Playwrights' Center and a member playwright of the Workhaus Collective and the Dramatists Guild of America.
BROADWAY: Never Gonna Dance (book).
OFF-BROADWAY: Three Viewings and A Picasso at Manhattan Theatre Club; Scotland Road and The Turn of the Screw at Primary Stages; Tuesdays with Morrie (with Mitch Albom) at The Minetta Lane; Murder by Poe, The Turn of the Screw, and The Spy at The Acting Company; Neddy at American Place; and Fellow Travelers at Manhattan Punchline.
OTHER PLAYS/THEATERS: Compleat Female Stage Beauty, Mrs. Mannerly, Murderers, Mercy of a Storm, Smash, Armadale, Korczak's Children, To Fool the Eye, The Falls, A Piece of the Rope, All the Way with LBJ, The Government Inspector, Dr. Jekyll and Mr. Hyde and others at The Guthrie, Old Globe, Yale Rep, The Geffen, Seattle Rep, Cincinnati Playhouse, Cleveland Playhouse, South Coast Rep, Arizona Theater Company, San Jose Rep, The Empty Space, Indiana Rep, Children's Theater Company, History Theater, Madison Rep, Intiman, Illusion, Denver Center, Oregon Shakespeare Festival, Alabama Shakespeare Festival, Milwaukee Rep, Repertory Theater of St. Louis, Actors Theater of Louisville, Philadelphia Theater Company, Asolo, City Theater, Studio Arena and dozens more in the U.S. and abroad.
FILM/ TV: Stage Beauty, Casanova, The Duchess and episodes of Columbo.
GRANTS/AWARDS: NEA, TCG, Lila Wallace Fund, Rosenthal New Play Prize, Frankel Award, Charles MacArthur Fellowship Award, McKnight Foundation, Jerome Foundation, and Barrymore Award Best New Play. He is a member and/or alumnus of The Playwrights Center, the Dramatists Guild, the Writers Guild, and New Dramatists.
Samuel D. Hunter's recent productions include: A Bright New Boise (Partial Comfort Productions, names one of New York Magazine's Top 10 Plays of 2010; upcoming production at Woolly Mammoth Theatre Company), The Whale (upcoming production at the Denver Center Theater Company), Jack's Precious Moment (Page 73 Productions, 59E59), and Five Genocides (Clubbed Thumb, Ohio Theater). He has had plays developed at the O'Neill Playwrights Conference, the Bay Area Playwrights Festival, the Ojai Playwrights Conference, PlayPenn, Juilliard, and elsewhere. Awards: 2011 Sky Cooper Prize, 2008-2009 PONY Fellowship, two Lincoln Center Le Compte du Nuoy Awards, others. He holds degrees in playwrighting from NYU, the Iowa Playwrights Workshop, and Juilliard.
Carson Kreitzer's plays include The Love Song of J. Robert Oppenheimer, SELF DEFENSE or death of some salesmen, 1:23, Flesh and the Desert, The Slow Drag (New York and London), Freakshow, Slither, Dead Wait, and Take My Breath Away, featured in BAM's 1997 Next Wave Festival. Her plays have been produced or developed by the Cincinnati Playhouse in the Park, the Public Theatre, The Royal Court Theatre, the Guthrie Theater, Portland Center Stage, Perishable Theatre, Clubbed Thumb, New Georges, Mabou Mines, Frank Theatre, the Actors Gang, and Next Theatre, among others. She is currently working with composer Matt Gould on a musical inspired by art deco artist Tamara de Lempicka, commissioned by Yale Rep and New Dramatists through Full Stage USA, and a commission for Marin Theatre Company and the National New Play Network. Grants: NYFA, NYSCA, the NEA, TCG, the Jerome and McKnight Foundations, Loewe Award in Music-Theatre, and the first Playwrights Of New York (PONY) Fellowship at the Lark Play Development Center. B.A.: Yale University. M.F.A.: Michener Center for Writers, UT Austin. Ms. Kreitzer is a resident playwright at New Dramatists, an associated artist with Clubbed Thumb and New Georges, and a member of the Workhaus Collective, the Playwrights' Center and the Dramatists Guild. Behind the Eye, her new play about surrealist muse and WWII combat photographer Lee Miller, premiered at the Cincinnati Playhouse in the Park, directed by Mark Wing-Davey, and supported by a grant from the NEA New Play Development Program. Her collection SELF DEFENSE and other plays is now available from NoPassport Press. More information at www.carsonkreitzer.com.
Marion McClinton (Lifetime Core Writer) Known for his award-winning Broadway and Off-Broadway productions of August Wilson’s work, with whom he had a long friendship and professional relationship, Marion directed Ma Rainey’s Black Bottom (Broadway revival), King Hedley II (Broadway premiere, regional theatres), Jitney (Off-Broadway, regional and international theatres), Gem of the Ocean (Goodman Theatre, Mark Taper Forum), Seven Guitars and Two Trains Running (CenterStage), Joe Turner’s Come and Gone (Missouri Repertory), Fences (Indiana Repertory Theatre, Paramount Pictures). Other directing credits include Breath Boom (Playwrights Horizons), Jar the Floor (Off-Broadway), Roar (New Group), Thunder Knocking on the Door (regional theatres), Drowning Crow (premiere, Broadway MTC), Elmina’s Kitchen (CenterStage), Yellowman (Mixed Blood/Guthrie Theater), Bulrusher (Pillsbury House) and Pure Confidence (Mixed Blood). Mr. McClinton is an Associate Artist of CenterStage. His plays include Police Boys and Stones and Bones (1994 Humana Festival). Awards include three Audelco Awards, Kesselring Prize, OBIE, NEA/TCG Pew Charitable Trust Grant, Drama Desk and Evening Standard nominations. He is an alumnus of both New Dramatists and the Playwrights’ Center.
Winter Miller's plays in development include: The Arrival (Sundance Institute, Playlabs, Hedgebrook and Voice&Vision's Envision), Paternity (Cherry Lane Mentor Project, mentored and directed by Craig Lucas), and the musical Amandine (Joe's Pub, Orchard Project, New York Theatre Workshop Monday@3, Electric Pear, Theatreworks). Published plays include: In Darfur, The Penetration Play and Conspicuous.
Ms. Miller is a founding member of the Obie-winning 13Playwrights, a Core Writer with the Playwrights Center and a New Georges Affiliated Artist. She holds an MFA from Columbia University and graduated cum laude from Smith College.
In Darfur premiered at The Public Theater, followed by a standing room only performance at their 1800-seat venue in Central Park, a first for a play by a woman. The play won the 2006 "Two-Headed Challenge" commission from the Guthrie and the Playwrights' Center. She traveled with her boss, New York Times Pulitzer-winning columnist Nicholas Kristof to the Chad/Sudan border to research on the ground. In Darfur has been produced in Chicago, Washington, D.C., Atlanta, Florida, Canada and staged nationally for benefit readings.
Ms. Miller was awarded fellowships from the Sundance Institute at Ucross, Hedgebrook and Voice&Vision. She is a Core Writer at The Playwrights Center 2011-2014. Commissions include: Joe's Pub, Keen Teens, Theatre Askew and Voices of Uganda. Theaters where her work has been produced or developed also include: The New Group, 13 Playwrights, TimeLine, The Donmar, Theater J, Rattlestick, Keen, Tricycle, New Georges, Geva, Horizon, Mosaic, Theatre Askew, Hourglass, Synapse and the 52nd Street Project. Her plays have been performed in London and Uganda and are published by Playscripts, Inc. The Penetration Play (produced by 13 Playwrights) is excerpted in Best Stage Scenes 2005 and Best Monologues 2005.
A playwriting instructor and mentor, Ms. Miller has led workshops with Primary Stages ESPA, Sundance, Stella Adler, Theatre Askew and Beacon High School and with youth in Northern Uganda and Palestine. She writes politically engaging plays with and for marginalized youth to perform, such as Home/Away, The F on My Chest (Theatre Askew) and Conspicuous (Keen Company). In 2007, Voices of Uganda brought Winter to northern Uganda to write short plays for a group of youth living in a refugee camp whose lives had been devastated by the Lord's Resistance Army and AIDS. Ruby Dee, Allison Janney and Liv Ullman have performed her monologue about a Ugandan grandmother, Lifelines. The Ugandan youth group formed a theater troupe and with NGO assistance performs the plays in Luo for refugee communities. The experience is documented in a forthcoming feature film, Staging Hope: Rebel Acts in Northern Uganda.
Ms. Miller's monologue Mother to Son, is published in Eve Ensler's anthology A Memory, A Monologue, A Rant and A Prayer and in the anthology Best Women's Monologues of The Millennium. Mother… toured cities with the photo exhibit, Darfur/Darfur and the documentary The Devil Came on Horseback.
She has written for publications including The New York Times, New York Magazine, The Boston Globe and been featured or interviewed in New York Magazine, Bomb, The New Yorker, NPR, MPR and elsewhere.
For reviews and further information: www.wintermiller.com
Gregory Moss is a writer and performer from Newburyport, Massachusetts.
He holds an M.F.A. from Brown University's Graduate Playwriting Program. His plays include Reunion, punkplay, The Uses of Enchantment, Billy Witch, and House of Gold.
His work has been developed with or produced by Rattlestick Playwrights Theatre, the A.R.T., The Atlantic Center for the Arts, The Empty Space, Playwrights Horizons, PlayPenn, Soho Rep and New York Theatre Workshop.
His collaborations with filmmaker Roger Warren Beebe have been screened widely at film festivals both in America and abroad.
Gregory is the recipient of a 2010-11 Jerome Fellowship and a 2011-12 McKnight Fellowship. Other awards: 2006-07 Lucille Lortel Playwriting Fellowship, a 2008 Millay Colony Residency, a 2009 Eugene O’Neill Center National Playwrights Conference residency. Gregory is a former member of ars nova’s Playgroup and Soho Rep’s New Writers Lab.
Recent productions include House of Gold (EST - LA), Billy Witch (Studio 42, NY), The Uses of Enchantment (Studio Festival, DC) and The Abducted (Collaboraction, Chicago).
Upcoming productions include Reunion (The Brown/Trinity Playwrights Rep Festival) and The Uses of Enchantment (Workhaus Collective).
Writing, video and audio are archived at www.gregorysmoss.com.
Qui Nguyen is a co-founder and Co-Artistic Director of the OBIE Award-winning Vampire Cowboys of New York City. Some of his recent plays include the hip-hop musical Krunk Fu Battle Battle (East West Players); The Inexplicable Redemption of Agent G, Soul Samurai (Ma-Yi Theater & Vampire Cowboys), the children’s comedy Aliens versus Cheerleaders (Keen Company); Bike Wreck (Ensemble Studio Theatre); and Alice in Slasherland (Vampire Cowboys). This season, his plays Fight Girl Battle World (originally produced by Vampire Cowboys) will have its Midwest Premiere with InFusion Theatre in Chicago and She Kills Monsters (The Flea) will have its Chicago Premiere as part of Steppenwolf's Garage Rep produced by Buzz22 and in Boston with Company One. Currently, Qui's working on a new children's musical with composer Shane Rettig for Children's Theatre Company in Minneapolis and on a new hybrid theatre piece entitled Trade Practices for HERE Arts Center in NYC with director Kristin Marting and co-writers Erin Courtney, Eisa Davis, Robert Lyons, KJ Sanchez, and Chris Wells. Along with his Core Membership at The Playwrights’ Center, Qui is also a proud member of New Dramatists, Ensemble Studio Theatre, and The Ma-Yi Writers Lab.
Kira Obolensky is a playwright and writer who lives in Minneapolis. New work includes Force/Matter, with Shawn McConneloug, The Oldest Story in the World, created collaboratively with Theatre Novi Most; Cabinet of Wonder: an impossible history (Open Eye, Minneapolis. Gas and Electric Arts, Philadelphia Barrymore best new play nomination); Raskol (commissioned and produced by Ten Thousand Things Theatre and featured on critics’ end of year lists); and Modern House, finalist for the Susan Smith Blackburne Prize. Kira is a Guggenheim Fellow and has also received fellowships and grants from the Henson Foundation, NEA and Irvine Foundations, Bush Foundation, McKnight Foundation, and Jerome Foundation. She attended Williams College and Juilliard’s Playwriting Program and y completed an M.F.A. in Fiction Writing at Warren Wilson’s M.F.A. Program for Writers. She is the author of three published books about architecture and design and is the co-author of the national bestseller The Not So Big House. A Core Writer at the Playwrights’ Center in Minneapolis, Kira teaches writing at Spalding University’s low residency M.F.A. program, at Goddard College's MFA Program in Interdisciplinary Arts in Vermont, and also at the University of Minnesota.
John Olive is a widely produced and award winning playwright, a novelist, a screenwriter and a popular teacher of creative writing.
His plays include: Standing on my Knees, Minnesota Moon, The Voice of the Prarie, Evelyn and the Polka King, Killers, The Summer Moon, The Ecstasy of St. Theresa, Careless Love, and many others. Producing theaters include: the Manhattan Theatre Club, Old Globe, Steppenwolf, Wisdom Bridge, South Coast Rep, Alley Theater, the Guthrie, Actors Theatre Of Louisville, the Oregon Shakespeare Festival, ACT/Seattle, and many others.
Lately John has written many plays for young audiences, both adaptations and originals: Sideways Stories from Wayside School, Johnny Tremain, Jason and the Golden Fleece, The Magic Bicycle, Pharaoh Serket and the Lost Stone of Fire, Water Babies, among others. These plays have been widely produced, at Seattle Children's Theatre, First Stage Milwaukee, Stage One Louisville, Oregon Children's, the Arden Theatre, People's Light and Theatre Co., Dallas Children's Theatre, Main Street Theatre, and others.
Awards include: Jerome Fellowship, McKnight Fellowships, National Endowment For The Arts Fellowship, Bush Fellowships, Society of Midland Authors Award For Drama (Standing on my Knees), Kennedy Center Award For New Plays (The Summer Moon), Rockefeller Residency (Wisdom Bridge). John has written screen and teleplays for: Disney, Amblin Entertainment, ShadowCatcher Entertainment, Yorktown Productions, Lorimar Television, among others. He has developed material at the O'Neill, Sundance, New Harmony Project, PlayLabs, etc. John has two prose projects going: a YA novel called Smartass and a nonfiction book about bedtime stories, Tell Me A Story In The Dark. Currently, John teaches screenwriting at the University of Minnesota.
He lives in Minneapolis with his wife Mary and their son Michael.
His website is: http://johnolive.net
Mat Smart is a Core Writer at the Playwrights’ Center, where he was a McKnight Advancement Grant and two-time Jerome Fellowship recipient. Samuel J. and K. premiered at Williamstown Theatre Festival starring Justin Long and Owiso Odera (subsequent productions include Steppenwolf and Passage Theatre). Other plays include: The Steadfast (Slant Theatre Project), The Hopper Collection (Magic Theatre and Huntington Theatre Company), The 13th of Paris (City Theatre, Seattle Public Theatre, Horizon Theatre, Public Theatre of Maine, Warehouse Theatre and LiveWire in Chicago) and The Bebop Heard in Okinawa (O’Neill Playwrights’ Conference). He has been commissioned by South Coast Rep and Huntington. Co-founder of Slant Theatre Project in NYC. MFA: UCSD. An avid baseball fan and traveler, Mat has been to 28 of the current MLB stadiums, all 50 states and 6 continents – including a recent stint working as a janitor at McMurdo Station in Antarctica. He is currently a member of the Dorothy Strelsin New American Writer’s Group at Primary Stages and this summer, he will be in The Working Farm, the inaugural writer’s group at SPACE on Ryder Farm. He lives in Brooklyn.
Lauren Yee’s plays include Ching Chong Chinaman; Crevice; Hookman; in a word; A Man, his Wife, and his Hat; Samsara; and The Tiger Among Us. She was a Dramatists Guild fellow, a MacDowell fellow, a MAP Fund grantee, and a member of The Public Theater’s Emerging Writers Group. She has been a finalist for the Jerome Fellowship, the PONY Fellowship, the Princess Grace Award, the Sundance Theatre Lab, and the Wasserstein Prize. Her play Samsara has been a nominee for the Susan Smith Blackburn Prize and the L. Arnold Weissberger Award, and will be workshopped at the O'Neill Conference this summer.
Her full-length work has been produced at AlterTheater, Artists at Play, City Lights Theatre Company, Company One, fu-GEN, the Hub Theatre, Impact Theatre, Moxie Theatre, Mu Performing Arts, Pan Asian Rep, SIS Productions, and others. Lauren’s work has also been developed at Lincoln Center Theatre/LCT3, The Public Theater, Rattlestick Playwrights Theatre, Playwrights Realm, Second Stage Theatre, Williamstown Theatre Festival, Aurora Theatre, the Bay Area Playwrights Festival, East West Players, the Hangar Theatre, Kitchen Dog Theatre, the Magic Theatre, Orlando Shakespeare Festival, PlayPenn, and the Playwrights’ Center.
Lauren is a Time Warner Fellow at the Women’s Project Playwrights Lab, a member of the Ma-Yi Theatre Writers Lab, the Shank playwright-in-residence at Second Stage Theatre, and the Page One resident playwright at Playwrights Realm. She is currently under commission from Lincoln Center Theatre/LCT3 and Encore Theatre Company (with support from the Gerbode Foundation). BA: Yale. MFA: UCSD. www.laurenyee.com