Christine EvansCore Writers 2012
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
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Rita's daughter has confined her in a hospital for "a few tests." She plots her escape with the help of her Irish roommate, her elusive granddaughter, and her cat's new best friend—whom she suspects is the Devil—until a riotous party night forces her to choose between fleeing or facing the music. Can't Complain begins in a realist register, but Rita's haunted hearing aid soon takes us to far stranger territory.
Director: JESSI D. HILL
Sound design: KATHARINE HOROWITZFeaturing SHAVUNDA HORSLEY, LARISSA KIEL, PHIL KILBOURNE, WENDY LEHR and CLAUDIA WILKENS
All Souls' Day10 minute play
Description A child and her silent aunt are stranded on a beach in the aftermath of a civil war. Through game-playing and a dangerous game of hide and seek, the child pressures her aunt to return to the land of the living and admit the truth about her disappeared cousin.
(First produced Perishable Theatre.
Awards: Perishable Theatre Womens' Playwriting Festival winner.
Publication: www.hotreview.org; Theatron; The Australian Reader online.
MothergunDescription A group of three survivors from a fraticidal war, who have no common language, struggle to survive in the mud of a camp with only an unreliable translator to keep their fragile peace.
A child soldier leads the way to safety, with explosive results.
(First produced Perishable Theatre; dir. Vanessa Gilbert. )
Awards: Perishable Theatre Women's Playwriting Festival winner.
WeightlessDescription An American family become trapped in their penthouse apartment, isolated from the world by wealth, fear, and an excessive attention to hygiene. A live in maid is constantly remodeled by her plastic surgeon mistress, at the cost of her memory, gender and sense of gravity. But when gravity returns, the family's mirror-ball world explodes, leaving a surprising survivor.
(First produced Perishable Theatre; dir. Vanessa Gilbert.)
Set in a wealthy family’s penthouse at the top of a very tall building on The Island, Weightless is a dark farce about the fall of America.
Through plastic surgery, sex and altitude-induced amnesia, the family almost succeed in ignoring the dangerous crumbling of their fortress. Arrende, the Foreign Maid (played by a male actor) loses her sense of gravity, along with her female parts, memory and vernacular language, as Lillian, the agoraphobic plastic surgeon, slowly remodels her into a living work of art. Lillian’s lovelorn husband Horace devolves into a chicken who ‘nests’ in a pile of dollar bills; the violent son, Seth is kept constantly medicated by his lover/live-in nurse. But when gravity makes its inevitable return, their elevated world implodes, with savage and unexpected consequences.
Trojan BarbieDescription Past and present violently collide when Lotte, an English tourist who repairs dolls, is captured while on a tour of current-day Troy and flung back into the ancient camp of Euripides' Trojan Women. Her vacation gone horribly wrong, Lotte is finally rescued and life returns to normal--until Hecuba claws her way into the 21st century in search of her murdered children.
(Forthcoming production, American Repertory Theatre (A.R.T.); dir. Carmel O'Reilly.)
Awards: Jane Chambers Award, 2007.
Rhode Island State Council for the Arts Playwriting Fellowship, 2009
Playwrights Theatre "Plays for the 21st Century" Award, 2009
Publication: Theatre Forum, June 2009
My Vicious AngelDescription Pearl, a fallen trapeze artist, lands in hospital with a broken spine. Her childhood twin Merle haunts her and, through songs and games, tricks Pearl into revisiting a long-buried past. A kitchen tango, a parrot's betrayal, a father gone to sea and finally, an exchange in the haunted hospital room itself allow the twins to complete a story from which Pearl has fled and in which Merle has remained trapped until now.
(First produced Vitalstatistix, Australia; Belvoir St. Theatre, Australia. Dir. Rosalba Clemente.
Awards: Adelaide Critics Circle Award, Outstanding Production.)
Pussy BoyDescription PUSSY BOY is a dark and poetic urban fable, where racial and class tensions play out under a freeway overpass. Bill, a violent single father, tries to teach his dreamy son Algy how to repair buildings. But when Bill evicts their derelict tenant Daphne (and a singing Police Chorus confiscate her 14 dogs) Algy runs away. Bill tracks him down, finding him hiding with the Dog Lady, and a deadly test of loyalty is forced upon Algy.
(Workshop production, Brown New Plays Festival; workshop production, Belvoir St. downstairs, dir. Chris Mead).
Awards: Weston Award in Dramatic Writing
PUSSY BOY is a dark and poetic urban fable, where racial and class tensions play out under a freeway overpass. Bill, a violent single father, is teaching his son Algy carpentry (to ‘hammer straight & think useful’). But when Bill evicts their derelict tenant Daphne (and a singing Police Chorus confiscate her 14 dogs) Algy runs away. Bill tracks him down, finding him hiding with the Dog Lady, and a deadly test of loyalty is forced upon Algy.
The Police Chorus write an endless Report, but are distracted by lust and the moon; they appear as unreliable angels to the dreamy son, trapped between a violent world of broken masculinity, and the animal comforts of the Dog World.
Slow Falling BirdDescription Set in an Immigrant Detention Center in the Australian desert, Slow Falling Bird travels between two young asylum seekers from Afghanistan, a pair of guards of ambiguous morality and a refugee whose ailing newborn’s spirit haunts the play, refusing to incarnate into the desperate situation she sees below her. Adding to the disorder is the agoraphobic wife of one of the guards who longs for a child, but fears her husbands touch. The stakes involve a bargain for the newborn’s survival, struck between the refugee and the guard- a bargain that proves to be very expensive for all involved.
(First produced Crowded Fire; dir. Rebecca Novick).
Awards: Rella Lossy Playwriting Award
Monash National Playwriting Award (Australia)
Finalist: Patrick White Award.
Set in an Immigrant Detention Center in the Australian desert, the play travels between two young asylum seekers from Afghanistan, a pair of guards of ambiguous morality and a refugee whose ailing newborn’s spirit haunts the play, refusing to incarnate into the desperate situation she sees below her. Adding to the disorder is the agoraphobic wife of one of the guards who longs for a child, but fears her husbands touch. The stakes involve a bargain for the newborn’s survival, struck between the refugee and the guard- a bargain that proves to be very expensive for all involved. The play is written in a lyric, heightened style that touches upon both the real desert, and suggests a desert of the mind. It is set in the very real crisis of Afghan, Iranian and Iraqi immigrants who have flooded to Australia, only to find themselves imprisoned for years on end.