Theater Begins Here 

Playwrights' Center announces new Core Writers


George Brant, Carlyle Brown, Constance Congdon, Christine Evans, Carson Kreitzer, Gregory Moss to receive professional, artistic support

The Playwrights' Center today named George Brant, Carlyle Brown, Constance Congdon, Christine Evans, Carson Kreitzer and Gregory Moss as its newest Core Writers, who will receive professional and artistic support from the Center through June 2015.

The Center's competitive Core Writer program offers a host of benefits to playwrights, including intensive play development workshops, the chance to be considered for the Center's public PlayLabs Festival and Ruth Easton New Play Series, opportunities to connect with producing theaters, administrative support, and more. Applicants are chosen for three-year terms by a national panel of theater artists in consultation with the Center's artistic staff. 

The new class includes both alumni and newcomers to the Playwrights' Center. Acclaimed Twin Cities-based playwrights Carlyle Brown and Carson Kreitzer are previous Core Writers with long and rich histories with the Center, while Gregory Moss is a former Jerome Fellow and McKnight Advancement Grant recipient. Cleveland-based writer George Brant previously developed work at the Center through a 2008 Core Apprenticeship, part of the Center's innovative New Plays on Campus program. Renowned playwright Constance Congdon (Amherst, Mass.), author of Tales of the Lost Formicans and numerous other works, joins the Center for the first time. Playwright and multimedia artist Christine Evans (Washington, D.C.), whose award-winning Trojan Barbie received its world premiere at American Repertory Theatre in 2009, is also a newcomer to the Playwrights' Center.

"The Core Writer program is at the heart of the development and advocacy we do here," said Producing Artistic Director Jeremy B. Cohen. "For playwrights today, it makes a world of difference to have a long-term artistic home where your needs are the focus and priority of our work. I'm proud we can continue to offer that support to such a wide range of playwrights—incredible emerging writers making their mark, and also to modern masters."

Including the newest additions, the Center currently supports a roster of 25 Core Writers who represent seven states and a wide variety of artistic styles and cultural backgrounds.


GEORGE BRANT'S plays include Elephant's Graveyard, The Mourners' Bench, Any Other Name, Grounded and Three Voyages of the Lobotomobile. His scripts have been produced and developed internationally by Trinity Repertory, Cleveland Play House, Asolo Repertory, Bay Area Playwrights Festival, New Harmony Project, WordBRIDGE Playwrights Lab, and Premiere Stages, among others. He has been awarded the Kennedy Center's David Cohen National Playwriting Award, the Smith Prize, the Keene Prize for Literature, an OAC Individual Excellence Award for 2012, and writing fellowships from the MacDowell Colony, Blue Mountain Center and the Djerassi Resident Artists Program. 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, The Fula From America, Talking Masks, 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, American Family recently at Park Square Theatre 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, and the Goodman Theatre. He is the recipient of playwriting fellowships from the New York Foundation for the Arts, National Endowment for the Arts, McKnight Foundation, Minnesota State Arts Board, Jerome Foundation, Theatre Communications Group and the Pew Charitable Trust. A scholar and historian, Mr. Brown has been an artist in residence or visiting professor at several colleges and universities, and has worked as a museum exhibit writer and story consultant. He is the recipient of numerous awards including the Black Theatre Network's 2006 Winona Lee Fletcher Award for outstanding achievement and artistic excellence, a 2009 Guggenheim Fellowship, a 2010 Otto Rene Castillo Award for Political Theatre and a 2010 United States Artist 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 200 productions worldwide, Congdon's plays include: Casanova, Dog Opera (both produced at the Public Theater), Losing Father's Body  (Portland Stage, Maine), Lips (Primary Stages), Native American (Portland Stage, Maine, and Lyric Hammersmith  Studio). Her latest play, Paradise Street, is being developed at New York Theatre Workshop. She's been writing a long time and can thank the NEA, the Rockefeller Foundation, the W. Alton Jones Foundation, the Guggenheim Foundation, 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 Theatre Conference. She's an alumna of New Dramatists and a member of the Dramatists Guild and PEN. Congdon has been teaching playwriting at Amherst College since 1993.

CHRISTINE EVANS' production highlights include Trojan Barbie (American Repertory Theater and Playbox Theatre, U.K.); Slow Falling Bird (Crowded Fire); Weightless, Mothergun and All Souls' Day (Perishable Theatre); My Vicious Angel (Belvoir St. Theatre and the Adelaide International Festival of the Arts). Samuel French, Smith and Kraus, Theater Forum and NoPassport Press have published her work. Honors include a Rockefeller Bellagio Award, a Fulbright Award, the Jane Chambers Playwriting Award and the RISCA Playwriting Award. Evans is a Resident Artist at HERE (NY) and holds an M.F.A. and Ph.D. from Brown.  After completing a five-year lectureship at Harvard, she joins the Georgetown Department of Performing Arts in 2012.

CARSON KREITZER'S plays include The Love Song of J. Robert Oppenheimer, Self Defense, The Slow Drag (New York and London), 1:23, Freakshow, Slither, Behind The Eye, about surrealist muse and WWII Combat Photographer Lee Miller (Cincinnati Playhouse), and Flesh and the Desert, which premiered in January with the Workhaus Collective. Grants: NYFA, NYSCA, the NEA, TCG, the Jerome and McKnight foundations, and the first Playwrights Of New York (PONY) Fellowship at the Lark Play Development Center. Affilliations: Workhaus Collective, the Playwrights' Center, the Dramatists Guild, and New Dramatists. She and composer Matt Gould are currently under commission from Yale Rep and New Dramatists for their new musical Lempicka. More information at

GREGORY MOSS is a writer and performer from Newburyport, MA. His plays include The Uses of Enchantment, Billy Witch, House of Gold, Reunion and punkplay, among others. His work has been developed with or produced by La Comédie Française, the A.R.T., Atlantic Center for the Arts, The Empty Space, Playwrights Horizons, Clubbed Thumb, Soho Rep, New York Theatre Workshop, Steppenwolf, EST-LA, and the Guthrie. Gregory is a proud member of the Workhaus Collective, Minneapolis's only playwright-driven theater company. Gregory is the recipient of a 2006-07 Lucille Lortel Fellowship, a 2009 O'Neill Center residency, a 2010-11 Jerome Fellowship, and a 2011-12 McKnight Fellowship. Current projects include commissions from Playwrights Horizons, Woolly Mammoth, Clubbed Thumb, and a new musical about the life and work of Hunter S. Thompson for La Jolla Playhouse. Writing, video and audio are archived at

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