The Riant Theatre (Van Dirk Fisher, Artistic Director) — the Audelco Award-winning nonprofit providing a nurturing developmental environment for playwrights and theatre creators of diverse cultural backgrounds — proudly presents THE STRAWBERRY ONE-ACT FESTIVAL. A celebration of cultural diversity, THE STRAWBERRY ONE-ACT FESTIVAL will be presented at the Theatre at St. Clement’s (423 West 46th Street, between 9th and 10th Avenues, NYC) Thursday, July 13th through Sunday, July 30th, 2017. This summer’s festival marks the 30th Season of The Riant Theatre’s renowned short play competition, and also will feature the premieres of three full-length one-act plays. Reflecting the diversity written into the mission of its presenter, THE STRAWBERRY ONE-ACT FESTIVAL has produced over 1,500 one-act plays since it began in 1995 (in recent years, the festival has often been presented biannually due to demand from artist submissions and audiences alike).
Tickets for all performances during THE STRAWBERRY ONE-ACT FESTIVAL are priced as follows: General admission – $25 advance/$27 at the box office, Premium seating – $30 advance/$35 at the box office. Tickets are on sale now through www.therianttheatre.com or by calling 646-623-3488. Festival Pass discount packages are also available upon request.
A dark comedy that combines the intricacies of interpersonal relationships, the supernatural and the apocalypse. 7/13 at 7pm, 7/15 at 7pm, 7/16 at 9pm & 7/20 at 7pm
Buy Tickets Click Here.
Fri, July 14 at 7pm / Sun, July 16 at 7pm / Sun, July 23 at 5pm / Mon, July 24 at 9pm
The world mourned for a few days, but these women will mourn for eternity. Buy Tickets Click Here.
Wed, July 19th at 7pm / Sat, July 22nd at 3pm / Sat, July 22nd at 9pm / Mon, July 24th at 7pm
The first time taking a new path can change your journey forever.
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Friday, July 21st at 7:30pm / Friday, July 28th at 6:00pm / Sunday, July 30th at 4:30pm
Two strangers, an affluent, middle-aged divorcee and a sardonic, gay Mexican American stylist, volunteer at a West Hollywood suicide hotline. Unqualified and without guidance, they are forced to fend for themselves. Despite ostensible contrasts, they somehow find an intimacy between them as they tackle increasingly dire phone calls, as well as their own existential crisis.
Playwright Robert Ellsworth, a Boston native, graduated cum laude from UCLA with a BA in Creative Writing and an MFA from Cal State Los Angeles. A former journalist, his writings have appeared in Elle, US Weekly, FHM, Vogue, the Boston Globe, The National Post and Movieline. Ellsworth has also sold three feature film screenplays to such major studios as Touchstone, Village Road Show and Warner Brothers. He has worked for Paramount Pictures, Shonda Rhymes and ABC Studios. Ellsworth’s script, The Sect, was the 2016 recipient of the Best Feature Screenplay Award for the 25th Annual California Media Arts Festival. He currently teaches Media Ethics and Journalism at Cal State Los Angeles and is working on his second play.
To See A Description Of All The Plays In The Festival Click Here.
Click Here to check out the workshops we are offering for Actors, Singers, Spoken Word Artists. Improv Workshop & Performance, Creating Vision Boards, Auditions Essentials for Singers & Actors, Movement Classes, Acting For Stage, Screen & TV and Having a Career in Media, Work with a Life Coach. Spoken Word & Performance Workshop.
THE KILROYS Photo credit: Elisabeth Caren at The Wallis Annenberg Center for the Performing Arts
Continuing the fight to achieve gender parity in the American Theater, LA-based playwright/producer collective The Kilroys has facilitated its fourth annual List of industry-recommended new plays.
The List 2017 features the most recommended un- and under-produced plays written by female and trans writers of color, following a survey of hundreds of professional artistic directors, literary managers, professors, producers, directors, and dramaturgs. The List is organized by The Kilroys: an independent, LA-based group of female playwrights and producers, dedicated to taking action in the face of gender disparity in American Theatre.
In 2014, The Kilroys created The List survey in response to systemic gender bias in theater programming. The vetted collection of industry-recommended works was designed to bring worthy plays by female and trans playwrights to the forefront of the American theater conversation. And it has. In the first three years of its existence, The List has featured 131 plays (46 plays on the List 2014; 53 plays on The List 2015; 32 plays on the List 2016), and over 1,000 plays have been nominated by hundreds of industry professionals. Since then, more than 100 productions of plays on The List have been mounted or announced.
Momentum for female theater makers is on the rise, despite continued under-representation of female and trans playwrights on American stages. According to The Count, an ongoing study funded by The Lilly Awards and The Dramatists Guild released in 2015, just 22% of productions in regional theaters over the previous three years were written by women.
However, only 3.4% of the overall plays produced reported by The Count were written by women of color. This year’s List assembled by The Kilroys addresses this concern in the hopes for inclusive parity.
The Kilroys seek to focus attention on underrepresented voices as a powerful means of overcoming systemic and implicit biases that create exclusion. Through our and others’ efforts, the results of attention on underrepresented voices has increased visibility and opportunity. Historically, female and trans writers of color face additional discrimination. This year, in an effort to widen our scope and attention toward the underrepresented, and explore the intersectional facets that make up the dynamics of bias, The Kilroys have asked nominators to recommend plays by female and trans writers of color, resulting in The List 2017.
The List serves as a resource for producers and theaters committed to gender parity. The Kilroys have partnered with the New Play Exchange to provide interested parties fast and easy access to The List plays.
The List survey uses the following criteria this year:
Each industry respondent may recommend 3-5 plays, representing the best work they have encountered in the past 12 months.
A nominated play must be un-produced, or have had no more than one production.
A nominated play must be by an author of color who identifies as female or trans.
Plays on The List 2014, 2015 and 2016 are not eligible.
Theater professionals who have read or seen at least 40 plays in the previous year are invited to nominate themselves as respondents for next year’s List. Recommendations are submitted anonymously. Members of The Kilroys act as facilitators and do not recommend plays for The List.
CAMBODIAN ROCKBAND PLAY by Lauren Yee
Part comedy, part mystery, part rock concert, this thrilling story toggles back and forth in time, as father and daughter face the music of the past. Neary, a young Cambodian American has found evidence that could finally put away the Khmer Rouge’s chief henchman. But her work is far from done. When Dad shows up unannounced—his first return to Cambodia since fleeing 30 years ago—it’s clear this isn’t just a pleasure trip.
THE GREAT LEAP by Lauren Yee
When an American college basketball team travels to Beijing for an exhibition game in 1989, the drama on the court goes deeper than the strain between their countries. For two men with a past and one teen with a future, it’s a chance to stake their moment in history and claim personal victories off the scoreboard. American coach Saul grapples with his relevance to the sport, Chinese coach Wen Chang must decide his role in his rapidly-changing country and Chinese American player Manford seeks a lost connection. Tensions rise right up to the final buzzer as history collides with the action in the stadium. Inspired by events in the life of the playwright’s own father.
YOGA PLAY by Dipika Guha
Just when newly hired CEO Joan is about to launch a new brand of women’s yoga pants, yoga apparel giant Jojomon is hit by a terrible scandal. Desperate to win back the company’s reputation (and her own), Joan stakes everything on a plan so crazy it just might work. YOGA PLAY is a journey towards enlightenment in a world determined to sell it.
THIRST by C. A. Johnson
Samira and Greta lead a peaceful life. They have their own clearing in the woods, their own hut, and their son Kalil to keep them laughing. When Kalil returns home one day without their water rations, however, Samira and Greta find themselves in conflict with their local political leader. Set in a tense segregated society, Thirst is a complex look at race and love in war-time.
BLKS by aziza barnes
Some days feel like they will never end. After a morning that includes a cancer scare and kicking her girlfriend out of the house, Octavia decides to have a last turn up with her best friends.
IF PRETTY HURTS THEN UGLY MUST BE A MUHFUCKA: AN UNDERSTANDING OF A WEST AFRICAN FOLKTALE by Tori Sampson
In Affreakah-Amirrorkah, an imaginary but uncannily familiar place, debutantes Akim, Adama, Kaya, and Massassi embody the culture’s notion of Beauty in all its shades and shapes. Still, something about Akim sets her apart, and her allure makes her a target for Massassi and her pretty, “jealous” peers. If Pretty Hurts Ugly Must Be a Muhfucka weaves contemporary African and American cultures into a sweeping journey about what—and whom—we suppress in pursuit of an ideal always just beyond reach.
IS GOD IS by Aleshea Harris
IS GOD IS is an epic tale of twin sisters who, haunted by a brutal family history, sojourn West to seek revenge.
WE, THE INVISIBLES by Susan Soon He Stanton
In 2011, the director of the International Monetary Fund was accused of sexual assault by a hotel maid, Nafissatou Diallo, but all charges were dismissed. we, the invisibles shares the rarely-heard stories of people like Diallo, people from all over the globe working at New York’s luxury hotels. Funny, poignant, and brutally honest by turns, the play is an investigation of the complicated relationship between movers and shakers and the people who change their sheets.
QUEEN by Madhuri Shekar
At the very last minute, a scientist realizes that her groundbreaking environmental paper – co-authored with her best friend – is based on flawed data. Should she risk her friendship, her career, the fate of the world… for the truth?
THE OPPORTUNITIES OF EXTINCTION by Sam Chanse
Taking refuge from a twitterstorm and other assorted upheaval on a last-minute camping trip, Mel and Arjun meet Georgia, a solitary young woman studying the impact of climate change on the imperiled Joshua tree.
HANG MAN by Stacy Amma Osei-Kuffour
The community of a shitty southern town grapples with the murder of a Black man who is found hanging from a tree.
LAST NIGHT AND THE NIGHT BEFORE by Donnetta Lavinia Grays
When Monique and her 10-year-old daughter Samantha show up unexpectedly on her sister’s Brooklyn doorstep, it’s the beginning of the end for Rachel and her partner Nadima’s orderly lifestyle. Monique is on the run from deep trouble, her husband Reggie is nowhere to be seen, and Samantha becomes ever haunted by the life in southern Georgia she was forced to leave behind. Poetic, dark and often deeply funny Last Night and the Night Before explores the complex power, necessity, and beauty of loss.
EL HURACÁN by Charise Castro Smith
In Miami, on the eve of Hurricane Andrew, three generations of women huddle together to weather the storm. Beset by late-stage Alzheimers, Valeria (the family matriarch and a former magicienne) wanders between present-day family tensions and the siren call of her memories. But thirty years later, in the wake of a seemingly unforgivable mistake, the family is faced with the impossible necessity of reconciliation. Inspired by Shakespeare’s The Tempest, El Huracán is a story about what we carry when we’re forced to leave everything behind.
TWO MILE HOLLOW by Leah Nanako Winkler
When the Donnelly’s gather for a weekend in the country to gather their belongings for their recently sold estate—both an internal storm and a literal storm brews (uh oh!). As this brood of famous, longing-to-be-famous and kind of a mess but totally Caucasian family comes together with their non-white personal assistant, Charlotte, some really really really really really complicated and totally unique secrets are revealed over white wine…
BLACK SUPER HERO MAGIC MAMA by Inda Craig-Galván
Sabrina Jackson cannot cope with the death of her 14-year-old son by a White cop. Rather than herald the Black Lives Matter movement, Sabrina retreats inward, living out a comic book superhero fantasy. Will Sabrina stay in this splash-and-pow dream world where sons don’t die, or return to reality and mourn her loss?
ENDLINGS by Celine Song
On the island of Man-Jae in Korea, three elderly women spend their dying days diving into the ocean to harvest seafood with nothing but a rusty knife. They are “haenyeos”— “sea women” —and there are no heiresses to their millennium-old tradition. ENDLINGS is a real estate lesson from the last three remaining “haenyeos” in the world: don’t live on an island. Unless it’s the island of Manhattan…
EVE’S SONG by Patricia Ione Lloyd
Outside, black men and women are being killed by police. Inside, Deborah is trying to keep her smart-but-weird son and newly-out daughter safe and happy as light bulbs pop, shadows come to life, and the house gets strangely colder. With theatricality and lyricism, this unlikely ghost story explores what it means to let your song be heard in a world that’s trying to silence you.
TO THE YELLOW HOUSE by Kimber Lee
1888. Paris and Provence. A failing artist in desperate pursuit of a new way of seeing, haunted by his past, and hoping to remake his future in the color and light of the south. At what point in an endless cycle of failures does faith and persistence become delusion and foolishness? A meditation on love, art, and not being popular.
florissant & canfield by Kristiana Rae Colón
at the intersection of tear gas and teddy bear memorials, at the intersection of darren wilson and michael brown, at the intersection of looting and liberation, florissant & canfield refracts the realities of ferguson in the wake of the black lives matter movement. colliding in the unlikely eden of a civil rights renaissance, a newly formed alliance of protesters are forced to put their nascent ideologies to the test in the quest for new visions of justice.
LES FRÉRES by Sandra A. Daley-Sharif
Inspired by Lorainne Hansberry’s Les Blancs, Les Fréres tells the story of three estranged brothers of Haitian descent, who come home to Harlem for their father’s final days. Troubled memories filled with anger and abuse come rushing back as they deal with their father’s death. They are forced to deal with how each choose to deal with memories, how each have escaped, feelings of abandonment, betrayal and loss. Finally, the end asks two of the brothers if they will escape back into the lives they have forged for themselves or will they try to make new life amongst the embers of pain. The play deals with issues of race and culture, family, and identity.
THE HOMECOMING QUEEN by Ngozi Anyanwu
A bestselling novelist returns to Nigeria to care for her ailing father, but before she can bury him, she must relearn the traditions she’s long forgotten. Having been absent for over a decade, she must collide with her culture, traumatic past, painful regrets, and the deep, deep love she thought she could never have.
REDWOOD by Brittany K. Allen
Redwood concerns an interracial couple (Meg, a middle school teacher, and Drew, a physicist) who are thrown into crisis when Meg’s recently-retired Uncle Stevie makes a project of charting the family tree, via Ancestry.com. When Stevie discovers that his would-be nephew-in-law is heir apparent to the family that owned his (and subsequently, Meg’s) relatives in an antebellum Kentucky, a time and space-bending dramedy of manners gone very far South ensues. Long-dead ancestors appear, to comment on their light-skinned progeny. Meg speechifies on the nature of forgetting before the State Senate, and a hip-hop dance class chorus guides the action. The play is interested in the ways love can and cannot transcend both modern social barriers and historical power structures. Meg and Drew must learn if we can we ever truly forgive, champion or fully understand those beloved who are fundamentally ‘other.’
BURNED by Amina Henry
Jamal wants to be force for good, like a Jedi in Star Wars, but he did a bad thing, firebombing a synagogue for money. Now he wonders if he’s an evil Sith. A fugitive, he lays low at his mother Mary’s house. Mary and Jo, Jamal’s girlfriend, wonder about the good and evil in Jamal, too, as they witness the different parts of him. For Officer Brown, Jamal is just one thing: black.
HATEFUCK by Rehana Lew Mirza
A local Michigan literary professor seeks out a famous Muslim-American novelist to find out if he’s a self-hating Islamophobe or a really good lay. But they find that getting under each other’s skin can easily become a habit, for better or worse.
MAGIC CITY OR JULIE IN BASEL by Hilary Bettis
An explosive elixir of power, class, and immigration status, which, when shaken hard with love and betrayal, creates a dangerous cocktail that threatens to destroy lives. In this Spanish language infused contemporary adaptation of Strindberg’s Miss Julie is set in the back kitchen of a Miami hotel during a night of debauchery.
NOMAD MOTEL by Carla Ching
Alix lives in a tiny motel room with her mother and two brothers, scrabbling to make weekly rent. Mason lives comfortably in a grand, empty house while his father runs jobs for the Hong Kong Triad. Until the day his father disappears and Mason has to figure out how to come up with grocery money and dodge Child Services and the INS. Mason and Alex develop an unlikely friendship, struggling to survive, and trying to outrun the mistakes of their parents. Will they make it out or fall through the cracks? A play about Motel Kids and Parachute Kids raising themselves and living at the poverty line in a land of plenty.
NOURA by Heather Raffo
NOURA reflects the dilemma facing modern America: do we live for each other or for ourselves? Told from inside the marriage of an Iraqi immigrant family to New York, the play speaks directly to modern marriage and the leaving of home. This fast paced script highlights an acutely relevant awakening of identity that tackles our notions of, shame, violence, assimilation, exile and love. It’s a unique insight into the interior crisis that lies behind the collapse of the modern Middle East and America’s inseparable relationship to it.
USUAL GIRLS by Ming Peiffer
On an elementary school playground, a boy threatens to tell on a group of girls for swearing – unless one of them kisses him. But just before lips can touch, Kyeoung tackles the boy to the ground. The victory is short-lived. Over the coming years, Kyeoung herself is knocked down again and again. By an alcoholic dad. A group of quick-to-judge friends. And an endlessly invasive parade of men. As we follow Kyeoung from the discoveries of childhood to the realities of adulthood, her stories get stranger, funnier, more harrowing – and more familiar. How do girls grow up? Quickly, painfully, wondrously.
AZUL by Christina Quintana
When a lifelong New Yorker faces the loss of her Cuban-born mother and her own sense of identity in the process, she digs into her legacy and uncovers the story of her mother’s beloved aunt, her own tia-abuela whom she never met. While the family fled Cuba at the time of Castro’s revolution, she remained on the island for the love of another woman—a complicated choice in a less forgiving time.
BREACH: A MANIFESTO ON RACE IN AMERICA THROUGH THE EYES OF A BLACK GIRL RECOVERING FROM SELF HATE by Antoinette Nwandu
What happens when a woman trapped in a dead-end job and a fizzling relationship accidentally gets pregnant by a man that she’s not dating? A coming of age story about race, class and motherhood, BREACH examines how hard it is to love others when it’s you that you loathe most of all.
HOW TO CATCH CREATION by Christina Anderson
A wrongly convicted man is released from prison after 25 years. As he settles into a new life he begins the quest to become a father. Spanning more than 40 years, this play explores family, connection, parenthood, and the right to start over.
NIKE or WE DON’T NEED ANOTHER HERO by Ngozi Anyanwu
Is an Origin story of the Goddess Nike and a retelling of the Olympus myth Black Greek Super hero style
SELLING KABUL by Sylvia Khoury
Taroon once served as an interpreter for the United States military in Afghanistan. Now the Americans – and their promises of safety – are gone, and Taroon spends his days in his sister Afiya’s apartment, hiding from the increasingly powerful Taliban. Desperate to escape with his wife and newborn son, Taroon must navigate a country left in upheaval, in which everyone must fend for themselves and few can be trusted.
SOMEBODY’S DAUGHTER by Chisa Hutchinson
A Chinese-American guidance counselor helps a troubled protege through some gender-bias bullshit.
THE PAPER DREAMS OF HARRY CHIN by Jessica Huang
During the Chinese Exclusion Act, Harry Chin, a Chinese national, entered the U.S. by buying forged documentation. Like other “Paper Sons,” Harry underwent a brutal detention and interrogation, and lived the rest of his life keeping secrets – even from his daughter. Told through the eyes of a middle-aged Chin, THE PAPER DREAMS OF HARRY CHIN reveals the complicated loves and regrets of this Chinese immigrant who wound up in Minnesota. Through dreamlike leaps of time and space and with the powerful assistance of ghosts, the story of the Chin family reveals the personal and political repercussions of making group of people “illegal.”
THE THANKSGIVING PLAY by Larissa FastHorse
In this satirical comedy, a mismatched but well-meaning foursome sets out to devise a politically correct school play that can somehow sensitively celebrate both Thanksgiving and Native American Heritage Month. How can this wildly diverse quartet-separated by cultural chasms and vastly different perspectives on history-navigate a complicated, hilarious thicket of privilege, representation, and of course school district regulations? The schools are waiting, and the pageant must go on!
UNRELIABLE by Dipika Guha
Gretchen is a lawyer. Yusuf is her client. Yusuf is being held indefinitely without trial for terrorism. Hattie is Gretchen’s mother. Only, Hattie thinks Gretchen is a secretary, Gretchen thinks Hattie is sick and Yusuf believes he’s been framed. In a world of competing narratives, facts no longer exist. UNRELIABLE investigates the consequences of living only in a story of your choosing.
THE KILROYS are a gang of playwrights and producers in LA who are done talking about gender parity and are taking action. They mobilize others in their field and leverage their own power to support one another. They are Zakiyyah Alexander, Bekah Brunstetter, Sheila Callaghan, Carla Ching, Annah Feinberg, Sarah Gubbins, Laura Jacqmin, Joy Meads, Kelly Miller, Meg Miroshnik, Daria Polatin, Tanya Saracho, and Marisa Wegrzyn.
BIOS FOR THE KILROYS
ZAKIYYAH ALEXANDER’s work has been seen and developed around the country, including: 10 Things To Do Before I Die (Second Stage), Sweet Maladies (Brava Theater Center, Rucker Theater) and, The Etymology of Bird (Summerstage). Her musical, GIRL Shakes Loose, has been the recipient of a Map and Joyce Fund Award, developed at the O’Neill Music Theater Conference and recently received a world premiere at Penumbra Theater. An alumni of: The MacDowell Arts Colony, New Dramatists, Center Theater Groups Writers Lab, Women’s Project Lab, Drama League Fellow, Youngblood EST. Yale School of Drama: MFA in playwriting. Zakiyyah has written for: 24 Legacy and Grey’s Anatomy.
BEKAH BRUNSTETTER’s plays include The Cake (upcoming at The Echo Theater, La Jolla), Going to a Place Where you Already Are (SCR), The Oregon Trail (O’Neill Playwright’s Conference), Be A Good Little Widow (Ars Nova, The Old Globe) and Oohrah! (The Atlantic; Steppenwolf Garage). She has written for Switched at Birth and Starz’ American Gods and is currently a producer on NBC’s This is Us. MFA, the New School for Drama. http://blog.bekahbrunstetter.com
SHEILA CALLAGHAN is a NY and LA based playwright, founding member of the Obie winning playwright’s organization 13P, and New Dramatists alum. Plays include Scab, Crumble (Lay Me Down, Justin Timberlake), Dead City, That Pretty Pretty; Or, The Rape Play, Everything You Touch, Elevada, and Women Laughing Alone With Salad. She is published with Playscripts and Samuel French, and several of her collected works are published with Counterpoint Press. Sheila is currently a writer/producer on the Showtime comedy Shameless. http://www.sheilacallaghan.com
CARLA CHING is a native Angeleno who fell into theater in New York. Her plays include Nomad Motel (forthcoming at City Theatre in Pittsburgh; O’Neill Playwrights Conference), The Two Kids That Blow Shit Up (Artists at Play; Mu Performing Arts; Huntington’s Breaking Ground), Fast Company (EST; South Coast Rep; Lyric Stage; Porkfilled Players), TBA (2g) and The Sugar House at the Edge of the Wilderness (Ma-Yi) among others. Alumna of the Women’s Project Lab, Lark Playwrights Workshop, CTG Writers’ Workshop and the Ma-Yi Writers Lab. Former Artistic Director of Asian American theater company, 2g. Proud member of New Dramatists. Carla has written on Amazon’s I Love Dick, USA’s Graceland, AMC’s Fear the Walking Dead and The First forthcoming from Hulu. http://carlaching.com
ANNAH FEINBERG’s plays, which include The Beautiful Beautiful Sea Next Door, Numismatics, and The Ivories, have been developed and produced by Ars Nova, Naked Angels, EBE Ensemble, The Blank and Clubbed Thumb. She has served in artistic and literary capacities for The Civilians, LCT3, MTC, Steppenwolf, Northlight, ICM, TimeLine and 13P. She wrote and directed short film “Gretch and Tim”, cartoons @memyselvesand, and her musical web series “Balloon Room” is coming soon. She served as script coordinator on I Love Dick, and has assisted on Arrested Development, Flaked, Damien and Veep. MFA Dramaturgy: Columbia University. http://www.annahfeinberg.com
SARAH GUBBINS hails from Chicago. Her plays include The Kid Thing (Jeff Award and Edgerton Foundation New American Play Award), fml: how Carson McCullers saved my life, Fair Use, The Drinking Problem, and Cocked. She’s has been a Carl J. Djerassi Fellow and Jerome Fellow. Currently she’s a Core Writer of the Playwrights’ Center. She holds a M.F.A. from Northwestern University in Writing for the Screen + Stage. She lives in Los Angeles.
LAURA JACQMIN is a writer for television, video games, and the live theatre. She currently writes for Get Shorty (MGM/Epix). Plays: Residence (40th Humana Festival of New American Plays at Actors Theatre of Louisville), A Third (Finborough Theatre), Look, We Are Breathing (Sundance Theatre Lab; Rivendell Theatre), January Joiner (Long Wharf Theatre), Ski Dubai (Steppenwolf Theatre), Dental Society Midwinter Meeting (Chicago Dramatists/At Play, remounted 16th Street Theater and Theater on the Lake; Williamstown Theatre Festival), and more. Awards: Wasserstein Prize, two NEA Art Works Grants, ATHE-Kennedy Center David Mark Cohen Playwriting Award, two MacDowell Fellowships. Other television: Grace and Frankie (Netflix); Lucky 7 (ABC). Video games: The Walking Dead – A New Frontier: The Telltale Series and Minecraft: Story Mode (both with Telltale Games). BA Yale University, MFA Ohio University. http://www.laurajacqmin.com
JOY MEADS is Literary Manager/Artistic Engagement Strategist at Center Theatre Group. Recent dramaturgy credits include Forever by Dael Orlandersmith, Marjorie Prime by Jordan Harrison (2015 Pulitzer Prize finalist), The Royale by Marco Ramirez, & Radiate by Daniel Alexander Jones. Previously, Joy was Literary Manager at Steppenwolf Theatre Company and Associate Artistic Director at California Shakespeare Theater. Joy has also developed plays with NYTW, Berkeley Rep, Denver Center, the O’Neill, Portland Center Stage, South Coast Rep, & Campo Santo, among others.
KELLY MILLER is a Manager at The Shuman Company in LA. Recently, she served as the Director of Development for New Neighborhood and as South Coast Repertory’s Literary Director and the Co-Director of the Pacific Playwrights Festival from 2009-2015. She dramaturged over 40 world premiere productions and readings at SCR and created the CrossRoads commissioning project. Miller has worked at Actors Theatre of Louisville, Williamstown, Long Wharf Theatre and consulted for the O’Neill, Berkeley Rep, the Kennedy Center, Public Theater, Native Voices at the Autry and many others. Recent residencies include Lake Tofte Center and SPACE on Ryder Farm. She serves on the board for the Women’s Project Theater and is an Ambassador-at-Large for the National New Play Network. She develops new work with her company Creative Destruction.
MEG MIROSHNIK is an LA-based, Minneapolis-bred playwright who writes heightened language. Plays include The Fairytale Lives of Russian Girls (Yale Rep; Alliance), The Tall Girls (Alliance; O’Neill; La Jolla Playhouse DNA Series), The Droll (Pacific Playwrights Festival; Undermain) and Lady Tattoo (Pacific Playwrights Festival, Rattlestick F*cking Good Plays Festival). Awards: Whiting Award, Susan Smith Blackburn finalist, Alliance/Kendeda Graduate Playwriting Award. Publications: Samuel French. MFA: Yale School of Drama under Paula Vogel. Affiliation: Core Writer at the Playwrights’ Center. Upcoming: Sonnet: A Play, a Shakespeare-inspired commission for the Acting Company.
DARIA POLATIN is a playwright, TV writer and author. Daria’s plays include Palmyra, In Tandem, Guidance, That First Fall, D.C., and The Luxor Express, inspired by her father’s life growing up in Egypt; work produced at The Kennedy Center, Actors Theatre of Louisville, Naked Angels, Ensemble Studio Theatre NY, Golden Thread Productions, Noor Theatre, Malibu Playhouse, Cape Cod Theatre Project, in London, Los Angeles, and Hong Kong. Member of Center Theatre Group Writers’ Workshop, Echo Theater Writer’s Lab, residency with London’s Royal Court Theatre, alumna of Youngblood. Daria has directed plays, and her short film, “Till It Gets Weird.” She writes for the upcoming Amazon TV series Jack Ryan, starring John Krasinski, and wrote for the Hulu psychic drama Shut Eye. Daria’s debut novel Devil in Ohio will be published in November 2017 by Macmillan. Awards: Kennedy Center/A.C.T.F. Best One-Act Play, Middle East America Playwriting Prize Honorable Mention, Wasserstein Prize Nominee, Princess Grace Award Finalist; MFA Columbia University. http://www.dariapolatin.com
TANYA SARACHO was born in Los Mochis, Sinaloa, México. She is a playwright and Television Writer who’s worked on How To Get Away With Murder, HBO’s Looking, & Girls, and Devious Maids. She is creating and has been tapped as showrunner by Starz for “Pour Vida,” a series in development. Named “Best New Playwright” by Chicago Magazine, Saracho has had plays produced at: Primary Stages in NYC, 2nd Stage in NYC, Denver Theatre Center, Oregon Shakespeare Festival, The Goodman Theater, Steppenwolf Theater, Teatro Vista, Teatro Luna, Fountain Theater, Clubbed Thumb, NEXT Theater and 16th Street Theater. Saracho was named one of nine national Latino “Luminarios” by Café magazine and given the first “Revolucionario” Award in Theater by the National Museum of Mexican Art. She is the founder of Teatro Luna (the first all-Latina Theatre Company in the nation, now defunct) as well as the founder of ALTA (Alliance of Latino Theatre Artists). Saracho is currently in development with Big Beach Films for a project about brujería and under commission with: South Coast Repertory Theatre and Two Rivers Theatre.
MARISA WEGRZYN Chicago playwright working in LA. Writer of Mud Blue Sky, The Butcher of Baraboo, Hickorydickory, Killing Women, Ten Cent Night, other stuff. Gigs at Steppenwolf, Second Stage NYC, Baltimore Center Stage, A Red Orchid Theatre, Chicago Dramatists, Theatre Seven, Moxie Theatre, other places. Winner of the Wendy Wasserstein Playwriting Prize. Writer on TV shows Mind Games (ABC), The Mentalist (CBS), and Feed the Beast (AMC). Enjoys weather.
Where are you performing your show and why is it a good fit for your production?
I’m so excited to be bringing this to Feinstein’s/54 Below. It’s a beautiful venue and I thought it’s especially fitting since the food is amazing…and this is a musical (comedy) about how my stomach exploded and I couldn’t eat or drink for six years! Spoiler alert – I can eat and drink now. So let’s just say I am REALLY looking forward to grabbing a meal afterwards!
What’s next for you?
A lot of great projects! I’m always touring Gutless & Grateful, not only to theatres, but to colleges, conferences, organization, military support groups, temples advocacy groups – you name it – as a mental health, PTSD, disability, sexual assault and leadership program, so this show is always in my heart…but more exciting for me, I’m developing plenty of new shows at once! . I’m developing a musical, LEFTOVERS with director and dramaturge Susan Einhorn, which is a musicalized version of my “Musical chair-like” transition out of the surgical ICU. Other projects include a multidisciplinary solo play, “Trust/In Development,” based on my most recent TEDx Talk, using Joseph Campbell’s archetypal hero’s journey to portray the “heroic adventures” in recovery, and after completing a residency at Art Kibbutz, I created a documentary drama based on 300 pages of transcribed oral histories from my grandmother and her nine siblings, after surviving Auschwitz. Judaism has been an overflowing source of playwriting inspiration, and its resilient stories have also inspired two short plays, “Factory Treasures” and “We Re-Member,” based on the garment factory that my grandparents established after immigrating to New York.
What is the name of the last show you saw?
I just saw “Soot and Spit” directed by Kim Weild, Written by Charles Mee at New Ohio Factory Theatre – I had the privilege of writing up an interview I did with Kim on the show for Huffington Post and BroadwayWorld. I left simply speechless. I still am. AMAZING!
Any advice for your peers?
Start from anywhere. Don’t compare yourself and work with what you have. But don’t accept what you start with. Visualize what you’d like to be and manifest it – will it. The most important thing is to really tune into your passion and work from there – wherever it may lead you – no matter how crazy. If it is authentic, it’s real. And with a bit of dedication, it will happen.
Amy Oestreicher is a PTSD peer-to-peer specialist, artist, author, writer for Huffington Post, speaker for TEDx and RAINN, health advocate, survivor, award-winning actress, and playwright, sharing the lessons learned from trauma through her writing, mixed media art, performance and inspirational speaking. As the creator of “Gutless & Grateful,” her BroadwayWorld-nominated one-woman autobiographical musical, she’s toured theatres nationwide, along with a program combining mental health advocacy, sexual assault awareness and Broadway Theatre for college campuses and international conferences. She has studied as a playwright and performance artist in the National Musical Theatre Institute at the world-renowned Eugene O’Neill Theater Center. Her original, full-length drama, Imprints, premiered at the NYC Producer’s Club in May 2016, exploring how trauma affects the family as well as the individual. To celebrate her own “beautiful detour”, Amy created the #LoveMyDetour campaign, to help others cope in the face of unexpected events. “Detourism” is also the subject of her TEDx and upcoming book, My Beautiful Detour, available December 2017. As Eastern Regional Recipient of Convatec’s Great Comebacks Award, she’s spoken to hundreds of healthcare professionals at national WOCN conferences, and her presentations on diversity, leadership and trauma have been featured at National Mental Health America Conference, New England Educational Opportunity Association’s 40 Anniversary Conference, and have been keynotes at the Pacific Rim Conference of Diversity and Disability in Hawaii, the Eating Recovery Foundation First Annual Benefit in Colorado. She’s contributed to over 70 notable online and print publications, and her story has appeared on NBC’s TODAY, CBS, Cosmopolitan, among others. Learn more: amyoes.com.
Show Information:
When: June 30th at 9:30pm
Where: Feinstein’s/54 Below (254 West 54th Street)
Use the discount code AMY35 but only if you make reservations beforehand!
“Caught Dreaming,” is a passion project straight from the mind of brand new playwright Ryan Dancho
Where are you performing your show and why is it a good fit for your production?
The show is at the New York Theeaterfest Summerfest playing on July 27, 29 and 30th. Ryan Dancho, the playwright, is immensely talented and has a unique voice that comes across in the play by bringing a non-voyeuristic perspective to mental health. Because he has such a fresh new voice, this playwright-focused festival provides the perfect venue to introduce him to New York. You can hear Ryan talk about personal connection to mental health issues and his impetuous for writing this important play from his Kickstarter video. (You’ll also get a sense of his off-beat sense of humor that is certainly not lacking in the script)! https://www.kickstarter.com/projects/2000611737/caught-dreaming-the-play
What’s next for you?
I’m actually working in four New Play festivals this summer! Before “Caught Dreaming,” you can see “Forever Young” by Judd Lear Silverman at The Gallery Players Black Box Fest (June 16 – 18), “Appetizers,” by Scott C. Sickles at The Greenhouse Ensemble’s 10 Minute Play Soiree (June 23 -25)
What is the name of the last show you saw?
“Composure,” by Scott Sickles at The Workshop Theatre
Any advice for your peers?
Schedule at least an hour every day where you are not allowed to think about your schedule.
Sara Rademacher is the Co-Founder and former Artistic Director of Elements Theatre Collective, whose mission is to bring professional quality theatre free of charge to audiences with limited access. Sara is dedicated to creating theatre to engage her community both locally and globally. She holds an MFA in Theatre Directing from Columbia University in New York City, where she currently lives and works. Some Favorite directing credits include The Last Five Years, Gruesome Playground Injuries, The Love Song of J. Robert Oppenheimer, and boom. Before forming Elements, she studied theatre in South Africa, and earned her BA in Dramatic Arts at UCSB. She has worked in Casting, Assistant Directing, Dramaturgy and other internships regional theaters including The Guthrie, Seattle Repertory, Mixed Blood, Marin Theatre, and more. Sara currently works at The National Theatre Conference. She continues to serve on the Board at Elements.
Show Information:
When: Caught Dreaming at The New York Theaterfest Summerfest plays July 27th at 9pm, July 29th at 1pm and July 30th at 6pm.
What is your current project?The (Last) Station – a play based on an avant garde text by Eugene Myzica
Where are you performing your show and why is it a good fit for your production?
We are starting our play off at Dixon Place on April 7th. We are a company that relies on venues and festivals that welcome experimentation and open their doors to young theatre companies that are building their audiences and are constantly searching for their own unique theatre language. The spirit of adventure, constant artistic search and dedication to the process are all of utmost importance in our work. We feel that Dixon Place and the audience it attracts are in tune with our vision.
What’s next for you?
We are preparing to perform at The Planet Connections Festival. This venue will be very different from Dixon Place main stage. We are always excited to adjust our shows for different spaces and learn from the feedback we receive. Each new venue is a new adventure.
What is the name of the last show you saw?
Last Work by Batsheva Dance Company. What was most fascinating is how dance affects the audience in a very direct and emotional way bypassing the intellect. The show was both meditative and passionate. It was very inspiring to watch and learn from this company.
Any advice for your peers?
Have fun. The moment you feel this whole theater/film business is turning into endless heavy lifting and a source of stress, take a pause, breath in and think of where the joy could have gone. Find it. Keep playing.
Irina started as a classical and ballroom dancer in Belarus. She traveled Europe with dance companies and eventually an Experimental Youth Theater company. In 2007, Irina came to NYC and studied at HB Studio with Aleksey Burago and Snezhana Chernova, Ilse Pfeifer and Michael Blake. In 2010 her teachers, other actors, love, Spring and New York inspired her to direct her first show Playgrounded. It played at HB Studio and Manhattan Repertory Theatre in NYC and the magic of theater began. From 2010 to 2014 Irina worked as a choreographer and actor with such companies as the Russian Arts Theater & Studio, Nylon Fusion Theater Company, Yangtze Repertory Theater of America, the Bedlam Ensemble, etc. In 2014 Irina co-directed Requiem by Hanoch Levin that was produced by the Tank Theater. She grew to love cinematic language and played leading roles in According to Her (2015, feature film, dir. Estelle Artus) and The Girl On The Ledge (2015, feature film, dir. Paul Rothman), she also appeared on TV Shows such as The Americans and The Blacklist. In 2014 Irina co-founded Necessary I.T.E.M.S. Project. In 2016, Irina also joined the innovative Off Off Broadway Theatre Company Blessed Unrest.
What is your current project?The Bitter Tears of Petra von Kant
Where are you performing your show and why is it a good fit for your production?
The play is being performed at The New Ohio Theatre and it’s a great fit because it’s in the heart of the gay neighborhood of Chelsea. The play centers on a complex relationship between three women. The New Ohio is the home for the downtown, experimental theater and our production fits in that world perfectly.
What’s next for you?
I’m developing a new musical during a residency at People’s Improv Theater in April as well as releasing Season Two of our company’s webseries, [Blank] My Life. I’m also directing Crimes of The Heart outside of Rochester this summer and directing our company’s new musical Grindr The Musical in Italy.
What is the name of the last show you saw?
Beardo by Pipeline Theater Company
Any advice for your peers?
“It’s a marathon, not a race.” As of now, I’m very excited about the works I get to develop and create. I chose theatre as my life’s work because I enjoy collaborating with artists, and getting to do that is the ultimate goal (not comparing myself to my peers). The other piece of advice I can offer is the same piece of advice I received some years ago from two great directors, Michael Rau and Kim Weild, while at the Kennedy Center, “direct every single day.” Which essentially means, practice your craft every single day of your life. Never give up practicing. Since I’m not yet fortunate enough to be in the rehearsal room every single day, I’ve had to define what ‘practice’ means to me. I recommend all aspiring directors to practice every single day. Finally, directing is not only about what you do ‘in’ the room, but also how to get ‘into’ the room. Directing is not only creative but also a test of your resourcefulness.
Benjamin Viertel (Director & Co-Artistic Director) Upcoming: CRIMES OF THE HEART (Bristol Valley Theater); GRINDR THE MUSICAL (Pleasance Theater, London & Teatro Elfo Puccini, Milan). Past: FIREFACE (The Brick), CLIPPED (Atlantic Stage II), AVENUE Q (BVT), and award-winning webseries [BLANK] MY LIFE. Benjamin has worked with BAM, Roundabout Theater Company, Huntington Theater Company, The New Group, and The Civilians. Member of Kennedy Center Director’s Lab, MTC’s Directing Fellow, The Civilian’s R&D Group, and Resident Artist at The Brick and Abrons Arts Center. Co-founder and Artistic Director of Third Space. Education: Carnegie Mellon University. http://www.benjaminviertel.com
Show Information
When: February 17th through March 11th Where:The New Ohio Theatre Address:154 Christopher Street, Suite 1E Website/Ticketing URL: https://web.ovationtix.com/trs/pr/968065
Where are you performing it and why is it the right fit for your piece?
Ben: Tony Torn and Will Dagger are performing the show (my first full-length play) as an Ars Nova Fling, with Dutch Kills producing. Ars Nova’s an ideal space for the production, not only because it’s an intimate and flexible space, but because it draws energy and resonance from the dozens of hyper-inventive premieres that have passed through it. I’m thrilled to be there.
Tony: Ars Nova is an intimate space that works well for an intimate play.
What’s next for you?
Tony: I’m appearing in the upcoming Signature Theater revival of Suzan-Lori Parks’ VENUS.
Ben: I’ll be appearing opposite two-time Tony-winner Christian Borle in a reading of Brecht’s RESISTIBLE RISE OF ARTURO UI and in The Assembly’s critically acclaimed HOME/SICK, a play I co-wrote and perform in that chronicles the rise and fall of a group of would-be American revolutionaries in the 1960s.
Who is your biggest inspiration right at this moment and why?
Tony: My wife, poet Lee Ann Brown
Ben: I’ve been thinking a lot about DON QUIXOTE lately, especially in the wake of the election and in the midst of a new administration apparently determined to forcefully divorce themselves and their supporters from demonstrable realities.
Tony’s Twitter: @tonytorn
Tony Torn is an actor and director known for his extensive work with Reza Abdoh and Richard Foreman, and for being a founding director of Reverend Billy and The Church of Stop Shopping. He recently played the title role in Ubu Sings Ubu, a rock opera adaptation of Alfred Jarry’s Ubu Roi which he created and co-directed with Dan Safer of Witness Relocation. He can currently be seen in Ben Beckley’s Latter Days at Ars Nova. He manages Torn Page, a salon space and classroom in Chelsea which is dedicated to the artistic legacy of his parents, Rip Torn and Geraldine Page.
As a writer, Ben has premiered work with The Assembly, F*It Club, and Blue Box Productions. As an actor, he appeared in Dying For It with Atlantic Theater Company and in the first national Broadway tour of Peter and the Starcatcher. Other credits include Berkshire Theatre Group, TACT, New Georges, Human Head, Joe’s Pub, Temporary Distortion (four international tours) and The Flea, where he premiered work with Adam Rapp and Christopher Durang. As a member of The Assembly, he has co-created five original productions. His on-screen credits include The Onion, The Jew of Malta, and The Revolution. Upcoming: The Assembly’s HOME/SICK at JACK.
Show information (venue, dates, ticket info)
LATTER DAYS runs February 13 – March 11 at 7:00pm.
Theater 511
511 West 54thStreet at 10th Avenue — accessible from the C & E trains at 50th Street.
Tickets are $25.
To purchase tickets, call 212-352-3101 or visit http://www.dutchkillstheater.com.
Where are you performing it and why is it the right fit for your piece?
Jersey City Theater Center. We are a part of their Borderless season which is a perfect fit as the show is set in Mumbai, India but touches universal issues like human rights, women’s issues and gender issues.
What’s next for you?
We will be announcing our dates for Hoboken soon and are performing in Washington DC this summer.
Who is your biggest inspiration right at this moment and why?
Amir Khan. His commitment to art and his choice of material is phenomenal. I learn so much from him and his movies. I hope to get to work with him one day.
Dipti discovered the power of theater at a young age of 6 in Mumbai, India when she was first cast in a school play, which marked the beginning of her acting career. She was unaware at that young age that she had indeed discovered her calling. She was fortunate to have her own radio shows featured on All India Radio from the young age of 13 eventually leading to a career as a radio jockey and a voice over artist.
According to her, theater is a powerful means to bring social transformation. Desire to make a difference through art is at the core of her projects and is reflected in “HONOUR: Confessions of a Mumbai Courtesan”.
She is a feminist and an advocate of women’s rights. She has been on interactive anti-sex trafficking panels with FBI agent Mara Schneider, Writer and Social worker, Stuart Perrin, Law professor Gloria Brown Marshal, and groups like ECPAT and AF3IRM.
She believes that art is not distinct from life. It is with this belief she created “HONOUR: CMC”, as an attempt to make a difference in the world.
TV credits include The Blacklist (NBC), Golden Boy (CBS), Deadline Crime with Tamron Hall (Investigation Discovery), One Life to Live, Virrudh, Hum-Tum, and Yoga for you. Film credits include Accommodations, Humor Me, Split, I Dream of Hope, Midnight Delight, Far Away, Penumbra (Cannes Short Film Corner), A box came to Brooklyn, Life! Camera Action (Winner- 11 nominations and 3 awards), A good life, Walkaway, Mamarosh, Red Corvette, Victory, Colors of Passion, and Summer of 2007. Theater credits include Half Hearted (Cherry Lane Theater), Grahan…the Eclipse (Winner – 4 awards), Nishfal (Winner-2 awards), Get Back, Vagina Monologues (Abingdon Theater), Honour (Fringe-NYC, La MaMa & Urban Stages) and Bollywood Wedding.
Dipti works at Memorial Sloan Kettering Cancer Center in the field of prostate cancer and owns a holistic skincare company called “Dees Apothecary”. When she is not working on one of her projects she can be found reading on a park bench or cooking for friends and family.
Where are you performing it and why is it the right fit for your piece?
The Parkside Players in Forest Hills, NY
The reason it’s the best fit is probably because they were crazy enough to approve it for this season. I’m only kidding. Parkside is an amazing community theatre group with a core group of dedicated volunteers that dig in, and do whatever it takes to get each show off the ground. The level of talent that shows up for auditions is extraordinary, and the President and board are incredibly supportive to their directors and actors. Fro actors it’s a great place to work and improve.
Also, the regular Parkside patrons will LOVE this show. It has everything you want in a production. Suspense, humor, and a mystery to solve. So many motives, secrets, and twists.
This is the only play Agatha Christie wrote that features her beloved sleuth Hercule Poirot. Jim Haines (Poirot in our production) brings a very fresh take on the popular character, and is surrounded by cast of standouts.
What’s next for you?
I’ll be playing the role Daddy in George Dunn’s production of “My personal jungle gym”.
Also a few projects in development (that sounds cool, right?)
Who is your biggest inspiration right at this moment and why?
Personally: My son George is my biggest inspiration. Not only does he challenge me every day, but he sets a great example of how to treat people, and enjoy life.
Professionally: I’m the product of every director I’ve ever worked with and every artist I’ve ever shared the stage with or watched.
Mark has been active in Collegiate, Community and Regional theatre since 1996. Mark returns to Parkside having directed the 2016 production of You Can’t Take it With You, and the 2012 production of The Man Who Came To Dinner. Mark has acted in festivals and other productions around Manhattan, Hoboken, Jersey City and Forest Hills. Mark has been recognized with various awards and nominations for his work. Mark is a visual artist and enjoys painting, and drawing. ILYB
Show information (venue, dates, ticket info)
Grace Lutheran Church
103-15 Union Turnpike
Forest Hills, NY 11375
Performances
Fridays, February 24 & March 3 @ 8:00 PM
Saturdays, February 18, 25 & March 4 @ 8:00 PM
Sundays, February 19 & 26 @ 2:00 PM
What is your current project? Rotten Apple: Escape to LA?
Where are you performing it and why is it the right fit for your piece?
We’re performing our new show at the Frigid Fringe festival. The Frigid Festival takes place during the coldest time of the year in New York City, when we’re all probably asking ourselves the same question. “Why do I live here?” Frigid brings in shows from across New York and elsewhere, creating a perfect backdrop to reflect on our city versus other places we could be living.
Rotten Apple Comedy was born out of our frustrations with life in New York City. The challenges here can make anyone think about moving at times. For performers, the alternative is often Los Angeles. We have many friends who have given in to siren call of the West Coast and started new lives.
What’s next for you?
We’re currently planning another run of this show later this year. Please check out our website for show updates and filmed sketches.
Who is your biggest inspiration right at this moment and why?
Together with our director, Chris Booth, we drew inspiration from wacky comedies such as the Naked Gun movies, classic comedy duos such as Abbot & Costello, and Looney Tunes (always a favorite.)
One of Amanda’s favorite comedy movies is “Abbot and Costello meet Frankenstein” which she was introduced to by her dad.
We’ve been writing a lot of sketches centered around wacky characters. Bringing a variety of voices and big physicality to them just fits!
Matthew K Sears is a New York comedian and improviser originally from Maine. He has been writing and performing with Amanda as Rotten Apple for four years, as well as doing stand-up, improvising, and producing videos on his own. You can see him every month at the PIT Loft as part of the Campaign and find some of his videos at Cancel Into Super on YouTube.
Amanda Nicastro – Outside of producing content for Rotten Apple Amanda has traveled as far as The Orlando Fringe Festival with her one woman show “I’m Just Kidneying” which is about her becoming a living kidney donor. She has been a performer at the SoloCom Festival in New York three consecutive years in a row. Amanda has performed and written for a variety of shows produced at The People’s Improv Theater including SKTCH SHW, Electoral Dysfunction, Ladies of the PIT, and David Carl’s Road to the Whitehouse: A Donald Trump Rally. Amanda has also directed for Emerging Artists New Works Series, taught with Naked Angels Theater company, and created web/app content for Marvel Entertainment, Dynamite! and Nattr.
Show information (venue, dates, ticket info)
The Kraine Theater
85 East 4th Street
Name: Amy Oestreicher
Name: Sara Rademacher
Malini Singh mcdonald 