Sara Guerrero will direct the first public reading of a brand-new script-in-progress. The play is (so far) a wild riff on the Odyssey that starts in Austin, goes to hell, and ends up in New Orleans. It's gonna have a lot of music in it, down the road.
I'm developing a brand-new play at Chance Theater! Set in 1960, it tells the (fact-inspired, but imagined) story of painter Alice Neel (the first woman to have a solo exhibition at the Whitney) and poet/curator Frank O'Hara (famous for poems like "Having a Coke With You" and "Ave Maria," among others), the two portraits he sat for with her, and how their meetings may have proved a turning point for both of them.
I've been selected by producer Laura Ivey (The Last Five Years) and director Tanya Wexler (Hysteria, Replicas) to adapt Javier Ruiz Caldera's Tres Bodas de Más into English. Very exciting! More soon...
Dragon Play had its Southern California Premiere this August, at the Chance Theater in Anaheim, under the direction of the fabulous Marya Mazor. As a result of that, Chance has invited me to be their 2016 Resident Playwright. I'll be doing two short workshops and one long one with them, over the course of 2016!
SCIENTIFIC METHOD, my comedy-ish play about institutional bias in science (boy, doesn't that sound exciting? I need to describe it better, but I'm having a lot of fun with it, and it's making me learn a lot about science, sex, and systemic prejudice), has been selected for the first of this year's five Ruth Easton Labs at the Playwrights' Center of Minneapolis! I'm SO excited to be returning to my artistic home, and to be working with Hayley Finn (director), Wendy Weckworth (dramaturg) and a terrific team of actors! More soon...
I just got back from a terrific, and intense, week-long workshop of Goddess of Mercy with American Theater Company and the Araca Group in Chicago. The feedback from all the folks in both organizations was HUGELY helpful, and the actors were outstanding. It was an honor and a delight to work with them!
END OF SHIFT has been selected for this year's National Playwrights Conference at the O'Neill. I'm thrilled to be working with Daniella Topol, who will be directing, and Kelly Miller, who will be acting as dramaturg. Casting is still underway...but stay tuned for more information! Wendy Goldberg, Ann G. Morgan and their team have been phenomenal champions already, making sure that Kyle (my husband) and Gabe (my son) can spend the month with me on campus, since Gabe is too young to be away from me that long. Three cheers for supporting parents in the arts!
I'll be joining Anita Montgomery of Seattle's ACT in Leavenworth, Washington this August, for a six-day workshop of GODDESS OF MERCY. I'm thrilled for a chance to work on the play with actors, director and dramaturg for this many days, and thrilled to do it with folks I've been hearing good things about for years. I still have some big open questions about the play, and enough distance since the last draft to really see it anew, so this will be a great chance to think them through with terrific collaborators. This will be my first time in the Pacific Northwest...I hope the first of many!
Very excited to be beginning work on a piece with Philadelphia's Team Sunshine Performance Corporation. We applied for, and received, a grant from the Network of Ensemble Theaters and The Playwrights' Center to create a performance together.
Really exciting stuff. The whole point is really to break open/explore process, and to figure out how they (who devise all their work, without playwrights) can collaborate with a playwright and how I can mix up my own writing process with a new group of people who devise using specific techniques.
I'll be spending a total of about three and a half weeks in Philadelphia over the next five months, and writing in between. It's my first time trying to do this kind of work with a kid on my hip, so we'll see how it goes!
Congratulations to Melissa Hillman, Tracy Ward, and the good folks at Impact Theater! The Dragon Play made TWO top-ten lists for 2014 Theater in the Bay Area…one with KQED, and one with a website called Theater Dogs. Stay tuned for July/August 2015, when Marya Mazor directs Dragon Play for Chance Theatre, in Los Angeles!
Impact Theatre's West Coast Premiere of The Dragon Play opens in Berkeley, CA on November 6th! I'm so excited to be working with this smart, gutsy company! And thrilled that I'll get to catch the play's closing weekend in mid-December.
I'm so excited to share that DRAGON PLAY will be coming to the West Coast -- specifically, the Bay Area -- to Impact Theatre in Berkeley. Onstage in November and December, this version has been revised since it was performed in Austin and New York…I'm honored to be working with Tracy Ward and Impact (especially their fearless leader, Melissa Hillman, whose blog you should be following), and thrilled to have a chance to see the most recent changes on their feet!
GODDESS OF MERCY is one of three honorable mentions for this year's Jane Chambers Award, given by ATHE and WTP for plays with a feminist perspective that present significant opportunities for female performers. The play is in very good company! I'm excited to check out this year's winning play, FEMMES, an adaptation of THE WOMEN by Gina Young, SEAMLESS, the runner-up, by Dorinne Kondo, and the two other honorable mentions: BABY STRIKE! by Liza Case and EXILE IS MY HOME by Domnica Radulescu.
GODDESS OF MERCY will have a reading as part of the Summer Playwrights Festival at The Road Theatre in Los Angeles! This marks the first time a play of mine has touched down on the left coast...
The reading will be directed by the fabulous Marya Mazor. The cast is TBD.
Both GODDESS OF MERCY and DRAGON PLAY made the first annual list of nominees for best new play scripts written by women. If you haven't been following news of THE KILROYS, you can find basic info here, and more on Howlround.
I'm thrilled to have been invited to be the 2014-2015 Hot Seat Playwright-in-Residence at Baltimore's Center Stage Theater! I'll be working with their terrific literary management team on at least one new project (and on revisions on some older ones), and participating in their "hot seat" program, writing short plays on the fly for audience members at several of their shows next season. Stay tuned for updates!
I'm so thrilled and honored that Goddess of Mercy was named a finalist for this year's O'Neill conference. According to Wendy Goldberg and Ann G. Morgan, it was one of 37 finalists, in a field of over 1,200 scripts (hey, yo, tougher odds than admission at Harvard!). They'll be announcing all of the finalists on their website soon -- I'm excited to track down and read the work of the other finalists! This year's Conference attendees are a terrific bunch -- Mike Lew, who is as lovely as he is talented, Sam Hunter, who will be attending the O'Neill for the third time and is as thoughtful a playwright as you're likely to find, the terrific Tanya Barfield…and a couple of playwrights whose work I don't know! I'm hoping to get down to the conference, newborn baby in arms, to check out some of the work.
They call it a review…but it's more of an article on the (amazing) reading series at The Playwrights' Center, with a focus on the Ruth Easton reading of Goddess of Mercy.
My review: what a wonderful week! The Playwrights' Center feels like a true artistic home; the people are wonderful, the process terrific. I can't say enough about the folks who made it a great week -- the actors, certainly, but also Jeremy Cohen, Hayley Finn, Wendy Weckwerth, Jerry Genocchio, and Hattie Andres. Thanks to all of them, I made some important changes to the play that I think make it much stronger. There is, of course, more to do -- but the Easton workshop was an important step forward in the life of this script.
I just spent a week at ASOLO REP, working on Goddess of Mercy with director Mark Rucker of San Francisco's ACT. Many thanks to Jeremy Cohen for making the introduction to Asolo, and to Literary Manager Lauryn Sasso and the fine folks at Asolo for a week of great work! I was happy to have a chance to see the opening of Amy Herzog's 4,000 Miles while I was there, and to catch one of the last few performances of Philadelphia Here I Come. Asolo has to be one of the busiest regionals I've seen, with four or more shows (plus new works) happening simultaneously, several in rep!