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’18 ’19

2301 East Franklin Avenue Minneapolis, MN 55406-1024

Cover: Stacey Rose introduces Ugo (& Em), PlayLabs Fellows Showcase. Photo by Paula Keller. This page: Meg Miroshnik and Hayley Finn rehearse Quiver, Ruth Easton New Play Series. Photo by Josh Olson.

Office & Company Manager Alayna Barnes with Artistic Programs Administrator Julia Brown at the May. Play. SoirĂŠe! event. Photo by Josh Olson.

THE PLAYWRIGHTS’ CENTER CHAMPIONS PLAYWRIGHTS AND NEW PLAYS TO BUILD UPON A LIVING THEATER THAT DEMANDS NEW AND INNOVATIVE WORKS. The Center serves playwrights by sustaining careers through high-level financial support, developing new work, and connecting playwrights to theaters. Each year at the Center, fellows and Core Writers receive more than $305,000 in direct support, 70+ new plays are workshopped, playwrights connect with over 100 producing theaters through partnership programs, and over 2,000 member playwrights from around the world find resources to achieve their artistic visions.

2018-19 Fellows & Core Writers Lee Blessing

Rachel Jendrzejewski

Lily Padilla

Carlyle Brown

C.A. Johnson

Drew Paryzer

Darren Canady

Masanari Kawahara

Jason Gray Platt

Erin Courtney

Carson Kreitzer

Gab Reisman

Antonio Duke

Elise Langer

Harrison David Rivers

Scott W. Edwards

May Lee-Yang

Stacey Rose

Kim Euell

Sofya Levitsky-Weitz

Tori Sampson

Larissa FastHorse

Casey Llewellyn

Mat Smart

Barbara Field

Martyna Majok

Ariel Stess

Marvin González de León

Marion McClinton

Andrea Stolowitz

Kira Obolensky

Haygen-Brice Walker

Idris Goodwin

John Olive

Lauren Wimmer

Allison Gregory

Philana Imade Omorotionmwan

Ray Yamanouchi

Dipika Guha Jeffrey Hatcher

Marisela Treviño Orta

Stefanie Zadravec


SUSTAIN. DEVELOP. CONNECT. These are the pillars of our mission—to champion playwrights and new plays. In particular, the need for connection has been on our minds in recent months, not only the connections between playwrights and theaters but also how seeking connection helps move us through the world in a way that values art, storytelling, and empathy. From the briefest shared moment between individual artists to long-term global networks of theatermakers, we know that we move forward better when we move forward together. At the Playwrights’ Center, we are: Connecting one on one. Some of our most meaningful artistic moments at the Center happen at the individual level—talking over coffee or over the phone with a fellow, Core Writer, or member. Whether we’re having a dramaturgical conversation about their new script or helping strategize their career goals, we provide individualized support to help artists tell their story and develop their unique voice. Connecting with theaters. The success of our Regulars cohort is seeing these connections multiply, as co-development partnerships lead not only to that world premiere production, but to second and third productions at Regulars theaters across the country. We recently codeveloped Larissa FastHorse’s The Thanksgiving Play with Artists Rep in Portland, where the play then went on to its world premiere. This coming season, the play will move to Regulars theaters Playwrights Horizons and Cincinnati Playhouse in the Park. Similarly, Lauren Yee’s The Great Leap was co-developed with and premiered at Denver Center Theatre Company, and will have subsequent productions at Regulars theaters Seattle Repertory Theatre, Atlantic Theater Company, American Conservatory Theater, and the Guthrie Theater.


Connecting within communities. As we develop 70+ new plays a year, we are also developing a community of collaborators—a collective of actors, directors, dramaturgs, designers, and other theater-makers fluent in the language of making new dramatic work. We’re a hub where artists meet and collaborate (and get paid to do so). And by making playwriting possible for so many people across the country, we’re growing a national artistic community that values the role of playwrights as artist-leaders both inside the theater and out. Connecting across the globe. We’re building more international relationships in countries like Australia, Canada, the UK, and Ireland— partnering with theaters and universities to develop work, and inviting playwrights into our membership program to take online classes, find submission opportunities in their country, and meet other playwrights. Connecting to that greater thing... The thing we only get from art. The spark, the gasp, the tilting moment when we see the world in a new way. It is our true joy to support artists as they answer the call within and work to shape their stories. These vital storytellers are creating moments of transcendence and compassion that make our communities stronger. We are proud that it is both our guiding mission and our day-to-day work at the Playwrights’ Center to foster connections at every level. And we hope to connect with you throughout our upcoming season. Read in the following pages about the plays and playwrights that make up our 2018-19 season, and ask us how we can help you connect with these artists and with all of us here at the Center.

Jeremy B. Cohen

Robert Chelimsky




Education Coordinator H. Adam Harris at the May. Play. SoirĂŠe! event. Photo by Josh Olson.


TABLE OF CONTENTS PlayLabs 5 Ruth Easton New Play Series 11 Fellows & Core Writers 19 The Regulars 35 Membership 39 New Plays on Campus 40


Stephanie Bertumen and Jeremy Cohen rehearse In the Time of the Volcano by Jen Silverman, PlayLabs Festival. Photo by Josh Olson.



SEASON AT A GLANCE Of the 70+ plays we develop each year, eight are selected to be part of our public season, giving Core Writers intensive workshop time with collaborators and the chance to see their new work on its feet in front of two different audiences.

PLAYLABS Berlin Diary by Andrea Stolowitz October 22 & 26

Legacy Land by Stacey Rose

RUTH EASTON NEW PLAY SERIES Darling Boud (as in Loud) by Allison Gregory December 3 & 4

October 23 & 27

KARA & EMMA & BARBARA & MIRANDA by Ariel Stess October 24 & 27

Playwriting Fellows Showcase October 28

Jeune Terre by Gab Reisman January 14 & 15

The History of Religion by Carlyle Brown February 4 & 5

Tiny Houses by Stefanie Zadravec March 4 & 5

The Dance by Kim Euell April 1 & 2 3

Audrey Park and Barbra Berlovitz in Mia Chung’s This Exquisite Corpse, PlayLabs Fellows Showcase. Photo by Paula Keller.


PLAYLABS OCTOBER 22–28, 2018 We’re celebrating our 35th PlayLabs this year—one of the nation’s most comprehensive new play festivals. Playwrights receive 30 hours of workshop time with a team of collaborators (including designers), and two public readings with time for rewrites in between. PlayLabs also features a showcase of scenes by our 2018-19 playwriting fellows. Because we fly in a number of our Regulars artistic leaders for the festival each year, nearly 70% of the plays featured in PlayLabs over the past decade have gone on to production, and the festival has become a must-attend event for theater leaders and fans both locally and from around the country. “I’ve worked in many developmental situations over my two decades in theater, and my PlayLabs experience to really work and understand A Humbling in St. Paul is the most explosive and game-changing that I’ve experienced. The generous attention of the Playwrights’ Center really does value the playwright and her best process. The stability and willingness to provide a radical development process modeled an institutional fearlessness that gave me confidence to proceed in a way I had never imagined.”

Alice Tuan, on her PlayLabs 2017 experience


BERLIN DIARY By ANDREA STOLOWITZ Core Writer Monday, October 22 at 7 p.m. & Friday, October 26 at 7 p.m. In 2006, playwright Andrea Stolowitz receives a copy of her great-grandfather’s 1939 diary from the archivist at the US Holocaust Memorial Museum (USHMM). It sits on her shelf. In 2015, Andrea Stolowitz receives a DAAD fellowship to spend a year in Berlin using the diary as the basis for a new play. The parallel lives of Max Cohnreich and Andrea Stolowitz create a nested detective narrative about the search for home and family which operates at the border of reality and memory and the intersection of national history and private lives. A play about remembering and forgetting. From Andrea: “This play reflects my reallife experiences in trying to understand the long-term effects of the Holocaust on my family. While Berlin Diary is specific to my family’s history, the intergenerational effects of historical events on individual families are universal. This is a family narrative that is occurring now across the Mediterranean and on our own US border.“


LEGACY LAND By STACEY ROSE Core Writer Tuesday, October 23 at 7 p.m. & Saturday, October 27 at 1 p.m. Legacy Land is the story of two sisters grappling with a painful legacy of sex abuse, incest, and family dysfunction during a freak Thanksgiving weekend blizzard. Barbara, a 42 year-old recluse, has hunkered down for an intimate weekend between her and her barely legal lover, Marcus. When Barbara’s bubbly younger sister, Denise, and her loutish fiancé, Freddie, arrive, all bets for a cozy weekend for two are off. As the blizzard renders them immobile, the group reconciles themselves to their situation. That is, until Freddie, in his bottomless arrogance, reveals the real reason for his and Denise’s visit. From Stacey: “Legacy Land was one of the hardest stories I’ve ever told. It’s in so many ways an exorcism of past hurts and a healing of those hurts. It’s taken me four years to get the script to where it is right now, and I’m so grateful to the Playwrights’ Center for their support. My next venture through the piece will be a deeper examination of tech elements, specifically bringing the house—the bearer of Barbara and Denise’s legacy—to life. I also look forward to diving more deeply into the relationship dynamics of the couples.”


KARA & EMMA & BARBARA & MIRANDA By ARIEL STESS Core Writer Wednesday, October 24 at 7 p.m. & Saturday, October 27 at 7 p.m. Kara’s husband is about to leave and run away with their 21-year-old babysitter, Emma. Emma’s mother, Barbara, is being hassled by her ex-boyfriend to get back together. And REI employee Miranda is trying to find a way to stop living paycheck to paycheck. Set in Santa Fe, New Mexico, this comedy-drama is about breaking free from forces in your life that are holding you back—in order to start again. From Ariel: “Much of this play is inspired by phases of my life and women I’ve known. When I started writing, I set out to create a story told exclusively by women about their uncertainties, joys, and traumas. I’m thankful to the Playwrights’ Center for giving me this first opportunity to explore this play with collaborators and share it with audience members.”


PLAYWRITING FELLOWS SHOWCASE OCTOBER 28 AT 12 P.M. It’s like a mixtape of all your new favorite writers. The Playwriting Fellows Showcase presents scenes from a diverse collection of plays by the Center’s 2018-19 playwriting fellows, followed by a reception with the writers. Work by:

Idris Goodwin McKnight National Residency and Commission

May Lee-Yang Tori Sampson McKnight Fellowship in Playwriting

Sofya Levitsky-Weitz Casey Llewellyn Philana Imade Omorotionmwan Jerome Fellowship

Marvin González de León Haygen-Brice Walker Many Voices Fellowship

Antonio Duke Many Voices Mentorship 9

Sun Mee Chomet and Sherwin Resurreccion in How The Ghost Of You Clings, The Anna May Wong Story by John Olive, Ruth Easton New Play Series. Photo by Anna Min of Min Enterprises Photography, LLC.


RUTH EASTON NEW PLAY SERIES DECEMBER 2018 – APRIL 2019 The Ruth Easton New Play Series provides selected Core Writers with 20 hours of workshop time to develop a new play with collaborators of their choice: top local and national actors, directors, designers, and dramaturgs. Each play has two public readings, allowing the playwright to experiment and see the play on its feet in front of two different audiences. The Center brings in artistic leaders from around the country to see the readings and connect with the playwrights, and more than half of the plays developed in the series in the past decade have gone on to production. “This workshop was lab, studio, performance test drive—all of it in one. I continue to be so grateful to the Center for its generosity, its willingness to take on anything, and the way it brings such talented people together.”

Kira Obolensky, Core Writer, on her experience workshopping The Overcoat: A Low-Fi Musical in the 2017-18 Ruth Easton New Play Series


DARLING BOUD (AS IN LOUD) By ALLISON GREGORY Core Writer December 3 & 4, 2018 at 7 p.m Teeming with glamour and tragedy, Darling Boud brings the six infamous, blue-blooded Mitford sisters to searing, witty life. Controversial, politically charged, radically different, their fascinating world intersected the big events of the twentieth century. But what happens when they are brought together— something they never would have agreed to in life? A collusion of family, love, and world war in correspondence. From Allison: “The Mitfords were intellectual Kardashians of their day, and like them, people loved or hated the sisters accordingly. My obsession is with the huge personal cost of the sister’s socio-political passions, and how that echoes in families today (think Thanksgiving after the 2016 election). The Ruth Easton Series will provide a golden opportunity to hear the disparate voices of these unbowed women, to connect their complex stories, and maybe to understand the times we’re living through. Maybe.”


JEUNE TERRE By GAB REISMAN Core Writer January 14 & 15, 2019 at 7 p.m. The waters are rising around Jeune Terre, Louisiana, and the land is slipping away. As scientists and state administrators bargain over the town’s future, a theatre troupe arrives to tell an old story in a new way, just in time for a quickly approaching storm. This inventive new play with songs explores what it means to live on the edge of invisibility in a time of atmospheric change. From Gab: “As a New Orleanian (and a New Yorker), coastal climate change affects me directly, but the daily reality of it often feels far away. In Jeune Terre, I’m interested in what a community wrestles with as they fight to stay where they are, and the way history plays a role in that fight. I’ve never written a musical or a play with songs, so I am thrilled to develop the piece with composer Avi Amon as part of the Playwrights’ Center’s Ruth Easton Series.”


THE HISTORY OF RELIGION By CARLYLE BROWN Core Writer February 4 & 5, 2019 at 7 p.m. From memoir to myth, from Sugar Hill to the Caribbean, The History of Religion travels in time and space to examine humanity’s relationship with faith, bringing us face-to-face with the biggest question of our lives: in a world full of pain, sorrow, and suffering, what makes life worth living? Set against a musical backdrop by multi-instrumentalist Victor Zupanc and percussionist Ahanti Young, playwright/performer Carlyle Brown calls us into worship, taking the audience on a journey from mystery to revelation and back again. From Carlyle: “Beyond doctrine and dogma, the texts of the world’s great religions share in common both spoken and written word, the greatest prose ever produced by the human imagination addressing the three most essential of human questions: who are we, where do we come from, and what will become of us—unanswerable questions that can only be addressed through faith, bound together under the common covenant of love and the celebration of life.”


TINY HOUSES By STEFANIE ZADRAVEC Core Writer March 4 & 5, 2019 at 7 p.m. On July 17, 2014, Malaysia Flight MH-17 rained down upon a tiny, war-torn Eastern Ukraine village by a surface-to-air missile launched by proRussian Separatists. Bodies and objects alike become fodder for those trying to escape the circumstances in which they were born. Tiny Houses is a comic riff on Pandora’s Box that explores the ripple effect on several women who suddenly realize they can disrupt the status quo. From Stefanie: “This play was inspired by my own angst over political shifts that were going on in the world in 2014 (and continue today!). In Tiny Houses, I explore what activates an individual inside an increasingly chaotic and altered political landscape. The play is composed of multiple stories and incidental connections that trickle out across the globe; finding the balance between humor and pathos and within multiple stories and genres will be the focus of my workshop. This play also asks a lot from its actors, and the feedback I get watching new people tackle the script is invaluable.”


THE DANCE By KIM EUELL Core Writer April 1 & 2, 2019 at 7 p.m. The Dance is a play exploring how epic events impact the personal relationships between three ambitious young people (two African American artists and an activist attorney) as they struggle to define their identities, values, and commitments. Set against the backdrop of Nelson Mandela’s prison release and historic visit to the Bay Area, the play strives to capture the zeitgeist of this momentous period when the convergence of the antiApartheid movement, the crack epidemic, The War on Drugs, and the ascendance of Hip-hop culture impacted communities of color in the US. From Kim: “With this play I intend to marry form and content in a way that represents a new direction in my playwriting. I’m excited about the potential for collaboration with artists of various backgrounds in realizing this piece. Having presented The Dance to a highly responsive audience in Cape Town, South Africa, I’m keenly interested in experiencing and learning from an American audience’s response.”


Eric Sharp and Katherine Fried in Kira Obolensky’s The Overcoat: A Low-Fi Musical, Ruth Easton New Play Series. Photo by Paula Keller.


Core Writer Harrison David Rivers and director Saheem Ali rehearse the bandaged place, Ruth Easton New Play Series. Photo by Anna Min of Min Enterprises Photography, LLC.


FELLOWS & CORE WRITERS FELLOWSHIPS Fellowships, made possible in part by the McKnight and Jerome foundations, provide more than $305,000 each year for residencies, commissions, and development funds. Beyond the financial stipend, the value of fellowships is more than doubled with the year-long support the Playwrights’ Center adds through workshops with professional collaborators and through the connections the Center makes between playwrights and producers of new work. This holistic and customized combination of financial support, access to talent, and professional connections is careerchanging for most playwrights.

CORE WRITER PROGRAM The Core Writer program at the Playwrights’ Center gives 25-30 of the most exciting playwrights from across the country the time and tools to develop new work for the stage. During their threeyear tenure, Core Writers receive play development workshops at the Center, have the opportunity to be part of PlayLabs or the Ruth Easton New Play Series, and get connected to an extensive network of universities and producing theaters.



Plays include: Minneapolis/St. Paul, For the Loyal, A View of the Mountains Lee writes plays that are not like each other.


RUTH EASTON NEW PLAY SERIES Plays include: Down in Mississippi, Abe Lincoln and Uncle Tom in the White House, Are you now or have you ever been… Carlyle is an award-winning playwright and solo performer exploring the American experience and the meaning of freedom from an African American perspective. He is the 2018 recipient of the William Inge Award for Distinguished Achievement in the American Theater.


Plays include: Brothers of the Dust, Black Butterflies, Ontario Was Here Darren is a black playwright livin’ blue in a mighty red state.



Plays include: A Map of Virtue; Ann, Fran and Mary Ann; I Will Be Gone Erin is a Brooklyn playwright and a visual artist. Right now she is thinking about patterns, tattoos, and the supernatural.

ANTONIO DUKE Many Voices Mentee

Plays include: The Fog, Tears of Moons, Ashes of Moons Antonio is an actor and playwright who investigates black mythology in order to create modern folklore.


sound designer McKnight Theater Artist Fellow Credits include: The Wedding Band (Penumbra Theatre), The Bluest Eye (Guthrie Theater), Nice Fish (Guthrie, ART, Harold Pinter Theatre London) Sound designer Scott W. Edwards tells stories with sound and music. He appreciates enthusiasm and kindness.


KIM EUELL Core Writer

RUTH EASTON NEW PLAY SERIES Plays include: The Dance, The Diva Daughters Dupree, Otto Bingo or A History Lesson Kim’s plays are intended to be a balm on our societal wounds related to race and class. She enjoys excavating rhythm in language.


Plays include: The Thanksgiving Play, What Would Crazy Horse Do?, Urban Rez Larissa loves to write all kinds of plays. And change the world. She is happiest when she gets to do both at the same time.


Plays include: Boundary Waters, Playing With Fire, The Book of Vashti Barbara Field is a Minneapolis playwright whose work has been seen around the United States and Europe. She is a founding member of the Playwrights’ Center.



Plays include: Lights Out, Haboob, The Vanquished Marvin is a Chicano who spins absurdist, politically-bent yarns in the tradition of Brecht, Borges, and Bone Thugs.


McKnight National Residency and Commission Recipient Plays include: Hype Man: a break beat play, The Way The Mountain Moved, And In This Corner: Cassius Clay Idris is a writer of plays for stage and screen, poems, and rap albums. He is also the producing artistic director of Stage One Family Theatre in Louisville, KY.


RUTH EASTON NEW PLAY SERIES Plays include: Not Medea, Wild Horses, Darling Boud (as in Loud) Allison likes to play fast and loose with history and language, bending familiar stories toward the unfamiliar realities of the present moment. She favors provocative questions, courageous theatrics, and complicated characters who are funny as hell. 23


Plays include: Yoga Play, The Art of Gaman, In Braunau Dipika’s plays are funny, lyrical, and formally inventive. Her characters come from a multiplicity of backgrounds and time periods. She’s interested in writing about what being a human being inside history feels like—especially a history that leaves you out.


Plays include: Three Viewings, Compleat Female Stage Beauty, The Government Inspector Jeff’s plays have been produced On and Off-Broadway, at regional theaters, and internationally. He writes original works and adaptations as well as screen and teleplays.


Plays include: Early Morning Song, In Which ______ and Others Discover the End, encyclopedia Rachel is an experimental playwright and interdisciplinary artist who often collaborates with dancers, visual artists, musicians, fellow writers, and alleged non-artists to explore new performative vocabularies. 24

C.A. JOHNSON Core Writer

Plays include: Thirst, The Climb, all the natalie portmans C.A. writes plays about the little people at the intersection of identities. Her worlds are unapologetically queer and brown, feature womxn protagonists, and (hopefully) encourage audiences to laugh through the pain.

MASANARI KAWAHARA puppeteer and puppet designer McKnight Theater Artist Fellow

Credits include: The Story of Crow Boy (In the Heart of the Beast Puppet and Mask Theatre), The Oldest Boy (Jungle Theater), Little Boy (Pangea World Theater) Look! Up on the stage! It’s an actor! It’s a puppeteer! It’s a butoh dancer! It’s… MASA! Yes, it’s Masa, creating theater with a Japanese viewpoint of the American way.


Plays include: Lempicka, Capital Crime!, Lasso of Truth Carson is working on a feminist revisionist history, one play at a time. Or multiple plays at a time. Also musicals.



actor McKnight Theater Artist Fellow Credits include: Milly & Tillie (co-creator, Open Eye Figure Theatre), Pinocchio (Children’s Theatre Company), Ten Thousand Things Artist Core Elise is a theater clown and actor who thrives on a joyful rehearsal room and your laughter. She is serious about comedy.


McKnight Fellow in Playwriting Plays include: The Korean Drama Addict’s Guide to Losing Your Virginity, The Divorcee Diaries, Confessions of a Lazy Hmong Woman May is a pop culture whore who uses comedy to navigate stories that live in in-between spaces. She likes to talk about race, sex, and misogyny.


Plays include: this party sucks, Intuitive Men, Gehinnom Sofya is a playwright, screenwriter, and professor originally from Los Angeles, usually based in Brooklyn, and has spent lots of time in Eastern Europe. Her writing centers around gender, sexuality, art, spirituality, dark comedy, and hauntings.



Plays include: O, Earth; The Body which is The Town; The Quiet Way Casey’s work interrogates identity, collectivity, and form. She uses humor to gain entrance to new worlds. Liberation is always the goal. Her work thrives on collaboration, music, and dance.


Plays include: Ironbound, Cost of Living, Queens Pulitzer prize-winning immigrant playwright who writes character-driven plays in conversation with history, memory, and class.


Plays include: Beauty is a Rare Thing, Walkers, Police Boys Marion tries to be both humanly and socially responsible with his art.



Plays include: Dirt Sticks, Forget Me Not When Far Away, The Overcoat: A Low-Fi Musical When she writes, Kira imagines an audience composed of everyone; her plays are big in scope, theatrically muscular, and (often) funny.

JOHN OLIVE Core Writer

Plays include: Minnesota Moon; Killer; How The Ghost Of You Clings, The Anna May Wong Story John has written 32 plays. They have been performed in theaters across the country. He co-owns a website,


Plays include: Strong Face, or Misogynoir; Fireflies; Before Evening Comes Born of two cultures but raised in neither, Philana often writes about tilted versions of our world inhabited by characters who don’t quite fit in. 28


Plays include: The River Bride, Shoe, Heart Shaped Nebula Marisela is a poet turned playwright and Imagist who loves the poetry of visuals. She writes tragedy, fairy tales for adults, science fiction, family dramas, love stories, and adaptations.

LILY PADILLA Core Apprentice

Plays include: How to Defend Yourself, (w)holeness, And Then You Wait Lily’s work is about sex, panic, bodies, and belonging. It’s about our hunger to connect, our ability to harm, and imagines how we might heal in a violent world.

DREW PARYZER Core Apprentice

Plays include: Loverboy, Muzzle Tough, Al-Halqa (is that how it’s pronounced) Drew’s plays explore legacy, private universes, and how the untrue is often truer than the truth. Sometimes they are “playable”—in that interacting audience members help to shape a living story.



Plays include: The There There, You Across From Me, Take Care Jason’s work swerves from the surreal to fantastically natural, populated by communities and characters trying to make a life amongst tremendous historical, political, and cultural transformation.


RUTH EASTON NEW PLAY SERIES Plays include: Flood City, Storm Still, Jeune Terre Gab writes darkly hopeful plays for difficult times that chart the comic, humanistic, subtly queer relationship between who we are and where we’re headed.


Plays include: And She Would Stand Like This, the bandaged place, To Let Go and Fall Harrison is currently preoccupied with James Baldwin’s expatriation, the dangerously low birth-rate of black women in America, and HIV/ AIDS in the black/brown queer community.



Plays include: America v. 2.1: The Sad Demise and Eventual Extinction of The American Negro; Legacy Land; As Is: Conversations with Big Black Women in Confined Spaces Stacey writes plays about being Black, being weird, being oppressed, and being repressed. This means, She writes plays about you.


McKnight Fellow in Playwriting Plays include: If Pretty Hurts Ugly Must be a Muhfucka, This Land Was Made, Where Butterflies Go in the Winter Tori holds an MFA from Yale School of Drama. Her plays are influenced by the notion that Michelle Obama might fancy herself an audience member one day.

MAT SMART Core Writer

Plays include: The Elephants; Eden Prairie, 1971; The Agitators: The Story of Susan B. Anthony and Frederick Douglass Mat loves writing about history in a fresh way, traveling the world, and learning about life and perspectives different from his own.



Plays include: Tranquil, Heartbreak, I’m Pretty F*cked Up Born and raised in New Mexico, Ariel is fascinated with structures of power, desire, and the consequences of the American nuclear family. Her nearly naturalistic plays wish to evoke laughter.


Plays include: Berlin Diary, Ithaka, Antarktikos Andrea is a playwright living and working in Portland, Oregon. Her work operates at the border of reality and memory and the intersection of national history and private lives.


Plays include: WOLFCRUSH [a queer werewolf play]; the shed, the fire, and what they found in the ashes (a gothic ghost story); my imaginary friend just happens to be john wayne gacy and he’s helping me through some shit


Haygen-Brice creates queer, deep-fried theatrical dumpster fires fueled by camp, horror, & poetry. Imagine: Streetcar Named Desire, Mean Girls, Texas Chainsaw, & Beloved sashaying into a Buffalo Wild Wings… it’s like that.

LAUREN WIMMER Core Apprentice

Plays include: Divorce Party; The Death of Hayden Waverly, The Most Popular Person In The World; The Originals Lauren’s plays are focused on loneliness and death in ways that make people say, “Hahaha.”


Plays include: Tha Chink-Mart, The American Tradition, Impact Ray is obsessed with rap music, non-fiction books, and racecraft in America. He also hosts a talk show about theater in NYC ( Support your local library.


RUTH EASTON NEW PLAY SERIES Plays include: The Electric Baby, Colony Collapse, Honey Brown Eyes Stefanie’s plays address the world’s complexities through a wide array of lenses: funny, theatrical, and unflinchingly honest.


Denver Center Theatre Company world premiere production of Lauren Yee’s The Great Leap, a co-development project through the Regulars program at the Playwrights’ Center. (AdamsVisCom/DCPA)


THE REGULARS CONNECTING WITH THEATERS The Regulars program is designed to connect theaters with playwrights and help in the development of new work towards production, which ultimately enables new stories to reach audiences across the globe. Through the Regulars program, the Playwrights’ Center partners with over 100 theaters to bring their artistic staff to the Center in order to meet new writers and codevelop new plays. 70% of the plays that have been developed as part of the Regulars program have gone onto a full production within two years (rather than the average seven-year time for most plays to see production). Would your theater like to be a Regular? Our associate artistic director Hayley Finn would love to tell you more about the program: or (612) 332-7481 x119.


“The Playwrights’ Center is magical. The staff take care of everything so beautifully, so that the artists can focus on taking risks, working hard, and getting the feedback they need to take the next steps with a project. We are so lucky to have PWC in our community. There is truly nothing like it anywhere.”

Sarah Rasmussen, Artistic Director, Jungle Theater “I do a lot of workshops, and this process was just one of the best I’ve ever had! I left inspired and fired up, and my play went from a first draft to a producible piece. The Playwrights’ Center will forever be part of the foundational DNA of this play, and I’m so grateful!”

Kate Hamill, playwright, Little Women

On the co-development partnership of Kate Hamill’s commissioned adaptation of Little Women with the Playwrights’ Center and the Jungle Theater (world premiere September 2018)


CO-DEVELOPED PLAYS THAT PREMIERED DURING THE 2017-18 SEASON INCLUDE: • The Great Leap by Lauren Yee at Denver Center Theatre Company Subsequent productions: Seattle Repertory Theatre Atlantic Theater Company (New York) Arts Club Theatre Company (Vancouver) American Conservatory Theatre (San Francisco) Guthrie Theater (Minneapolis)

• The Way The Mountain Moved by Idris Goodwin at Oregon Shakespeare Festival • The Gentleman Caller by Philip Dawkins at Raven Theater in Chicago Subsequent productions: Abingdon Theatre Company (New York) New Conservatory Theatre Center (San Francisco)

• The Thanksgiving Play by Larissa FastHorse at Artists Repertory Theatre in Portland, Oregon Subsequent productions: Playwrights Horizons (New York) Cincinnati Playhouse in the Park


Paula Vogel teaches a Masterclass to Playwrights’ Center fellows and members. Photo by Whitney Rowland.


MEMBERSHIP PLAYWRIGHTS’ CENTER MEMBERSHIP IS OPEN TO ALL. More than 2,000 playwrights around the world—of all aesthetics, form, and experience—hone their craft and find an artistic home in our membership community. Joining the program grants one access to a comprehensive and curated online database of play submission opportunities, online playwriting classes and topical seminars, access to staged readings and one-on-one dramaturgy sessions, a profile on our website, twice-monthly script-sharing gatherings, educational articles on the craft and business of playwriting, and discounts at partner organizations. Being a Playwrights’ Center member means you are part of an artistic community where you are valued as an individual and an artist. Members who engage with the Center receive personal attention, answers to their questions about the industry, guidance with locating and accessing resources, and connection to an organization they can call an artistic home. Join our thriving community of member playwrights at


NEW PLAYS ON CAMPUS The New Plays on Campus program is designed to support the next generation of playwrights by giving student writers access to a playwriting community outside of their colleges and universities, connecting them to playwriting resources and opportunities to work with professional playwrights. For member colleges and universities, the Playwrights’ Center tailors supplementary playwriting seminars and workshops geared toward preparing students to bridge the gap between college and life as a playwright, provides students the opportunity to work with professional playwrights through residencies, commissions, and collaborative work, and offers a script-matching service for theater departments looking for new work for their stages. Participating schools may also nominate students to become Playwrights’ Center Core Apprentices, a unique and high-profile opportunity. In partnership with the Kennedy Center American College Theater Festival, the Core Apprentice program provides three student playwrights each year with a yearlong mentorship with a professional playwright and culminates in a full play development workshop at the Playwrights’ Center. Recent mentors have included Jen Silverman, David Henry Hwang, and Dominique Morisseau. To learn more about this program, contact education coordinator H. Adam Harris at or visit

Students from Spelman and Morehouse Colleges with Professor Erin Washington, NPOC Summer Residency. Photo by Jessica Franken.


THANK YOU The Playwrights’ Center gratefully acknowledges our funding partners and donors.

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

The Harold & Mimi Steinberg Charitable Trust

Boss Foundation


Board member Sara Johnson at the May. Play. SoirĂŠe! event. Photo by Josh Olson.


DONORS To donate to the Playwrights’ Center, visit INSTITUTIONS $100,000+ Jerome Foundation The McKnight Foundation The Andrew W. Mellon Foundation

$50,000–$99,999 Ruth Easton Fund of the Edelstein Family Foundation Minnesota State Arts Board The Shubert Foundation

$25,000–$49,999 National Endowment for the Arts Harold & Mimi Steinberg Charitable Trust

$2,500–$24,999 Boss Foundation Hit Her with the Skates KNOCK, inc. Piper Jaffray RBC Wealth Management Triumph Productions

$1,000–$2,499 Creative Fundraising Advisors Geoffrey M. Curley* & Associates HGA

Up to $999 Aetna Foundation Amazon Smile

Best Buy Political Action Committee (PAC) Match Program Big Lots! Carolyn Foundation Western Bank YourCause Corporate Giving Program

PAGE TO STAGE In 2016, Page to Stage was launched to support bringing PWC playwrights’ work to production at partner theaters. In the first three years, through the generosity of these supporters, over $150,000 has been raised in the ongoing effort to bring new voices and new stories to life on professional stages across the theatrical landscape.

Helen & Benjamin Liu Jennifer Melin Miller & David Miller Dana & Steve Strand*

$2,500–$4,999 Jeffrey Bores* & Michael Hawkins John Burbidge Barb Davis* Chelle* & Mike Gonzo Tessa Gunther & Scott Hagg Sara Johnson* David & Leni Moore Mary & Tom Racciatti


Barry Berg & Walter Tambor Polly Grose Lili Hall & Andrea Scarpa Margaret Wurtele Wayne Zink & Christopher Schout*

Anonymous Peter & Maura Brew* Geoffrey Curley Sam & Shani Graber Betty Grant & Bill Casey Jim & Sandy Jensen Janet Jones & Rob Reul Robert & Vivian McDonald Carla* & Peter Paulson Diane & Mark Perlberg* Marcia & John Stout John Sullivan William White




Omar & Rebecca Ansari Fran Davis Barbara Field Mary Beidler Gearen* Maggie Gilbert & Bob Rosenbaum

Erika & Nathan Eklund Craig Harris & Candy Kuehn Char Hovi* Dr. Art Kaemmer Mary & Royce Kloehn


Becky Krull Kraling* & James Kraling Annie Lebedoff* Ron Lotz & Randy Hartten Dean M. Nelson James A. Payne Charlie Quimby & Susan Cushman

Up to $499 Karen Bachman & Robert Fisch David & Donna Brown Joshua Dorothy & Nadege Souvenir Patrick Kennedy Elizabeth Kilburg & Louisa Castner Erik Lanegran Jon Newman & Brooks Christensen Gene Valek Amy Warner & Michael Haney

INDIVIDUALS $10,000+ Barry Berg & Walter Tambor Wayne Zink & Christopher Schout*

$5,000–$9,999 Omar & Rebecca Ansari Jeffrey Bores* & Michael Hawkins Barbara Field Bruce & Jean Johnson Ann* & Scott McCague Jennifer Melin Miller & David Miller Dean M. Nelson Diane & Mark Perlberg* Dana & Steve Strand Margaret Wurtele


$2,500–$4,999 Julie Allen Eric Anderson & Roger Beck Peter & Maura Brew* Barb Davis* Fran Davis Mary Anne Ebert & Paul Stembler* Mary Beidler Gearen* Maggie Gilbert & Bob Rosenbaum Greg Giles & Teresa West Betty Grant Tessa Gunther & Scott Hagg Martha M. Head Patrick Kennedy Brian Kuntz & Curtis Weldon David & Leni Moore Carla* & Peter Paulson Mary & Tom Racciatti

$1,000–$2,499 Bill Casey Robert & Emily Chelimsky Jeremy Cohen & Michael Elyanow Susan Conley De Castro Geoffrey Curley* Dan Dietz John Geelan & Megan Feeney David Goldstein & Don Pastor Chelle* & Mike Gonzo Sam & Shani Graber Polly Grose Karen Grabow & Keith Halperin Lili Hall & Andrea Scarpa Jeffrey Hatcher & Lisa Stevens Char Hovi* Sara Johnson* Janet Jones & Rob Reul Lucy Rosenberry Jones & James E. Johnson Miriam & Erwin Kelen Becky Krull Kraling* & James Kraling Chad & Rafina Larsen Robert & Vivian McDonald Amy Seitz

Donald & Linda Silpe Marcia & John Stout John Sullivan Irving & Marjorie Weiser William White Ginger Wilhelmi Frances & Frank Wilkinson

$500–$999 Marigrace Deters Erika & Nathan Eklund Dr. Art Kaemmer Annie Lebedoff* Sally & Jonathan Lebedoff Walt McCarthy & Clara Ueland Ed McConaghay & Margaret Telfer Firouzeh Mostashari Wendy Nelson Patti & Dan O`Leary Kira Obolensky* & Irve Dell James A. Payne Charlie Quimby & Susan Cushman Harrison David Rivers* & Christopher R. Bineham Rob & Amy Stolpestad Suzanne Weinstein & Danny Levey

$250–$499 Elissa Adams & Michael Margulies Lee Blessing & Melanie Marnich Elizabeth Kilburg & Louisa Castner David Chelimsky & Flor Pinho Philip Dawkins Mary Dolan Beth Gaede Arne Gundersen Christina Ham Craig Harris & Candy Kuehn Seena Hodges & Ansa Akyea Paul Johnson & Tim Carey Bobbi & Louis Kaplan Jennifer Kinkead Michele Lepsche

Doug & Mary Logeland Sarah-Jane & Jim Markoe William J. & Kumi Martin Troy Miller-Cassegrain Eric Britt & Michelle Pett Mary & Adam Sellke Paula Vogel Harry Walsh Wendy Weckwerth Jane Zilch Laura Zimmermann

$100–$249 Howard J. Ansel Karen Bachman & Robert Fisch Jeremy Ball Patricia Barrier Kathleen Beckman Mark Benninghofen Jennifer L. Bielstein Ann Biggar dik Bolger & Carmen Gutierrez-Bolger Robert P. & Debbie A. Brown John & Darlene Bulov Bob & Carolyn Bye Joy & Ron Carlson Sarah & Matt Chaplin Jeanne Corwin Susan Crosson Ryan Dallas Joshua Dorothy & Nadege Souvenir Scott Elyanow Liz Engelman Maxine Filed Nancy Finn Carol Grady Gabriel Greene Amy Warner & Michael Haney Karen Hartman & Todd London Leah Harvey & Steve Rosholt Grace Hayden Pierre & Juliane Hecker Cecily Hines & Thomas Pettus Harriet Horwitz Julie Jensen

Aditi Brennan Kapil Julie & Gene Karlson Terence Kilburn Faye Knowles & Doug Muirhead David Koehser & Nancy Dunnigan Kathy Kohl Krystal Kohler & Dan Norris Neal & Abigail Kreitzer Joe Kuznik Erik Lanegran Sigi Leonhard Edith Leyasmeyer Perry Lueders Nancy Altman & Bruce Macdonald Anne Mahle & David McCarthy Jeff Masco Sam & Patty McCullough J. Randolph Miller Patricia Mitchell Jon Neuse & K.C. Foley Tonja Orr Jim & Susan Peterson Denise Prosek & Milton Ferris Kathleen S. Purcell Steven & Amy Raetz Matthew Ramirez Larry Redmond Audray Rees Christopher Reeves Amanda & Stuart Robbins-Butcher Melissa & Scott Rockman Charlene K. Roise Ralph Schnorr Wendy & Bill Schoppert Rossi & Penelope Snipper Mary Kay Fortier Spalding & George Spalding Seema Sueko Virginia Sundberg Elizabeth A. Thimmesh William Underwood & Christopher Everett Ken Urban Harry Waters Jr.* & Thomas Borrup

Elaine Webber Nelson Beth Wegener Ruth & Carl Weiner Bethany Whitehead Sally Wingert & Tim Danz Nancy Zingale & Bill Flanigan

Up to $99 Jean M. Allen Robert Armstrong Donald & Joyce Arneson Carol Barnett Theresa Beckhusen Ruth Berger Brent Bohnsack Gary Buslik Roy & Linda Close Leny Cohen Maxwell Collyard Ginny & Will Craig Marilyn J. Doyle Matthew Ek Janna Jones Ellis Annie Enneking Peter Fleck & Mary Weber Jessica Franken John Fricke Jane Froiland Seymour & Annette Gavens Lois K. Gibson Robin Gillette Connie Goldman Ain Gordon Doug & Sheila Grow Joshua Gruber Joel Grynheim Eric Gutierrez Eric Hugunin Rachel Jendrzejewski Nachiket Kale Shirley & Arnold Kaplan Mervyn & Nancy Kaufman Megan Kelly Adeeb Khalid & Cheryl Duncan Kenneth & Phyllis Kirwin Kaitlin Kitzrow Mary Louise Klas


Julie A. Klassen Adam Kraar Carson Kreitzer Christopher Larson Edward Bok Lee Laura Leffler Bill Lehto Seth Levin & Mia Nosanow Karen Lilley Nance Longley Beth MacDonald Lynne Menturweck Ellen Merlin DeEtta & Stephen Miller Meg Miroshnik Patricia Murphy Miriam Must Ashley Partington Shelli Place Kendra Plant Thomas Potter Roxanne Prichard Nick & Anna Raymakers Noël Raymond & Amy Finch Ryan & Marit Ripley Stacey Rose Kara Schommer Michael Shann Mat Smart Ann Sneed Don Sommers & Brad Shark Philip Spensley Linda Stuckart Lisa Sweeny Taylor Cheri Templeman Tom Vogel Ramona Waldrep Monica & David Walsh Melissa Waterhouse Judy Wendt Ben & Amanda Thietje Sharon K. Yntema Laura Zabel & Levi Weinhagen David Zweighaft

IN KIND Bolger Vision Beyond Print Jeffrey Bores* & Michael Hawkins Peter & Maura Brew* Emily Chelimsky Barb Davis* Fran Davis Betty Grant & Bill Casey HGA Architects & Engineers Char Hovi* Irving Street Kitchen KNOCK, inc. Krystal Kohler & Dan Norris Molly Lehman Ann* & Scott McCague New Conservatory Theatre Center Pizza Luce Precision Grind The Southern Theater Dana & Steve Strand Zipps Liqours

*Playwrights’ Center board member Represents gifts from July 1, 2017 – June 30, 2018.


Regina Marie Williams in The Voice Lesson, McKnight Theater Artists Fellowships Works in Progress. Photo by Tom Wallace.


Playwrights’ Center staff Jeremy B. Cohen, producing artistic director Robert Chelimsky, managing director Gregory Collins, director of marketing and communications Alayna Barnes, office & company manager Julia Brown, artistic programs administrator Hayley Finn, associate artistic director H. Adam Harris, education coordinator Katie Hey, director of individual and major gifts Hannah Joyce-Hoven, director of membership programs Mark Valdez, many voices coordinator Megan West, general manager

Playwrights’ Center board Carla Paulson, president Barb Davis, vice president Maura Brew, secretary Ann McCague, treasurer Jeffrey Bores Carlyle Brown Geoffrey Curley Mary Beidler Gearen Chelle Gonzo Jeffrey D. Hedlund Char Hovi Sara Johnson Rebecca Krull Kraling Annie Lebedoff Kira Obolensky Mark Perlberg Adam Rao Harrison David Rivers Christopher Schout Steve Strand Harry Waters Jr. Season booklet design: Jessilyn Marth Copy and art direction: Jessica Franken Editorial assistance: Whitney Rowland

Printing partially underwritten by Bolger Vision Beyond Print 48

Cover: Stacey Rose introduces Ugo (& Em), PlayLabs Fellows Showcase. Photo by Paula Keller. This page: Meg Miroshnik and Hayley Finn rehearse Quiver, Ruth Easton New Play Series. Photo by Josh Olson.

Office & Company Manager Alayna Barnes with Artistic Programs Administrator Julia Brown at the May. Play. SoirĂŠe! event. Photo by Josh Olson.

’18 ’19

2301 East Franklin Avenue Minneapolis, MN 55406-1024

2018-19 Season Booklet  
2018-19 Season Booklet