Fellows & Core Writers Benjamin Benne Lee Blessing Kirk Boettcher Carlyle Brown Bart Buch Mia Chung Dionna Michelle Daniel Kim Euell Larissa FastHorse Barbara Field Julia Gay Allison Gregory Dipika Guha Christina Ham Jeffrey Hatcher Katharine Horowitz Jessica Huang Rachel Jendrzejewski C. A. Johnson Sherry Kramer Carson Kreitzer Tim J. Lord Martyna Majok Marion McClinton Meg Miroshnik Kira Obolensky John Olive Jason Gray Platt Gabrielle Reisman Harrison David Rivers Stacey Rose Tori Sampson Jen Silverman Carlos Sirah Mat Smart Andrea Stolowitz Kate Tarker Alice Tuan Mfoniso Udofia Saymoukda Duangphouxay Vongsay Regina Marie Williams Stefanie Zadravec
TABLE OF CONTENTS 8 14 22 38 40 42
PlayLabs Ruth Easton New Play Series Fellows & Core Writers The Regulars Membership New Plays on Campus
The Playwrightsâ€™ 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, developing new work, and connecting playwrights to theaters. Each year at the Center, fellows and Core Writers receive more than $315,000 in direct support, 70+ new plays are workshopped, playwrights connect with 100 producing theaters through partnership programs, and 2,000 member playwrights from around the world find resources to achieve their artistic vision.s. 2
The world through a playwright’s eyes is specific and human. A playwright knows that for those who stay alert, there are stories to be found in all the dusty corners. A playwright develops the skills needed to absorb a fullytextured world—to listen and hear, hear and remember, remember and comprehend. This truth-seeking requires sustained attention in a culture of distraction, and seeking out complexity when so many put on blinders. The artists you’ll read about in this piece, our cohort for the 2017-18 season, have taken up this call and are creating some of the most exciting new work in the country. Being a playwright is not just about getting words on the page. It requires a different way of being in the world, one that makes artists essential to the health of every community. Artists enrich the way we talk to each other and, more importantly, hear each other. Theater in particular is a collaborative engagement with the community. Making a play necessitates a witnessing of the world around us and teaches us to lead with empathy. That’s why it’s important to us to make playwriting a real possibility for brilliant and bold and diverse and unusual theatermakers all over the world. Last season our global membership program topped 2,000 member playwrights; and our fellowship, Core Writer, and partnership programs are the most robust they’ve been in our 46-year history. We are living in a time when we need our vital storytellers more than ever. It’s precisely why the staff at the Playwrights’ Center is working so hard to both connect artists to a community, and connect communities to artists. Because a world through a playwright’s eyes is the world we need right now. We look forward to chatting with all of you soon!
Jeremy B. Cohen
Producing Artistic Director
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 A Humbling in St. Paul by Alice Tuan October 23 & October 27 Take Care by Jason Gray Platt October 24 & 28 In the Time of the Volcano by Jen Silverman October 25 & 28 Playwriting Fellows Showcase October 29
RUTH EASTON NEW PLAY SERIES The Overcoat: a musical for non musical people by Kira Obolensky December 4 & 5 How The Ghost Of You Clings, The Anna May Wong Story by John Olive January 8 & 9 Three Quarter Inches of Sky by Sherry Kramer February 5 & 6 Tiny Houses by Stefanie Zadravec March 5 & 6 the bandaged place by Harrison David Rivers April 9 & 10
October 23–29, 2017 For more than 30 years, the Playwrights’ Center’s PlayLabs festival has been one of the nation’s most comprehensive play development programs. Playwrights receive 30 hours of vital 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 2017-18 playwriting fellows. Over 65% 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.
FROM ALICE: “Writing this play saved me. Based on the freak infection I got a week after working on my play at the Playwrights’ Center’s Ruth Easton New Play Series in March 2016, it helped me process a near-death space and understand the windfalls and psychic strength culled from committing to a playwright life.”
FROM JASON: “When the child informs us that there is a monster under the bed, we tell her that there is no such monster so that she may sleep soundly. On the first few occasions, we make a spectacle of lifting the covers and looking underneath, so that the child may rest easy. Eventually we stop looking, confident in our knowledge that because there has never been a monster in the past, there can never be a monster in the future. The child is not prey to such logical fallacies. One day, there will be a monster. And we will not be looking.”
A HUMBLING IN ST. PAUL by Alice Tuan Monday, October 23 at 7 p.m. & Friday, October 27 at 7 p.m. Olive Chung comes to the Twin Cities to work on a new play and reconnects with her grad school friend Liz Manuel after being out of touch for a decade. While staying with Liz and her wife, Sharine Hopewell, and their pups, Bell and Musco, Olive gets what she thinks is food poisoning. It turns out to be much more mysterious and severe than anyone imagined. A play about the guest/host space, infection, the performance of normalcy, unseen presence, the body rebelling against the mind, optimism, gratitude, and, yes, friendship.
TAKE CARE by Jason Gray Platt Tuesday, October 24 at 7 p.m. & Saturday, October 28 at 1 p.m. Ella gathers her family together for the holidays to have the delicate conversation surrounding her end-of-life plans. But the emotionally strenuous conversation does not go as she had hoped. So the discussion happens again. And again. But each time another family member is missing, and the conversation goes slightly differently, until it becomes apparent that the end of Ellaâ€™s life isnâ€™t the only approaching tragedy for which a plan needs to be made. Because time is running out.
“To crack open the experience of a play, in the presence of the person who breathed it onto the page, that gives me an entire new access to how that play wants to live.” - Marya Sea Kaminski, Seattle Rep, on her experience as a visiting artistic leader at PlayLabs
FROM JEN: “The play is inspired by research I’ve done about a ‘cargo cult’ on Vanuatu (a Pacific Island nation) that worships a mysterious man named John Frum. The cult is thought to have been formed around an American soldier stationed briefly overseas; even the name John Frum is thought to be short for ‘John from America.’ In thinking about what it means to worship a man who might, essentially, be utterly ordinary, I also began to think about what it means for an ordinary man to be worshipped— especially in this current cultural moment, where our country is embroiled in a volatile conversation about white male power, privilege, and entitlement. I’m excited to spend my time at the Playwrights’ Center digging into the first draft, and asking both big-picture questions about how the play fits into our national conversation and small-picture questions about character arcs and play structure.”
IN THE TIME OF The THE VOLCANO by Jen Silverman Wednesday, October 25 at 7 p.m. & Saturday, October 28 at 7 p.m. Henry has become the janitor at his kids’ high school after losing his job, while his wife Luce struggles to hold onto her own. Meanwhile, their two sons and adopted daughter are struggling to understand their own potential as they become ever more aware of their parents’ failures. When strange news from the past reaches Henry, it explodes into all of their lives, changing how they see Henry—and ultimately themselves. A play about what happens when we’re offered a chance at dreams we didn’t even know we had…
PLAYWRITING FELLOWS SHOWCASE Sunday, October 29 at noon Scenes from a diverse collection of plays by the Center’s 2017-18 playwriting fellows, followed by a reception with the writers. Work by: Mfoniso Udofia McKnight National Residency and Commission Benjamin Benne Rachel Jendrzejewski McKnight Fellowship in Playwriting
Mia Chung Jessica Huang Tim J. Lord Tori Sampson Jerome Fellowship Stacey Rose Saymoukda Duangphouxay Vongsay Many Voices Fellowship
ruth easton NEW PLAY SERIES
December 2017 â€“ April 2018 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 visiting artistic leaders to see the readings and connect with the playwrights, and more than half of the plays developed in the series over the past decade have gone on to production.
FROM KIRA: “This musical was originally conceived by composer Brian Harnetty and me as something simple and stripped down— for untrained (or trained) voices and a piano. The music is seemingly simple and so is the story—but in the lightness we hope to approximate what Gogol’s short story does, which is to contemplate the great divide between poor and rich and the ways in which empathy can be born in even the most barren of hearts.”
FROM JOHN: “As I worked on How The Ghost Of You Clings I discovered, to my chagrin, that many—most— people have never heard of Ms. Wong. I had, being a devotee of old movies, but this lack of familiarity with a great American is something I hope to rectify with this play.”
THE overcoat: A MUSICAL FOR NON MUSICAL PEOPLE by Kira Obolensky December 4 & 5, 2017 at 7 p.m. In this musical re-imagining of Gogol’s short story “The Overcoat,” poor beleaguered Charlie Shoe needs a new coat to keep Winter away—she’s there, on the bridge, on the stair, waiting for his body and soul. Funny and tragic, this short musical wonders if empathy and love are really enough to save us from the clutches of coldness.
how the ghost of you clings, the anna may wong story by John Olive January 8 & 9, 2018 at 7 p.m. A “bioplay” about the great Chinese-American actor Anna May Wong (Huang Liu Tsong, 1905-1961). The beauteous Anna lived large, appearing in silents, talkies, in the earliest days of television, in vaudeville shows, on Broadway, on the West End. Anna remains, to this day, the most prolific Asian actor, ever.
FROM SHERRY: “One of the mysteries I’ve been trying to understand my whole life is how the small is so big in our lives. Folded into that mystery is my longing to sing about the mythic ways compassion and care make heroes of a hundred million people every day. Add in my fascination with our new primal—and often primary— relationship with the vivid lives we co-inhabit when we turn our gaze to our screens? That’s this play.”
FROM STEFANIE: “Many of my plays touch on a theme of hope in a time of chaos, and the question I began with for this play was how individuals cope or activate in an increasingly chaotic political world. The play weaves a thread of incidental connections that crisscross as they trickle across the globe. Getting the balance right between storylines, magic and realism, humor and pathos—well, it takes time and that’s what I’ll be focusing on.”
three quarter inches of sky by Sherry Kramer February 5 & 6, 2018 at 7 p.m. David Copperfield begins, “Whether I shall turn out to be the hero of my own life...these pages must show.” Dickens’ novel is the story of a young boy at the beginning of his life. Three Quarter Inches of Sky is the story of Trula, a woman of a certain age, near the end of her life. How will she answer that question, in the time allotted? How will she measure what being the hero of her story is, as she cares for her fading father, whose memory is going, and searches through her own memories for a way to understand her life? A play filled with a childhood that may or may not be true, a lot of movie references, and 7 chicken pot pies.
TINY HOUSES by Stefanie Zadravec March 5 & 6, 2018 at 7 p.m. On July 17, 2014, Malaysia Airlines Flight MH-17 rained down upon a tiny, war-torn village in Eastern Ukraine, shot down 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 HARRISON: “the bandaged place is the play I said I would never write. Swore, really. Admittedly, my plays tend to borrow from real life, from my real life, but more than any of my other writings, the events of this play… well, suffice it to say that they hit incredibly close to home… definitely too close for any kind of comfort. This ‘closeness’ is probably why it had to be written. I don’t remember who it was that said to me, ‘Write what scares you most, what keeps you up at night, what haunts you.’ the bandaged place is that for me—the thing that continues to haunt.”
“I loved my Ruth Easton Series workshop. I felt immensely taken care of. I loved the care that went into casting and into making us all feel comfortable and welcome. I loved our actors, our intern stage manager, the time spent with Jeremy and Hayley. I loved having a designer as part of the development conversations. I loved having two readings with time in between to make changes.” - Martyna Majok, who developed queens in the 2016-17 series
the bandaged place by Harrison David Rivers April 9 & 10, 2018 at 7 p.m. When a former lover resurfaces, re-opening a painful wound, Jonah Irby is forced to turn to his precocious daughter and his tough love grandmother for support. A brutal and lyrical play about the things we hang on to and the price of moving forward.
FELLOWS & CORE WRITERS 22
Fellowships, made possible by the McKnight and Jerome foundations, provide more than $315,000 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 Playwrightsâ€™ 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 career-changing for most playwrights. During their three-year tenure, Core Writers receive play development workshops at the Playwrightsâ€™ 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.
Mfoniso Udofia McKnight National Residency and Commission Recipient Works include: Sojourners, Her Portmanteau, runboyrun Mfoniso writes plays that complicate our understanding of the West-African experience in America. Mfoniso writes plays that cost worlds and heal universes. Mfoniso writes plays you can see yourself within.
Benjamin Benne McKnight Fellow in Playwriting
Rachel Jendrzejewski McKnight Fellow in Playwriting
Works include: at the very bottom of a body of water, q u e r e n c i a: an imagined autobiography about forbidden fruits, #nowall
Works include: Early Morning Song, In Which ______ and Others Discover the End, ENCYCLOPEDIA
Benjamin is a Jewtino of Guatemalan heritage with one foot in realism and the other in the supernatural realm. Flavor: a superserious-pitch-black core coated with tangy-childlike whimsy.
Rachel is an experimental writer and interdisciplinary artist who often collaborates with dancers, visual artists, musicians, fellow writers, and alleged non-artists to explore new performative vocabularies.
Bart Buch, puppet director and designer McKnight Theater Artist Fellow
Katharine Horowitz, sound designer McKnight Theater Artist Fellow
Regina Marie Williams, actor McKnight Theater Artist Fellow
Works include: Ode to Walt Whitman, Mortal City, Kid Enkidu
Credits include: Richard III (Great River Shakespeare Festival), The Paper Dreams of Harry Chin (History Theatre), We Are Proud To Presentâ€Ś (Guthrie Theater)
Credits include: Nina Simone in Nina Simone: Four Women (Park Square Theatre), Marie in Barbecue (Mixed Blood Theatre), Lady Capulet and the Prince in Romeo and Juliet (Ten Thousand Things)
Bart creates puppet poems using figures, movement, and music to strengthen intimate connections of people and place.
The psychology of sound is subtle and fascinating. By enveloping audiences in sonic atmosphere and emotion, sound guides people through a storyâ€”accentuating the narrative.
Regina is healthiest and happiest as an artist with a balanced and varied diet of comedies, classics, contemporary works, drama, lead and supporting roles, in smaller and larger theaters as well as nontraditional spaces.
Mia Chung Jerome Fellow
Jessica Huang Jerome Fellow
Tim J. Lord Jerome Fellow
Works include: You For Me For You, Catch As Catch Can, This Exquisite Corpse
Works include: The Paper Dreams of Harry Chin, Purple Cloud, Transmissions in Advance of the 2nd Great Dying
Works include: We declare you a terroristâ€Ś, Peloponnesus, Down in the face of God
Innovation of form interests me as much as fresh content. Moreover, for me, form is itself powerful content.
Jessica is: a maker of mythical, metaphysical, multiracial plays; a co-founder and director of Other Tiger Productions; the type of artist who writes to discover.
Timâ€™s plays are full of permanent malcontents and journeyers, people escaping and being overwhelmed by and laughing at the fates written for them by the places that made them.
Tori Sampson Jerome Fellow
Stacey Rose Many Voices Fellow
Works include: If Pretty Hurts Ugly Must be a Muhfucka, This Land Was Made, Where Butterflies Go in the Winter
Works include: The Danger: A Homage to Strange Fruit; America v. 2.1: The Sad Demise and Eventual Extinction of The American Negro; The Grimm Adaptation Series: Bones, Bonez, Bone$
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.
Stacey writes plays about being Black, being weird, being oppressed, and being repressed.
Saymoukda Duangphouxay Vongsay Many Voices Fellow Works include: Kung Fu Zombies vs Cannibals, Hmong Lao Friendship Play Saymoukda is a Lao American refugenius who uses theater to interrogate and amplify refugee narratives through a survivorâ€™s perspective.
This means, She writes plays about you.
Julia Gay Many Voices Mentee
Lee Blessing Core Writer
Carlyle Brown Core Writer
Works include: motherlanded
Works include: Minneapolis/St. Paul, For the Loyal, A View of the Mountains
Works include: Are you now or have you ever been, Abe Lincoln and Uncle Tom in the White House, Down in Mississippi
Julia is a Chinese adoptee who writes to bridge the vastness between memory, heart, home, and her motherâ€™s arms.
Lee writes plays that are not like each other.
Carlyle has been performing a new solo show, Acting Black: Demystifying Racism, and it seems to be working.
Kim Euell Core Writer
Larissa FastHorse Core Writer
Barbara Field Core Writer
Works include: The Dance, The Diva Daughters Dupree, Otto Bingo or A History Lesson
Works include: What Would Crazy Horse Do?, The Thanksgiving Play, Urban Rez
Works include: The Dwindles, Boundary Waters, The Crackatook
Award-winning, thought-provoking playwright irreverently interrogating issues pertaining to racial identity and cultural assimilation. Intent on excavating rhythms in language.
A theater activist, Larissa employs deceptively simple, life-sized realism to get past defenses and into the brains of audiences in order to create new pathways of thinking.
Barbara serves the comic muse.
Allison Gregory Core Writer
Dipika Guha Core Writer
Christina Ham Core Writer
Works include: Wild Horses, Not Medea, Motherland
Works include: Yoga Play, The Art of Gaman, Mechanics of Love
Works include: Nina Simone: Four Women, Scapegoat, West of Central
Dipikaâ€™s plays are formally inventive, funny, and lyrical. Sheâ€™s most interested in the nature of democracy, capitalism, love, and what it is to be a human being inside of history.
Christina is the Playwright-inResidence at Pillsbury House Theatre. Through genre-based themes her work cross-examines racial, political, and cultural divides.
Allison peoples her plays with strong, susceptible, often underrepresented voices in urgent worlds. She believes deeply in comedy.
Jeffrey Hatcher Core Writer
C. A. Johnson Core Writer
Works include: Three Viewings, Compleat Female Stage Beauty, The Government Inspector
Works include: Thirst, The Climb, Mother Tongue
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.
C. A. writes plays about the small voices often left out of big conversations. Her plays deal with questions of identity, intimacy, and trauma.
Sherry Kramer Core Writer Ruth Easton New Play Series Works include: Three Quarter Inches of Sky, How Water Behaves, When Something Wonderful Ends Sherry’s work is about the American Dream as it plays out large and small in our lives—in the way we re-calibrate our responsibilities toward those less lucky, in the way we calculate what is triumph and what is failure in our lives.
Carson Kreitzer Core Writer
Martyna Majok Core Writer
Marion McClinton Core Writer
Works include: Lempicka, Capital Crime!, Lasso of Truth
Works include: Ironbound, Cost of Living, queens
Works include: Beauty is a Rare Thing, Walkers, Police Boys
Carson is working on a feminist revisionist history, one play at a time. Or multiple plays at a time. Also musicals.
Award-winning Yale and Juilliard playwright from Poland and Jersey who writes character-driven, time-jumping plays about the working class world.
Marion tries to be both humanly and socially responsible with his art.
Meg Miroshnik Core Writer Works include: The Fairytale Lives of Russian Girls, The Droll, Lady Tattoo Megâ€™s work features a heightened attention to language and an emphasis on complicated central roles for women. She is also a founding member of The Kilroys.
Kira Obolensky Core Writer Ruth Easton New Play Series
John Olive Core Writer Ruth Easton New Play Series
Works include: Dirt Sticks, Forget Me Not When Far Away, The Overcoat: a musical for non musical people
Works include: God Fire, Minnesota Moon, Killers
When she writes, Kira imagines an audience composed of everyone; her plays are big in scope, theatrically muscular, and (often) funny.
John is a playwright, screenwriter, fictionist, nonfictionist. He co-owns a website, HowWasTheShow.com.
Jason Gray Platt Core Writer PlayLabs Works include: The There There, Empire Travel Agency, Some Prepared Remarks My father herded cattle. I round up words. The hazards differ. His hips; my hands. His skin rough; mine thin. Both of us hoping to drive a little further before darkness settles in.
Gabrielle Reisman Core Writer Works include: Storm Still, Flood City, Catch the Wall Gab’s plays chart the comic, inextricably political, and subtly queer relationship between who we are and where we’re from.
Harrison David Rivers Core Writer Ruth Easton New Play Series Works include: Where Storms Are Born, This Bitter Earth, And She Would Stand Like This Harrison’s plays flirt with sweetness and naturalism. They are emphatic and empathetic, punctuated by monologues, ringing phones, “remember when” stories, and flight.
Jen Silverman Core Writer PlayLabs Works include: The Moors, The Roommate, Collective Rage: A play in 5 Betties; in Essence a Queer and Occasionally Hazardous Exploration; Do You Remember When You Were in Middle School and You Read About Shackleton and How He Explored the Antarctic?; Imagine the Antarctic as a Pussy and It’s Sort of Like That
Mat Smart Core Writer
Andrea Stolowitz Core Writer
Works include: Kill Local; The Agitators: The Story of Susan B. Anthony and Frederick Douglass; Eden Prairie, 1971
Works include: Berlin Diary, Ithaka, Antarktikos
Latest world premieres include Kill Local at the La Jolla Playhouse and The Agitators at Geva. Mat recently saw the Cubs play in Atlanta at SunTrust Park, the Braves’ brand new stadium. It’s the 41st MLB ballpark he’s seen a game at.
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.
Jen is fascinated by stories of transformation—what does it take to change who we are? Can we actually change? She falls on both sides of these questions. 35
Kate Tarker Core Writer Works include: God is Dead, Let’s Make Love; Laura and the Sea; THUNDERBODIES Kate writes painful, funny, and beautiful plays that are often parked in the gap between who we are and who we wish we were.
Alice Tuan Core Writer PlayLabs Works include: Ajax (por nobody), HIT, California Love AT’s plays attempt to make sense of being raised in Chinese values while schooled in U.S. thought, and have recently drifted towards the Femsistential. She’s the Playwright Associate at East West Players.
Stefanie Zadravec Core Writer Ruth Easton New Play Series Works 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.
Kirk Boettcher Core Apprentice Works include: there are no protections against this, Variations on Grief, The Greatest Show on Earth In Kirkâ€™s plays he explores both historical and fictional characters through their own self-perception and how that differs from the way the rest of the world sees them.
Dionna Michelle Daniel Core Apprentice Works include: Gunshot Medley; Rain, River, Ocean Dionna Michelle is a young playwright based in Los Angeles. She creates politically engaged works focused on race and class questioning our everevolving society.
Carlos Sirah Core Apprentice Works include: Planets Measured by Parallax, The Light Body, The Utterances Carlos is a writer, performer, and cultural worker born in Mississippi. His work encounters: exile, rupture, migration, and displacement in relation to institutions, local and beyond.
Through the Regulars program, the Playwrightsâ€™ Center partners with 100 theaters around the country to bring their artistic staff to the Center in order to spend time with playwrights and to co-develop new plays with a keen eye towards production. In fact, 60% of these plays have gone on to full production within two years (rather than the average seven-year timeframe for most plays to see production). 2016-17 productions resulting from Playwrightsâ€™ Center co-development workshops include Duat by Daniel Alexander Jones at Soho Rep, Early Morning Song by Rachel Jendrzejewski at Red Eye Theater, Fickle: A Fancy French Farce by Meg Miroshnik at Olney Theatre Center, and The Happiest Place on Earth by Philip Dawkins at Greenhouse Theater Center/Sideshow Theatre Company. Co-developed plays premiering during the 2017-18 season include The Great Leap by Lauren Yee at Denver Center Theatre, Dancing on the Edge by Adam Kraar at Theatre Novi Most, and The Gentleman Caller by Philip Dawkins at Raven Theater. Would your theater like to be a Regular? Our producing artistic director Jeremy B. Cohen would love to tell you more about the program: firstname.lastname@example.org or (612) 332-7481 x113.
World premiere of Duat by Daniel Alexander Jones at Soho Rep. Photo by Julieta Cervantes.
Playwrights’ Center membership is open to all. More than 2,000 playwrights of all styles and experience levels worldwide hone their craft and find an artistic home in our membership community. We’re expanding our educational programming in 2017-18, so it’s a great time to join.
Benefits of membership include an up-to-date and professionally curated online database of play submission opportunities, online classes and 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 Playwrightsâ€™ 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 community of member playwrights at pwcenter.org/join.
new plays on campus New Plays on Campus is designed to support the next generation of playwrights by giving student writers access to playwriting resources and opportunities to work with professional playwrights. For member colleges and universities, the Playwrights’ Center tailors playwriting classes and workshops to meet their students’ specific needs, providing students the opportunity to work with professional playwrights through residencies, commissions, and collaborative work. The Playwrights’ Center also provides scriptmatching services 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 year-long mentorship with a professional playwright and culminates in a full play development workshop at the Playwrights’ Center. Recent mentors have included David Henry Hwang and Dominique Morriseau.
THANK you thank YOU The Playwrightsâ€™ 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
DONORS To donate to the Playwrights’ Center, contact Development Manager Krystal Kohler at (612) 332-7481 x138 or email@example.com or visit pwcenter.org/donate. 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 Piper Jaffray Harold & Mimi Steinberg Charitable Trust $2,500–$24,999 Archie D. and Bertha H. Walker Foundation Boss Foundation Hit Her with the Skates KNOCK, inc. RBC Wealth Management
Triumph Productions $1,000–$2,499 Dramatist Guild Fund Creative Fundraising Advisors Geoffrey M. Curley and Associates HGA Macy’s Foundation Securian Foundation U.S. Bank Up to $999 Aetna Foundation
Amazon Smile The Benevity Community Impact Fund Best Buy Political Action Committee (PAC) Match Program Big Lots! Carolyn Foundation Margaret A. Cargill Foundation Western Bank YourCause Corporate Giving Program PAGE TO STAGE Gifts supporting the Playwrights’ Center’s efforts to move new plays from development to production $10,000+ Lili Hall & Andrea Scarpa Polly Grose Angus & Margaret Wurtele Wayne Zink and Christopher Schout, Triumph Productions $2,500–$9,999 Barry Berg & Walter Tambor Phileona Foundation Rosenbaum-Gilbert Foundation $1,000–$2,499 Anonymous George Brant & Laura Kepley Fran Davis Dan Dietz
Steven Dietz & Allison Gregory Chelle* & Mike Gonzo Jeremy Mickel & Joe Waechter Up to $999 Craig Harris & Candy Kuehn Jordan Harrison & Adam Greenfield Jeffrey Hatcher & Lisa Stevens INDIVIDUALS Playwrights’ Circle ($2,500+) Eric Anderson & Roger Beck Rebecca & Omar Ansari Peter & Maura* Brew Geoffrey M. Curley* Barb Davis* Fran Davis Mary Beidler Gearen* Betty Grant* Bruce & Jean Johnson Lucy Rosenberry Jones Thomas Knoll Ann* & Scott McCague David & Leni Moore Family Foundation Peter & Carla Paulson* Family Fund Diane & Mark* Perlberg Dana & Steve* Strand ($1,000–$2,499) Anonymous (2) Barry Berg & Walter Tambor Toni Nebel Bjorklund & Leland Bjorklund Jeffrey Bores* & Michael Hawkins
Bill Casey Robert & Emily Chelimsky Jeremy B. Cohen & Michael Elyanow Mary Anne Ebert & Paul Stembler Barbara Field John Geelan & Megan Feeney David Goldstein & Don Pastor Chelle* & Mike Gonzo Lili Hall & Andrea Scarpa The Head Family Foundation Char Hovi* Linda A. Huett Dr. Arthur W. & Mrs. Martha H. Kaemmer MaryAnn Lippay & Stephen Kanee Family Fund Miriam & Erwin Kelen Kinder Vealitzek Family Fund of The Minneapolis Foundation James Kraling & Becky Krull Kraling* Brian Kuntz & Curtis Weldon Chad & Rafina Larsen Annie Lebedoff* Charlie & Anne Leck Walter McCarthy & Clara Ueland Kim Mickelson* & Mark DeVetter Firoozeh Mostashari Sara* & Chad Nelson Jon Newman* & Brooks Christensen James D. O’Connor Phileona Foundation
Tom & Mary Racciatti Rosenbaum-Gilbert Foundation Amy Seitz Marcia & John Stout The WMN Foundation Benefactor ($500–$999) E. Tim Carl & Jean Garbarini Erika & Nathan Eklund Greg Giles & Teresa West Sam & Shani Graber Karen Grabow & Keith Halperin Christina Ham Jeffrey Hatcher & Lisa Stevens Paul Johnson & Tim Carey Jeremy Mickel & Joe Waechter Kira Obolensky* & Irve Dell
Patti & Dan O’Leary Charlie Quimby & Susan Cushman Harrison David Rivers* & Christopher R. Bineham Gail & Randall Ross Gift Fund Donald & Linda Silpe John Sullivan Meg & Steve Swanson Suzanne Weinstein & Danny Levey James & Susan Westerman Michael Wilson & Jeff Cowie Ambassador ($250–$499) George Brant & Laura Kepley Eric Britt & Michelle Pett Susan Conley de Castro
William & Virginia Craig Mary C. Dolan Peggy Farra Bess Gold Polly Grose Tessa Gunther & Scott Hagg Joe Haj Craig Harris & Candy Kuehn Seena Hodges & Ansa Akyea Tom Hodges Tuckaghrie Hollingsworth Suzanne Joyce Aditi Brennan Kapil Bobbi & Louis Kaplan Jasmine Keller & Nils Gokemeijer Elizabeth Kilburg & Louisa Castner Faye Knowles & Douglas Muirhead
Sigi Leonhard Mary & Doug Logeland Ron Lotz & Randy Hartten Ed McConaghay & Margaret Telfer David & Nancy Michael Diane Nixa James A. Payne Richard Pennington Bridget Sperl & John McCormick Emily Anne Staples Tuttle Fund of the Minnesota Community Foundation Virginia Sundberg Ruth & Carl Weiner Ginger Wilhelmi William White Shay & Brenda Wyley Jane Zilch Advocate ($100â€“$249) Elissa Adams & Michael Margulies Jenny Allen in honor of Allison Gregory Jenny Allen in honor of Tim J. Lord Nancy Altman & Bruce Macdonald Howard J. Ansel e. g. bailey & ShĂĄ Cage Brian Balcom James Edward Ball John Baynes & Karen Spruth Kathleen Beckman Mark Benninghofen Zak Berkman & Theresa Lamm Jeannette Bineham
Debra Bjornard Lee Blessing & Melanie Marnich dik Bolger & Carmen Gutierrez-Bolger Peter Brosius & Rosanna Staffa Carlyle Brown* & Barbara Rose-Brown Robert P. & Debbie A. Brown John & Darlene Bulov Kenneth Burke Bob & Carolyn Bye John & Sonia Cairns Zach & Mara Cohen Jeanne E. Corwin Ken Cram Jennifer David Matthew Delfino Sandy Duerre Nicole Dunham Liz Engelman Hayley Finn Nancy Finn Seth Freeman Beth Gaede Gabriel Greene Stacy Hebdon Cecily Hines & Thomas Pettus Harriet Horwitz Shane Kelly & Kristin Idaszak Terence Kilburn David Koehser & Nancy Dunnigan Krystal A. Kohler Jonna Kosalko & Dan Rabin Neal & Abigail Kreitzer Alexandra Kulijewicz Joseph J. Kuznik Sally & Jonathan Lebedoff
Elizabeth Lein Edith Leyasmeyer Anne Mahle & David McCarthy David Manderson Jeff Masco Timothy Mason in memory of Charles Nolte James McCarthy & Gloria Peterson R. Troy Miller Lucy & Bob Mitchell Ned Mitchell Sarah Myers & Steven Wright Tom & Ann Napp Mindy Nelson Jon Neuse & K.C. Foley Tonja Orr Kristi Petersen Jim & Susan Peterson Joel & Veronika Phillips Sheila Plunkett Denise Prosek Lawrence Redmond Don Ristad & Kent Cassidy Julie Robbins Charlene K. Roise Heath & Becky Rudduck Patrick Sadler Sarah Schneeberger Ralph Schnorr Wendy & Bill Schoppert Mary Kay Fortier Spalding & George Spalding Cheri Templeman Elizabeth A. Thimmesh & Matthew E. Johnson Bob & Carolyn Thomas William Underwood & Christopher Everett Gene Valek
Harry Walsh Harry Waters Jr.* & Thomas Borrup Barbara Weissberger Bethany Whitehead James A. Williams Lori-Anne Williams Sally Wingert & Tim Danz Joan Wright Stephen Yoakam Deborah Zanish & Daniel Danielson Donor Advised Fund Laura Zimmermann Nancy Zingale & Bill Flanigan Supporter (Up to $99) Anonymous (3) Melissa Abney Cindy Ahlberg Morgan Allen Lynne A. Alpert & Kay Lockhart
Donald & Joyce Arneson Carol A. Barnett Patricia A. Barrier Ruth Berger Sonya Berlovitz Ann M. Biggar Raye Birk & Candace Barrett Birk Julia Brown Donald D. Brown, Jr. Robin Buckallew Tom Cavanaugh Sarah & Matt Chaplin John Cerra Allene Cohen Christina Collins Tanner John Curl Ryan T. Dallas Phil & Jules Darg Jenny Connell Davis Jennifer Dobby Doran Edwards Matthew Ek Katherine & Kent Eklund
Michele Lucien Erickson Peter Fleck & Mary Weber Yvonne Forsythe Jessica Franken Robert Frost Gavens Charitable Family Trust Ain Gordon Susana Gluck Leah Harvey & Steve Rosholt Jeannine Henry David Hill Sandy Hitchin Jessica Huang & Ricardo Vรกzquez Lee Hurtado Andrew & Amy Jendrzejewski Rachel Jendrzejewski Jake Jeppson Lauren & Jamil Jude Catherine Johnson Justice
Mervyn & Nancy Kaufman Keri Kellerman Anne-Lynn Kettles Adeeb Khalid & Cheryl Duncan Mary Louise Klas Julie Klassen Mary T. Kokernot Adam Kraar Laura Leffler-McCabe Seth Levin & Mia Nosanow Alexander Levitan Michele Lowe Perry H. Lueders Bruce Manning & Tricia Cornell Lynne Menturweck Ellen Merlin Heather Meyer Meg Miroshnik Miriam Must Gina Musto Richard A. Nathan Dr. Craig A. Nelson Emily Penick Adelin Phelps Noël Raymond & Amy Finch Keegan Rentsch Amanda & Stuart Robbins-Butcher Christina Saunders Barbara Schubring Boo Segersin Barbara Shelton Shelley Shreffler Mat Smart Christopher G. Smith
Don Sommers & Brad Shark Philip Spensley Minda Stephens & Kevin Donahue Sam & Deb Stern Carl Atiya Swanson Helen Torgerson Ken Urban Elizabeth Walat David & Monica Walsh Ellen & John Walthour Wendy Weckwerth Christine & David White Perry & Cindy Witkin Laura Zabel IN KIND Bolger Vision Beyond Print Common Roots Philip Dawkins Design Press, Inc. EMI Audio Mary Anne Ebert & Paul Stembler Sam & Shani Graber Tessa Gunther & Scott Hagg Aditi Brennan Kapil KNOCK, inc. Krystal A. Kohler Molly Lehman Jessilyn Marth John Olive Pizza Luce Charlie Quimby & Susan Cushman Zipps Liquors
*Playwrights’ Center board member Represents gifts from July 1, 2016 - June 30, 2017.
Playwrightsâ€™ Center staff Jeremy B. Cohen, producing artistic director Robert Chelimsky, managing director Alayna Barnes Julia Brown Hayley Finn Jessica Franken Christina Ham H. Adam Harris Hannah Joyce-Hoven Krystal Kohler Ryan Ripley Playwrightsâ€™ Center board Steve Strand, president Barb Davis, vice president Sara Nelson, secretary Chelle Gonzo, treasurer Jeffrey Bores Maura Brew Carlyle Brown Geoffrey Curley Mary Beidler Gearen Betty Grant Charlyne Hovi Becky Krull Kraling Annie Lebedoff Ann McCague Kim Mickelson Jon Newman Kira Obolensky Carla Paulson Mark Perlberg Harrison David Rivers Harry Waters Jr. Season booklet design: Jessilyn Marth Copy and art direction: Jessica Franken Photographer credits: Cover & page 2: Bill Cameron; Inside cover top: Josh Olson; Inside cover bottom, & pages 40, 42, 51 top right: Jessica Franken; Pages 1, 7, 8, 14, 21, 22, 50, 51: Paula Keller; Page 4: Ryan Ripley; Page 38: Julieta Cervantes; Pages 45, 47, 49: Snap Yourself! Printing partially underwritten by Bolger Vision Beyond Print 51
2301 East Franklin Avenue Minneapolis, MN 55406-1024 pwcenter.org
See the plays to be featured in PlayLabs and the Ruth Easton New Play Series, and get to know the fellows and Core Writers the Playwrights'...
Published on Sep 13, 2017
See the plays to be featured in PlayLabs and the Ruth Easton New Play Series, and get to know the fellows and Core Writers the Playwrights'...