During her 25 years at the Oregon Shakespeare Festival, Douthit oversaw a full service literary department as Director of Literary Development and Dramaturgy.
Play on! began in 2012 as a pilot program under her supervision. She was the Production Dramaturg for more than 50 productions, including 15 world premieres including: Hannah and the Dread Gazebo; Head Over Heels; Family Album; The Unfortunates; Throne of Blood; and Equivocation.
She has also worked on over two dozen Shakespeare productions. She is the co-adapter of a six-actor Macbeth and seven-actor Measure for Measure, which were both produced at OSF and elsewhere. She was the co-producer of the Black Swan Lab in 2009, going on to produce the lab from 2010 to 2016.
Douthit is the recipient of the 1999 Literary Manager & Dramaturgs of the Americas (LMDA) Prize in Dramaturgy: The Elliott Hayes Award.
She received a PhD at the University of Washington, an MFA from Trinity University, and an MA from University of Arizona.
Lue DouthitPresident/Co-Founder, email@example.com
Hailing from the foggy and redwood-laden coast of Northern California, Danielle DeMartini (she/her/hers) grew up surrounded by landscapes, architecture, and people who have inspired much of her art. She is a graduate of Humboldt State University with a degree in Studio Art and a minor in Asian Aspects of Philosophy. A love of languages and visual communication has led to a wide-ranging career in graphic design.
Danielle DeMartiniGraphic Designer & Web Support, firstname.lastname@example.org
Natsuko Ohama-Trained under legendary voice teacher Kristin Linklater. She is a founding member and permanent faculty of Shakespeare and Company Lenox, Mass., a senior artist at Pan Asian Rep New York, and was the Director of Training at the National Arts Center of Canada. Natsuko has taught at numerous institutions all over North America, including the NYU Experimental Theater Wing, Cal Arts, Columbia University, the Sundance Institute, New Actors Workshop, the Stratford Festival. Recently taught in Shanghai China, Stromboli Italy, Istanbul,Turkey, Orkney Scotland, and at the Wooster Group Summer Institute in New York. She also has an extensive workshop and private teaching practice in New York and Los Angles. A Drama Desk nominated actress, she has portrayed roles ranging from Juliet to Lady Macbeth from Hamlet to Prospero (Los Angeles Women’s Shakespeare Company) from the action film Speed to the cult series Forever Knight and American Playhouse on PBS. She has been seen on screen in Pirates of the Caribbean 2, and on stage at the Kirk Douglas Theatre in Dogeaters as Imelda Marcos and favorite recent roles as Polonius in the LAWSC production of Hamlet at the Odyssey Theatre and Winnie in Beckett’s Happy Days at the Boston Court Theatre in Pasadena. Ms. Ohama’s play Geisha of the Gilded Age-Miyuki Morgan, was staged at the Ventford Theater in Lenox, Mass. As a director credits include the Press and FACE for Visions and Voices at USC, and Macbeth 3 at the HERE Theatre in New York starring Lisa Wolpe. She is the recipient of the Playwright’s Arena Outstanding Contribution to Los Angeles Theatre Award and appears in the recent publication Voice and Speech Training in the New Millennium (Conversations with Master Teachers) by Nancy Saklad. She heads the voice progression for the MFA Acting Program at USC.
Natsuko OhamanaDramaturg, All’s Well That Ends Well
Desdemona Chiang is a stage director based in Seattle and the San Francisco Bay Area. Co-Founder of Azeotrope (Seattle).
Directing credits include Oregon Shakespeare Festival, California Shakespeare Theater, Seattle Repertory Theatre, Playmakers Repertory Company, Long Wharf Theatre, ACT Theatre, Seattle Children’s Theatre, Aurora Theatre Company, Seattle Shakespeare Company, Shotgun Players, Crowded Fire Theatre Company, Seattle Public Theatre, Impact Theatre, FringeNYC, Playwrights Foundation, Golden Thread Productions, Washington Ensemble Theatre, One Minute Play Festival, Ohio Northern University, University of Washington, and Cornish College of the Arts, among others. Assisting and dramaturgy credits include: Oregon Shakespeare Festival, Intiman Theatre, Playmakers Repertory Company, A Contemporary Theatre, California Shakespeare Theater, Arizona Theatre Company, Mark Taper Forum, Magic Theatre, Theatreworks, Rattlestick Playwrights Theatre, among others. Adjunct Faculty, Cornish College of the Arts.
Awards/Affiliations: Vilcek Prize for Creative Promise in Theatre, SDC Sir John Gielgud Directing Fellowship, Drama League Directing Fellowship, TCG Young Leader of Color, Lincoln Center Theater Directors Lab and Directors Lab West. Gregory Award Recipient for Outstanding Direction. Intersection for the Arts Triangle Lab Artist-Investigator. BA: University of California at Berkeley MFA Directing: University of Washington School of Drama.
Desdemona ChiangDramaturg, Antony and Cleopatra
Lezlie C. Cross is a dramaturg, scholar, and teacher currently working at the University of Portland. Her recent dramaturgical work includesTimon of Athens; The Very Merry Wives of Windsor, Iowa; As You Like It; All’s Well That Ends Wellat the Oregon Shakespeare Festival; A Midsummer Night’s Dream, Treasure Island, Guys and Dollsand William Shakespeare’s Long Lost First Playat the Utah Shakespeare Festival; A Raisin in the Sun at Cincinnati Shakespeare Love’s Labours Lost at Actor’s Theatre of Louisville;and The Tempest,Much Ado about Nothingat Classic Stage Company. Her published articles and book reviews appear in the journals Shakespeare Bulletin, Theatre Annual, The Journal of American Drama and Theatre and Theatre Survey as well as the book projects Shakespeare Expressed: Page, Stage, and Classroom and Performing Objects and Theatrical Things. Her article in Theatre History Studies (2017) places the controversy surrounding Play On! in historical context. She holds a PhD from the University of Washington, a MA from the Shakespeare Institute, University of Birmingham, UK, and a BA from Whitman College.
MARTINE KEI GREEN-ROGERS is an Assistant Professor at SUNY: New Paltz, a freelance dramaturg, and the President of the Literary Managers and Dramaturgs of the Americas.
Her dramaturgical credits include: The Greatest with the Louisville Orchestra, Fences and One Man, Two Guvnors at Pioneer Theatre Company; Clearing Bombs and Nothing Personal at Plan-B Theatre; the Classical Theatre Company’s productions of Uncle Vanya, Antigone, Candida, Ghosts, Tartuffe, and Shylock, The Jew of Venice; Sweat at the Goodman; productions of Radio Golf, Five Guys Named Moe, Blues for An Alabama Sky, Gem of the Ocean, Waiting for Godot, Iphigenia at Aulis, Seven Guitars, The Mountaintop, Home, and Porgy and Bess at the Court Theatre; The Clean House at CATCO; Hairspray, The Book of Will, Shakespeare in Love, UniSon, Hannah and the Dread Gazebo, Comedy of Errors, To Kill A Mockingbird, The African Company Presents Richard III, A Midsummer Night’s Dream; and Fences at the Oregon Shakespeare Festival; 10 Perfect and The Curious Walk of the Salamander as part of the 2006 and 2007 Madison Repertory Theatre’s New Play Festival; and A Thousand Words as part of the 2008 WI Wrights New Play Festival.
She also works with the Great Plains Theatre Conference and is affiliated with NNPN.
Kimberly Colburn is South Coast Repertory’s literary director and co-director of the Pacific Playwrights Festival. Her recent dramaturgical work has included the world premiere productions of Going to a Place Where you Already Are by Bekah Brunstetter, Orange by Aditi Kapil, and Future Thinking by Eliza Clark. Formerly, she was the literary manager at Actors Theatre of Louisville, where she was the dramaturg for the world premieres of Partners by Dorothy Fortenberry, The Roommate by Jen Silverman and Dot by Colman Domingo, among others. Prior to that, she was the associate literary director at SCR and was the dramaturg for world premieres of The Long Road Today by José Cruz González, Zoe Kazan’s Trudy and Max in Love and A Wrinkle in Time adapted by John Glore, among dozens of other productions and readings. She has worked with companies including Los Angeles Opera, Mixed Blood Theatre, Sledgehammer Theatre, Oregon Contemporary Theatre, Critical Mass Ensemble, Artists at Play and Native Voices at the Autry.
Kimberly ColburnDramaturg, Edward III
Luan Schooler is the Director of New Play Development & Dramaturgy at Artists Repertory Theatre in Portland, Oregon. Since starting there in 2015, she has initiated projects with Yussef El Guindi, Larissa FastHorse, Linda Alper, Andrea Stolowitz, Dael Orlandersmith, Hansol Jung, Anthony Hudson, and Susannah Mars. Before joining Artists Rep, she was Literary Manager/Dramaturg at Berkeley Rep for several years, and worked with many writers including David Edgar, Naomi Iizuka, Salman Rushdie, Dominique Serrand, Rinde Eckert, Lillian Groag, Bridget Carpenter, and Robert Fagles. While at Berkeley Rep, she served as production dramaturg on many productions, including with Lisa Peterson on Shakespeare’s Antony & Cleopatra. At OSF, she provided dramaturgy during two seasons, including on David Edgar’s Continental Divide, a project so large it required three dramaturgs: Lue Douthit, Douglas Langworthy, and Luan Schooler. (Interesting side note: the collective noun is ‘aggravation’, as in, “an aggravation of dramaturgs”.) Prior to all these experiences, she was a company member of Perseverance Theatre in Juneau, Alaska for many years. There, she learned what makes plays tick by working with artists like Paula Vogel, John Murrell, Molly Smith, Per Olav Sorensen, Pavel Dobrusky, John Luther Adams, and many others.
Luan SchoolerDramaturg, Hamlet
Andrea Hiebler is currently the Director of Scouting and Submissions at The Lark. Andrea first joined The Lark as an intern back in the summer of 2006, then served as Literary Associate for Playwrights’ Week before becoming a full-time member of the artistic team in 2009. She now manages multiple play submission and fellowship selection processes, writer scouting and tracking and serves as a facilitator for a variety of Lark programs and writers’ groups.
A New York native, Andrea graduated from The College of Wooster in Ohio with a B.A. in Theatre and English. She has participated as a script reader for Sundance and The Ruby Prize and hosted a series of affinity sessions on Dramaturgy/New Play Development at the national TCG conference. Away from the theater, you can find her listening to classic rock or rooting for her favorite New York sports teams at a local bar.
Andrea HieblerDramaturg, Henry V
Julie Felise Dubiner is the former Associate Director of American Revolutions: the United States History Cycle. While at OSF, Julie served as dramaturg for Beauty and the Beast; The Wiz; Sweat, The Cocoanuts; The Liquid Plain; and Party People. At Actors Theatre of Louisville, she collaborated on more than 40 productions and projects in the regular season and the Humana Festival, and co-created Rock & Roll: The Reunion Tour. In Philadelphia, she was project manager of the musical The Rosenbach Company and dramaturg at the Prince Music Theater. In Chicago, Julie freelanced with Defiant Theatre, blue star performance company, Steppenwolf Theatre Company and others. She has been a guest dramaturg at the Kennedy Center and KCACTF, the O’Neill Playwrights Conference, the New Harmony Project and elsewhere. Julie is the co-editor of two anthologies of Humana Festival plays; co-author of The Process of Dramaturgy: A Practical Guide; and a contributor to The Routledge Companion to Dramaturgy, Innovation in Five Acts: Strategies for Theatre and Performance, HowlRound, the LMDA Source Book; and is a Kilroys nominator. Julie holds a BA from Tufts University and an MFA from Columbia University.
Nancy Keystone is a Los Angeles-based, multi-disciplinary theatre maker, visual artist, & founding artistic director of Critical Mass Performance Group (CMPG). She is an honored recipient of a 2014 Doris Duke Performing Artist Award, & 2011 United States Artists Hoi Fellowship. Critical Mass Performance Group is a collaborative ensemble developing new works and adaptations of classic texts since 1985. It was named 2013’s Best Theater Company by LA WEEKLY.
In her roles as CMPG’s chief investigator, writer, director, and designer, Keystone has recently helmed: AMERYKA (2010-2016) a kaleidoscopic new work illuminating the promises and betrayals of the United States, through the surprising relationship with Poland;ALCESTIS, a deconstruction of Euripides’ play about love and sacrifice, developed at Getty Villa Theatre Lab, premiered at Theatre @ Boston Court in Pasadena; APOLLO, an epic trilogy exploring the US space program, its relationship with Nazi rocket scientists, and the surprising intersection with the Civil Rights Movement–Parts 1 & 2 premiered at Kirk Douglas Theatre 2005, Part 3 premiered with the full trilogy at Portland Center Stage 2009; THE AKHMATOVA PROJECT, movement-theatre piece inspired by life & work of Russian poet, Anna Akhmatova. Other recent Keystone/CMPG projects: BREAD, 2011 site specific interactive performance-salon, Cornerstone Theater commission; 365 DAYS/365 PLAYS #47 by Suzan-Lori Parks, 2007 site specific, Angels Gate Cultural Center; adaptation of ANTIGONE, 2001 at Portland Center Stage.
As a freelance artist Ms. Keystone has directed & designed award-winning productions at regional theaters (Portland Center Stage, Center Theatre Group/California Plaza, East West Players, Theatre @ Boston Court, Actor’s Express, Georgia Shakespeare Festival, San Francisco Shakespeare Festival), as well as opera (Musica Angelica, Long Beach Opera, San Luis Obispo Mozart Festival) and film.
As a visual artist she creates paintings and collages for exhibitions and commissions. Her work has been honored with, and supported by Theatre Communication Group’s 2003 Alan Schneider Director Award, MacDowell Colony Fellow, grants from NEA, Association of Performing Arts Presenters/Doris Duke Foundation, TCG/Pew Charitable Trusts, Center for Cultural Innovation, Flintridge Foundation, Alfred P. Sloan Foundation, Drama League of New York fellowship. She is on visiting faculty at UCLA, and has been a guest lecturer at colleges and universities around the country. She holds a BA in Theatre from UCLA, and MFA in directing from Carnegie Mellon.
Nancy KeystoneDramaturg, Julius Caesar
Katie Peterson is the author of three collections of poetry, This One Tree, Permission, and The Accounts. Her poems, essays, and reviews have appeared widely. Recently, she contributed a poem to the Boston Review’s 2017 anthology, Poems for Political Disaster. She has received fellowships to support her work from the Bread Loaf Writers’ Conference, the Foundation for Contemporary Arts, the Radcliffe Institute at Harvard University, and the American Academy of Arts and Letters. With her partner Young Suh, she has made and shown multimedia work in film, sculpture, and artist’s books; last year Mills College Museum of Art presented a show of their collaborative work entitled “Can We Live Here? Stories from a Difficult World.” Peterson is Associate Professor of English at the University of California Davis where she teaches in the Graduate Creative Writing Program. She often teaches on a short term basis at Deep Springs College in rural Inyo County, California, where she is a member of the Board of Trustees.
Katie PetersonDramaturg, King John
Nakissa Etemad is a professional dramaturg, producer, director, and French translator based in San Francisco, CA. She is the recipient of the 2015 Elliott Hayes Award for Outstanding Achievement in Dramaturgy for her work on four multi-city world premieres of Marcus Gardley’s the road weeps, the well runs dry through LARK’s Launching New Plays into the Repertoire (Perseverance Theatre, AK; Pillsbury House Theatre, MN; LATC; Univ. of S. Florida’s School of Theatre & Dance). The Regional VP Metro Bay Area for Literary Managers and Dramaturgs of the Americas (LMDA), she has worked in the field of dramaturgy since 1992, including full-time posts as Dramaturg & Literary Manager for Philadelphia’s The Wilma Theater, San Jose Repertory Theatre, and Resident Dramaturg & Artistic Associate for San Diego Rep. Ms. Etemad has fostered 24 professional world premiere plays & musicals and dramaturged over 90 productions, workshops & staged readings with such writers as Tom Stoppard, Arthur Miller, Lynn Nottage, Luis Valdez, Polly Pen, Marcus Gardley, Charles L. Mee, Doug Wright, Octavio Solis, Julie Hébert, Chay Yew, Dael Orlandersmith, Katori Hall, Lillian Groag, Culture Clash, D.W. Jacobs, Ray Leslee, Heather McDonald, Steven Dietz, Lauren Yee, David Adjmi, Dan Dietz, Geetha Reddy, Garret Jon Groenveld, Marisela Treviño Orta, Torange Yeghiazarian, Stephanie Fleischmann, and Jeanne Drennan.
Highlights include: Dramaturg for East Coast Premiere/2nd Production of Arthur Miller’s penultimate play Resurrection Blues at The Wilma; The Philadelphia Orchestra & The Wilma Theater’s Every Good Boy Deserves Favor by Tom Stoppard & André Previn, with David Strathairn and Richard Easton; the inaugural world premiere production of Marcus Gardley’s every tongue confess in Arena Stage’s Kogod Cradle; the world premiere Wilma-commissioned musical Embarrassments by Polly Pen and Laurence Klavan; world premiere of The Doors musical Celebration of the Lizard at San Diego Rep, with workshops starring Billy Zane and Grace Jones; Producer of San Jose Rep’s 5th Annual New America Playwrights Festival 2001, featuring Lynn Nottage, Polly Pen, James Milton, Naomi Iizuka; and Dramaturg for Katori Hall on her play The Mountaintop in Bay Area Playwrights Fest. Ms. Etemad has also provided dramaturgy for Oregon Shakespeare Festival, Alliance Theatre, Arizona Theatre Company, O’Neill Music Theater Conference, La Jolla Playhouse, Shotgun Players, Golden Thread, African-American Shakes, French Consulate SF, The Cutting Ball Theater (as Resident Dramaturg for BATCC award-winning productions of Marcus Gardley’s …and Jesus Moonwalks the Mississippi, Ionesco’s The Bald Soprano and Victims of Duty), Playwrights Foundation (PF) and six Bay Area Playwrights Festivals, Crowded Fire, Alter Theater, George St. Playhouse, Diversionary Theatre, Austin Script Works, and the inaugural season of Berkeley Rep’s The Ground Floor with Gardley’s the House that will not Stand.
Nakissa EtemadDramaturg, King Lear
Philippa Kelly (PhD Shakespeare) is Resident Dramaturg for the California Shakespeare Theater and regularly serves as production dramaturg for various regional theaters. She is also Professor and Chair of English at the California Jazz Conservatory. For her research Philippa has been awarded fellowships from the Fulbright, Rockefeller, Walter and Eliza Hall, and Commonwealth Foundations at UC Berkeley, Oxford University and Bellagio, as well as Fellowships at the Australian National University and Sydney University and a multi-year Senior Fellowship at the University of New South Wales. Philippa is the co-recipient of a Bly Award for Innovation in Dramaturgy from the Literary Managers and Dramaturgs of the Americas, culminating in a volume, Unpacking Dramaturgy: Diversity, Inclusion and Representation, Case Studies From the Field, co-edited with Amrita Ramanan, to be published by Routledge Press in the summer of 2019. Philippa is team leader for grants awarded by the Walter and Elise Haas Foundation and the California Arts Council for curriculum components taught in under-served Oakland schools. She has published many works, including 11 books (presses include Halstead, Ashgate, Oxford University Press, Michigan, Arden), 45 internationally refereed articles, and 43 playbill articles. Philippa has published extensively on King Lear, the closest to her heart being her book, The King and I(Arden Press, 2011). A meditation on Australian identity through the lens of Shakespeare’s King Lear, The King and I illuminates contemporary social attitudes toward the fringe-dwellers of society. Finally, Philippa is proud to lead a year-round community theater group entitled Berkeley Theater Explorations, the purpose of which is to make dramaturgy foundational to community theater appreciation.
Philippa KellyDramaturg, King Lear
Ishia Bennison has worked as an actor/ producer since she was seventeen. Her first introduction to Migdalia Cruz was in London when she produced and performed in Miriam’s Flowers, a wonderful play written by Migdalia. Little did we know that nearly 30 years later we’d have the pleasure of reuniting and working together on on Macbeth and Richard III for OSF. We’ve had a blast.
Romeo and Juliet and Merry Wives of Windsor, Mad World My Masters and Candide (RSC and national tour); Julius Caesar (Donmar, all female version); The Importance of Being Earnest (The Rose, Hong Kong Festival); Our Private Life (Royal Court); The Canterbury Tales (tour and The Rose), A Couple Of Poor, Polish Speaking Romanians(Soho Theatre); A New Way To Please You, Sejanus -His Fall, Speaking Like Magpies, Cymbeline, Measure for Measure (Royal Shakespeare Company); Bites (Bush Theatre); Strange Orchestra, Mother Courage (Orange Tree); Who’s Afraid Of Virginia Woolf? (Manchester Library); Arabian Nights (Young Vic Company); Antony and Cleopatra (BAM New York), A Midsummer Night Dream (Brazil tour), Merry Wives (India tour), Richard III (Riverside Studios & The Tower of London) Poetry Or Bust, Samson Agonistes, Romeo and Juliet (Northern Broadsides); Medea (Lilian Baylis); Les Miserables (Nottingham Playhouse) Turcaret (Gate); One For The Road (Meridian Prods.); Educating Rita (Oxford Playhouse); Red Devils (Liverpool Playhouse).
Television and Film includes:
Happy Valley – two seasons; New Tricks; Last Tango in Halifax; True Dare Kiss; At Home With The Braithwaites – four seasons; Holby City; Emmerdale; Coronation Street; Burnside; Love Hurts; Give And Take; Mother’s Day; Story Teller; Bread; Eastenders; Much Ado About Nothing; Mitch: A Family Affair; Kessler; Bid For Power; King David with Richard Gere; Anno Domini; The Awakening; Jesus Of Nazareth.
Producer of 7 documentaries for BBC and Channel 4
Liz Engelman is on faculty in the Playwriting and Directing area at UT Austin. As a dramaturg, Liz splits her time between the school year at UT Austin, and summer in Ely, MN, where she is the founder and director of Tofte Lake Center at Norm’s Fish Camp, a creative retreat center in the Boundary Waters. Liz has served as the Alumnae Relations Coordinator at Hedgebrook, a retreat for women writers on Whidbey Island, as Resident Dramaturg at Mixed Blood Theatre, as the Literary Director of the McCarter Theatre, the Director of New Play Development at ACT Theatre in Seattle, Washington, Literary Manager/Dramaturg at Seattle’s Intiman Theatre, and as Assistant Literary Manager at Actors Theatre of Louisville.
Liz has worked on the development of new plays across the country and abroad, including The Playwrights’ Center in Minneapolis, Bay Area Playwrights Festival, ASK Theatre Projects, New York Theatre Workshop, the O’Neill Playwrights Conference, South Coast Rep, Denver Center, and Florida Stage. She has directed new plays at The Illusion Theatre, Mixed Blood Theatre, The Playwrights’ Center in Minneapolis, and Carleton College. Liz has been a guest at Washington University in St. Louis, the University of Puget Sound, Cornish College of the Arts, and has taught playwriting at Freehold Studio Theatre Lab and The Playwrights’ Center.
Liz studied dramaturgy and new play development at Brown and Columbia universities, where she received her BA and MFA in theatre and dramaturgy, respectively. Liz is the co-editor with Michael Bigelow Dixon of several collections of plays, and a book on playwriting exercises; two volumes of monologues with Tori Haring-Smith; and a collection of Hedgebrook plays with Christine Sumption. She has written articles published in Theatre Topics and Theatre Forum.
Liz has served as President, Board Chair and is a current Board Member of LMDA, Literary Managers and Dramaturgs of the Americas. She serves as an Ambassador-at-Large for the National New Play Network and is on the Advisory Board for Scriptworks. She is a board member of the National Theatre Conference.
Expertise: New play dramaturgy, playwriting, directing…and paddleboarding.
Liz EngelmanDramaturg, Measure for Measure
Christine Sumption has served as a dramaturg for Hedgebrook Women Playwrights Festival (20+ years), Sundance Theatre Lab, the New Harmony Project, Goodman Theatre, Oregon Shakespeare Festival, Icicle Creek Theatre Festival, Seattle Repertory Theatre, and Seattle Children’s Theatre, and has worked with numerous playwrights including Tanya Barfield, Dipika Guha, Kathleen Tolan, and Cheryl L. West. Her directing credits include productions at Seattle Repertory Theatre, Seattle Children’s Theatre, Tacoma Actors Guild, and DARTS/Company Subaru in Tokyo, where she served as Resident Director for three years. She was on the artistic staff of Seattle Repertory Theatre for nine seasons, where she served as dramaturg/literary manager, edited publications, and produced the annual Women Playwrights Festival in partnership with Hedgebrook, a Whidbey Island writers retreat. She teaches at Cornish College of the Arts. Hedgebrook Plays, Volume 1, which she co-edited with Liz Engelman, was published by Whit Press in November, 2012.
Christine SumptionDramaturg, The Merry Wives of Windsor
Heidi Schreck is an award-winning playwright, actor and screenwriter living in Brooklyn. Her latest play Grand Concourse premiered at Playwrights Horizons, Steppenwolf, and theaters across the country, and was a finalist for the Susan Smith Blackburn prize. Her other plays include Creature (New Georges and Page 73); There Are No More Big Secrets (Rattlestick Playwrights Theatre); and The Consultant (Long Wharf Theatre). Awards include the Page 73 Fellowship, the Lilly Awards Stacey Mindich Prize, and the Claire Tow Fellowship at Playwrights Horizons. As an actor, Heidi has performed extensively at theaters in NYC and regionally, including the Roundabout, Playwrights Horizons, Center Theatre Group, Shakespeare in the Park, Clubbed Thumb, Berkley Repertory Theatre, Manhattan Theatre Club, and the Women’s Project. She has also appeared on Nurse Jackie, Billions, The Good Wife and Law and Order: SVU. Heidi is currently a writer and co-executive producer on Amazon’s I Love Dick. Other television writing includes Showtime’s Nurse Jackie and Billions, as well as projects in development with ITV and Bravo, and a mini-series inspired by Mary Gaitskill’s Bad Behavior. Heidi has received two OBIEs, a Drama Desk, and the Theatre World Award.
Heidi SchreckDramaturg, A Midsummer Night’s Dream
In addition to her dramaturgical work, Lydia Garci is the Denver Center for the Performing Arts first-ever Executive Director of Equity and Organization Culture. Lydia was a resident lecturer and teacher at the Oregon Shakespeare Festival, where she dramaturged more than 20 plays in 8 seasons including the world premieres of Sean Graney’s The Yeomen of the Guard, Alexa Junge’s Fingersmith, Tracy Young and Oded Gross’s The Imaginary Invalid and The Servant of Two Masters, and Octavio Solis’s Quixote.
She is also a trained staff facilitator for issues of diversity, inclusion, and equity. She holds a BA in English and American Literature and Language from Harvard University and an MFA in Dramaturgy and Dramatic Criticism from the Yale School of Drama, and is a member of the Literary Managers and Dramaturgs of the Americas (LMDA).
Lydia G. GarciaDramaturg, Much Ado About Nothing
Ayanna Thompson is Director of the Arizona Center for Medieval & Renaissance Studies (ACMRS) at Arizona State University. She is the author of Shakespeare in the Theatre: Peter Sellars (Arden Bloomsbury, 2018), Teaching Shakespeare with Purpose: A Student-Centred Approach (Arden Bloomsbury, 2016), Passing Strange: Shakespeare, Race, and Contemporary America (Oxford University Press, 2011), and Performing Race and Torture on the Early Modern Stage (Routledge, 2008). She wrote the new introduction for the revised Arden3 Othello (Arden, 2016), and is the editor of Weyward Macbeth: Intersections of Race and Performance(Palgrave, 2010) and Colorblind Shakespeare: New Perspectives on Race and Performance (Routledge, 2006). She is currently working on a collection of essays for Cambridge University Press, and is collaborating with Curtis Perry on the Arden4 edition of Titus Andronicus. Professor Thompson was the 2018-19 President of the Shakespeare Association of America, and was one of Phi Beta Kappa’s Visiting Scholars for 2017-2018.
Ayanna ThompsonDramaturg, Othello
Joy Meads is recently the Director of Dramaturgy and New Works for A.C.T. in San Francisco. Formerly the Literary Associate and Artistic Engagement Strategist at Center Theatre Group, where her dramaturgy credits include Forever by Dael Orlandersmith, Marjorie Prime by Jordan Harrison, The Royale by Marco Ramirez, and A Parallelogram by Bruce Norris. Previous to CTG, Joy was Literary Manager at Steppenwolf Theatre Company and Associate Artistic Director at California Shakespeare Theater, where she ran the theater’s New Works/New Communities program. Joy has also worked with Portland Center Stage, the O’Neill, South Coast Rep, Chicago Dramatists, The Playwrights’ Center, Native Voices at the Autry, NYTW, and Campo Santo + Intersection for the Arts.
Joy MeadsDramaturg, Richard II
Kate McConnell received her MFA in dramaturgy and dramatic criticism from Yale School of Drama in 2005, specializing in Shakespeare production. She was the dramaturg on Romeo and Juliet and The Taming of the Shrew at OSF in 2007 and has had the pleasure of contributing a variety of articles to OSF’s various publications in the years since. Kate spent several years as a visiting assistant professor of English and Theater at Colgate University, and while there she continued to work as a freelance dramaturg. She currently lives in Los Angeles, where she is a senior creative director at Thinkwell Group, an experience design company, turning her dramaturgical skills to developing and telling stories in location-based experiences such as museums and theme parks. Some of her notable projects at Thinkwell include The Hunger Games: The Exhibition, Georgia Aquarium’s Aquanaut Adventure, Expo 2020 Dubai, and the new permanent exhibits at the Richard Nixon Presidential Library. Kate is very excited for this opportunity to take a deep dive into Shakespeare’s language and enjoying the new discoveries and conversations it provokes.
Kate McConnellDramaturg, The Two Gentlemen of Verona
Virginia Grise is a recipient of the Whiting Writers’ Award, the Yale Drama Award, the Princess Grace Award in Theatre Directing, and is an alum of the Women’s Project Theatre Lab. Her published work includes Your Healing is Killing Me (Plays Inverse Press), blu (Yale University Press), The Panza Monologues co-written with Irma Mayorga (University of Texas Press), and an edited volume of Zapatista communiqués titled Conversations with Don Durito (Autonomedia Press). She earned her MFA from the California Institute of the Arts and currently lives and writes in the Bronx.
Christina Anderson’s plays include The Ripple The Wave That Carried Me Home, How to Catch Creation, pen/man/ship, The Ashes Under Gait City, Man in Love, Blacktop Sky, Hollow Roots, and Drip. Her work has appeared at The Public Theatre, Yale Repertory Theatre, Penumbra Theatre Company, Playwrights Horizons, and other theaters in the United States and Canada. Awards and honors: Inaugural Harper Lee Award for Playwriting, two PONY nominations, three Susan Smith Blackburn nominations, and Woursell Prize Finalist. Christina obtained her B.A. from Brown University and an M.F.A. from the Yale School of Drama’s Playwriting Program. She’s a resident playwright at New Dramatists, Epic Theatre Ensemble, and a DNAWORKS Ensemble member. Currently, she’s an Assistant Professor of Playwriting at SUNY Purchase.
Andrea Thome is a Chilean/Costa Rican-American playwright who grew up navigating the multiple landscapes and languages that inhabit her plays. Her play Pinkolandia received a rolling world premiere at INTAR Theater (NYC), Austin’s Salvage Vanguard Theater, Two River Theater (NJ), and 16th Street Theater (Chicago). It was awarded the Lark/Mellon Foundation’s Launching New Plays Fellowship, and was translated into Russian and presented at Moscow’s Meyerhold Center. Other current plays in progress include Purgatorio (developed through SPACE on Ryder Farm and Keen Company), and an untitled play about an 11th-century astronomer from Muslim Spain, commissioned by Ensemble Studio Theatre/The Sloan Foundation.
Andrea’s playwriting often experiments with the nature of theatrical collaboration. She was recently commissioned by En Garde Arts to write Undocumented, created from her interviews and ongoing conversations with undocumented immigrants. Collaborating with composer Sinuhé Padilla-Isunza and director José Zayas, they shared a developmental reading at Joe’s Pub (at the Public Theater) in November 2017, and are in the process of developing a full-length version in conversation with both theaters and community organizations. For the Public Theater, Andrea created Troy in collaboration with director Laurie Woolery and Public Works’ ACTivate Ensemble. This year and a half-long process, in which the community ensemble helped generate and also performed the material, culminated in a full production at the Public in June 2016. She has also been developing a unique collaborative process with director Lisa Rothe, composer Amir Khosrowpour and a collaborating ensemble of performers and storytellers to create a multidisciplinary, musical piece, The Necklace of the Dove. Weaving together stories about love from a medieval Muslim Spanish book and a modern immigrant community in Queens, the piece has been developed through Mabou Mines’ Resident Artist Program, Fulcrum Theater, The Lark and New Georges’ Audrey Residency.
Andrea’s other plays include Undone (Whitman Award; developed at Queens College, Victory Gardens, Lark), Worm Girl (Cherry Red Productions), various short plays and many collaborative projects. Her play translations (including Guillermo Calderón’s Neva) have been produced by the Public Theater, CTG, La Jolla Playhouse and others. She co-created and has directed the Lark’s México-US Playwright Exchange Program since 2006, which brings together Mexican and US playwrights to create theatrical translations of new Mexican plays and build lasting collaborative relationships and dialogue. Andrea co-founded fulana, an all-Latina satire collective that creates cutting-edge political & cultural parodies online and beyond (www.fulana.org), and she spent 5 formative years in San Francisco, where her Red Rocket Theater Company created and produced an original play each month, and where she worked with artists including Latina Theatre Lab, Campo Santo, Guillermo Gómez-Peña and Brava.
She has received fellowships and residencies from NYFA, MacDowell Colony (awarded Thornton Wilder fellowship), New Voices/New York, the Camargo Foundation, Blue Mountain Center, SPACE on Ryder Farm’s Working Farm group, the City of Oakland, New York University (MFA Fellow), Women’s Project Lab, and Keen Company. Andrea was a New Dramatists resident playwright from 2009-2016. http://newdramatists.org/andrea-thome
Recent NY credits include An Iliad, written with Denis O’Hare (NYTW- 2012 Obie Award, Lortel Award, Drama Desk nominations); Shipwreckedby Donald Margulies and Motherhood Outloud by 15 writers (Primary Stages); The Trestle at Pope Lick Creek by Naomi Wallace, Slavs! (Thinking About the Longstanding Problems of Virtue and Happiness) by Tony Kushner, Traps by Caryl Churchill, The Waves adapted from Virginia Woolf by Peterson and David Bucknam (Drama Desk nominations) and Light Shining in Buckinghamshire by Caryl Churchill (Obie Award for Directing), all at New York Theatre Workshop; The Fourth Sister by Janusz Glowacki and The Batting Cage by Joan Ackerman (Vineyard Theatre); The Poor Itchby John Belluso, The Square by 16 writers, and Tongue of a Bird (The Public); Collected Stories by Donald Margulies (MTC); Birdy adapted from the William Wharton novel by Naomi Wallace (Women’s Project); The Chemistry of Change by Marlane Meyer (Playwrights Horizons/WPP); The Model Apartment by Donald Margulies (Primary Stages); and Sueno by Jose Rivera (MCC). Lisa has directed regionally at the Mark Taper Forum (where she was Resident Director for 10 years), La Jolla Playhouse (Associate Director for 3 years), Guthrie, Berkeley Rep, Seattle Rep, Arena Stage, McCarter, Actors’ Theater of Louisville, Hartford Stage, Long Wharf, Yale Rep, Baltimore Center Stage, Huntington, Dallas Theater Center, Oregon Shakespeare Festival and California Shakespeare Theater. She is a Usual Suspect at NYTW, a member of Ensemble Studio Theater, and on the executive board of SDC.
Yvette Nolan (Algonquin) is a playwright, director, and dramaturg. Plays include BLADE, Annie Mae’s Movement, The Birds (a modern adaptation of Aristophanes’ comedy), The Unplugging, Gabriel Dumont’s Wild West Show (co-writer), the libretto Shanawdithit. Directing credits include Bearing (w. Michael Greyeyes, Signal Theatre at Luminato), The Piano Teacher by Dorothy Dittrich (Arts Club), In Care by Kenneth T Williams (Gordon Tootoosis Nikaniwan Theatre), Thicker Than Water by Heather Morrison (Sum Theatre), Nôhkom by Michael Greyeyes, Bearing(Signal), Salt Baby by Falen Johnson (Globe), Map of the Land, Map of the Stars (w. Michelle Olson), Café Daughter by Kenneth T Williams, Justice by Leonard Linklater (Gwaandak), Death of a Chief, A Very Polite Genocide by Melanie J. Murray, Marie Clements’ Tombs of the Vanishing Indian and The Unnatural and Accidental Women (Native Earth), The Ecstasy of Rita Joe(Western Canada Theatre/National Arts Centre), The Only Good Indian… , The Triple Truth (Turtle Gals). As a dramaturg, she works across Turtle Island on projects including Queen Seraphina and the Land of Vertebraat and Ultrasound by Adam Pottle, Many Fires by Charlie Peters, Ecstasy (film) by Cara Mumford, Little Badger and the Fire Spirit by Maria Campbell, Confluence by Raven Spirit Dance, A History of Breathing by Daniel Macdonald, The Glooskape Chronicles by Donna Loring. From 2003-2011, she served as Artistic Director of Native Earth Performing Arts. Her book Medicine Shows about Indigenous theatre in Canada was published by Playwrights Canada Press in 2015, and Performing Indigeneity, which she co-edited with Ric Knowles, in 2016. She is an Artistic Associate of Signal Theatre.
Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based Isabel Allende’s novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste. In 2018-2019, her play RED BIKE receives an NNPN rolling world premiere at theatres across the US.
Her works in English and Spanish have been seen at venues across the US and abroad, among them Arena Stage’s Kogod Cradle Series, San Diego Repertory Theatre, Gala Hispanic Theatre, Denver Center Theatre, 59E59, The Women’s Project, Halcyon Theatre, Woodshed Collective @ McCarren Park Pool, Repertorio Espanol, Ensemble Studio Theatre, Lighthouse Poole UK, Teatro Mori (Chile), Artheater-Cologne (Germany), Ilkhom Theater (Uzbekistan), Teatro Espressivo (Costa Rica), Welsh Fargo Stage (Wales), Homotopia Festival UK, SummerWorks festival in Toronto, CEAD Festival in Montreal and Edinburgh Fringe Festival/UK.. She is currently under commission from American Conservatory Theatre, Cleveland Opera Theater, and the University of Alabama-Birmingham, and she is a 2017-2018 visiting research fellow at the Royal Central School of Speech and Drama in London.
Key works in her repertoire include 12 Ophelias, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, The Booth Variations, Alchemy of Desire/Dead-Man’s Blues, Any Place But Here, Archipelago, The Way of Water and In the Time of the Butterflies (based on Julia Alvarez’ novel). She has radically reconfigured works from Wedekind, Euripides, Sophocles, and Shakespeare and adapted works by Mario Vargas Llosa and Gabriel Garcia Marquez. Her plays have been directed by Annie Castledine, Maria Irene Fornes, Lisa Peterson, Neel Keller, William Carden, Nick Philippou, Annie Dorsen, Katie Pearl, Stephen Wrentmore, Daniella Topol, Jose Zayas, and David Lozano, among many others. In her theatre work she has collaborated with composers Adam Sultan, Graham Reynolds, O-Lan Jones, Michael Roth, the Jones Street Boys, Jane Shaw, Mike Croswell, and Tom Hagerman of the Grammy-winning band DeVotchKa.
Her work has also intersected with communities of multiple diversities with works responding to the Deepwater Horizon disaster in the US Gulf region, veterans and their families, survivors of trauma and those committed to artistic expression of precarity, advocacy for US Latin@ writing voices, and engagement with representations of the “fragile shores” in our lives. She is co-organizer and curator of After Orlando theatre action in response to the 2016 Pulse nightclub massacre with Missing Bolts Productions at DR2 Theatre in New York City, Finborough Theatre in London and over sixty venues across the US; and Climate Change Theatre Action with The Arctic Cycle and Theatre Without Borders. She has also published over twenty titles with NoPassport Press by authors as diverse as Todd London, John Jesurun, David Greenspan, Carson Kreitzer, Rinde Eckert, Lenora Champagne and Octavio Solis.
Her works are published by TCG, Smith & Kraus, Playscripts, Broadway Play Publishing and more. Four collections of her works for live performance are published as follows: The Hour of All Things and other plays (Intellect, 2017), JARMAN (all this maddening beauty) and other plays (Intellect UK, 2016); Instructions for Breathing and other plays (Seagull Books UK, 2014); Blasted Heavens (Eyecorner Press, Denmark, 2012). She has edited several books on theatre including Audience Revolution: Dispatches from the Field (TCG, 2016), Innovation in Five Acts (TCG, 2015), Out of Silence: Censorship in Theatre & Performance and Trans-Global Readings: Crossing Theatrical Boundaries and Theatre in Crisis? (the latter two for Manchester University Press, UK). She is co-author of Fifty Playwrights on Their Craft, which is published by Methuen Bloomsbury Drama in 2017.
She sustains a parallel career as a theatrical translator, chiefly of the dramatic work of Federico Garcia Lorca as well as works by Calderon de la Barca, Lope de Vega, Julio Cortazar, Victor Rascon Banda, Antonio Buero Vallejo and contemporary works from Mexico, Cuba and Spain. She is associate editor of Contemporary Theatre Review for Routledge, UK, contributing editor of TheatreForum, and drama editor of Asymptote literary translation journal. She is alumna playwright of New Dramatists, and affiliated artist with the Lark and New Georges, and lifetime member of Ensemble Studio Theatre. She has received fellowships from Harvard/Radcliffe, NEA/TCG, PEW Charitable Trust, and California Arts Council. As an arts journalist, she has written for American Theatre, Howlround, PAJ, The Dramatist, and Hotreview. She holds an MFA in Theatre-Playwriting from UCSD, and she also trained for four consecutive years with Maria Irene Fornes in INTAR’s legendary HPRL Lab. She teaches creative writing and playwriting at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has taught playwriting at Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, and Yale School of Drama. caridadsvich.com
Brighde Mullins’s plays include Rare Bird; Those Who Can, Do; Monkey in the Middle; Fire Eater; Topographical Eden and Pathological Venus. Her awards include a Guggenheim, a United States Artists Fellowship and a Whiting. She has held residencies at Lincoln Center, New York Stage and Film, Mabou Mines, and is a Usual Suspect at NYTW. She teaches at U.S.C. and lives in Los Angeles.
Migdalia Cruz is a Bronx-born, award-winning playwright, lyricist, translator, and librettist of more than 60 works including: El Grito Del Bronx, Salt, Miriam’s Flowers, & Frida, produced in venues such as BAM, Latino Chicago Theater Company, Mabou Mines, National Theater of Greece, Houston Grand Opera, Ateneo Puertorriqueño, & Teatro Vista—last seen at CSC with Another Part of the House—her adaptation of Garcia-Lorca’s La Casa de Bernarda Alba. An alumna of New Dramatists, she was named the 2013 Helen Merrill Distinguished Playwright, and was awarded a 2016 NYFA Grant for Playwriting. Migdalia was nurtured by Sundance, the Lark, & by Maria Irene Fornés at INTAR. Recently, Migdalia taught the Fornés Playwriting Workshop at Notre Dame/2016-2018, at Princeton/Spring 2018, and as a guest artist at Brown, UMass/Amherst & Yale, and will teach at CalArts, January 2020.
Her translations of Macbeth & Richard III, for OSF’s Play On! have been inspiring journeys, from the Isle of Iona to Leicester’s Cathedral, with U.K. actress/dramaturg, Ishia Bennison, and dramaturg/producer Lue Douthit. www.migdaliacruz.com
ADITI BRENNAN KAPIL is a television and theatre writer, actress, and director. She is of Bulgarian and Indian descent, and was raised in Sweden prior to moving to Minneapolis, and more recently Los Angeles. Current projects include Season 2 of American Gods on Starz, a new play titled 1933 commissioned by La Jolla Playhouse, two commissions (a translation of Shakespeare’sMeasure for Measure, and an American Revolutions piece tentatively titled Pax Americana) with Oregon Shakespeare Festival, and an as yet Untitled commission with Audible. Most recently, in the 2016/2017 season, Kapil premiered SouthCoast Repertory (SCR) commissioned play Orange at Mixed Blood Theatre and at SCR, and Yale Rep commissioned play Imogen Says Nothing at Yale Repertory Theatre. She is a Resident Playwright at New Dramatists.
Aditi’s first play Love Person, a four-part love story in Sanskrit, ASL and English, was developed during a Many Voices residency at the Playwrights’ Center, work-shopped at the Lark Play Development Center, and selected for the National New Play Network (NNPN) conference 2006. Love Person was produced in a NNPN rolling world premiere at Mixed Blood Theatre (MN), Marin Theater (CA), and Phoenix Theatre (IN), in the 2007/08 season. In 2008/09 it was produced at Live Girls! Theatre in Seattle, Alley Repertory Theatre in Boise, and Victory Gardens Theatre in Chicago. Love Person received the Stavis Playwriting Award in 2009.
Her play Agnes Under The Big Top, a tall tale was selected as a 2009 Distinguished New Play Development Project by the NEA New Play Development Program hosted by Arena Stage, and was developed by the Lark Play Development Center (NYC), Mixed Blood Theatre (MN), InterAct Theatre (PA), the Playwrights’ Center (MN), and the Rhodope International Theater Laboratory (Bulgaria). Agnes Under the Big Top premiered at Mixed Blood Theatre and Long Wharf Theatre (CT) in 2011, and Borderlands Theater (AZ) in 2012 in a NNPN rolling world premiere.
Her Displaced Hindu Gods Trilogy (Brahman/i, a one-hijra stand-up comedy show; The Chronicles of Kalki; and Shiv), based loosely on the Hindu trinity of Brahma, Vishnu, and Shiva, premiered in repertory at Mixed Blood Theatre in October 2013, and have since been produced across the US and in the UK. Brahman/i and The Chronicles of Kalki received an unprecedented double nomination for the James Tait Black Prize, University of Edinburgh, UK.
Aditi Brennan KapilPlaywright,
Elise Thoron’s music theater pieces have been produced in the United States, Europe, Japan, Cuba: Green Violin, music by Frank London of the Grammy award winning Klezmatics, (Nine Contemporary Jewish Plays); Prozak and the Platypus, music by Jill Sobule (also CD/graphic novella); Charlotte: Life? Or Theater? based on paintings by Charlotte Salomon, music by Gary Fagin. Recycling: washi tales with distinguished Japanese paper artist Kyoko Ibe and traditional Japanese musicians. Her Afro-Cuban Yiddish opera Hatuey: Memory of Fire with composer Frank London had its North American premiere at Peak Performances (2018), after a first Spanish language production at Opera de la Calle in Havana (2017), and will next be seen in Miami. For over twenty years, Elise created cross-cultural exchanges with Russian and American theater artists; she adapted and directed The Great Gatsby in Russian at a The Pushkin Theater in Moscow, where it played for over nine years. As Associate Artistic Director at American Place Theatre, Elise developed and directed many new plays, and co-founded Literature to Life, a highly successful theater literacy program now in its third decade nationwide. For Lit to Life she has adapted Diaz’sThe Brief Wondrous Life of Oscar Wao, Baldwin’s If Beale Street Could Talk, Lowry’s The Giver, Cisneros’ The House on Mango Street, and developed County of Kings with Tony award winning spoken-word poet, Lemon Andersen, which went on to the Public Theater and venues around the world. Her translations of Russian plays are produced and published in the United States and Canada. www.elisethoron.com
Dipika Guha was born in India and raised in tea drinking countries around the world. Her plays include Yoga Play (South Coast Rep, Gateway, Moxie Theatre & SF Playhouse), The Art of Gaman (Theatre 503 London, Relentless Award semifinalist) and Unreliable (Kansas City Rep). Recent works includes Azaan, a play for for Oregon Symphony Orchestra, In Braunau for Playwrights Horizons Theatre School and contributions to You Across From Me (Humana, Actors Theatre of Louisville). Dipika’s commissions include South Coast Rep, Manhattan Theatre Club and Barrington Stage. She is a proud alumnus of Ars Nova Playgroup, Soho Rep’s Writer/Director Lab, the Women’s Project Lab, Dramatists Guild Fellows Program, the Ma Yi Writers Lab and currently the Geffen Playwrights Lab. She was a Hodder Fellow at Princeton University, a recipient of the Shakespeare’s Sister Playwriting Fellowship and is a current Venturous Fellow at the Lark Play Development Center. Dipika read English at University College London, won a Frank Knox Fellowship from Harvard University and has an M.F.A in Playwriting from the Yale School of Drama under Paula Vogel. Most recently she wrote forSneaky Pete at Amazon and Rainy Day People at AMC.
Ellen McLaughlin is an award-winning playwright and actor. Her plays include Tongue of a Bird, A Narrow Bed, Iphigenia and Other Daughters, Trojan Women, Infinity’s House, Helen, The Persians, Oedipus, Ajax in Iraq, Kissing the Floor, Septimus and Clarissa, Pericles and Penelope. Her work has been performed in New York Off-Broadway and regionally as well as overseas. Producers include The Public Theater, National Actors’ Theater, Classic Stage Co., New York Theater Workshop, The Guthrie, The Intiman, The Mark Taper Forum, Oregon Shakespeare Festival, Actors’ Theater of Louisville, and The Almeida Theater in London. Among her honors are the Susan Smith Blackburn Prize and the Lila Wallace Reader’s Digest Writer’s Award. Her Trojan Women was nominated for a 2017 Drama Desk Award for Best Adaptation.
She has taught playwrighting at Barnard College since 1995. Other teaching posts include Princeton University and Yale School of Drama.
As an actor, she is most well known for having originated the part of the Angel in Tony Kushner’s Angels in America, appearing in all workshops and productions of the play through its Broadway original run.
Mfoniso Udofia is a first-generation Nigerian-American storyteller and educator, attended Wellesley College and obtained her MFA in Acting from the American Conservatory Theater. During her stay in the Bay, she co-pioneered a youth initiative, The Nia Project, providing artistic outlets for youth residing in Bayview / Huntspoint. In January 2016 Playwrights Realm produced the world premiere of Sojourners, the origin story of the Ufot Family Cycle. In Spring 2016, The Magic Theater in San Francisco produced the west coast premiere of Sojourners and the world premiere of the third installation in the Ufot Family Cycle, runboyun, in repertory. New York Theatre Workshop produced the New York City return of Sojourners in Spring 2017, which ran in repertory with the world premiere of Her Portmanteau, which was previously developed in 2015 at the National Black Theatre. She’s the recipient of the 2017 Helen Merrill Playwright Award and the 2017-2018 McKnight National Residency and Commission at The Playwrights’ Center in Minneapolis. Her Ufot Cycle play, Her Portmanteau, will be produced [Spring 2018] by Pasadena’s Boston Court Performing Arts Center. Mfoniso is also currently at work on a commission from the Oregon Shakespeare Festival, translating Shakespeare’s Othello, through their Play On! program. Mfoniso’s plays have been developed at and/or presented/produced by The New York Theatre Workshop, The Playwrights Realm, The Magic Theatre, Dr. Barbara Ann Teer’s National Black Theatre, Hedgebrook, Sundance Theatre Lab, NNPN, Space on Ryder Farm, NNPN New Play Showcase, Makehouse, Soul Productions, terraNOVA, I73, The New Black Fest, Rising Circle’s INKTank, At Hand Theatre Company, The Standard Collective, American Slavery Project, Liberation Theatre Company, and more. Mfoniso was a finalist for the 2015 PoNY Prize, the Eugene O’Neill NPC, Bay Area Playwrights Festival, Many Voices Fellowship, Page73 Development Programs, Jerome Fellowship, New York Theatre Workshop’s 20/50 Fellowship, and Lark Playwrights’ Week. Follow her at @mfudofia or visit www.mfonisoudofia.com.
Naomi Iizuka’s plays include 36 VIEWS, POLAROID STORIES, ANON(YMOUS), LANGUAGE OF ANGELS, ALOHA, SAY THE PRETTY GIRLS, TATTOO GIRL, SKIN, AT THE VANISHING POINT, CONCERNING STRANGE DEVICES FROM THE DISTANT WEST, LAST FIREFLY, CITIZEN 13559, and WAR OF THE WORLDS (a collaboration with Anne Bogart and SITI Company.) Her plays have been produced at theatres across the country including Berkeley Rep, the Goodman Theatre, Actors’ Theatre of Louisville, the Guthrie Theater, Cornerstone Theater Company, Children’s Theater Company, Seattle Children’s Theatre Company, the Kennedy Center for Performing Arts, the Huntington Theatre Company, Portland Center Stage, the Public Theater, Dallas Theater Center, and Soho Rep. Iizuka’s plays have been published by Overlook Press, Playscripts, Smith and Kraus, Dramatic Publishing, and TCG. lizuka is an alumna of New Dramatists and the recipient of a PEN/Laura Pels Award, an Alpert Award, a Joyce Foundation Award, a Whiting Writers’ Award, a Stavis Award from the National Theatre Conference, a PEN Center USA West Award for Drama, a Hodder Fellowship, and a Jerome Fellowship. Her play GOOD KIDS was commissioned by the Big Ten Consortium’s New Play Initiative and has been produced at universities nationwide. Recent projects include an adaptation of SLEEP by Haruki Murakami which premiered at the 2017 BAM Next Wave Festival and WHAT HAPPENS NEXT, a play written in collaboration with US Marine Corps combat veterans and their families, and produced by La Jolla Playhouse and Cornerstone Theater Company in 2018. Iizuka was the Berlind Playwright-in-Residence at Princeton University this past academic year and heads the MFA Playwriting program at the University of California, San Diego.
Hansol Jung is a playwright from South Korea. Productions include Wild Goose Dreams (Co-production: The Public Theater and La Jolla Playhouse), Wolf Play (NNPN Rolling Premiere: Artists Rep Portland, Mixed Blood, Company One), Cardboard Piano (Humana Festival at Actors Theater of Louisville),Among the Dead (Ma-Yi Theatre Company), and No More Sad Things (co-world premiere at Sideshow Theatre, and Boise Contemporary Theatre). Commissioning institutions include The Public Theater, La Jolla Playhouse, Seattle Repertory Theatre, National Theatre in UK, Playwrights Horizons, Kennedy Center, Artists Repertory Theater, the Virginia B. Toulmin Foundation grant with Ma-Yi Theatre and a translation of Romeo and Juliet for Play On! at Oregon Shakespeare Festival. Her work has been developed at The Public Theater, Royal Court, New York Theatre Workshop, Victory Gardens, Berkeley Repertory’s Ground Floor, Sundance Theatre Lab, O’Neill Theater Center’s New Play Conference, Lark Play Development Center, Salt Lake Acting Company, Boston Court Theatre, Bushwick Starr, Ma-Yi Theater Company, Asia Society New York, and Seven Devils Playwright Conference. She is the recipient of the Hodder Fellowship at Lewis Center for the Arts, Whiting Award, Helen Merrill Award, Page 73 Playwright Fellowship, Rita Goldberg Playwrights’ Workshop Fellowship at the Lark, 2050 Fellowship at New York Theater Workshop, MacDowell Colony Artist Residency, and International Playwrights Residency at Royal Court. She has translated over thirty English musicals into Korean, including Evita, Dracula, Spamalot, and The 25th Annual Putnam County Spelling Bee, while working on several award winning musical theatre productions as director, lyricist and translator in Seoul, South Korea. Hansol holds a Playwriting MFA from Yale School of Drama, and is a proud member of the Ma-Yi Theatre Writers Lab, NYTW’s Usual Suspects, and The New Class of Kilroys.
Amy Freed is the author of Shrew! ,The Monster Builder, Restoration Comedy, The Beard of Avon, Freedomland, Safe in Hell, The Psychic Life of Savages, You, Nero and other plays. Her work has been produced at South Coast Repertory Theater, Seattle Repertory, American Conservatory Theater, Yale Rep, California Shakespeare Theater, Berkeley Rep, the Goodman, Playwrights’ Horizons, New York Theater Workshop, Woolly Mammoth, Arena Stage and other theaters. Playwriting awards include Charles MacArthur Award, Joseph Kesselring Prize, LA and Bay Area Critics’ Circle Awards, Pulitzer Prize Finalist (Freedomland). She currently serves as Artist-in-Residence at Stanford University in the Theater and Performance Studies Department.
Lillian Groag works in the theatre as an actress, playwright and director. Her acting credits include Broadway, Off Broadway, Mark Taper Forum, and regional theatres throughout the country. She has directed at the Oregon Shakespeare Festival, the Old Globe Theatre, Actors Theatre of Louisville, Mark Taper Forum’s Taper Too, New York City Opera, Chicago Opera Theatre, Boston Lyric Opera, Florida Grand Opera, Center Stage, The People’s Light and Theatre Company, Berkeley Repertory, Milwaukee Repertory, Missouri Repertory, Seattle Repertory, Glimmerglass Opera, Asolo Repertory Theatre, San Jose Repertory, A.C.T. in San Francisco, The Juilliard School of Music, Florentine Opera, Kentucky Opera, Arizona Opera, the Sundance Institute Playwrights’ Lab, the Virginia Opera, Opera San Jose and the Company of Angels. Her plays The Ladies Of The Camellias, The White Rose (AT&T award for New American Plays), The Magic Fire (Kennedy Center Fund for New American Plays), Menocchio and Midons have been produced variously by the Old Globe Theatre, Oregon Shakespeare Festival, The Kennedy Center, The Guthrie Theater, Berkeley Repertory Theatre, Yale Repertory, Denver Center, The Shaw Festival, Alabama Shakespeare Festival, the Northlight Theatre, the WPA Theatre, Seattle Repertory, the Asolo Theatre, The Wilma Theatre, The People’s Light and Theatre Company, and The Shaw Festival. Abroad: Mexico City, Junges Theatre in Bonn, Landesbuhne Sachsen-Anhalt in Eisleben, Shauspielhaus in Wuppertal, Hessisches Landestheater in Marburg, Shauspielhaus in Stuttgart, Teatro Stabile di Bolzano, (National Tour) in Italy, and Tokyo. She has done translations and adaptations of Lorca, Feydeau, Musset, Marivaux and Molnàr, produced at the Guthrie, the Mark Taper Forum Taper II, and Missouri Rep (now Kansas City Rep). She is an Associate Artist of the Old Globe Theatre. The Ladies Of The Camellias, Blood Wedding, The White Rose and The Magic Fire have been published by Dramatists Play Service. Up coming: A Nervous Splendour, adaptation, from Frederic Morton’s book, Flypaper, new play. Master’s and PhD degrees from Northwestern University in Romance Languages and Literature, Theatre Thesis, and an Honorary PhD from Lake Forest College.
Alison Carey is director of American Revolutions: the United States History Cycle, the Oregon Shakespeare Festival’s multi-decade program of commissioning and developing 37 new plays about moments of change in United States history. Carey is co-founder of and former resident playwright of Cornerstone Theater Company, which creates work with and for communities, sometimes through adaptations of Shakespeare and other older works. Her work has been produced at venues nationwide, including the Oregon Shakespeare Festival, Arena Stage, the Public Theater, the Mark Taper Forum, the shuttered mother plant of Bethlehem Steel, and a dirt-floor cattle sale barn.
Amelia Roper is writing new plays for Yale Repertory Theater, Marin Theatre Company, Colt Coeur in NYC and The Rose in Omaha. Her plays have been developed at Berkeley Rep. Ground Floor, the Old Vic in London, Soho Rep. Writer/Director Lab, Black Swan Lab at OSF, Kennedy Center in DC, Playwrights Realm in NYC, New Group NYC, Melbourne Theatre Company, RADA in London and The MacDowell Colony.
Her plays have been produced by the Humana Festival of New American Plays at the Actors Theatre of Louisville (2014), Crowded Fire in SF (2014), the Moscow Playwright and Director Center in Moscow in Russian translation (2011), Taffety Punk in DC (2017), Square Product (2017), Prelude Festival NYC (2014) and in Australia by St Martins (2008), Melbourne Arts Centre (2009) and Kings Cross Theatre in Sydney (2017).
Her play Lottie in the Late Afternoon is on the Kilroy’s List and an excerpt is published in the new “The Kilroys’ List: 97 Monologues and Scenes by Female and Trans* Playwrights”. Other published plays include two shorts in the “2014 Humana Festival of New Plays”, Camberwell House about murderous old ladies is published by the Dramatists Play Service, Big Sky Town about the space race and She Rode Horses Like the Stock Exchangeabout the Global Financial Crisis will be published late 2017. New plays include Zürich about American national identity and off shore tax evasion, Everything is Nice about ignoring climate change and A Duck on a Bike about art and personal tragedy. New stage adaptations include the modernist novel Two Serious Ladies by Jane Bowles for Yale Rep. and Alice in Wonderland for Marin Theatre Company.
Amelia is a recipient of the American National Theatre Conference’s Paul Green Award, an Australia Council ArtStart grant and JUMP mentorship with mentor Will Eno, two Ian Potter Awards and the Dame Joan Sutherland Grant from the American Australian Association. Amelia has an MFA in playwriting from the Yale School of Drama, where she studied under Paula Vogel, Doug Wright, Lynn Nottage and Sarah Ruhl. An Australian citizen, she now lives in Los Angeles, USA.
Tracy Young is a theatre director and playwright. Tracy developed several original plays with The Actors’ Gang in Los Angeles, including the musicals Hysteria (Ovation Award), Euphoria (Ovation and LA Weekly Awards) and A Fairy Tale (Garland and GLAAD Image Awards), as well as Dreamplay, a meditation on Carl Jung’s theories of collective unconscious. She created several adaptations of classic plays and novels, including the critically acclaimed Candude, or The Optimistic Civil Servant (from Voltaire’s Candide for Cornerstone Theatre Company), The Servant of Two Masters and The Imaginary Invalid for the Oregon Shakespeare Festival (with co-adaptor Oded Gross), and most recently a theatrical adaptation of Madeleine L’Engle’s A Wrinkle In Time. Her most challenging and joyful work to date is Medea/Macbeth/Cinderella (with co-adaptor Bill Rauch), a simultaneous telling of Euripides’ Medea, Shakespeare’s Macbeth and Rodgers and Hammerstein’s Cinderella. Earlier forays into Shakespearean translation include productions of The Taming of the Shrew and The Merry Wives of Windsor at Idaho Shakespeare Festival.