I Interview Playwrights Part 580: Kimber Lee

Kimber Lee

Hometowns: Pyungtaek, South Korea; Nampa, Idaho; Seattle, Washington

Current Town: Brooklyn, NY

Q:  What are you working on now?

A:  Playwriting: Getting ready for the Lark Playwrights Workshop reading of my play brownsville song (b-side for tray), working on new pages for another new play that I'll take into our last Playwrights Workshop meeting this coming Monday, and doing some prep for upcoming workshops of the Brownsville play this summer at the Seven Devils Playwrights Conference and Bay Area Playwrights Festival.

Boxing: Trying to re-tool my jab and right cross. Learning to fight in the pocket and go to the body. Footwork.

Other: Catering gigs, when I can get them. Ongoing assessment of my internet habits - addiction or useful engine of engagement?

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  Jeez, I dunno. I was a weird kid, but I guess I am learning that a lot of people feel/have felt that way; maybe they just figure out how to hide it better than I did. Was I weirder than the average kid? Who can say. I do know that I was the only Asian American kid in my neighborhood, at my school, in my parents' church - in the whole town, basically. I guess that'll do something to ya, to be the only one of something, and I wonder how much of my ability to absorb an environment is a direct result of being the only Asian person in a small Idaho town. Actually, this is a lie. There were occasionally other Asians. There was a Japanese exchange student in my high school for our junior and senior years. But for the most part, walking into any situation, I was the only one. And I kept thinking I could blend in by feathering my hair and wearing blue eyeshadow and watching Hee-Haw. Live and learn - Hee-Haw is not the key to racial integration. I know this now.

Q:  If you could change one thing about theater, what would it be?

A:  I wish we had multilateral (multi-operational?) channels of access, rather than the fairly vertical paths we all currently traverse - for both theatre-makers and audience members. For theatre-makers, I wish the "system" could recognize and embrace a much broader recognition of what theatre can be. For audience members, I wish ticket cost was not prohibitive, and also that there were artistic community-organizers who could lead meaningful cross-community engagement in the work - not just by inviting the "Asian audience" to the one "Asian play" in the season, but by creating an ongoing relationship across an entire season of plays. I wish theatre could stop insisting on silos of "identity" in the way they select, produce, and package work for marketing, and instead engage in the complications and contradictions that exist in everyone's experience.

Have I said too much? This is more than one thing. So. If one thing? That fear would cease to be a significant motivator for any artist, administrator, or audience member.

Q:  Who are or were your theatrical heroes?

A:  Anyone who has been knocked flatsplat and then gets back up and keeps going.

Q:  What kind of theater excites you?

A:  You know, I don't have a genre or form or type. Anything with guts. Moments that hold me in the palm of their sweaty hand, tickle me, then punch me in the face. Bravery. Fuck-expectations-this-is-who-I-am writing. Willingness to risk being thought of as uncool. Ambition riding hell-for-leather toward the edge of current ability.

Q:  What advice do you have for playwrights just starting out?

A:  Aigooahhh...I am just starting out myself. And I find that my writing time consists largely of me telling myself "It's okay. You can do this. Go ahead. Okay, maybe eat some boneless pork and jujubes first, then go ahead." And then I flail around. One bit of sanity I could offer is a quote from Melissa James Gibson, "Be kind to your impulses." That has helped me immeasurably, cuz I don't know about you, but for some reason, my tendency is to jump all over my impulses and bludgeon them to death with rancid dead fish thoughts like "YOU CAN'T WRITE THAT IT'S STUPID AND EVERYONE WILL KNOW THAT YOU ARE A MORON IN PLAYWRIGHT'S CLOTHING." Not helpful.

Being kind to impulses doesn't have to mean you end up using all of them, but the practice of kindness can make a sort of slip-n'-slide from your soul to your typing fingers, and once the flow is going, that's the sweet spot. You can sort it out later.

Q: Plugs, please:

A:  My pal, the great Chisa Hutchinson has a play at the Wild Project May 4-18th, 2013 called ALONDRA WAS HERE - get there if you can! I am going tomorrow and I am so excited! Go here for tickets: http://www.thewildproject.com/performances/index.shtml

The other Lark Playwrights Workshop Fellows have readings coming up too:
PING PONG by Rogelio Martinez
DEAD AND BREATHING by Chisa Hutchinson
SKELETON CREW by Dominique Morisseau
All free but ya gotta reserve a spot there's a link on this page: http://www.larktheatre.org/playwrights-workshop-2013/

brownsville song (b-side for tray)
@ Lark Play Development Center Playwrights Workshop reading on Tuesday May 14th 7:30pm
@ Seven Devils Playwrights Conference, June 2013 - if you're in Idaho (heh), check out the free reading
@ Bay Area Playwrights Festival, July 2013 - if you're in the Bay area, the BAPF website has info about reading time/dates.

 

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I Interview Playwrights Part 579: Lindsey Ferrentino

 

Lindsey Ferrentino

Hometown: Merritt Island, Florida

Current Town: Brooklyn, New York

Q:  What are you working on now?

A:  I've been polishing up some plays, ironing out wrinkles for upcoming readings.

But I'm excited to be diving head first into researching and writing a new play, BURN GAME about female soldiers coming home from Iraq, reintegrating burn victims through virtual reality, video game therapy. The research phase is incredibly important to me when I write and I'm getting to work with a dear friend of mine who is a psychologist at a VA center, do some volunteer work, and interviews. Reading and hearing these first hand trauma testimonies has been so informative about how we write our own narrative, or avoid doing so.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  My dad is a professional magician and comedian, who, throughout my childhood, practiced his illusions at the dinner table until I understood the mechanics behind his tricks.
 

I grew up in the back row of comedy clubs and theaters, watching rooms full of adults miss the sleight of hand that I knew so well. Having already memorized my dad's act, I'd instead watch the faces in the audience-- eyes wide, laughing hysterically, eating out of the palm of his hand, wanting so deeply to be transported and believe in the impossible.

When I was about six, and my dad was out on the lawn talking to a neighbor, I kept opening the front door, waving my behind, clapping my hands, obnoxiously vying attention. After several requests to stop interrupting, my dad asked me why I'd continue... I said, "I'm like you. I have to go for the laugh."

Q:  If you could change one thing about theater, what would it be?
 

A:  Okay. Here we go--
Cheaper to produce, cheaper to see.
That new work was a nationally cherished pastime, like baseball! With football stadium crowds knocking down the doors of theaters across the country, not just New York.
...And that a fairy flew to readings of all playwrights everywhere, turning them into realized productions.
One can dream...

Q:  Who are or were your theatrical heroes?
 

A:  Finding Edward Albee, back in high school, was like taking a sledgehammer and breaking open what I thought a play was and could be, how our failure to communicate was a greater tragedy than any plot I was trying to wring out. Katori Hall's plays feel to me like beautiful explosions that make me want to wake up from a sort of dream.

Also, my extended family is made up of many brilliant storytellers who trade punchlines, sarcasm, and gossip... where conversation is treated as entertainment.

Q:  What kind of theater excites you?
 

A:  Theater that feels present.
That addresses what it means to be alive right now, in this year.
That makes me laugh and then punches me in the gut.
That finds poetry in the mundane and magic in the most unlikely of places...

Q:  What advice do you have for playwrights just starting out?

A:  Find actors who understand the worlds you create, your words and rhythms. Find directors you trust to enhance your vision. And readers who are willing to tackle your early drafts, and identify your intentions.
 

Surround yourself with positive people whose talent and opinions you respect, cherish, and need... Whose work inspires yours... who dream of the same kind of uptopia... then fight like hell for your people.

Oh yeah... and also, just write... All the time...

Q:  Plugs, please:

A:  My MFA comrades Kristen Palmer, Daniel John Kelly, and Rob Cardazone will face the world with beautiful new works in hand, outside the doors of our grad. program. Watch our for them!

In June, my play--
MOONLIGHT ON THE BAYOU will have a second reading, directed by Patricia McGregor whose specificity in a rehearsal room is astounding.

Another play of mine MAGIC MAN will have a workshop at NYTW, directed by the wonderful Tamilla Woodward - who I can't wait to collaborate with for the first time.

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I Interview Playwrights Part 578: Jeff Augustin

Jeff Augustin

Hometown: Miami, FL

Current Town: La Jolla, CA (For only another year. Currently in grad school at UCSD)

Q:  What are you working on now?

A:  I’m working on two plays. Both at very different stages.

The first is THE LAST TIGER IN HAITI, which is mostly an idea right now. I’ll get a chance to write it this summer at Berkeley Rep’s Ground Floor. It draws from a form of Haitian Storytelling known as Krik? Krak! In villages in Haiti, when a storyteller is ready or wants to share a story they say “Krik?” and if the other villagers want to hear a story they say: “Krak!” These stories come from a catalogue of folktales shared and passed down from generation to generation. What makes the stories special is the storyteller and how they embody it. The play is about three friends who, as children, would meet up and tell these stories. Ten years later they’re reunited by the alpha of the group for unknown reasons. It’s pretty much as far as I’ve gotten so far.

The other play, LITTLE CHILDREN DREAM OF GOD, I’ve been working on for a year now. It’s an eight-person ensemble piece revolving around a woman who travels from Haiti to Miami on a car tire eleven months pregnant. It deals a bit with Haitian mythology and voodoo. And explores what happens when we hold on to the fantasies we create as children. It’s a lot further along than the other play, but I’m still trying to figure out how it works. I’ll be developing it this summer at the O’Neill Playwright’s Conference.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  My mom was obsessed with family time activities that didn’t require us going out. So even though I grew up in Miami we had picnics in our living room or elaborate singing contests with costumes and dance routines.

But my favorite thing we did was story time. We'd shut off all the lights and other electronics, light some candles and tell stories. My mom would tell these urban legends about the town she grew up in in Haiti. And she was really good at telling stories. The worlds she created would fill the room. They were simple stories, but she told with great care and passion. It felt like being part of some great tradition. It’s really what got me into theatre.

Q;  If you could change one thing about theater, what would it be?

A:  Offer cheaper tickets and more diverse voices in programing. I know that’s two things, sorry.

Q:  Who are or were your theatrical heroes?

A:  Jose Rivera, Dael Orlandersmith, Adrienne Kennedy, Tennessee Williams

Q:  What kind of theater excites you?

A:  Theater that excited those who made it. Theatre about a deep, human need. Theatre that feels personal and heartfelt, even if it’s sentimental. And I can’t get enough of beautiful language.

Q:  What advice do you have for playwrights just starting out?

A;  Read and see a lot of theatre, especially new plays. Get to know other writers, both your heroes and peers. There is a wealth of knowledge and inspiration to be mined. And write more than you think you’re capable of.

Q:  Plugs, please:

A:  Two fellow UCSD playwrights have things going on this summer: Look out for David Jacobi’s EX MACHINA in this year’s NY Fringe Festival (August) and Kristin Idaszak’s THE LIAR PARADOX as part of LeapFest at Stage Left Theatre in Chicago (June).

Also check out QUEERSPAWN by Mallery Avidon running at HERE Arts Center in May. She's awesome.

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I Interview Playwrights Part 577: Ken Ferrigni

Ken Ferrigni

Hometown:  St. Louis, Missouri

Current Town:  Astoria, Queens

Q:  Tell me about Occupation.

A:  OCCUPATION takes place a few years from now. A series of economic catastrophes have struck the US and it can no longer borrow money. China, depending on American as a trading partner, offers America 5 trillion dollars in exchange for the state of Florida. A group of Afghanistan and Iraq veterans form an insurgency behind an evangelical Christian leader, protesting what they see as the illegal transfer of Florida to China. The play concerns the final days of that insurgency.

The play started as kind of a thought experiment. I had just seen Sebastian Junger's documentary “Restrepo” and I thought that the Afghan insurgency might be the most interesting story in the world. But I didn't know any Afghani actors, had never been to Afghanistan, etc. So I thought could I create an American analog? So I swapped Afghanistan's Korengal valley for the Everglades, the Afghani Mujahideen for this next generation of American veterans, Islamic fundamentalism for Evangelical Christianity. And of course instead of an American occupying force, it would be America's creditor: the People's Republic of China.

My goal was to see how big a story I could tell. I'd seen a lot of family dramas, plays about 26-year-olds who were having trouble in their dating lives, and what I thought were essentially indie films masquerading as plays. So, the goal here was to personalize some of these extraordinary geo-political and religious conflicts into an American idiom. The result has been really exciting.

Q:  What else are you working on?

A:  I just finished a short film that's going to be shot this May about an assistant in HR department who is tasked by the president of the company to to fire the head of HR, sort of an Apocalypse Now meets Office Space thing. I'm also working on a couple of full length plays as well as continually revising my 19th Century bomb-throwing epic about Felice Orsini. I write nearly every month for “Our Bar,” an hour-long series of vignettes at an upstairs bar in Murray Hill produced by Jessi Blue Gormezano and Project: Theater.

Q:  If you could change one thing about theater, what would it be?

A:  Having worked a lot regionally as an actor in St. Louis, Los Angeles, and Florida, I guess the thing I'd love most would be if the regional theatre model wasn't just a New York play distribution model. I remember working in St. Louis and watching plays about Manhattan roll in and they really had nothing to do with the people in the audience. I kind of wish that theatrical regional tastes were like culinary regional tastes and we might know the differences between a Arizona-developed play and Nebraska-developed play enough to celebrate them. Of course, it's entirely possible that there are tons of people in the US theatre establishment who already have this awareness and I'm just slow on the uptake.

Also, I wish Broadway theatre tickets didn't cost more than a day's wage for most NYC theatre practioners. If you bought tickets at the box office to all the shows that were nominated for the Tonys this year, you dropped more than 3 grand.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  I started doing theatre in Boy Scouts when I was ten and it wasn't called theatre. They were just called 'skits.' It sounds wholesome but this was in the city of St. Louis in the late 80s. I was a Boy Scout in a troop where kids stole bikes from each other. Fights were pretty regular. Standing up in front of that group felt really dangerous and rarely went well. I think that aesthetic – that the audience is hostile, they want to be entertained and quickly, that the stage is not a nice place but a place of danger- has been a big part of how I developed in the theatre.

Q:  Who are or were your theatrical heroes?

A:  The ones who persevere. I've been at this for a while as an actor and a playwright and I've watched a lot of friends hang it up. So when I see a guy like Alex Roe at Metropolitan Playhouse whose been at this a lot longer than I have and he's producing great shows and he seems not only happy and talented but also sane, it's an inspiration.

I also love actors who dive in on to new plays. Actors who aren't content to give their special spin on established roles but who want to create new people and new characters and give voice to things that nobody's ever seen. It takes guts and smarts and talent.

Q:  Plugs, please:

A:  OCCUPATION runs June 6 to June 23 at TBG Theatre (312 W. 36th Street). You can find out more at chinabuysflorida.com. And if you want to come have a beer with me and catch some short plays, stop by “Our Bar” on the first Wednesday of the month at Failte Irish Whiskey Bar (531 2nd Avenue) or ourbarnyc.com.

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I Interview Playwrights Part 576: Eliza Bent

Eliza Bent

Hometown: Brookline, MA

Current Town: Brooklyn, NY

Q:  Tell me about The Hotel Colors.

A:  Allora. I wrote The Hotel Colors my first semester at Brooklyn College. I was impressed by those beautiful poetic Beckett plays and how he was translating from French into English. My teacher, Mac Wellman, suggested I try using a similar technique with Italian. So I ended up writing a play set at a hostel in Rome where the characters speak in a very direct literal translation from Italian into English.

So there’s a strong language device happening in the play (and the result is not at all like Beckett) but underneath the language game a gentle story emerges about these weirdos coming together and spending a night with each other at a hostel. Nothing super monumental happens… the group eats pizza, they play drinking games, someone turns a year older, an ex-lover appears, but the evening is memorable to these characters for the same reasons you might remember certain vibrant nights while traveling more than others.

Incidentally, I have stayed at a place called Colors Hotel. I lived there for a few weeks when I landed in Rome after graduating from college. (Clearly, I’m not very original with titles…!) This play is loosely inspired from time spent there and at other hostels, mostly in Italy.

Q:  What else are you working on?

A:  I’m working on a show about wizards who live in a modern and mundane age. It’s called Blue Wizard/Black Wizard and it’ll be at the Incubator Arts Project in December 2013 directed by Dan Safer. I’ll play the Blue Wizard and Dave Malloy, who is writing the music, will play the Black Wizard. It’s staged like a sporting event and Nikki Calonge and Mikéah Ernest Jennings, preside over the ongoings.

But one of the referees used to be a wizard. And the wizards misbehave and one of the referees quits and leaves the theatre. Plus, there’s a trombone player jester. And video sequences. So there’s a lot. And the referees and wizards must do an elaborate series of warm ups that takes them in and out of epic historic moments and quotidian life. They battle each other via song. There is a series of contests. The audience will have to pick a side when they enter the theatre. It’s ultimately kind of a “philosophy-off” where the wizards and referees duel over ancient ideals in order to save the world from the Great Mediocrity. Or something like that.

Q:  Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.

A:  I will tell you about three movies which contribute to my personality. The 1986 PBS version of Anne of Green Gables starring Megan Follows, Wayne’s World and Cinema Paradiso. Anne sparked to my love of words and florid vocabulary, Wayne affirmed my deep commitment to scatology, while Toto and Alfredo introduced me to the most musical and beautiful language, Italian.

Q:  If you could change one thing about theater, what would it be?

A:  One thing? Hmm. I love to complain—and I excel at all manners of lamentation— but I would probably like all us theatre artists to moan a little less. Making theatre can be sucky but it’s also pretty amaze. We are lucky to make theatre!

Q:  Who are or were your theatrical heroes?

A:  I only have anti-heros. They include Anne Brenner who is directing The Hotel Colors, all my Half Straddle compatriots, Brooklyn College peeps, Oma-whores (ie people that attend the Great Plains Theatre Conference), the Fusebox Festival folks, Dave Malloy and Rachel Chavkin, and anyone who runs a theatre space, and also those old playwrights like Chekhov and Tennesse Williams and Lorraine Hansberry.

Q:  What kind of theater excites you?

A:  I am very excited by theatre that plays with theatrical convention and form. I am thrilled when I see a show that could have only been performed as theatre (as opposed to something on TV). I like it when theatre has good visual design and also interesting words and that manages to make me feel and think and laugh.

Q:  What advice do you have for playwrights just starting out?

A:  Don’t do it!
J/k.
I would advise young playwrights to find people who they enjoy working with and who inspire them. I’d also recommend maintaining a non-theatre life. Keep up with other interests and friends. I am terrified by theatre theatre people, whose only interests are theatre, how myopic! Oh and it doesn’t hurt to figure out a way of making money that can maintain your theatre habit.

Q:  Plugs, please:

A:  As the great Becca Blackwell says, “Butt plug hugs!”

The Hotel Colors runs May 8-25 at the Bushwick Starr.

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SEASON ONE OF COMPULSIVE LOVE

All 8 episodes of Compulsive Love!  All of Season 1!  Watch it below or on Koldcast or Blip or Daily Motion or Boomtrain or Youtube or JTS.

#1


#2


#3



#4



#5



#6


#7


#8





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575 Playwrights (alphabetical)

Sean Abley
Rob Ackerman
Liz Duffy Adams
Johnna Adams
Tony Adams 
David Adjmi
Keith Josef Adkins
Nastaran Ahmadi   
Derek Ahonen
Kathleen Akerley
Daniel Akiyama   
Zakiyyah Alexander
Luis Alfaro
Rosanna Yamagiwa Alfaro 
Lucy Alibar
Joshua Allen
Norman Allen
Mando Alvarado 
Sofia Alvarez 
Christina Anderson
Eddie Antar
Terence Anthony
David Anzuelo
Rob Askins 
David Auburn 
Micheline Auger  
Alice Austen 
Elaine Avila   
Rachel Axler
Jaclyn Backhaus
Jenny Lyn Bader
Bianca Bagatourian   
Annie Baker
Trista Baldwin
David Bar Katz
Jennifer Barclay 
Courtney Baron
Clare Barron
Scott T. Barsotti
Abi Basch 
Mike Batistick 
Brian Bauman
Neena Beber
Chad Beckim
Nikole Beckwith 
Maria Alexandria Beech
France-Luce Benson
Kari Bentley-Quinn 
Alan Berks
Brooke Berman
Susan Bernfield
Jay Bernzweig 
Hilary Bettis
Liza Birkenmeier
Mickey Birnbaum  
Barton Bishop
Jennifer Blackmer
Martin Blank
Radha Blank
Lee Blessing
Jonathan Blitstein
Adam Bock
Jerrod Bogard
Emily Bohannon
Rachel Bonds
Margot Bordelon
Deron Bos
Hannah Bos
Leslie Bramm
Jami Brandli
George Brant
Tim Braun
Deborah Brevoort  
Delaney Britt Brewer
Jessica Brickman  
Erin Browne
Julia Brownell  
Bekah Brunstetter
Aaron Bushkowsky
Monica Byrne
Dan Caffrey
Renee Calarco
Zack Calhoon 
Sheila Callaghan
E. J. C. Calvert
Robert Quillen Camp
Jill Campbell  
Darren Canady
Ruben Carbajal
Ed Cardona, Jr.
Jonathan Caren
Aaron Carter
James Carter
Lonnie Carter
Nat Cassidy 
David Caudle
Laura Maria Censabella 
Emily Chadick Weiss
Eugenie Chan
Anupama Chandrasekhar  
Clay McLeod Chapman
Christopher Chen
Kirsten Childs 
Jason Chimonides
J. Julian Christopher
Andrea Ciannavei
John Clancy
Eliza Clark
Alexis Clements
Paul Cohen
Randall Colburn
Bárbara Colio 
Alexandra Collier
James Comtois
Joshua Conkel
Jennie Contuzzi  
Kara Lee Corthron
Kia Corthron  
Jorge Ignacio Cortiñas
Erin Courtney
Cusi Cram
Lisa D'Amour
Gordon Dahlquist 
Wendy Dann  
Heidi Darchuk
Bilal Dardai 
Stacy Davidowitz
Adrienne Dawes 
Philip Dawkins
Dylan Dawson
Colby Day  
Gabriel Jason Dean
Vincent Delaney
Devon de Mayo 
Emily Dendinger 
Emily DeVoti
Kristoffer Diaz
Jessica Dickey
Dan Dietz
Lisa Dillman
Ivan Dimitrov
Katherine DiSavino
Zayd Dohrn
Colman Domingo  
Bathsheba Doran
Anton Dudley
Christopher Durang 
Laura Eason
Nate Rufus Edelman 
Fielding Edlow
Reginald Edmund 
Erik Ehn
Yussef El Guindi
Michael Elyanow  
Libby Emmons
Alvin Eng
Jennie Berman Eng
Saúl Enríquez 
Christine Evans 
Jennifer Fawcett 
Joshua Fardon
Halley Feiffer 
Lauren Feldman
Gina Femia  
Catherine Filloux   
Kenny Finkle
Cory Finley
Stuart Flack 
Stephanie Fleischmann
Kate Fodor
Sam Forman 
Dana Lynn Formby
Dorothy Fortenberry 
Darcy Fowler  
Kevin R. Free
Matthew Freeman
Edith Freni
Patrick Gabridge 
Fengar Gael
David Gaitán
Nick Gandiello
Anne Garcia-Romero
Gary Garrison
Melissa Gawlowski 
Philip Gawthorne
Madeleine George
Meg Gibson
Mira Gibson
Sean Gill
Lucy Gillespie 
Sigrid Gilmer 
Peter Gil-Sheridan
Gina Gionfriddo
Kelley Girod
Megan Gogerty 
Michael Golamco
Jessica Goldberg
Will Goldberg
Brian Golden
Daniel Goldfarb
Jacqueline Goldfinger
Jeff Goode
Idris Goodwin
Tasha Gordon-Solmon
Christina Gorman
Craig "muMs" Grant
Katharine Clark Gray
Donnetta Grays
Anna Greenfield  
Elana Greenfield   
Kirsten Greenidge
D.W. Gregory 
David Grimm
Rinne Groff 
Jason Grote
Sarah Gubbins
Stephen Adly Guirgis
Lauren Gunderson
Adam Hahn
Laurel Haines 
Jennifer Haley
Ashlin Halfnight   
Christina Ham
Sarah Hammond
Rob Handel
Trish Harnetiaux 
Jordan Harrison
Megan Hart 
Leslye Headland
Ann Marie Healy
Keri Healey
Julie Hebert 
Marielle Heller
Charity Henson-Ballard 
Amy Herzog
Ian W. Hill  
Andrew Hinderaker
Cory Hinkle
Richard Martin Hirsch
Ron Hirsen  
Lucas Hnath
Jakob Holder
David Holstein
Ike Holter  
J. Holtham
Miranda Huba  
Quiara Alegria Hudes 
Les Hunter
Sam Hunter
Monet Hurst-Mendoza 
Chisa Hutchinson
Arlene Hutton
Lameece Issaq 
Tom Jacobson  
Laura Jacqmin
Joshua James
Julia Jarcho
Kyle Jarrow
Rachel Jendrzejewski   
Karla Jennings
David Johnston
Daniel Alexander Jones
Marie Jones
Nick Jones
Julia Jordan
Rajiv Joseph
Ken Kaissar 
Aditi Brennan Kapil
Lila Rose Kaplan
Stephen Karam  
Jeremy Kareken 
Lally Katz
Lynne Kaufman
MJ Kaufman 
Daniel Keene 
Karinne Keithley 
Greg Keller
Daniel John Kelley 
Sibyl Kempson
Jon Kern 
Anna Kerrigan
Kait Kerrigan
Lyle Kessler
Jeffrey James Keyes  
Boo Killebrew
Callie Kimball
Alessandro King 
Johnny Klein 
Krista Knight
Josh Koenigsberg 
John Kolvenbach
Robert Koon
Kristen Kosmas
David Koteles
Adam Kraar  
Sherry Kramer
Carolyn Kras
Basil Kreimendahl  
Andrea Kuchlewska
Larry Kunofsky
Aaron Landsman 
Eric Lane  
Jennifer Lane
Deborah Zoe Laufer
Jacqueline E. Lawton 
Ginger Lazarus
J. C. Lee
Young Jean Lee
Dan LeFranc
Forrest Leo  
Andrea Lepcio
Victor Lesniewski 
Steven Levenson
Barry Levey
Mark Harvey Levine  
Michael Lew
Alex Lewin  
EM Lewis
Sean Christopher Lewis
Jeff Lewonczyk
Kenneth Lin
Evan Linder 
Ethan Lipton 
Michael Lluberes
David J. Loehr 
Matthew Lopez
Tim J. Lord 
Alex Lubischer 
Stacey Luftig
Kirk Lynn
Taylor Mac  
Mariah MacCarthy
Heather Lynn MacDonald 
Laura Lynn MacDonald
Maya Macdonald
Samantha Macher 
Wendy MacLeod 
Cheri Magid
Jennifer Maisel
Martyna Majok  
Karen Malpede   
Kara Manning
Mona Mansour 
Warren Manzi
Chelsea M. Marcantel  
Israela Margalit 
Ellen Margolis
Ruth Margraff
Laura Marks
Sam Marks
Mark Mason
Katie May
Oliver Mayer
Tarell Alvin McCraney
Mia McCullough
Daniel McCoy
Jayme McGhan
Caroline V. McGraw
Ruth McKee
Gabe McKinley  
Ellen McLaughlin 
James McManus
Charlotte Meehan
Carly Mensch
Molly Smith Metzler
Dennis Miles
Charlotte Miller 
Jane Miller
Susan Miller 
Winter Miller
Lin-Manuel Miranda
Yusef Miller 
Rehana Mirza
Michael Mitnick
Chiori Miyagawa 
Anna Moench
Honor Molloy
Luis Enrique Gutiérrez Ortiz Monasterio  
Claire Moodey
Concepción León Mora
Alejandro Morales
Desi Moreno-Penson
Dominique Morisseau 
Susan Mosakowski  
Hannah Moscovitch 
Itamar Moses
Gregory Moss
Megan Mostyn-Brown
Kate Mulley 
Paul Mullin
Carlos Murillo
Lindsay Joy Murphy
Julie Marie Myatt
Janine Nabers
Peter Sinn Nachtrieb
Brett Neveu
Don Nguyen   
Qui Nguyen
Don Nigro
Timothy Nolan  
Dan O'Brien
Matthew Paul Olmos 
Dominic Orlando
Rich Orloff
Marisela Treviño Orta
Sylvan Oswald
Jamie Pachino
Kristen Palmer
Marc Palmieri 
Tira Palmquist
A. Rey Pamatmat
Kyoung H. Park
Jerome A. Parker  
Peter Parnell
Caitlin Montanye Parrish
Julia Pascal
Steve Patterson
Greg Paul 
Daniel Pearle
Matt Pelfrey
christopher oscar peña
Anne Phelan 
Greg Pierce
Greg Pierotti 
Begonya Plaza
Robert Plowman
Brian Polak 
Daria Polatin
John Pollono
Larry Pontius
Chana Porter
Max Posner  
Craig Pospisil
James Presson 
Jessica Provenz
Michael Puzzo
Brian Quirk
Marco Ramirez 
Yasmine Beverly Rana
Jonathan Rand 
Adam Rapp
David West Read 
Theresa Rebeck
Amber Reed
Daniel Reitz
M.Z. Ribalow
Molly Rice
Tania Richard 
Stan Richardson
Kiran Rikhye 
Jenelle Riley
David Robson  
Mac Rogers
Joe Roland 
Elaine Romero
Greg Romero
Lynn Rosen
Andrew Rosendorf
Kim Rosenstock
Ben Rosenthal 
Sharyn Rothstein
David Rush  
Kate E. Ryan
Kate Moira Ryan
Trav S.D.
Riti Sachdeva  
Erica Saleh 
Sarah Sander
Tanya Saracho
Heidi Schreck
August Schulenburg
Sarah Schulman  
Mark Schultz
Jenny Schwartz
Emily Schwend
Jordan Seavey
Adriano Shaplin 
Erika Sheffer 
Madhuri Shekar 
Katharine Sherman
Kendall Sherwood 
Christopher Shinn
Rachel Shukert
D.L. Siegel 
Jen Silverman
David Simpatico 
Blair Singer
Crystal Skillman
Myra Slotnick  
Mat Smart
Alena Smith
Matthew Stephen Smith  
Tommy Smith
Ben Snyder
Sonya Sobieski  
Lisa Soland
Octavio Solis
Steve J. Spencer
Stephen Spotswood 
E. Hunter Spreen 
Peggy Stafford
Diana Stahl 
Saviana Stanescu
Susan Soon He Stanton  
Nick Starr
Deborah Stein
Jon Steinhagen
Caitlin Saylor Stephens
Vanessa Claire Stewart 
Victoria Stewart
Andrea Stolowitz
Steven Strafford 
Lydia Stryk 
Lloyd Suh
Gwydion Suilebhan  
Gary Sunshine
Chelsea Sutton 
Caridad Svich
Jeffrey Sweet
Adam Szymkowicz
Daniel Talbott
Jeff Talbott 
Kate Tarker 
Jona Tarlin 
Roland Tec 
Lucy Thurber
Paul Thureen
Melisa Tien   
Josh Tobiessen
Jonathan Tolins
Joe Tracz
Catherine Trieschmann 
Dan Trujillo
Alice Tuan
Jon Tuttle
Ken Urban
Enrique Urueta
Jean-Claude van Itallie
Kirsten Vangsness 
Karen Smith Vastola 
Francine Volpe
Kathryn Walat
Ian Walker
Michael I. Walker 
Malachy Walsh
Kathleen Warnock
Anne Washburn
Marisa Wegrzyn
Anthony Weigh   
Ken Weitzman
Sharr White
David Wiener  
Claire Willett
Samuel Brett Williams
Beau Willimon
Kyle T. Wilson
Pia Wilson
Leah Nanako Winkler 
Gary Winter
Bess Wohl
Tom Matthew Wolfe  
Stanton Wood
Craig Wright
Frances Ya-Chu Cowhig
Anu Yadav
Deborah Yarchun
Lauren Yee
William S. Yellow Robe, Jr.  
Steve Yockey
Kelly Younger
Stefanie Zadravec
David Zellnik  
Anna Ziegler
Martín Zimmerman
Don Zolidis


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