Adam Szymkowicz

Dec 23, 2018

I Interview Playwrights Part 1020: Vivian Barnes

Vivian Barnes

Hometown: Stafford, Virginia

Current Town: La Jolla, California

Q: Tell me about your Clubbed Thumb commission.

A: It’s reallllly early in the process but the idea was inspired by my weird hometown and the absurdity of the suburbs and some biblical stuff.

Q: What else are you working on now?

A: I’m in my first year of grad school at UC San Diego so quite a few things! A one act for our new play festival in the spring about two duchesses (sort of Kate Middleton and Meghan Markle-esque); a new full length I’m hoping to get started next quarter about a group of young women on a dance line at an HBCU; a rewrite of a play about a group of black girls at a predominantly white Christian boarding school.

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 didn’t see a ton of theatre growing up but both of my parents are ministers so I spent a ton of time at church for the first 18 years of my life which informed a lot of my theatrical sensibilities (something I’ve only recently started to realize). This was the jumping and shouting, speaking in tongues, banging on the pulpit kind of church. People felt those sermons in their bones. I have a complicated relationship to church now but I think that’s always stayed with me: wanting to impact people on an inexplicable cellular, full body, in-their-bones level. Being really interested in incorporating movement/the body. And music/aural landscapes. I got all that from church.

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

A: Get rid of unpaid internships. I cannot wrap my head around theatres that tout how invested they are in the next generation of theatre artists to their audiences and donors while they aren’t paying their interns. Y’all can find the money for the craziest stuff—pay your interns.

Q: Who are or were your theatrical heroes?

A: Lynn Nottage and Ntozake Shange changed my entire trajectory in the theatre. They broke open my whole understanding of what stories could be told and put the seed in my head that I could maybe be a writer.

Also: Lorraine Hansberry, Pearl Cleage, Dael Orlandersmith, Will Eno, Caryl Churchill, George C. Wolfe, and Dominique Morisseau.

Q: What kind of theater excites you?

A: Okay, this is not specific at all and very “I know it when I see it” but, I’m always always always in my head. When I see something that grips me so hard that I’m no longer thinking about a million other things, that really excites me. Theatre that makes people who don’t usually feel welcome in the theatre feel like they belong there too. Theatre that doesn’t let you get ahead of it.

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

A: I am a playwright just starting out so I feel a little unqualified to answer this. But for anyone who might be like me and not have taken a bunch of formal playwriting classes in school/is learning by doing: READ! My undergrad didn’t offer playwriting classes while I was there so what I lacked in formal writing classes I tried to make up for by reading everything I could get my hands on and creating a writing independent study for myself. Read everything.

Q: Plugs, please:

A: If you find yourself in Southern California, The Wagner New Play Festival at UC San Diego May 7-18! There will be some incredible work by all of the playwrights in my program: Ava Geyer, Steph Del Rosso, Ali Viterbi, Mara Nelson-Greenberg, and Dave Harris!

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Dec 20, 2018

Upcoming Productions

PRODUCTIONS

WORLD PREMIERE

Stockholm Syndrome
or Remember That Time Jimmy's All American Beefsteak Place Was Taken Over By That Group Of Radicals?

Production #1 of Stockholm Syndrome
The NOLA Project
New Orleans, LA
Opens January 16, 2019.

The Wooden Heart
Production #1 of The Wooden Heart
Acadiana Repertory Theater
Lafayette, LA
Opens September 6, 2019.

MORE SHOWS

KODACHROME
Production #8 of Kodachrome
Our Town Theatre Group
North Creek, NY
Opens March 8, 2019.

Production #9 of Kodachrome
Actors Bridge Ensemble
Nashville, TN
Opens July 12, 2019.

Marian or The True Tale of Robin Hood

Production #16 of Marian
Theatre Conspiracy
Fort Myers, FL
Opens February 7, 2019.

Production #17 of Marian
University of North Carolina
Wilmington, NC
Opens February 21, 2019.

Production #18 of Marian
Shakespeare Performance Troupe

Bryn Mawr College

Bryn Mawr, PA.
Opens March 28, 2019.

Production #19 of Marian
Regis College
Weston, MA
Opens April 11, 2019.

Incendiary

Production #3 of Incendiary
Farmington Valley Stage Company
Collinsville, CT
Opens January 25, 2019.

Clown Bar

Production #33 of Clown Bar
Sussex Regional High School
Sussex, New Brunswick, Canada
Opens January 4, 2019.

Hearts Like Fists

Production #41 of HLF
Cyrano's Theatre Company
Anchorage, AK
Opens Sept 19, 2019

Production #42 of HLF
Christopher Newport University

Newport News, VA.

Opens April 3, 2020.

Pretty Theft
Production #14 of Pretty Theft
Houston ISD UIL Dept.
Houston, TX
Opens March 23, 2019.

7 Ways To Say I Love You
a night of short plays

Production #26 of 7 Ways
American School of Doha
Doha, Qatar
Opens January 30, 2019.

Production #27 of 7 Ways
Pope John XXIII High School
Katy, TX
Opens February 14, 2019.
Production #28 of 7 Ways
Northern Illinois University School Of Theatre And Dance
Dekalb, IL
Opens March 20, 2019.

Production #29 of 7 Ways
Ursula Franklin Academy
Toronto, Ontario, Canada
Opens April 20, 2019.

Production #30 of 7 Ways
Auburn Community Players
Fiskdale, MA
Opens July 12, 2019.

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Dec 14, 2018

I Interview Playwrights Part 1019: Malcolm Tariq

Malcolm Tariq

Hometown: Savannah, Georgia

Current Town: Brooklyn, New York

Q: What are you working on now?

A: Right now, I’m doing edits for a book of poems, Heed the Hollow (Graywolf Press, 2019), that will be published in November. The collection won the 2018 Cave Canem Poetry Prize, which is an absolute dream. We just chose the cover and the process is slowly making everything more and more real. I’m so thankful to have a supportive publishing team and, of course, Cave Canem.

When I’m done with edits in a month or two, I’ll go back to working on plays. Currently thinking about magical realism (whatever that means), AIDS, slavery, and the South(s). Always the South(s). I have a few ideas, but nothing concrete. Meanwhile, I wait.

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

A: When I was very young, my mother worked at a hair salon on Martin Luther King, Jr. Boulevard in Savannah. There was an empty lot next door. One day when I was visiting the salon, I made some sort of house out of scraps, litter, and other things I found in the lot. At the time I thought it was a huge house, but that was most likely not the case. I expected the house to be there the next time I drove past. It was not. Perhaps all of my writing is a response to this intersecting expectation and destruction.

Another time, I turned my room into an art gallery with images I drew on the backs of pieces of cardboard. This is something I still do, though with better art and more visitors.

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

A: I wish more people bought and read contemporary plays. This is probably isn’t exclusively a theater issue, but a reading and a commercial issue in the United States. Long before I saw plays performed I read them. Teachers and school districts should diversify the plays they assign in schools. This is how we get more people interested in wanting to go and engage with theater. This is how we bring theatre to places where there is no theater to go to. This is how we support playwrights.

Q: Who are or were your theatrical heroes?

A: My first theatre heroes are my family. My grandmother had eight children, and all of them have children. I grew up with lots of cousins in the same neighborhood that my mother did. Living in a black working-class community was where I first learned how to tell compelling stories. Voice. Humor. Signifying. High drama. Then I found Suzan Lori Parks. Reading Topdog/Underdog made me realize that there was possibility in theatre, there was no necessary form that I had to follow.

Q: What kind of theater excites you?

A: I love a good story that plays with history and form in unsuspecting ways but still delivers dramatic characterization. I love that spellbinding moment that’s supposed to get people fixed into a zone or make them cry. I’m the weird person in the back row looking at all faces in the audience, smiling.

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

A: Find whatever journey your writing is taking you on and ground yourself there. But always be prepared to venture down the unexpected. I went into college expecting to study creative writing. I studied literature instead, and spent four years barely writing. Afterwards, I had more personal direction and purpose. The writing was much more intentional.

I usually find that a healthy balance of living and writing works for me.

1. Live:

Read. Study. Listen. Read the newspaper. Study your family history. Listen to music from your childhood. Read something from a genre you aren’t familiar with. Study something you think you are familiar with. Listen for what isn’t being said when something’s being said. Read something suggested by a friend. Study a foreign concept (go to a random library shelf and draw a random book). Listen to the way you respond to those around you. Read a biography of someone you don’t like. Study craft (read interviews and essays of your favorite writers). Listen to conversations around you (write these down).

2. Write:

First some imitation, then creation. Know the rules (if you must) and break them (if you want). Know why you are doing this. Read books you are in conversation with. Study the world around that conversation. Listen to what your writing/philosophy is saying to you and the world (these may be different).

Q: Plugs, please:

A: Remember to check back in on the book late summer 2019 for preorders. I have poems from the project coming out in the forthcoming issues of The Iowa Review, Connotation Press, Washington Square Review, and American Poetry Review.

My play, Social Work, will be part of the Brave New Works 2019: Ditmas Park reading series by Brave New Worlds Repertory Theatre on March 23, 2019. This is my first public reading in New York City so I’m very excited.

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Nov 29, 2018

UPCOMING PRODUCTIONS OF MY PLAYS

PRODUCTIONS

WORLD PREMIERE

MORE SHOWS

KODACHROME

Production #7 of Kodachrome
Fire Exit Theatre
Alberta, Canada
Opens November 28, 2018.

Production #8 of Kodachrome
Actors Bridge Ensemble
Nashville, TN
Opens July 12, 2019.

Marian or The True Tale of Robin Hood

Production #16 of Marian
Theatre Conspiracy
Fort Myers, FL
Opens February 7, 2019.

Production #17 of Marian
University of North Carolina
Wilmington, NC
Opens February 21, 2019.

Production #18 of Marian
Shakespeare Performance Troupe

Bryn Mawr College

Bryn Mawr, PA.
Opens March 28, 2019.

Production #19 of Marian
Regis College
Weston, MA
Opens April 11, 2019.

Incendiary

Production #3 of Incendiary
Farmington Valley Stage Company
Collinsville, CT
Opens January 25, 2019.

7 Ways To Say I Love You
a night of short plays

Production #26 of 7 Ways
American School of Doha
Doha, Qatar
Opens January 30, 2019.

Production #27 of 7 Ways
Northern Illinois University School Of Theatre And Dance
Dekalb, IL
Opens March 20, 2019.

Production #28 of 7 Ways
Ursula Franklin Academy
Toronto, Ontario, Canada
Opens April 20, 2019.

Production #29 of 7 Ways
Auburn Community Players
Fiskdale, MA
Opens July 12, 2019.

Hearts Like Fists

Production #41 of HLF

Cyrano's Theatre Company

Anchorage, AK

Opens Sept 19, 2019

Mailing list to be invited to Adam's events

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Nov 27, 2018

I Interview Playwrights Part 1018: Ren Dara Santiago

Ren Dara Santiago

Hometown: I was born in the Bronx, lived in Puerto Rico for the first year of my life. Then Yonkers. We moved to Harlem in 2002.

Current Town: Harlem. I am re-experiencing it now with my roommates: one a devout James Baldwin-head, Alexander Lambie and the other is my future president, Cesar J Rosado who buys me bacalaito on 116. They’re both gorgeous actors I came up with.

Q: Congrats on winning the Cornelia Street American Playwriting Award. Can you tell me about that?

A: Absolutely. It’s a huge honor. I haven’t fully realized the scope of it, I’m sure. I can’t say enough about the depth of love, confidence, and trust I feel being bestowed upon me as the inaugural recipient of this award from Rising Phoenix Rep, honoring the spirit and legacy of Joe Cino. So, one of the members who chose me for this award is Daniel. I met Daniel as a teenager. Lucy was like, “my brother saw your play,” and I was like, “oh shit.” He’d come to see a workshop production of COME TO STARR STREET and it excited him. His confidence gives me faith in myself. Then I acted in a play written by Catya McMullen for Cino Nights, directed by Jenna Worsham. And he gave me and a few fam a Shakespeare workshop at Belvedere Castle. Then he directed the shit out of The Siblings Play in PlayLabs at MCC. He let me rewrite the play twice that week. And the Talbott’s put me up when I got in to Ojai Playwrights Conference. He and Addie have become these beautiful guides for truth and love in the theater. It’s an honor that they chose me. I’m burning with the desire to live up to this legacy and uphold the honor and integrity that the members of Rising Phoenix Rep holistically embody in all facets of themselves. There’s going to be a ceremony in February at Rattlestick. At Rattlestick; where Daniel was mentored by David Van Asselt; who asked Lucy to start an apprentice company; who invited a handful of her former MCC Youth Company students into and we called it The Middle Voice; that’s our family home. I am in awe of how romantic my life is at this moment. I am in awe of the people surrounding me and I can’t wait for us to rise together, building each other up. I recognize the ways in which I am continually lifted and I live to pay that forward and make my theater family proud.

Q: What are you working on now?

A: My Rising Phoenix Rep membership was just announced so I’m pretty hype. I’m excited for their co-pro of Jessica Dickey’s Play: The Convent coming to A.R.T/ New York Theatres. I have one or two more meetings with Playgrounds at the Lark where I’m workshopping the fantasy scenes for an educational-theater piece. I’m heading to the Eugene O’Neill Theater Center for Playwrights & Librettists at NTI and I get to do a lil exercise with them for the weekend. I’m in Middle Voice at Rattlestick and we have an exciting new theater artist running the program but until that really gets running we’ve got some development hours and I’m just feenin to stretch those producer muscles and cast some members in some plays I been reading; like I want some of my boys to tear up We Are Proud to Present A Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915 so we can have some Baldwin-style discussions. I may use some hours to hear a rewrite of my play Something in the Balete Tree before Gingold Theatrical Group sets up a reading for me in the new year. I am applying to some grad programs for Playwriting which are due very soon and please cross your fingers for me because my spirit has never demanded a prize like this education. Whattup Yale?!

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

A: So there's two parts of me that are married when I write; the spiritual and the inherited. I saw God as a kid once. My father was Rasta; he actually hung out with some Bobo Shanti in Yonkers but he couldn’t officially join them. So, God wasn’t an untouchable existence to me. When I told my grandma about my dream all my titi’s made a big deal out of it. They weren’t surprised he came to me. Later, I’d start seeing demons. Before writing the play Daniel came to see, I’d seen the devil a few times in my dreams and we began forging a deal for my soul. That play was my way out of our contract. And that’s just part of my understanding of the world... I put all that impossible shit into my plays and it helps guide me through the conversations I want to have with the people coming into my spaces. I’ve always lived in sort of adjacent realities. Like, my parents are people that don’t exist anywhere else, even within their families and I’m a product of that and in a lot of ways we grew up together. My mother is a Filipina who emigrated at 2; who dodged her inheritance to pursue a career in fashion; who didn’t marry who they expected her to; who accepted that scorn to be with my father and give birth to me and my siblings. My father is a second generation Boricua. He grew up in Cali, a total surfer brah and came to Brooklyn with an orange Mohawk talking about Dub when everybody and they mother was rocking to Big Daddy Kane and the like. My dad is a self-educated scholar. He had me read A People’s History in middle school. I grew up on indies and Japanese anime’s and ska, dub, roots reggae, System of a Down, and goth. Miyazaki’s worlds are over-layed onto my perception of nature and industry. Yeah. They never told me how to look at the world. They told me how to look at each other. Yeah. Neither of my parents fit. Anywhere. They stood out. They were loved but they didn’t fit. I found a place where I fit and where I could fulfill my potential. And my potential is making at least one difference in this short time we have. That’s kind of why I am who I am.

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

A: Laziness. I see a lot of laziness. It’s in the tiny things sometimes- not casting in honor of heritage or it’s big like letting a draft that’s mainly diary, not dialogue, make it all the way to production. The worst is laziness in watching a play. That’s the worst. How dare you praise a smart-but-easy play and scorn the ones with all the heart and soul? That might be talking about people you never met or experiences you’ve never had. Why did you come to the theater? Watching the theater should inspire community.

Q: Who are or were your theatrical heroes?

A: Lucy Thurber is my hero. She’s a warrior. She’s the best teacher I’ve ever had and she loves doing it in this way that you can only experience to understand. Her plays are these endless black holes filled with her love and her brain and I love that woman. Jenna Worsham just never stops. She’s my best friend and nobody can stop her from fighting for social justice fucking everywhere she goes. Adam Bock is a genius and the funniest, kindest person I’ve ever met. And every play blows my mind. Daniel Talbott is a triple threat? Quadruple threat AND an amazing dad. And I’m in love with his characters- like I’m haunted by all of his characters. Addie Talbott is a queen and I want to be as brave, smart, and badass and genuine as her. Sam Soule is an epic Greek titan in the form a petite human. David Zheng and Cesar J Rosado are my brothers and my pride and joy. Rachel Jett running things at NTI like the boss she is. Those are the OG’s. This month I am in love with Ngozi Anyanwu, Alexander Lambie, Jordana De La Cruz, Christopher Gabriel Nunez, Julissa Contreras, Jeremy O Harris, Erika Dickerson-Despenza, TJ Weaver, Robert Lee Leng, Guadalis Del Carmen... I am forgetting some. I’m sorry. That’s just this week having me so grateful for their work.

Q: What kind of theater excites you?

A: Brave, unapologetic, heart-open, thoughtful, critical, deeply explored, wild, funny, real shit.

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

A: Remember who you are writing for, so you can keep going. Write as much as you see and read. Talk to the collaborators you like, and spend a lot of time listening and learning from and trusting what you have to offer. That when you’re just getting to know artists the best way to get love is to give it freely first. That’s not a recipe that’s a religion. Save everything to the cloud or wherever before you move from where you are writing in case you spill or drop your shit and lose that draft.

Q: Plugs, please:

https://www.rattlestick.org/middlevoice/
https://www.risingphoenixrep.org
https://gingoldgroup.org/speakers-corner-new-works/

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Nov 14, 2018

I Interview Playwrights Part 1017: Aladdin Ullah

Aladdin Ullah

Hometown: New York City

Current Town: New York City

Q: Tell me about Dishwasher Dreams.

A: It was developed at the Public Theater while I was a member of the Inaugural Emerging Writers Group. Man I really loved that group. Some super talented writers, talented artists were in that group- Ethan Lipton, Radha Blank, Raul Castillo and quite a few more. A little before that time, I was really frustrated about 15 years ago being a comedian. I was a bit burned out, comedy can be grueling. I was tired of the grind and constantly auditioning for stereotypical roles. So I saw Lackawaana Blues by Ruben Santiago Hudson and it was life altering. I cried in the lobby of the Public Theater because it was so moving, so real, I felt like a voyeur watching the humanity of that play along with the blues guitar scoring the scenes. Some solo shows are just a showcase for the actor with no story but Ruben had such a moving story. It inspired me to write my solo play Dishwasher Dreams with an amazing Tabla Player- Avi Sharma.

The play is about me preparing to audition for the role of a Muslim terrorist as I reminisce about my dad arriving from Bangladesh to land in Spanish Harlem during the 1940's in pursuit of the American Dream. I wanted to do something original with music that was both hilarious and moving. There weren't a lot of plays that addressed immigrants from the perspective of first generation and second generation clashing, as well as addressing various themes. I think this play is a very original play. I'm trying to show the authentic voice of immigrants that are Muslim along with their children like myself who grew up right in the thick of hip hop during the late 70's and 80's. I think people have one view of Muslims. I'd like to write plays that show audiences we are more than just the cliche of caricatures you see everyday. There are folks who grew up in Muslim households that are not the stereotype, there are muslims who rebel, are defiant, some smoke weed, some practice the religion, some do not , but most of all we are human. Sometimes people forget that. I'm trying to just write stories that bring that truth, that diversity to the stage and screen with nuance. There is very anti-immigrant sentiment right now. It's actually nothing new because racism is American as apple pie. Arts is a great weapon to combat that-- especially comedy. The theater is best place to tell the truth, that kind of captivating experience is what makes me fall in love with live performance.

Q: What else are you working on now?

A: I'm hoping to finish my next play Halal Brothers about two brothers from Bangladesh that own a Halal store in Harlem with events taking place the day of Malcolm X's assassination in 1965. I wrote it really for Aasif Manvi who is brilliant. I'm also working on finishing editing my documentary in Search of Bengali Harlem. It's about the first wave of Bengali Muslims that arrived in Harlem from 1880's to present day.

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

A: When I was a little kid I lived in the projects and never thought writers existed. I read a book called Down These Mean Streets by Piri Thomas. That book took place on my block on 104th street. I was fascinated that anyone who wrote about my neighborhood. When I read this book he created a vivid picture of places I walked in daily. I couldn't believe that you could write about where you lived. I was 11 years old and inspired to write. I attended the boys's club on 111th street and as fate would have it the photography teacher there knew Piri Thomas. I told him I wrote a few short stories. So he took me out to Piri Thomas' house by Grand Army Plaza in Brooklyn to meet him. I was about 11 years old. I was a bit starstruck by Piri Thomas as I loved that book. It was a bit overwhelming as all these adults were there. Later in the night people were playing congas and they were reciting poetry. Piri Thomas told me to get up and read one of my stories. I kept nodding my head saying, "no, no, no!" Piri told me he would read one piece and he would be next to me and persuaded me to read my short. Piri said his piece and then I took a deep breath and read my short piece as my knees were shaking. It was about me looking out my window on 104th and Park Avenue wondering where the metro north trains were going. Were they going to a place where people didn't have to walk up 15 flights when the elevator broke? Or was it a place where people were going to get chocolate like in willa wonka world and on on and on. After I finished people were cheering and Piri bear hugged me. Not only did writng captivate me but I got the satisfying feeling of what live performance was like at age 11. Maybe that day a solo performer was born.

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

A: Wished Playwrights of color who don't have many grants or obies, or tonys could get a fair share of being produced and not shut out of the conversation. Bureaucracy is what I'd love to change. The politics of this hustle of being produced is what I wish we could change. It's a damn shame how politics play a huge part in how one gets produced but in the land of the blind the one eyed man is king. It sure would be nice if it were a level playing field. So if you don't come from a fancy MFA program they look at you like they are watching paint dry. That is a conversation that could take days to discuss so I'll leave it there.

Q: Who are or were your theatrical heroes?

A: August Wilson. Ruben Santiago Hudson, Eugene O'Neil, Arthur Miller. David Henry Hwang, Liesl Tommy, Dominique Morriseau, Lynn Nottage, Stephen Adly Guirguis.

Q: What kind of theater excites you?

A: The kind that moves you. I could watch August Wilson plays nonstop. I really like new playwrights that challenge the status quo that really show you the humanity of folks people ignore. There is nothing more exhilarating than creating theater, art that challenges audiences to think, to look out of a window they are not looking out of. I love plays that put on the gloves and punch audiences in the gut with truth, the way a boxer fights in the ring. Theater possesses the potential to tell the truth. Playwrights from Odetts to Beckett, from O'Neill to August Wilson, from David Henry Hwang to Dominique Morriseau. Each bring a no BS authenticity to the stage and make audiences see the injustice as they root for the underdog. That's the kind of theater I want to be a part of. You can keep your BS theater for tourists on Broadway, I want theater that rocks peoples world, that challenges them to hear voices from people that have been marginalized. That's what I'm talking about. I love that. That's the theater that NEEDS to be seen.

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

A: Writing is rewriting so keep writing. Find a place where you can develop find actors that you trust, create your own space and don't wait for any theater, or artistic director to validate you. Keep it moving keep it busy, stay inspired, write stories that resonate with your heart and keep getting up when you fall, rejection is not the end of the world if you love it embrace it and enjoy the f-g journey!

Q: Plugs, please:

A: Dishwasher Dreams
written and directed by:
Aladdin Ullah
Tabla accompaniment-Avi Sharma
Directed by Gabriel Vega Weissman
543 W 42nd Street
Playing till Nov. 18th.
more info:
http://www.dishwasherdreams.com/?fbclid=IwAR1xlnttrR6a3VVi1wjZ-hKNe_iRodCwvwzKkO1eIGdnfjsRgVN7dfpPi2g

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Adam Szymkowicz

Featured Post

1100 Playwright Interviews

Dec 23, 2018

I Interview Playwrights Part 1020: Vivian Barnes

Dec 20, 2018

Upcoming Productions

Dec 14, 2018

I Interview Playwrights Part 1019: Malcolm Tariq

Nov 29, 2018

UPCOMING PRODUCTIONS OF MY PLAYS

Nov 27, 2018

I Interview Playwrights Part 1018: Ren Dara Santiago

Nov 14, 2018

I Interview Playwrights Part 1017: Aladdin Ullah

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