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Julie Crawford of Columbia University on Galatea by MJ Kaufman

MJ Kaufman’s Galatea or Whatever You Be, a genderqueer translation of an already pretty queer Elizabethan play by John Lyly, is set in an unnamed village terrorized by the god Neptune – the “one with the big pitchfork-like thing” – who demands the sacrifice of the villagers’ most beautiful virgin every five years in order to save the village from destruction. (“I AM THE OCEAN,” Neptune crows, “I SWALLOW EVERYTHING”). In order to save their daughters Galatea and Phyllida from death, the villagers Melebeus and Titerys crossdress them as boys and send them off into the woods. There, the “girlboys” attract the unwanted attention of Diana’s nymphs, who, while normally devoted to “lesbian separatist solidarity,” are temporarily heterosexualized by Cupid’s arrows, and fall madly in love with one another. (As one of Kaufman’s stage directions tells us, you’ll find “a queer club” if you “go far enough into the woods”). In Lyly’s play, cross dressing produces a kind of inevitable homosexuality based in Renaissance ideas about likeness being at the center of positive ideas about union. As Phyllida tells herself early in Lyly’s play, “Art thou no sooner in the habit of a boy but thou must be enamored of a boy?” And while they lose no time in rather suggestively “making much of one another,” they are nonetheless disturbed by their “dissembling” in “short coats” – a view Kaufman relates to contemporary transphobia (let’s not fall into trap of thinking that “Trans people practiced deceit”) – and generally concur that, despite their love for one another, they are “practicing impossibilities.” In Kaufman’s version, Galatea and Phyllida’s attraction to one another is based in their shared views on and experience of non-normative sexuality and gender (“being in-between gender’s a real safety gamble”); social justice critique (“non-consensual virgin sacrifices”); and frank sexual desire that fully embraces gender nonconformity. “I don’t know what you are,” each says to the other, “But I want whatever you are.” Lyly’s play concludes, famously, with the promise of a sex change that will allow the girls to marry one another. (They won’t learn who will be transformed into a man until the wedding). Yet while their fathers, who have been flirting pretty heavily themselves, adjust to Venus’s plan for their daughters in Kaufman’s version (“Even in this magical queer landscape,” Diana points out, the families of transpeople take time to get on board with their transition), Galatea and Phyllida have other plans, and it doesn’t include one of them becoming what Venus calls a “REAL man.” In the newly kinder and gentler village culture, now freed, thanks to the work of Diana and Venus, from Neptune’s demands, when everyone else arrives at the village church, Phyllida and Galatea “stand at the edge of the woods,” the place, since Vergil’s Eclogues, of queer desire. While Lyly’s play never stages the transition and thus marriage that Venus promises, Kaufman’s version concludes by questioning what a happy ending might be altogether – not, as most theater critics claim is true of all comedies, marriage, but something much better.

Joaquin’s Pico de Gallo Salsa from The Nourish Project

Pico de gallo salsa is a simple medley of tomato, onion, cilantro, and lime. Start with the freshest ingredients for the best results!

Ingredients:
1 ½ pounds ripe red tomatoes (about 8 small or 4 large), finely diced
1 cup finely chopped white onion (about 1 small onion, finely chopped)
1 medium jalapeño pepper, finely chopped. Remove the ribs and seeds (but def. keep them in if you want the heat!)
1 bunch of finely chopped fresh cilantro (if you’re one of those folks who can’t eat cilantro, leave it out, but make sure you have your jalapeño in for the red, white and green!)
Fresh squeezed lime juice from 3-4 limes, add more or less to taste
Salt and white pepper to taste

Directions:
In a mixing bowl, add tomatoes, onion, and cilantro. Squeeze fresh limes into the mix. Add finely chopped jalapeño pepper to your liking; keep in mind the more pepper the spicier. Gently mix the ingredients in the bowl. Add salt and white pepper to taste.

Here are some tips!
1) Use ripe red tomatoes. I love Roma tomatoes!
2) Chop your ingredients very finely. If you want to do it Joaquin-style, this will take about 90 minutes. I use this time to slow down. I put on some soulful music (Lhasa de Sela) and focus on relaxing by finely dicing and chopping the tomatoes and onion.
3) Use real limes, none of that squeeze bottle nonsense! If you must use the squeeze bottle nonsense, grab the bottle with your right hand and throw it away in the garbage. Don’t make pico de gallo.
4) Let it all sit together and marinate before serving. This could be for 15 minutes, an hour, or overnight in the refrigerator. You can decide. Let those flavors combine!
5) Serve with a slotted spoon. It’s gonna be juicy.
6) Put it on everything. Really. It goes with EVERYTHING. Tacos, grilled tofu, eggs, add to brothy soups to give it a new flavor, homemade crispy tortilla chips, even on hamburgers and hotdogs!

#PipelineOnline

WEEK 1: March 26 – March 28, 2020

PHASES OF THE MOON

By Bryna Turner
Directed by Rebecca Martínez
Produced by Stephanie Rolland
Scenic design by Jean Kim, Costumes by Soule Golden, Lights by Christina Watanabe, Sound by Caroline Eng

Before she mastered the art of losing, the poet Elizabeth Bishop was a socialist vegetarian in a peacoat at Vassar College during the Great Depression. Following “Bishie” and her friends over a single lunar cycle during their senior year, Phases of the Moon begins with a ritual gone awry and asks us to consider what’s real under all the pretending.

Read an excerpt of the play here.
Watch the highlights from the Instagram takeover here.

WEEK 2: April 2 – April 4, 2020

SANDBLASTED

By Charly Evon Simpson
Directed by Victoria Collado
Produced by Ilana Becker
Scenic design by Anna Driftmier, Costumes by Sabrina Bianca Guillan, Lights by Cha See, Sound by Caroline Eng

Angela and Odessa are struggling for survival in a dark present that’s being overtaken by an epidemic affecting only black women. A fabulous wellness celebrity emerges as one who could guide them—if only they trust her and follow her into the shifting sands. Will they find a cure? Can a cure even be found? sandblasted is by turns poetic and absurd; a story of waiting and hoping, and of the meaning of touch.

Read an excerpt of the play here.
Watch the highlights from the Instagram takeover here.

 

WEEK 3: April 9 – April 11, 2020

TOBIAS: A NOVEL IN PERFORMANCE

By Christina Quintana (CQ)
Directed by Arpita Mukherjee
Produced by Marie Cisco
Scenic design by Jean Kim, Costumes by Rodrigo Muñoz, Lights by Christina Watanabe, Sound by Emily Auciello

Tobias was a real person; far more than just a footnote in one of North America’s earliest-known scandals. TOBIAS: A Novel in Performance is a hybrid theatrical experience, melding the forms of narrative-fiction and playwriting to explore a distinct connection across three backgrounds: Mohawk, African, and Dutch. Tobias, as narrator, leads the audience though a gripping examination of the often-complicated lines between power, sex, and love: both then and now.

Read an excerpt from the play here.
Watch the highlights from the Instagram takeover here.

WEEK 4: April 16 – April 18, 2020

GRACE, SPONSORED BY MONTEVERDE

By Vanessa Garcia
Directed by Sarah Hughes
Produced by Alyssa Simmons
Scenic design by Anna Driftmier, Costumes by Peiyi Wong, Lights by Cha See, Sound by Caroline Eng

Catherine is searching for something authentic. Frustrated by her life’s direction and haunted by her annoying ex-husband, she embarks with her f*ckbuddy, Lewis, on a Lewis-and-Clark-esque trip across America sponsored by Monteverde Moonshine. But as Catherine travels the country, posting photos and interviews of people she meets—an immigrant worker, a wayward nun, a queer homeschooled teen—she inadvertently raises more questions than answers: about “the real America,” about her own identity, and about what “authenticity” even means anymore. #ManifestYourDestiny #GraceSponsoredByMonteverde #DrinkandRideResponsibly

Read an excerpt from the play here.
Watch the highlights from the Instagram takeover here.

WEEK 5: April 23 – April 25, 2020

MY BABY

By Sukari Jones
Directed by Candis C. Jones
Produced by Lucy Jackson
Scenic design by Meredith Ries, Costumes by Dominique Fawn Hill, Lights by Miriam Crowe, Sound by Twi McCallum

Estelle discovers she cannot be a bone marrow donor for her mother Gladys, who has been diagnosed with stage 4 cancer. Meanwhile, Tinesha is tirelessly searching the universe for her stolen baby. A complicated family drama about mothers, daughters, and the cosmic quests we undertake for the ones we love.

Watch the highlights from the Instagram takeover here.

#WPcommunity

We are thrilled to launch the hashtag #WPcommunity to create a gathering space for WP’s ever-expanding artistic community and to celebrate the work of woman+ artists and theatermakers everywhere. Spread the word and start sharing your content with us today…we want to see what you’re working on!

Click here to see what everyone is sharing on #WPcommunity!

Remembering our Founder, Julia Miles

Remembering our Founder, Julia Miles

I’m writing to you from my apartment, but on a normal day, I would be writing to you from Julia’s office, a space it has been my privilege to occupy since 2014, and a space first nervously walked into in 1997, when Julia interviewed and then hired me to be the Literary Manager at the Women’s Project—my first paying job in the theater.

I wish I were sitting in Julia’s office right now, as I share the news that WP’s founder and chief boundary breaker, Julia Miles, passed away on the afternoon of Wednesday, March 18th, after a long illness. I would be grateful to be in the space where she worked for so many years, fearlessly changing the face of American theater since WP’s founding in 1978, surrounded by posters and photos that show just a fraction of her legacy of art and artists.

Like so many of us right now, I am thinking of the generations of artists who thrive and make work because Julia carved out a place for them—the seasons of new plays at WP, the Tony Awards, MacArthur “Genius” Grants, Pulitzer Prizes, Emmy Awards, and more won by artists whose work she fostered, in programs she dreamed into being. The avalanche of creation that she made possible is impossible to overestimate.

As you can imagine, I’ve been making calls to some of Julia’s nearest and dearest to share the news of her passing, and through our sadness it has also been a joy to swap stories and laugh and cry together. I’ve marveled with friends and colleagues over the genius of Julia’s mentorship and moxie, of Julia’s glorious fashion sense, her tenacity, which allowed her to move mountains at a time when women weren’t allowed to do such things, the way she instinctively understood artists in their work. Artists she worked with reminisced about all the ways, large and small, that Julia smoothed the process for them—by hiring a nanny, showing up with an emergency check to buy one crucial set element, by just listening.

We are working with Julia’s family to find a time, when we’re all allowed to gather again, to celebrate Julia’s unparalleled life and legacy. We look forward to sharing more news as we have it. She deserves a celebration as extraordinary as she was.

Julia made all of us. The debt all of us women who make theater owe her can never be repaid. We must take her example and do our best to make spaces for artists who aren’t given space, and to shout loudly for those who aren’t given a voice. If we can do that, we will give back a fraction of what we’ve been given. It has been my joy to try.

We will miss you, Julia. I am grateful to you every day.

Lisa

WP Theater: Oldest, largest theater company dedicated to producing the work of women

 

By Ysenia Carrizales
Wednesday, March 4, 2020 4:03PM

NEW YORK CITY (WABC) — To fight women’s lack of representation in theater, Julia Miles, founded the WP Theater in 1978. Now, it’s the nation’s oldest and largest theater dedicated to producing and promoting the work of women at every stage of their careers.

“Julia Miles was a real force of nature. She had such a passion for making space for women,” says Producing Artistic Director, Lisa McNulty.

Since its founding, the WP Theater has produced over 600 hundred Off-Broadway plays and has even helped mold some of Broadway’s biggest names.

“We’re going to get these broads in here and we’re going to push them up and push them out,” says McNulty.

This Upper West Side Theater’s sole purpose is to give women a stage so that their voices can be heard. To empower women and their art.

“It’s been this organization that has continued to serve Julia’s vision for 40 years. Where all women feel welcomed and all women can feel like they can be their best creative selves,” McNulty says.

For over 4 decades, WP Theater has been a beacon for women artists, it’s become their home.

“It’s a home for women in theater, “says playwright Donnetta Lavinia Grays.

Not only is a theater space rallying for equality but it also has an amazing program called WP Theater LAB. It’s a two-year residency for playwrights, directors, and producers. It’s the heart of their organization and it’s developed bold, powerful artists taking the industry head-on.

“WP has been extraordinarily supportive in my growth as a theater professional and as a writer. It’s something you don’t take for granted,” says Grays.

Stop by this historic theater… come as you. Come and experience the LADY POWER!

The New York Times Critic’s Pick: Paging Pablo Escobar in ‘Our Dear Dead Drug Lord’

By Ben Brantley
Sept. 26, 2019

Though we’ve just crossed the threshold into fall, you may already be thinking of Halloween, that time of year when we get to frighten ourselves with fantasies instead of being terrorized by the all-too-real world. It is also the moment when we can at least pretend to believe, for better or worse, that the dead do not stay dead.

If your thoughts have been wandering in that direction — as well they might when the days grow shorter and nights longer — you should know that they’re throwing quite a séance at the McGinn/Cazale Theater. That’s where you can wait for the arrival of the dangerously departed narco-terrorist Pablo Escobar, the title character of Alexis Scheer’s “Our Dear Dead Drug Lord,” in a cozy Miami treehouse.

The self-styled mediums in this highly entertaining, equally sobering little play — a co-production of the WP and Second Stage theaters — come naturally by their affinity for the dark side. They’re all teenagers — or, to be specific, teenage girls, a thin-skinned, hormonally saturated species that tends to exist at the tips of its nerve ends.

These young apprentices in sorcery are called — and I am using only the names they have been endowed with by their Ouija board — Pipe (Carmen Berkeley), Zoom (Alyssa May Gold), Kit (Rebecca Jimenez) and Squeeze (Malika Samuel). They hail from that distant year of 2008, when Barack Obama was just about to be elected the nation’s first black president, a time some of you may recall with a nostalgic sigh.

But it turns out there was plenty to be scared of then, too. That’s especially true if you grew up in the shadow of Sept. 11 and have now reached the age when death has stopped being just a spooky abstraction that happens to people you don’t know. And somehow, being in control of what surrounds you feels more elusive and more important than it ever has before.

Female adolescents and the supernatural have been a winning cultural formula in recent decades. You could imagine the girls of “Our Dear Dead Drug Lord” finding kindred souls among the likes of Buffy, Sabrina and the vampire-dating Bella Swan, though they might think it’s lame to admit it. (“Law and Order: SVU” is a more common reference, with Zoom endearingly declaring, “Olivia Benson is my spirit animal!”)

For the first half of its sprightly 90 minutes, staged by the fast-rising director Whitney White, “Drug Lord” feels as if it might belong to such shivery popcorn fare. Its four principal characters gather in the treehouse of Pipe, an upper-middle-class Cuban-American, as the entire membership of the Dead Leaders Club.

The group’s official status at the private school the girls attend is in limbo at the moment, since the administration frowns upon the choice of the notorious Escobar as an object of study. It could have been worse. As Pipe says, “Well, first it was Hitler, but somebody called us a hate group when we started wearing swastikas to school.” She’s joking, sort of.

The lines between jest and truth, assumed postures and bona fide feelings are hazy here. Ms. Scheer, a young playwright out of Boston, cannily exploits the porousness of that divide within adolescents, who still half-believe that thinking hard enough can transform fictions into facts. And she makes us aware of the perils of such a mind-set.

Thus, for the Dead Leaders Club, riffing on the notion of sacrificing an animal might indeed lead abruptly to just such an act. The idea that Kit — their newest member and the daughter of a Colombian single mother — might be the daughter of Escobar quickly gains traction. Equivocation about the friends’ sexual status and orientations are translated into physical realities.

We also gradually become aware that all these girls have a closer knowledge of death than we might have assumed at the beginning. And a play that started off as a hoot — a friendly, familiar satire on high school mores and lingo — winds up as a primal scream.

Each cast member defines her role with an intensity and individuality that are equally funny and scary. And you are always conscious, as you must be, of the combustible chemistry generated by this combination of distinctive, separate personalities longing to cohere into a whole.
ImageMs. Gold, left, as the hyperbolic Zoom and Ms. Jimenez as the quietly confident Kit. Ms. Gold, left, as the hyperbolic Zoom and Ms. Jimenez as the quietly confident Kit.Credit…Sara Krulwich/The New York Times

Ms. Berkeley, who brings to mind the young Winona Ryder, is a piquant study in poised prettiness about to crack open. Her Pipe has a wonderfully natural, uncomfortable erotic symbiosis with Ms. Jimenez’s first-rate Kit, an outsider who exudes quiet, defiant confidence.

Ms. Gold gets the funniest lines as the hyperbolic Zoom, and she knows what to do with them. And Ms. Samuel has just the right moves as a drama nerd who leads the group in a rehearsal for a school assembly dance performance. Like the play itself, this dance number starts off silly and exuberant, shades into a darker quirkiness and ends in a disquieting burst of isolating, atavistic energy.

The show — which features two additional cast members I am not at liberty to mention — has been steeped in a home-brewed sensuality that is both festive and creepy by a design team that includes Yu-Hsuan Chen (set), Andy Jean (costumes), Lucrecia Briceno (lighting) and Fan Zhang (sound). Yet the small-budget production hasn’t quite managed to pull off the grand guignol finale.

That’s partly because Ms. Scheer’s script becomes overcrowded with revelations as it heads toward its climax. And Ms. White’s direction, which has thus far managed to strike a delicate balance between the goofy and gruesome, feels rushed here.

Nonetheless, you’re likely to find yourself chanting the characters’ final words in your mind (or in my case, I’m embarrassed to say, out loud) as you walk down the street afterward. I won’t divulge what they are.

But, as befits a show about black magic, they are a fierce incantation, a shield and a vow that speak volumes about surviving the truly terrifying world that waits outside.

A Note from playwright, Rehana Lew Mirza, 3/14/19:

Last night we heard the news about the mosque shootings in New Zealand, and we were up all night overwhelmed with grief for the victims. My husband Mike and I had a long conversation about what we can do in the face of acts of hatred – and what role, if any, art can play in opening people’s hearts. I’ve been working my whole life to try to combat the “othering” of Muslims through my work, and when tragic events like this happen, you feel so helpless, and at a loss. I wish I could do more – more to create a safe space for people, more to combat hate and pain and suffering. I read that the first man who was shot greeted the gunman with, “Welcome, brother.” It was his last words, said with an open heart. I can only hope we all have open hearts, as we continue to take a stand against intolerance everywhere. The mosque is meant to be that safe space for community, the place to come together, to discuss what is happening in the world. For me, that’s the theater. And specifically for “Hatef**k” – to those who are yearning to see the good in Islam, who are hoping to learn more, feel more, be inspired more to actively rise up against hate… welcome.

-Rehana

https://www.launchgood.com/christchurch

Look who is”Highbrow” AND “Brilliant”

WP Theater Will Honor Daryl Roth at Women of Achievement Awards

The 40th anniversary gala evening will also honor Goldman Sachs treasurer Beth Hammack.

WP Theatre will honor Tony Award-winning producer Daryl Roth (The Normal Heart, Kinky Boots) and Goldman Sachs treasurer Beth Hammack with Women of Achievement Awards at its 40th anniversary season gala June 4 at the Edison Ballroom.

Each year WP Theater honors outstanding women “who have taken risks, pushed limits, and broken ground in a wide variety of fields.”

The 6:30 PM gala will be hosted by Tony Award winner Victoria Clark (The Light in the Piazza), and will feature a lineup of talent including Krysta Rodriguez (What We’re Up Against, Spring Awakening), Ariana DeBose (Summer, Hamilton), Damon Daunno (Hadestown, The Lucky Ones), Margo Seibert(In Transit, Rocky), and the Dolly Parton cover band, Doll Parts.

Read Original article at:

 

Get a First Taste of Rehearsals for PORTO at WP Theater

by BWW News Desk Jan. 23, 2018  

 

View original article at:

Vulture ranked [PORTO] among the “23 Exciting Theater Productions Taking the Stage in 2018!”

“[PORTO] (January 28)
Under the direction of Lee Sunday Evans, Kate Benson’s smart, soulful new play about food, sex, gentrification, and an unexpected encounter between a regular and a stranger at a bar in an all-too-recognizable Brooklyn neighborhood won wide acclaim with its original production at the Bushwick Starr last year. Now it transfers to the Women’s Project, in association with the Bushwick Starr and New Georges, for its much-anticipated Off Broadway premiere.”

Read full article at:

 

What We’re Up Against on Fox 5!

Broadway World Interviews the creative team of “What We’re Up Against”

Skylar Astin, Krysta Rodriguez, and More to Star in Theresa Rebeck’s “What We’re Up Against” Off-Broadway

Adrienne Campbell-Holt is set to direct Rebeck’s dark comedy of gender politics this fall.

WP Theater has teamed up with Segal NYC Productions to present the Off-Broadway premiere of What We’re Up Against by Pulitzer Prize nomineeTheresa Rebeck (Mauritius, Seminar, NBC’s Smash).

Adrienne Campbell-Holt (Dry Land, Empathitrax) will direct a cast lead by Teen Choice Award winner Skylar Astin (Pitch Perfect, Spring Awakening), Jim Parrack (True Blood, Of Mice and Men), and Krysta Rodriguez (Spring Awakening, Trial & Error, Quantico).

The four-week limited engagement will kick off October 28, with an opening night set for November 8. The play will run through November 26 at WP Theater (2162 Broadway).

Further casting will be announced at a later date.

Written by Rebeck in 1992, What We’re Up Against premiered in San Francisco nearly 20 years later and has since gone on to have acclaimed regional productions. The play is set in a small architecture firm, where new recruit Eliza is struggling to get a foothold; it is billed as a “darkly funny and all-too-relevant comedy of gender politics.”

“We’re delighted to have this ferocious and sharp play at WP this fall,” says Lisa McNulty, producing artistic director at WP Theater. “Theresa’s words are just as potent and relevant now as they were when the play is set, and we couldn’t be prouder to work with her and WP Lab alumni Adrienne, giving new life to this story.”

“Now more than ever it is vitally important for stories of women to be told, and it is particularly exciting to share What We’re Up Against, which is filled with Theresa’s extraordinary warmth, passion and humor,” added Jenna Segal of Segal NYC Productions. “I’m so pleased to be teaming up with WP Theater on this incredibly important piece of theater and to continue this crucial dialogue.”

The production will feature scenic design by Drama Desk Award nominee Narelle Sissons (All My Sons, How I Learned to Drive), costume design by Lortel Award nominee Tilly Grimes (Small Mouth Sounds), lighting design by Grant Yeager (Now. Here. This), and sound design by Lortel Award winner M.L. Dogg (Oh, Hello on Broadway; Here Lies Love). Casting is by Kelly Gillespie, C.S.A.

Tickets for What We’re Up Against are now on sale via WPTheater.org/tickets, or by calling (212) 765-1706.

Monica Bill Barnes & Company in the New York Times

Is There a Date-Stamp on the Moving Body?

By GIA KOURLASSEPT. 1, 2017

Read Original Article Here:

THE NEW KILROYS LIST IS HERE!!!

WP theater is so thrilled to see all of these brilliant women of color celebrated!

Even more exciting, all of our current, eligible, 2016-2018 WP Lab members, D Lavinia Grays, Sylvia Khoury, and Leah Nanako Winkler are front and center, alongside our rock star Lab alums Carla Ching, Dipika Guha, Soon He Stanton, and, Lauren Yee.

  

We at WP Theater would like to thank the Kilroys for taking action to achieve gender parity in theater and for their celebration of this work, particularly WP board member and warrior, Kelly Miller

The complete Kilroys List for 2017 is below. Click here for show descriptions:

Cambodian Rock Band by Lauren Yee
The Great Leap by Lauren Yee
Yoga Play by Dipika Guha
Thirst by C.A. Johnson
Blks. by Aziza Barnes
If Pretty Hurts Ugly Must Be a Muhfucka by Tori Sampson
Is God Is by Aleshea Harris
We, the Invisibles by Susan Soon He Stanton
Queen by Madhuri Shekar
The Opportunities of Extinction by Sam Chanse
Hang Man by Stacy Amma Osei-Kuffour
Last Night and the Night Before by Donnetta Lavinia Grays
El Huracán by Charise Castro Smith
Two Mile Hollow by Leah Nanako Winkler
Black Super Hero Magic Mama by Inda Craig-Galván
Endlings by Celine Song
Eve’s Song by Patricia Ione Lloyd
To the Yellow House by Kimber Lee
Florissant & Canfield by Kristiana Rae Colón
Les Freres by Sandra A. Daley-Sharif
Redwood by Brittany K. Allen
The Homecoming Queen by Ngozi Anyanwu
Burned by Amina Henry
Hatefuck by Rehana Lew Mirza
Magic City or Julie in Basel by Hilary Bettis
Nomad Motel by Carla Ching
Noura by Heather Raffo
Usual Girls by Ming Peiffer
Azul by Christina Quintana
Breach by Antoinette Nwandu
How to Catch Creation by Christina Anderson
Nike, or We Don’t Need Another Hero by Ngozi Anyanwu
Selling Kabul by Sylvia Khoury
Somebody’s Daughter by Chisa Hutchinson
The Paper Dreams of Harry Chin by Jessica Huang
The Thanksgiving Play by Larissa FastHorse
Unreliable by Dipika Guha

The Kilroys is made up of playwrights and producers Zakiyyah Alexander, Bekah Brunstetter, Sheila Callaghan, Carla Ching, Annah Feinberg, Sarah Gubbins, Laura Jacqmin, Joy Meads, Kelly Miller, Meg Miroshnik, Daria Polatin, Tanya Saracho, and Marisa Wegrzyn.

We’re so pleased to support the work of this influential human!

 

The Most Influential People in Dance Today: Monica Bill Barnes

“When it feels like everything’s already been done, Monica Bill Barnes still pushes boundaries. Her hit collaboration with “This American Life” host Ira Glass mixed dance with radio-style storytelling, and her Happy Hour series embraced the idea of an office-party-meets-karaoke-meets-dance experience. And although plenty of choreographers are setting site-specific work in museums these days, Barnes takes it a few steps further—and leads her audience through an aerobic workout in the Metropolitan Museum of Art.”

Read the original article HERE

Check out Monica’s upcoming show at WP Theater ONE NIGHT ONLY (running as long as we can)

Congratulations on Your Tony Wins!

Congratulations to two members of the WP creative family for their big Tony wins last night! Rebecca Taichman (Best Direction of a Play, Indecent) and Mimi Lien (Best Scenic Design of a Musical, The Great Comet of 1812). These rock stars previously collaborated on WP’s 2011 Milk Like Sugar, a co-production with Playwrights Horizons, by Kirsten Greenidge, and we couldn’t be any prouder.

While we celebrate, let’s take a moment to note that, of the 73 people credited as writers on shows currently on Broadway, only 7 of those artists are women. Shout out to those seven women on making art for change on the Great White Way, but there is still a long way to go.

Let’s celebrate these powerful ladies, and don’t forget to join us in our upcoming season to make some noise for women in theater!

And you saw it here first!

Lisa Lampanelli’s play Stuffed will open off-Broadway this fall in a new production at the Westside Theatre beginning October 6. Directed by Jackson Gay and featuring additional material by Ashley Austin Morris, the work premiered in a WP Theater production in fall 2016.

The work is described as follows: “The four characters in Stuffed are a lifelong dieter, a bulimic, a confident overweight gal, and a permanent size-zero. The play features Lampanelli’s famously irreverent voice, signature wit, and an extra-large scoop of razor-sharp insight into the crazy-making world of our relationships with food. With Lisa onstage, alongside a talented cast, Stuffed doesn’t shy away from tough questions like: Is eating an ice cream sandwich in the shower as emotionally fulfilling as it sounds? When it comes to jeans, what’s better — muffin top or camel toe? And, if Oprah, the most powerful person in the world, can’t conquer her food issues, what can the rest of us do but laugh as we try?”

Casting and creative team will be announced in the coming months. The WP Theater production starred Lampanelli alongside Ann Harada, Zainab Jah, and Jessica Luck.

(Read original article here)

PLAYBILL NEWS: WP Theater Announces 2017–2018 Season

The lineup includes a world premiere, a sold-out hit, and the return of the Pipeline Festival.

(Read original article here)

American Theatre Wing: Programming a Season with Lisa McNulty and BAM’s Joseph Melillo!

Lisa McNulty and BAM’s Joseph Melillo in this beautifully produced bit of documentary film on programming for the theater, from American Theatre Wing!

COUNTDOWN TO “STUFFED” VIDEO #1: “First Preview Is Tonight!”

COUNTDOWN TO “STUFFED” VIDEO #2: “Moderation”