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201989 (Work in Progress)

 
Kafka in Prague

Kafka in Prague

 

Why hello there! I’ve begun working on a new project, a sibling play to Watchlist, inspired by my recent trip to the UK and Prague. 201989 (twenty nineteen eighty-nine) is about the fall of dictators and the rise of dictators in the years of the title. What does it mean, 30 years since the fall of the Iron Curtain, that dictatorial rulers are on the rise in so much of our world?

I am seeking collaborators for a heavily-researched devised piece exploring themes of what makes a name, a nation, an identity. The world can change in a moment, and you don’t know it when you wake up in the morning that your life might be different by nightfall. Berlin, November 9, 1989. New York, September 11, 2001. London, August 28, 2019. So many dates in between. What happens when your government falls? When your government stalls? When the only world you’ve known suddenly no longer exists?

Characters in the play will come from diverse backgrounds - Charlie, an East German who has never known a unified Berlin; Sofia, a Muslim Bulgarian Turk whose name was forcibly changed by the Bulgarian government in 1984; Amal, a Palestinian living in the West Bank in 2019; an American (no name yet) living in El Paso, Texas who remembers a world before walls. These will not be the only stories, but they are a start.

The collaboration process will involve meeting to generate material collectively, as well as individual historical and political research for each creator’s character. An ability to work both independently and with others is crucial. A desire to create new work and experience devising with a team are both encouraged. This creative space will be inclusive of all races, genders, and abilities. If you are interested in these themes and this process, please contact me. Please note focus will be on queer, trans, nonbinary, and women’s stories. Some roles are inherently non-white, all others are non-specific. Cis men welcome to contribute to research and content building, but the characters will very likely not be suited to you.

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A (Queer) Midsummer Night's Dream (Performance Alert!)

Promotional photo by Harry Pocius

Promotional photo by Harry Pocius

It is my pleasure to announce I can next be seen faerie-ing around as part of Little Flame Theatre Company’s production of A Midsummer Night’s Dream. This intentionally queer interpretation is being produced as part of Horsetrade Theatre’s Midsummer festival, happening at the Kraine theatre at the end of this month. Tickets can be purchased here. I hope to see you there!

All shows at 7pm on the following dates:

Monday, July 22

Friday July 26

Tuesday July 30

Thursday August 1

Saturday August 3

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A Successful Reading for Watchlist!

From left to right: Molly Dillon, Alex Taylor, Sam Ogilvie, Logan T. McCoy, Chris Wight, Anna C. Watts, Moss Harrington (front). Photo by Theik Smith

From left to right: Molly Dillon, Alex Taylor, Sam Ogilvie, Logan T. McCoy, Chris Wight, Anna C. Watts, Moss Harrington (front). Photo by Theik Smith

The cast, myself, and director Lizz Hudman. Photo by Theik Smith

The cast, myself, and director Lizz Hudman. Photo by Theik Smith

Thank you so much to everyone who came out to our reading on Thursday! We celebrated the one year anniversary of Hatchlings, the reading series through which Watchlist was presented, and the play was well-received. If you were there and have feedback about what you heard, please feel free to reach out via my contact page.

It was a truly thrilling experience to have this work I’m so proud of presented to an audience for the first time. I’m grateful to all the actors involved, as well as our director, Lizz Hudman, and to Hatchlings, The Nest, and Bluebird Brooklyn for making this developmental process possible. It’s so crucial for artists to have space to develop their work, and The Nest provides a great space for local artists to perform right in my neighborhood! Aside from my own positive artistic experience there, Bluebird is in general a great spot in Prospect Lefferts Gardens, and I highly recommend supporting the bar as well as the performance space, which has free events often.

Based on feedback, my own notes, and general audience reception, I feel that the show is in a great place to be produced this year. (Hit that contact link if you’re interested in producing!) It’s deeply satisfying, after so many years of work and feeling at times mired in edits and minute details and facts and obscure East German history, to feel that the play is ready to be on its feet and is a living, breathing, beautiful being. I hope to share it more fully with more people in the future.

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