Hannah and the Dread Gazebo by Jiehae Park
Commissions: Playwrights Horizons, McCarter Theatre. Residencies: MacDowell, Yaddo, Hedgebrook, and McCarter/Sallie B. Goodman. She will be a 2016-17 Hodder fellow at Princeton, working on a new play about place, memory, loss, and the internet. As a performer: La Jolla Playhouse, Studio Theatre, Tiny Little Band, REDCAT, and the upcoming Sleep with Ripe Time/The Play Co. BA, Amherst; MFA, UCSD.
Hannah and the Dread Gazebo: Inside the FedEx box are two things: a 100% bona-fide-heart’s-desire-level wish and a suicide note. Hannah tracks the package back to Korea, where her grandmother recently jumped from the roof of the Sunrise Dewdrop Apartment City for Senior Living onto the wrong side of the Demilitarized Zone. They’ll need North Korea’s permission to retrieve the body, but Kim Jong Il just kicked the bucket, and things in the DMZ are even stranger than they seem.
Directed by Terri McMahon
Cost of Living (formerly Ropes in the Well) by Martyna Majok
Martyna Majok (pronounced “my-oak”) was born in Bytom, Poland, and aged in Jersey and Chicago. Her plays have been performed and developed at Steppenwolf Theatre Company, Marin Theatre Company, Actors Theatre of Louisville, LAByrinth Theatre Company, Rattlestick Playwrights Theatre, Women’s Project Theatre, Ensemble Studio Theatre, The John F. Kennedy Center, Williamstown Theatre Festival, Dorset Theatre Festival, New York Stage & Film, Yale Cabaret, The Playwright and Director Center of Moscow, Round House Theatre, Satori Group, Red Tape Theatre, and The LIDA Project, among others.
Awards include Marin Theatre’s David Calicchio Emerging American Playwright Prize, New York Theatre Workshop’s 2050 Fellowship, Aurora Theatre’s Global Age Project Prize, National New Play Network’s Smith Prize for Political Playwriting, Jane Chambers Student Feminist Playwriting Prize, and The Merage Fellowship for the American Dream. Commissions from Manhattan Theatre Club, Marin Theatre Company, Actors Theatre of Louisville, The New Yorker website, Ensemble Studio Theatre, and The Foundry Theatre. Publications by Samuel French and Smith & Kraus. Residencies at SPACE on Ryder Farm, Fuller Road, and Ragdale. BA: University of Chicago; MFA: Yale School of Drama.
Martyna is currently part of the Lila Acheson Wallace American Playwright Program at The Juilliard School. She has taught playwriting at Williams College, Wesleyan University, SUNY Purchase, and as an assistant to Paula Vogel at Yale. Alumna of EST’s Youngblood. Member of Women’s Project Lab, Ars Nova’s Uncharted, The Dramatist Guild, and New York Theatre Workshop’s Usual Suspects. Martyna was the 2012-2013 NNPN playwright-in-residence. She is the 2015-2016 PoNY Fellow at the Lark Play Development Center.
Cost of Living: What road brought us here? Unemployed truck driver Eddie Torres recalls his final moments with wife, Ani Luz, when a car accident turned the focus of their relationship from divorcing to care-giving. In another part of Jersey, overworked and under-qualified, Jess takes on yet another job to make ends meet – this time, as a personal caregiver for a wealthy and beautiful graduate student named John, who has cerebral palsy. As Eddie and Ani’s flame re-ignites, Jess and John’s relationship becomes surprisingly intimate – but life makes no guarantees and people are not always what they seem. Cost of Living dives into the chasm between abundance and need exploring the space where bodies – abled and disabled – meet each other.
Directed by Penny Metropulos
Performances: Friday, March 25 at 1:30 p.m. & Saturday, March 26 at 7:30 p.m.
King of the Yees by Lauren Yee
Lauren Yee‘s plays include Ching Chong Chinaman (Pan Asian, Mu Performing Arts, SIS Productions, Impact Theatre), Crevice (Impact), The Hatmaker’s Wife (Playwrights Realm, The Hub, Moxie Theatre, AlterTheater, PlayPenn), Hookman (Encore Theatre, Company One), In a Word (SF Playhouse, Cleveland Public Theatre, upcoming at Strawdog, The Hub), King of the Yees (Goodman Theatre – New Stages), Samsara (Victory Gardens, Chance Theatre, O’Neill Conference, Bay Area Playwrights Festival), and The Tiger Among Us (MAP Fund, Mu).
Her work has also been developed at Lincoln Center/LCT3, The Public Theatre, Second Stage, Rattlestick Playwrights Theatre, Center Stage, Williamstown Theatre Festival, Kitchen Dog, the Magic Theatre, and others. Former Dramatists Guild fellow, MacDowell Colony fellow, Public Theater Emerging Writers Group member, Women’s Project Lab playwright, Second Stage Shank playwright-in-residence, and Playwrights Realm Page One resident playwright.
Her play Samsara has been a nominee for the Susan Smith Blackburn Prize and the L. Arnold Weissberger Award. Her play The Hatmaker’s Wife was an Outer Critics Circle nominee for the John Gassner Award for best play by a new American playwright.
She is currently a member of the Ma-Yi Writers’ Lab and a Playwrights’ Center Core Writer. Lauren is also under commission from the Denver Center, Lincoln Center/LCT3, Mixed Blood, New World Symphony, Portland Center Stage, South Coast Rep, and Trinity Rep. BA: Yale. MFA: UCSD.
King of the Yees: For nearly 20 years, playwright Lauren Yee’s father Larry has been a driving force in the Yee Family Association, a seemingly obsolescent Chinese American men’s club formed 150 years ago in the wake of the Gold Rush. But when her father goes missing, Lauren must plunge into the rabbit hole of San Francisco Chinatown and confront a world both foreign and familiar. At once bitingly hilarious and heartbreakingly honest, King of the Yees is an epic joyride across cultural, national and familial borders that explores what it means to truly be a Yee.
Directed by Holly L. Derr
Performances: Friday, March 25 at 7:30 p.m. & Sunday, March 27 at 1:30 p.m.