Debbie Lamedman is a playwright, author, and editor based in Portland, Oregon. She has a series of monologue and scene study books published by Smith & Kraus, Inc., and two plays published by Heuer Publishing. Debbie’s produced plays include Up the Fall, phat girls, Triangle Logic, Eating in the Dark, and Drowning in Quicksand. Debbie is the co-bookwriter for the musical How the Nurse Feels which had staged readings at both the ASCAP/Disney workshop in Los Angeles, and New World Stages in New York. Debbie’s short play Mind Control was produced as part of the 35th Annual Samuel French Off-Off-Broadway Short Play Festival in NYC.

Since 2009, Debbie received commissions to write plays on social issues for teens for Pittsburg High School Repertory Theatre Company. These plays include Everyday People, a play on anti-bullying which premiered in April 2011 to nearly 5,000 audience members. Additional commissions include Rx, a play dealing with prescription drug abuse among teens, You Belong to Me, a piece on teen dating violence, and Snowflakes, a theatrical documentary exploring autism.

In addition to writing, Debbie has worked as an adjunct theatre instructor and guest director at Pacific University in Forest Grove, Oregon. She has also taught acting classes at the Portland Actors Conservatory in Portland, OR. Debbie is a frequent guest teaching artist and has taught master classes in playwrighting and monologue workshops around the country. Currently, Debbie is editing three new anthologies for Smith & Kraus, The Best Men’s Monologues 2021, The Best Women’s Monologues 2021, The Best 10-Minute Plays 2021.

Debbie received her MFA in theatre from Brandeis University and is a proud member of the Dramatists Guild. https://www.debbielamedman.com/

WEBSITE AND SOCIAL MEDIA
https://www.debbielamedman.com/
https://newplayexchange.org/users/10208/debbie-lamedman
FB:https://www.facebook.com/debbie.lamedman; and /debbielamedmanplaywrighting,
TW: https://twitter.com/DebbieLamedman
IS:https://www.instagram.com/debbielamedman/

MORE ABOUT ME
Why do I keep doing theatre?*
That is an excellent question. I thought I hit my wall with theatre years ago. But just like in Godfather Part III, every time I think I’m out, it keeps pulling me back in. I’ve attempted to have a cynical attitude about it, but it’s not in me. I have taken long hiatuses from working in the theatre, but during that time I was always miserable if I wasn’t working on something. It’s elusive to me, what that thrill is. Maybe it brings to mind the first time I stepped foot into a Broadway house. I was eight years old, and the excitement of the audience, that first downbeat of the orchestra, the incredible performances I watched slack-jawed, all those sensations seems to fill my soul every single time I walk back into a theater. It doesn’t have to be Broadway. It doesn’t have to be New York. That thrill of excitement has happened in a bare, chilly warehouse in Portland, Oregon; a garage turned into a make-shift black box in San Francisco, a backyard with a wooden platform in Sherman Oaks, California. It’s in me. What can I say? The theatre virus runs through my veins, and there’s no vaccine for that.

WHAT I'M WORKING ON
I'm always attempting to write more 10-minute plays in order to have a vast array of them for the many festivals and opportunities that continue to arise. I feel like I should be working on something to do with current affairs, but it's not in me to write about that right now. I am working on a new full-length piece that delves into the struggles of a married couple when one of them comes out as nonbinary.

KEYWORDS
Jewish, Crone, Food, Fat, Aging, Androgyny, Grief, Menopause, Nonbinary

(Updated 1/10/22) Emma Goldman-Sherman is a neuro-divergent, gender-dysphoric, invisibly disabled, queer feminist who believes in the power of theatre to create healing and agency in audiences. Her/their plays have been produced on 4 continents and named finalists at BAPF, Henley Rose, Bridge Initiative, Campfire, Unicorn (3x), and Cutting Ball (3x) and published by Brooklyn Publishers, Next Stage Press, Smith Scripts (UK), Applause, and Smith & Kraus. She/they earned an MFA from the University of Iowa where she/they received the Richard Maibaum Award for plays addressing social justice (Antigone's Sister) and the Jane Chambers Award (Perfect Women) in the student division from ATHE. Podcasts of her/their work are available at TheParsnipShip.com and PlayingonAir.org. Residencies at Millay, Ragdale and WordBridge. Member: Dramatists Guild, LMDA, Honor Role. She has taught for University of Iowa, Great Plains Theatre Conference, Alliance of Jewish Theatres, New York Writers Workshop, Goddard-Riverside, NYPL, Andrew Glover Youth, Prison Writes and others. More information at the newplayexchange.com. Emma runs www.BraveSpace.online to support all kinds of creative people. 

WEBSITE AND SOCIAL MEDIA
https://www.bravespace.online
https://newplayexchange.org/users/1088/emma-goldman-sherman

FB: https://www.facebook.com/emma.goldmansherman
TW: @EmmaGSherman
IG: Emmaintheatre

MORE ABOUT ME
Gratifying moments - I always think back to the time I was teaching at the University of Iowa and a young man in one of my classes was stalking another student of mine. She had to get an order of protection against him. I had to offer exams in separate rooms at separate times. My play Antigone's Sister was produced there at this time. Afterwards he said that the play caused him to realize that he had some issues to look at, and he apologized to her from an appropriate distance. She later said he never bothered her again. In spite of the fact that none of my full-length plays to date have ever been professionally produced, whenever I'm able to present Why Birds Fly, WHORTICULTURE, TAMAR, or FUKT, people have stood up afterwards in talk-backs and spoken aloud for the first time that they too were sexually abused or assaulted, that the play has inspired them to speak, to feel empowered, to acknowledge their own experiences and survival. People have spoken about leaving their shame behind and feeling whole again. People have spoken about letting go of their judgment against victims and against themselves. People have also been able to ask for help. If I could bring change to theatre, it would be to democratize what gets produced to move the culture forward. Theatres that accept public funds should answer to the public and represent the actual public on their stages by whom they hire to work there. Revivals should be limited so that un-produced plays can be seen. There is so much work deserving of production - we must band together to work to change the way plays are chosen to be produced and how they are produced with equity, diversity and inclusion as a top priority. 

WHAT I'M WORKING ON
I am trying to find ways to use my experience and my language skills to create the most necessary, honest and meaningful work for the stage that I would want to see if I felt confused or lost or alone. 

KEYWORDS
Fierce, bold, brave, queer, feminist, political, immersive, psychological, formally innovative and challenging. 

D. Lee Miller is the author of  TSUNAMI, DAVIDA, BALL AND CHAIN, WHEN THE DODGERS LEFT BROOKLYN, THE RECIPE, ANIMATION IN DUST  and THE BEULAH BALLANTINE CONTEST, among other plays.  Among other theatres, her plays have been presented at EST, La MaMa ETC, the Vital Theatre, Kansas City Women's Playwrights Festival, New Vision Theatre, Stagecrafter's, Chewboy Productions, Shenandoah Valley International Playwrights Retreat & the West Bank Cafe.  Her play, BEATRIX IN THE SHADOWS, was performed at the first 365 Women a Year production. It has also been performed at Emerging Artists Theatre (NY) and B3 Productions (Arizona). JUDGEMENT DAYS was performed at Rover Dramawerks and Mouse Productions. ORIGAMI TEARS is included in the anthology FACING FORWARD, published by Broadway Play Publishing.  BROKEN HEART SYNDROME is included in Smith & Kraus' 5 Minute Plays and TAP TEST will be in an upcoming Smith & Kraus anthology.  She has had a number of readings at Rum Diaries in Glasgow, Scotland. In addition, many of her stand-alone monologues have been broadcast in Writer's Block Radio (Glasgow) and on Sapphic Voices Reverb Radio (Brighton UK). Her works were zoomed for the charity event, AROUND THE GLOBE IN 80 PLAYS, to help save Shakespeare's Globe.  Additionally, they have been performed at  F.A.B. @the Barrow Group; and Caravan Theatre (UK). THE GREAT LATKE SHOWDOWN OF 20 AUGHT 9 will soon be on the Atlanta Radio Theatre Company.  Next year, her play, AN AUTHENTIC REMBRANDT, will be performed in Amsterdam and GEORGE FLOYD will be performed at the International Human Rights Art Festival.

WEBSITE AND SOCIAL MEDIA
FB: D Lee Miller

MORE ABOUT ME
Why do I keep writing theatre?  Women were rarely ‘written into life’ let alone plays when I was younger. It might be a reason musicals were appealing since women were often the central characters. What I did know, is that women’s lives were rarely exposed to society – when they seemed to be doing the great job of keeping families alive and together. There is a lot of drama – negotiations - in those quiet moments. Powerful women; women growing --  I decided early on to write about all these ‘missing women’:  women who were the leading characters in their lives.  I hated hearing about wonderful actresses who were ‘sidelined’ in plays as wives, grandmothers, cleaning ladies…  As women’s lives grow in our society, I’d like to reintroduce some women from the past that may have been overlooked and women who are growing today. Theatre is still the best way have people listen while connecting - than any other medium. It is real, live and we are witnessing together.

WHAT I'M WORKING ON
An Authentic Rembrandt

KEYWORDS
Family, women's roles, Jewish, sometimes political, sometimes environmental justice, equal rights, stand-alone monologues, holiday

Paula Cizmar is an award-winning playwright and librettist whose work lives at the intersection of poetry and politics.  Her plays have been produced at theatres all around the U.S. including Portland Stage, San Diego Rep, The Women’s Project, Cal Rep, and Playwrights Arena. She is one of the writers of the documentary play, Seven, which has been produced in 30+ countries and translated into 22 languages.

Among her full-length plays are Antigone X, set in a refugee camp along an unknown border, published by NoPassport Press; Along the River, Almost Winter, a play with a talking bear, set during the California Gold Rush; and Last Nights of Scheherazade, winner of the Israel Baran Award for New Plays. She has written several plays on environmental issues including The Chisera (performed at the Mach 33 Science Play Festival) and short eco-plays, including Appealing for Climate Change Theatre Action 2019; she was commissioned to be a part of CCTA 2021.  

Honors include two NEA grants; a residency at the Rockefeller Study Center in Bellagio, Italy; and a TCG/Mellon Foundation On the Road grant.  

Cizmar wrote the libretto for The Night Flight of Minerva’s Owl, music by Guang Yang, which was the winner of the Music That Matters/Fight for the Right new opera program at Pittsburgh Festival Opera.  Cizmar & Yang’s short opera Invisible premiered in LA Opera’s Eurydice Found Festival in January 2020 and is part of Snapshot 2021, presented by West Edge Opera and Earplay.   Their piece, Firecrackers, premieres at White Snake Opera in Boston in 2021.

Cizmar is part of the creative team of the Institute for Theatre and Social Change at the University of Southern California where she is an associate professor of theatre practice at USC’s School of Dramatic Arts.  Info: www.paulacizmar.net.

WEBSITE AND SOCIAL MEDIA
http://paulacizmar.net
FB:  Paula Cizmar
TW:  @paulacizmar
IG:  paulacizmar

MORE ABOUT ME
I imagine telling stories in these times by simply recognizing that without stories, we live in darkness.  If we don't write our way out of the darkness, then we are stuck with what has been handed to us by some nameless faceless "fate"--and I can't accept that. I could never accept that. If I accepted what was supposed to be or what was pre-ordained for me, I'd be living under the thumb of the meaningless limits that someone who doesn't care about me decided to impose.  I have to ignore that sort of thing and just keep going. Besides, writers know that by writing our way out of the darkness, we also create a portal to the light that others can use as well. That's my tiny little contribution:  Come with me, friends, to a different world. It's what writers do. Whether the times are good, bad, joyous, disastrous, our job is the same: We write. We imagine. We make something new.  And with any luck, there is change.

WHAT I'M WORKING ON
A libretto for a dystopian opera and a new play that, I hope, will be funny.  (Trying to feel funny for a change!)

KEYWORDS
Political, Nature, Animals, Equality, Climate, Environmental, Adaptations, Immersive/Site-specific, Documentary, Mythic, Food, Spirituality

A director of new plays and as well as a producer and an educator, Eliza Beckwith lives in Brooklyn, NY. She is Co-Artistic Director of New Directions Theater, with frequent collaborator and playwright Richard Willett, and has directed premieres of his plays "Tiny Bubbles", "The Flid Show" (starring Mat Fraser), "Random Harvest" and "Triptych". A production of Mr. Willett’s "9/10" is planned for 2021. Also with NDT, Olga Humphrey’s "F-Stop". She is member of The Ensemble Studio Theatre, and has directed four times in their Marathon of One-Act Plays, many times in Youngblood’s Asking for Trouble and held the post of Managing Director. In the Cabaret world, Eliza has staged shows in numerous venues throughout NYC (Don’t Tell Mama, The Metropolitan Room, West Bank). As a teacher, Eliza led the E.S.T. Institute Lab, has taught at Alfred University (her alma mater) and Prince George’s Community College. Eliza began her New York theatre career backstage at the Orpheum Theatre with the original production of "Little Shop of Horrors", where she was Wardrobe Mistress, Dresser and “Stage Right Finale Plant Puppeteer” all at the same time.

WEBSITE AND SOCIAL MEDIA
FB: Eliza Beckwith
IG: @oscarsperambulator

MORE ABOUT ME
My most gratifying moment in theatre came this past early fall when I sat with an audience outdoors at the Stull Observatory at Alfred University, and watched my students perform Annie Jump and the Library of Heaven, by Reina Hardy. We had started rehearsals for an indoor production in February, switched to zoom rehearsals in March, met all summer virtually, and then put the play up while following all safety protocols in the open air for a distanced and limited audience. To see live theatre again, especially something that I'd directed, filled me with more joy than I can describe, and sharing the moment (via facetime) with the playwright was fantastic. Faced with seemingly insurmountable odds to producing live theatre in 2020, we had done it!

WHAT I'M WORKING ON
Preparing for a 2021 production of Richard Willett's play "9/10" to commemorate the 20th anniversary of the attack on the World Trade Center.

Richarda Abrams, daughter of the late Dr. Muhal Richard Abrams, musician/composer/visionary/co-founder of the Association For The Advancement of Creative Musicians (AACM), is a 3X AUDELCO award-winning actress/singer/dramatist/producer of First By Faith: The Life of Mary McLeod Bethune, receiving the 2019 AUDELCO VIV Award for Solo Performance of the Year. First By Faith SOLDOUT the National Black Theatre Festival, and was named the Best of Solo Theatre in the Last 10 Years (United Solo Theatre Festival), winning it’s 2018 Best Educational Show Award, also received an LMCC grant (www.FirstByFaith.com). Richarda recorded Song for All (Black Saint Records) with her father, & performed in Muhal Richard Abrams’ Ensemble. She is a member of Amina Claudine Myers' Generation IV, a gospel group, Myers’ Voice Choir, and has toured worldwide. Theatre: Guess Who’s Coming to Dinner (Ivoryton Playhouse), Last Days of Judas Iscariot (La Mama, dir., Estelle Parsons), Fear Itself (Crossroads); additional shows at the Public Theater, Cherry Lane, 2nd Stage, Acting Company, Multi-Stages, Theatre 167, 14th Street Y, Yara Arts. Film/TV: The Subject, The Riverside Bench, Oreos With Attitude (Showtime), Sesame Street, One Life To Live, As The World Turns, Cosby, & LIFETIME’s Sherri. Richarda, a graduate of New York University’s Tisch School of the Arts’ Experimental Theatre Wing,  received a BFA with honors in Acting, & received her MA in Educational Theatre from NYU’s Steinhardt School of Culture, Education, and Human Development, studying drama/theatre in education at University of Leeds, Bretton Hall College, England. Memberships: AEA, SAG-AFTRA, AACM, Actors Studio, Dramatists Guild, NYWIFT, & LPTW. Currently writing Bethune, a full-length play about Mary McLeod Bethune.  First By Faith: The Life of Mary McLeod Bethune and Bethune are fiscally sponsored by New York Foundation for the Arts. Bethune’s received a NYSCA grant.

WEBSITE AND SOCIAL MEDIA
https://www.RichardaAbrams.com
FB: https://www.facebook.com/RichardaAbramsFanPage
TW: https://twitter.com/dramasmith
IS: https://www.instagram.com/dramaartisan/

MORE ABOUT ME
Theatre is where the stories are told.  Someone must tell the stories.  

WHAT I'M WORKING ON
I am currently writing Bethune (working title), a full-length play about the great African American heroine Mary McLeod Bethune, a world-renowned educator and civil rights activist who founded one of the first historically Black universities in the United States.

KEYWORDS
Historical

Pauline David-Sax (she/her) is a playwright, children’s book author and educator living in Brooklyn, NY who focuses on (re)constructing missing or neglected perspectives in order to tell more complex stories. Her play How We Survived was awarded the 2020 Jane Chambers Prize and was selected for the 2020 Players Club of Swarthmore New Play Festival; it was also named a finalist for the 2019 HRC Showcase Theatre national playwriting contest. Her play Exposure was a finalist for the 2018 Todd McNerney Playwriting Award. Pauline’s work has been read/performed at Occupy the Stage (Women’s Theatre Festival), Nora Salon South & The Nora Salon (Nora’s Playhouse), The Bechdel Group, Tuesdays@9 (Naked Angels), and the Detention Series (ESPA/Primary Stages). Pauline is a member of the Dramatists Guild, SCBWI and Honor Roll!, an advocacy group of women+ playwrights over 40. You can read more about Pauline and her work at https://newplayexchange.org/users/15126/pauline-david-sax.

WEBSITE AND SOCIAL MEDIA
https://newplayexchange.org/users/15126/pauline-david-sax

MORE ABOUT ME
I love theater because it is so alive with stories. There are the stories of the characters, brought to life on stage; and there are the stories of those in the audience, listening and watching. These narratives don’t always line up neatly, and in my favorite plays (such as Sweat, Top Dog/underdog, Three Tall Women, Eclipsed and Doubt) each character vies for the primacy of her story while each audience member must decide for herself how to reconcile the multiple truths she sees and hears. I seek to examine that multiplicity of stories and perspectives in the plays I write. As I sit down to tell you about myself, I think also about stories. Here, too, there are multiple narratives. There’s my twenty years in education, which taught me the importance of collaboration; I suspect this is why I am drawn to playwriting as opposed to other, more solitary writing genres. There are my two marriages and two children, which taught me the freedom of letting go of other people’s expectations; if it were not for my divorce and miscarriages, would I have been brave enough to switch careers in my 40s? And there is my life as a writer where I spent decades secretly scribbling in notebooks while outwardly pursuing a “safe,” “respectable” career before embracing the fact that my heart belongs to writing.

WHAT I'M WORKING ON
So much! Currently incubating ideas for a play about the many faces of Alma Mahler and a musical based on a picture book I wrote (about a women's motorcycle group) that's currently under contract. Looking for further development opportunities for my plays Cotton's Tale (about the true story of the female rabbits from Peter Rabbit) and Goldfish Have No Memory (about a scientist who creates a robot replica of his deceased twin sister). And always on the lookout for opportunities to collaborate with others.

KEYWORDS
untold stories, women's stories, historical, biography

Vivian is an award-winning playwright who has penned more than 90 plays and monologues that have entertained audiences in the US, Mexico, England, Scotland, and Australia. Her full-length drama/comedy, Back to Bethlehem (PA), premiered Off-Broadway in 2006 at the Manhattan Theatre Club. In addition to her stage plays, Vivian has also written two full length screenplays that were awarded first place in two highly competitive screenwriting contests.

She has taught playwriting at a local college and has facilitated playwriting workshops at writing conferences. Vivian has lent her talents to Gallagher Literary, an LA talent management company, where she evaluated pitches and screenplay submissions. She also has freelanced for afilmwriter.com, where she was a script analysis specialist for stage plays. Currently, a variety of her work is featured on The Writer’s Block Radio Hour, a weekly radio program that airs worldwide on the web via supersoundscotland.net

Vivian has been a proud member of The Dramatists Guild since 1998.

WEBSITE AND SOCIAL MEDIA
FB:https://www.facebook.com/vivian.lermond

MORE ABOUT ME
I feel most like myself when I listen to characters having a confab in my head, grab a pen, and start jotting down what they have to say. There is great fun for me to go inside myself and find other voices that have stories to tell.

WHAT I'M WORKING ON
Putting together a new collection of monologues for 2021 publication

KEYWORDS
comedy, drama, radio plays

Ms. Censabella’s play Paradise (IRNE Award Best New Play, Elliott Norton Nomination Outstanding New Script, Ensemble Studio Theatre/Alfred P. Sloan Science Foundation Commission) recently made its sold-out U.S. west coast premiere in L.A. at The Odyssey Theatre (Viola Davis and Julius Tennon, producers) and premiered on the east coast at Underground Railroad/Central Square Theater in Cambridge.  She then wrote the screenplay for American Oasis Films and JuVee Productions.  Ms. Censabella is the recipient of the $10,000 William Saroyan Human Rights Award for her play Carla Cooks The War, three grants in Playwriting and Screenwriting from the New York Foundation for the Arts, two Daytime Emmy Awards, and a new EST/Sloan commission about Dr. Irene Pepperberg of Alex & Me fame.  Other plays and musicals have been developed or produced at the O’Neill Playwrights Conference, Philadelphia Festival Theatre for New Plays, the Women’s Project and Productions, Ensemble Studio Theatre, Portland Stage, the New Harmony Project, Gulfshore Playhouse, The Working Theatre, Luna Stage, Passage Theatre and Urban Stages, among others.  She directs the Ensemble Studio Theatre Playwrights Unit and teaches at the New School for Drama where she received the Distinguished University Wide Teaching Award. She is a graduate of Yale with a degree in Philosophy and Theatre and a proud member of HONOR ROLL!

WEBSITE AND SOCIAL MEDIA
https://newplayexchange.org/users/8866/laura-maria-censabella

MORE ABOUT ME
*What was your most gratifying moment in the theater?
My first play was presented at the O’Neill National Playwrights Conference and starred Angela Bassett, Courtney Vance, Dominic Chianese, J. Smith Cameron and Tom Wright! I remember sitting on the grass surrounded by friends and family and feeling waves and waves of joy not unlike a profound meditative experience. I had written the play mornings at 5:30 a.m. before office temp jobs and it was one of the first times I had fully manifested a dream. To have an audience excited by my vision of the world, to be in my young 20's and taken seriously, to take what was in my heart and mind and give it to other hearts and minds was the profoundest joy I could imagine. That joy has never diminished no matter what age I reach.

*What play or production changed your life?
Steppenwolf’s production of A Balm in Gilead by Lanford Wilson. I was intoxicated by its kinetic dynamism and lucky enough to attend the opening night party as a friend of the actor Paul Butler. I found myself at a sit-down dinner next to Lanford. I knew he probably didn’t want to be sitting next to a 23-year-old stranger and yet he kindly listened to me. I told him “you broke all the rules with your play, I don’t know what the rules are but I know you broke them!” He explained that when he wrote the play he too didn’t know what the “rules” were and then talked about the difference between his young voice and more mature voice and the values of both. Later on as I was saying goodbye, Lanford stopped talking to a friend, pointed at me and said “good luck with that play, Laura.”  It felt like a benediction, and that play, my first, went on to the O’Neill.

WHAT I'M WORKING ON
A story about my severely disabled aunt. About the day she decided to stop being infantilized by her family and assert her own will and the price she paid for that -- and the joy she experienced as well. I'm also beginning to workshop my play Beyond Words, which is essentially a 30-year love story between a scientist who studies animal cognition and her research subject, the African Grey parrot Alex. The parrot is embodied by a human actor on stage.

KEYWORDS
Human rights, social justice, spiritual, Italian-American, Muslim, immigrant, women, three generations, becoming American, disability, science plays, animal intelligence, Bronx, Queens, teaching, war, PTSD, wartime heroism, women partisans, fascism.

Antoinette LaVecchia is an award winning actress and playwright. Born in southern Italy, her parents emigrated to the U.S. when she was still a young girl.  After receiving her B.A. in English Literature from Cornell University, she pursued her MFA at NYU's Tisch Graduate Acting Program, and while there, was sent to study Chekhov at the Moscow Art Theater.  Awarded a Fox Fellowship after graduation, she chose to study with the world-renowned Clown/Bouffon teacher, Philippe Gaulier as well as members of the theatre company, Complicité in London.  She also received the Anna Sosenko Assist Trust Grant to help further her development as a writer/performer.

WEBSITE AND SOCIAL MEDIA
https://antoinettelavecchia.weebly.com
FB: antoinette.lavecchia
TW: @alavecchia1
IG:  antoinette_lavecchia

MORE ABOUT ME
I imagine telling stories in ALL settings, not only in formal theaters, but ANYWHERE people can sit and listen for at least an hour - that may require microphones for better sound, but other than that technical aspect, I want to be able to bring stories to all communities and spread love, compassion and humor.

WHAT I'M WORKING ON
Currently working on VILLAGE STORIES:  a collage of characters and stories from her Italian ancestry. The piece was presented in multiple workshops produced by Parity Productions and directed by Ludovica Villar-Hauser.  Collaborating with the extraordinary musician, John T. La Barbera, the piece weaves music and storytelling to tell the universal story of how the past informs our present and future. ​

KEYWORDS
Immigrant, Family, Comedy, fable/folktales, immersive/site-specific, biography, radio plays, musical, Equality, Fantasy