Dale Griffiths Stamos is an award-winning screenwriter and playwright. Dale’s short and full-length plays have been produced around the country. She is the recipient of the Heideman Award from Actors Theatre of Louisville, and is a top-ten winner, twice, in the Writers Digest Stage Play Competition. Dale has written six short films, three of which she directed, which have all been official selections at multiple film festivals, garnering two audience and two jury awards.  Additionally she has won Awards of Excellence three times from Best Shorts Competition, and is the recipient of the Bill Paxton Award from the Ojai Film Festival. She has penned two feature-length screenplays:  One White Crow and Blue Jay Singing in the Dead of Night,  which have been named as finalist, semi-finalist, or quarter-finalist in a number of screenwriting competitions including the New York City International Screenplay Awards, StoryPros International Screenplay Contest, Los Angeles International Screenplay Competition, Flickers Rhode Island International Film Festival, Creative World Awards and Script Summit.  She is also the author of the nonfiction book RenWomen: What Modern Renaissance Women Have to Teach Us About Living Rich, Fulfilling Lives. Dale is on the faculty of the Santa Barbara Writers Conference where she leads a workshop on “Story Structure for All Genres.”

WEBSITE AND SOCIAL MEDIA
http://www.dalegriffithsstamos.com/
https://www.facebook.com/dale.stamos

MORE ABOUT ME
One of my most gratifying experiences early in my career was seeing my Heideman award winning play, “The Unintended Video” performed at Actors Theatre of Louisville. The theater put us up in a local hotel, and gave us a tour of the theater before the show,  and then, after the performance, we all went out for drinks and I sat next to then Literary Manager Michael Bigelow Dixon who told me my ending monologue was one of the best he’d ever read. ATL made me feel so appreciated and valued as a new playwright – it gave me the confidence to move forward with this crazy career!  As far as plays that have deeply affected me: I would say Tom Stoppard’s Hapgood (where I realized you can mix challenging intellectual themes with intriguing characters and story) and Stephen Sondheim’s Company (where I realized a musical can capture all kinds of nuance and dark and light contradictions in human relationships.) My favorite thing to do when not writing?  I would say music.  I play the guitar and piano and started out in my twenties writing songs.  So that desire to play and create music still remains. Finally, why do I keep doing theater (even though sometimes it breaks my heart)? It is because, even though I also write screenplays, theater is the place where character and dialogue reign supreme – where just through people talking in front of a live audience, an entire story unfurls. The elation I feel sitting in an audience, watching them respond to one of my plays — hushed in dramatic moments, laughing in comedic ones, and oh that lovely applause — is like nothing else!

WHAT I'M WORKING ON
I am working on revisions / rewrites of a new full-length play.  I am also working on the first draft of a screenplay.

KEYWORDS
Drama, science, women in science, historical, consciousness, quantum mechanics, astronomy, biography

Sharon E. Cooper is a playwright and screenwriter whose short plays have been produced in Germany, India, Hungary, Singapore, Australia, England, the Netherlands and across the U.S. She is published in several college textbooks, including The Bedford Introduction to Literature; Reading Literature and Writing Argument; and Literature to Go and her short plays are taught across America. She has been a guest lecturer of her plays at New York University, The Neighborhood Playhouse, Buffalo State College, and the Governor’s School of the Arts, among others. She was also the Playwright-in-Residence at New Voices for the Theatre in Richmond, VA, in the program that produced her first full-length play when she was in high school. She is published in The Best Ten-Minute Plays of 2010, 2014, 2016 and 2019; and in Laugh Lines: Short Comic Plays, among others. Her full-length plays have had readings and productions at the American Theatre of Actors, the Michael Weller Theater, Makor (part of the 92nd Street Y), the Drama Book Shop, TheatreVirginia and more. She has been commissioned several times, including by the Keller Theatre, the oldest English language theatre in Germany. She was a finalist in the Short & Sweet Festival in Sydney, Australia, the largest short play festival in the world. As a screenwriter, her short films have screened around the country; “The Seven Men of Hanukkah” won the Boston Jewish Film Festival, was on DirecTV in North American and South Asia, and was a “Daily Pick” on Film Shortage. “Believin’” won the filmmaker’s favorite award at the Chain Film Festival. Sharon is also a yoga instructor, an English tutor/writing coach (www.maximumpotentialeducation.com), a New Yorker, an auntie, and a proud member of the Dramatist Guild and Honor Roll.

WEBSITE AND SOCIAL MEDIA
http://sharonecooper.com/
https://www.facebook.com/sharon.cooper.14203
TW, IG: @sharonecoop

MORE ABOUT ME
In my short film “The Seven Men of Hanukkah” the character Stephanie, says: “When the lights go down [in the theatre], it’s like anything is possible. And I just want meeting people to be fun and joyful. Like when did we stop having fun. And why?” That film started as a play. And I have loved plays since I saw Fences, Gloria, August: Osage County; Caroline, or Change; Angels in America; Men in Boats; Top Dog/Underdog, Hamilton, Oklahoma (the recent one); Intimate Apparel, All the Way, What the Constitution Means to Me, and countless others; since I read Night Mother and Mrs. Packard and studied with both of these women playwrights; since I studied with David Ives and wrote countless 10 minute plays myself that went on to be produced and published internationally; since I watched a taped film version of Parade at Lincoln Center and compared it to Caroline, or Change for my Master’s Thesis at NYU; since I met John Henry Redwood at 24 when I was new to NYC, and he asked me over French Fries what I write about, and I said something about my Israel or a family drama, and he said, “No, what do you write about?”  And I kept munching and said, “I don’t know, what do you write about?” And he said, “Love, everything I write about is about love.” And I realized later that I write about hope; every damn thing I write has some element of hope. I’ve loved the theatre since I was seventeen and wrote a full-length play in nine consecutive nights when I didn’t know any better to be afraid, and that play was one of five plays chosen in the state of Virginia for a workshop and production; and even before then I gave up being a cheerleader in Chesterfield, VA, (the only Jewish cheerleader because I was the only Jew) and I gave it up to act in a play. I’ve loved every second of every rehearsal for every play that every great actor elevated. I’ve loved being in audiences where people laughed at loud at something I wrote. And in this fucking time, I loved having a reading of my full length play CAUGHT on Zoom because Will Harper (from the Good Place) was in my work. And it is my greatest hope that that play will be produced regionally or off-Broadway because it’s a damn good play. And it’s my greatest hope that I will sit in a theatre again, waiting for the lights to go down for my play or any play and know that anything is possible.  

WHAT I'M WORKING ON
Being present, staying healthy, spending less time on social media, making funny faces with my niece and nephew on Facetime, teaching yoga online, leading a group of white folks in anti-racism work since the pandemic started, finding a boyfriend (that's really hard to do in a pandemic when you're over 40) actually a boyfriend and a dog--not sure which is more important, new scripts in various stages, making really good smoothies, making my friends laugh, making myself laugh, making my parents in Florida social distance as much as I can.

KEYWORDS
Jewish, Comedies with heart, queer, cross cultural connections, women, intergenerational, 10-minute plays, full length plays, pandemic, working class

Featured in Variety's 110 Writers to Watch (2015), Nayna is a former NYC-based investment analyst, DC-based policy writer, Asia-based international aid director, and touring dancer. She is an alum of the Sesame Street Writers Program and the Disney/ABC Writers Program.  She has been awarded development deals from Disney and Sesame Street and has written for seven TV shows including: Starbeam (Netflix), Mira (Disney +) and The Baker and The Beauty (ABC).  Her plays have been staged, workshopped and produced in NYC, Seattle, LA and Chicago.

WEBSITE AND SOCIAL MEDIA
http://naynaagrawal.com
https://www.facebook.com/nayna.agrawal.9
@naynaagrawal,

MORE ABOUT ME
I love to read NYT and do crossword puzzles.

WHAT I'M WORKING ON
I'm working on two plays at the moment.

KEYWORDS
First-gen, South Asian, Indian, comedy, dramedy, woman, animation, live-action, playwright, video game writer, spoken word performer

Susan Cinoman is a playwright and screenwriter whose work is published and produced internationally. She began as a comedy writer and performer in the all woman comedy group, “The Soubrettes” in Philadelphia.She has had numerous workshop productions of plays produced at The Ensemble Studio Theatre and Naked Angels in NYC,NY.  Off Broadway- “Cinoman and Rebeck” and “Gin and Bitters” at The Miranda Theatre Company. For television, she is a writer and frequent contributor of ABC-TV's "The Goldbergs" and "Schooled."Cinoman is the recipient of The Best Connecticut Filmmaker Award in 2009, The Best Narrative Film at New England Film and Video Festival, Official Selection by The International Berkshire Film Festival, The Maxwell Anderson Playwrights Prize, The Guilford Prize in Drama and the Playwrights Award at Women's Playwrights Initiative, Ivoryton, Ct. Susan is a proud member of The Writer's Guild of America East, The League of Professional Theatre Women and Honor Roll!

WEBSITE AND SOCIAL MEDIA
http://susancinoman.com
@susancinoman

MORE ABOUT ME
Maybe we all remember our first. For me, it was a time with actors and directors from Ensemble Studio Theatre, listening to them laughing with surprise and gasping in sympathy, at two female characters I'd written in a play called "Sweet Sand." A stranger to the group, I felt embraced by their responses, and longed for more. I'm still longing. The theatre can be the most exquisitely painful unrequited love, but when she turns to you and smiles, you're left breathless and with a wanting heart.

WHAT I'M WORKING ON
Currently I'm working on a comedy pilot, a limited series adaptation of a play, and a brand new play with two characters.

KEYWORDS
Comic dramas, skew to the surreal

Shellen Lubin works professionally as a Playwright, Songwriter, Director, and Actor/Singer. As a director/dramaturg assisting in the development of new plays, she has directed across the country, currently working on projects with Lanie Robertson, Stuart Warmflash, Susan Merson, Stephanie Satie, and Amy Oestreicher at multiple venues. Her plays have been produced and workshopped at Manhattan Class Company, Public Theatre, Theater Breaking Through Barriers, Cosmic Orchid, Pacific Resident Theatre, Hubbard Hall, West Coast Ensemble, American Jewish Theatre, and more. Her songs have been featured on radio and cable TV, in Milos Forman’s first American film, Taking Off, in Susan Merson's play Between Pretty Places, in numerous cabaret acts including her own, and in a one-hour special on WBAI-FM, Shellen Lubin - Songwriter/Singer. She is a member of the Playwright Directors Workshop at The Actors Studio (as both playwright and director), and is the resident director for the Bistro Awards (Sherry Eaker, producer). She also teaches and coaches actors, singers, and writers both privately and as a guest artist. As an advocate for women+ in theatre, she is the Co-President of the League of Professional Theatre Women, the 1st Vice President and Past President of the Women in the Arts & Media Coalition, on the DEI Committee of the Dramatists Guild, and chair of the Women Playwrights Initiative for the National Theatre Conference. Her reflections on artistry and life have been featured in five cover pieces for Back Stage Publications (archived on her website) and are read weekly in her Monday Morning Quotes think-pieces (www.mondaymorningquotes.com and @monmornquote). Proud member of DG, SDC, AEA, and more.

WEBSITE AND SOCIAL MEDIA
http://www.shellenlubin.com
FB: shellenlubin, monmornquote
TW: @shlubin, @monmornquote
IG: @shlubin

MORE ABOUT ME
I am working daily to find ways to tell stories in these times--as a writer and director, finding ways to use the available mediums online to create a live experience which, while it is not live theatre, is also not film. The immediacy and intimacy are two of the primary qualities we love about the medium of theatre, and I am experimenting all the time as to how to make the online experience of a play both more immediate and more intimate.

WHAT I'M WORKING ON
Just finished projects with Theater Breaking Through Barriers and Cosmic Orchid, ongoing play development as both writer and director with the Playwright Directors Workshop of The Actors Studio and resident writer/philosopher for The Village Yontif. I'm also working on a podcast as researcher/director/songwriter, and several written-word projects.

KEYWORDS
Equity, Diversity, Inclusion, Accessibility, Musical, Challenging, Historical, Jewish, Verse

Karen Malpede produced "A Lament for Three Women" (published in "A Century of Plays by American Women") her first of 22 plays in 1974; as a protégé of Joseph Chaikin. She co-founded New Cycle Theater, in Brooklyn, where her next four plays were produced, also at The Arts at St. Ann's.  In 1987,  Judith Malina directed Malpede’s "Us", starring George Bartenieff. Malpede and Bartenieff have worked together ever since, co-founding with the late Lee Nagrin, the Obie-winning Theater Three Collaborative in 1995. Co-directing and producing, with Bartenieff acting in, Malpede’s poetic, social justice plays on themes ranging from the US torture program ("Another Life") to climate change ("Extreme Whether") to utopian visions for a species "Other Than We". They co-adapted I Will Bear Witness: the Holocaust Diaries of Victor Klemperer, which toured Europe and US for four years. Malpede's work has premiered in New York (Theater for the New City, LaMama, NYTW, Classic Stage), been staged in London, Paris, Berlin, and Veroli, Italy. Her plays are published in the collections: "Plays in Time: The Beekeeper's Daughter, Prophecy, Another Life, Extreme Whether" (Intellect, 2017), "A Monster Has Stolen the Sun and Other Plays" (Marlboro, 1987) and in the anthologies "Women on the Verge: Seven Avant-Garde by Women" (Applause, 1993)  and "Acts of War: Iraq and Afghanistan in Seven Plays (Northwester, 2011), and in acting editions and forthcoming anthologies by Laertes Books, Applause and Routledge, online and in print by The Kenyon Review, Typescript and others. She is editor of "Women in Theater: Compassion and Hope" (Drama Books, 1984) a seminal anthology of women in theater.  Malpede is a McKnight National Playwright’s and NYFA fellow; her plays have been funded by NYSCA, DCA, Rockefeller, Soros, Puffin, Wilborn and other foundations.

WEBSITE AND SOCIAL MEDIA
http://theaterthreecollaborative.org

MORE ABOUT ME
Jean Genet's play "The Blacks", and Ingmar Bergman's film "The Seventh Seal", both of which I saw in high school, taught me what dramatic art can be and do--in terms of changing consciousness. My friendships with Joe Chaikin (The Open Theater) and Julian Beck and Judith Malina (The Living Theater) which came about because I wrote the book "People's Theater in Amerika" (Drama Book Specialists, 1972) and edited "Three Works by the Open Theater (Drama Book Specialists, 1974) led quite naturally to my writing poetic-language, character-driven, transformation-oriented plays (very different from the work of these mentors, but supported, encouraged and praised by them). My 33-year close collaboration with actor/producer/director George Bartenieff, and long collaborations with other wonderful artists, Kathleen Chalfant, Sally Ann Parsons, Tony Giovannetti, to name a few, have been the most satisfying experiences of my theater life.The real rewards of my work have been the people I have met and with whom I have been privileged to work. I have often written animal characters. I identify as a creature.

WHAT I'M WORKING ON
Two new, very different, plays moving toward productions: "Blue Valiant" written for my colleagues and collaborators, Kathleen Chalfant, George Bartenieff, a horse who is being played by an original piano score by my long-time collaborating composer, Arthur Rosen, and a young immigrant girl. We have rehearsed and performed a zoom reading for potential producers. Our plan is an outside staging  at Farm Arts Collective in May, for starters. "Troy Too" written for publication in a Routlege anthology on Staging Contemporary Tragedies.  I am the sole American artist in this international anthology. The book's editor, Avra Sidiropoulou, will direct an international cast, including Lydia Koniordou of the Greek National Theater, and my John Jay students, in an multimedia zoom and also live version of this surreal and poetic piece which interweaves Covid-Climate-Black Lives Matter themes in a direct response to the now. There's a play in the back of my head: a medical adventure, triangular love story.

KEYWORDS
Creatures, Climate, Covid, Justice, Cli-Fi, Poetic, Pacifist, Character-driven, Serious Humor, Utopian, Science

I am a British theatre-maker, now living in Philadelphia, PA. I am currently working on my 4th full length play. I have worked in theatre my whole life, and have an academic background including a MA in creative and critical writing. I have worked as an actress and I was the founding producing artistic director of Tiny Dynamite (www.tinydynamite.org). My first play, Water In My Hands, was selected for The Philadelphia Women’s Theatre Festival (2018), Spooky Action Theatre (DC) New Plays in Development Series (2019) and The Liz Smith Reading Series with Miranda Theatre Company at The Cherry Lane in NYC. My second full length play, WHEN WE FALL was selected for the 2020 PlayPenn Conference and was a finalist for Premiere Stages at Keane 2020, a finalist for Kitchen Dog’s New Works Festival 2020 and a semi-finalist for the O‘Neill New Play Conference 2020. It was also on the longlist for The International Award with Theatre 503 in the UK and a top 100 for the Verity Bargate Award with Soho Theatre.

Most recently, my short ‘A Dog is a Creature of a Nose’ was selected for The Impossible play cycle with Spooky Action in November 2020.

As a writer I am interested in exploring aspects of the human condition such as loneliness, grief and forgiveness whilst juxtaposing the intimacy of these investigations, with bold design, poetic language and the wonder of magic realism. I am interested in complex structure and form and characters who are unpredictable or who make unexpected choices. I am greatly affected by my nationality (British) and how it feels to be displaced geographically and notice that a recurring theme in my plays is the sense of not fitting in (there are days when I feel like a bird in the wrong nest). I like to use three key ingredients in all of my plays: honesty, humor and magic.

WEBSITE AND SOCIAL MEDIA
http://www.britishemma.com
FB: https://www.facebook.com/emma.gibson.7967
TW: emmagibson24
IG: emmagibson24

MORE ABOUT ME
I saw a production of Red Eye de Havre de Grace by Thaddeus Phillips and it was so thrilling, both the storytelling and the visual effects, that I physically could not leave the theatre afterwards. I wanted to absorb that moment forever. And I realized that this was the kind of theatre I wanted to try to make. The kind of theatre that changes the way you see and experience the world.

WHAT I'M WORKING ON
I am re-drafting a play that I wrote during lockdown and I have begun imagining a new full length play.

KEYWORDS
Equality, Climate, Poetry, Magic Realism, Humor, Tragedy, Normal People in extraordinary situations

As far back as I can remember I wanted a career in the theater. When my aunt took me to see a production of “The Miracle Worker,” I was totally and irrevocably determined to pursue my dream.

In high school, I joined a professional acting workshop then earned a B.A. in Theatre from Adelphi University. I appeared in plays Off-Off Broadway before graduation. After college, I studied in Broadway director Arthur Storch’s acting workshop and privately with coaches. Talented artists I worked with provided invaluable experience – especially directors Ron Link and Bob Dahdah, actor Marilyn Roberts and that force of nature, Ellen Stewart of La MaMa E.T.C. Crystal Field at Theater for the New City has been my producer, mentor and friend since 1994. I directed in New York, Paris and at the National Theatre in London. My plays have been presented in the United States and Europe.

My more than twenty-five historical plays hold a mirror to the present. I tackle racism, antisemitism, misogyny, homophobia and anti-immigration. Putting a personal face to injustice has a power that reading history books cannot duplicate. A reviewer wrote, “Barbara Kahn is something rare in theater: an historian and playwright… Aiming for our heads and our hearts she tweaks our intellect and kindles our emotions.” Paulanne Simmons, NYTheatre-Wire.com, Feb. 17, 2012,

My life in the theatre has been governed by a passion for justice and for quality. Nineteenth century author George Sand wrote: “All I want is for people to question the accepted lies and call out for the forgotten truths.” Portraying the truth gives me fulfillment as an actor. Directing with integrity and insight is what I offer other actors. Preserving the truth is why I write plays.  

Member: SAG-AFTRA, AEA, Dramatists Guild, The Actors Fund Performing Arts Legacy Project.

WEBSITE AND SOCIAL MEDIA
http://www.barbara-kahn.com
https://www.facebook.com/barbara.kahn.714

MORE ABOUT ME
It is difficult to land on a single moment from a lengthy career. Of course, awards have been validating and significant—from the 1995 Torch of Hope Award for “lifetime achievement in non-profit theater” to the 2019 Doric Wilson Independent Playwright Award, with a number more in between. I am very proud to be included in the pilot group of The Actors Fund Performing Arts Legacy Project, where I have created a retrospective of my career. https://performingartslegacy.org/kahn/

As a child, I was able to meet and interview actors I admired, including Julie Harris, Robert Preston, George Grizzard and the incomparable Buster Keaton. I also figured out how to get past the stage doorman who chased me until I saw a door with a star and rushed in. There was Laurence Olivier, removing his makeup. I was 14 and there was Lord Olivier in his underwear! He smiled, asked if I minded that he continued to dress while we spoke, and offered me a seat. In shock, I remember nothing of our conversation, except that I pretty much was speechless, only nodding yes or no to his questions or comments.

Tech rehearsal for the play I directed at The National Theatre in London was an amazing experience. Against their protests, the staff producer and the stage manager were pulled from the rehearsal to pick up Samuel Beckett at the airport. Beckett obviously and deservedly had more clout. Instead of waiting for them to return, the crew and I figured out a lighting plot and all the other cues. When the two missing people rushed in a few hours later, they were told that we completed the tech. The downside was that the stage manager insisted I call the cues on opening night, a terrifying experience that fortunately I didn’t mess up.

WHAT I'M WORKING ON
A number of writing projects while looking forward to restaging my play in 2021 that was closed in March 2020 five days before opening night when theaters in NYC were closed. Also submitting monologues and short plays both on request and unsolicited. And the most daunting project of sorting through my vast collection of memorabilia in an effort to streamline the contents of my studio apartment.

KEYWORDS
Historical, Social justice, LGBT+, Lesbian, Jewish, Women in history, Book & lyrics

T. Cat Ford’s POW’R IN THE BLOOD opened Barter Theatre’s 75th Anniversary season. In 2016 HOW TO BE AN AMERICAN was presented in The York Theatre Company’s New2NY Series with Bill Castellino directing.  Other plays: THE CHAOS TRADE, an insider’s view of the financial meltdown; MERMEN, a space coast fantasy; VICTORIA & HENRY, Women’s Rights and Free Love in the 19th century and A SIMPLE GIFT, an a cappella musical set in a Shaker community.  Recently Queens Theatre In The Park featured her one-act play, Poolside, as a part of their New American Voices Play Reading Series and VICTORIA & HENRY was the subject of the Athena Project’s September 2020 “Read and Rant.” In 2016 she founded THE COFFEE COUNTY MEMORY PROJECT: The Integration Years (1966-1972), an oral history project focusing on federally mandated integration. Her newest play MIXING IT UP!!!!! A Story in Technicolor with Song, is based on this material.  An interactive art installation -Playback & Fast Forward is in development. In September 2020, with a grant from Georgia Humanities, a virtual museum installation was published using  collected audio and other artifacts.

WEBSITE AND SOCIAL MEDIA
https://www.tcatford.com

MORE ABOUT ME
As a theatre student, I gravitated to the plays of Edward Bond and Peter Barns, whose content dictated form and challenged the bounds of conventional theatre. As an actor, I was fortunate to originate roles for Romulus Linney; another playwright whose themes dictated style. Additionally, Linney created characters who expressed themselves powerfully with plain but precise speech. Today in my historically based plays, I use the words of others to illuminate the worlds they inhabit. I am now exploring new ways of sharing  stories theatrically by combining  audio, exhibition practices and live performance.

WHAT I'M WORKING ON
In 2016 I founded THE COFFEE COUNTY MEMORY PROJECT: The Integration Years (1966-1972), an oral history project focusing on federally mandated integration in Southern Georgia. I am currently creating monologues, short plays, radio plays and full length plays based on the stories collected from over 120 interviews.  MIXING IT UP!!!!!, a one-hour play with music for youth audiences, is currently available. True stories are interwoven to create a multi-dimensional look at the beginning of school integration and to shed light on the continuing process of racial understanding and reconciliation.

KEYWORDS
historical, young audiences, race relations, biography, drama, comedy

I have a canon of over forty plays including comedies, dramas, musicals, mysteries, historical dramas and plays about social injustice/justice issues. What drives and inspires my writing is a passion to present American Blacks in a wholistic light, as joyful, loving, courageous human beings with dignity and an unconquerable will to not only survive but to thrive.    
I’ve been fortunate to be the recipient of several awards and honors, including The National Black Theatre Festival’s August Wilson Best Playwright’s Award, the NAACP Theatre Award for Best Play and Best Playwright for my play Camp Logan; the AUDELCO Award for Best Play Revival for Reunion in Bartersville; Broadwayworld.com’s Best Play Award for Sassy Mamas, which also just won the 48th Annual AUDELCO Award for Best Ensemble with the Black Spectrum Theatre; Women’s Theatre Festival of Memphis’ Gyneka Award for contributions to the world of theatre; the Ensemble Theatre’s Salute to Texas Playwrights and a BOLD New Play Commission for that theatre, as well as 2000 finalist in the Susan Smith Blackburn Prize for Distant Voices. I’m always mindful to write history plays for our youth, I, Barbara Jordan originally commissioned by the Alley Theatre, tours schools every year. My play The Red Blood of War was finalist in 38th Samuel French OOB Festival and has been selected for the May 2020 Wm. Inge New Play Lab Festival. Greenwood: An American Dream Destroyed was recently workshopped at the Black and Latino Playwright’s Celebration at Texas State University and is slated for a production in Tulsa Oklahoma in

WEBSITE AND SOCIAL MEDIA
http://celestebedfordwalker.com
FB: Celeste Walker
TW:@CelesteWalker47

MORE ABOUT ME
My most gratifying moment in theater was my recent participation in the Honor Roll! and Repro Freedom Arts' sponsored “Say Their Name Plays and Monologues about women killed by police brutality. My monologue, called NeNe, was also included in the Breath Project.   I want artistic directors to think outside of the box when it comes to playwrights who aren't as well known. I keep doing theater for the people.

WHAT I'M WORKING ON
Right now I'm working on a mini musical for a wonderful class I'm taking in Black Theatre Girl Magic. The piece is, called "Where My Girls At" about the hopes, dreams, and fears of at-risk teenage girls between 15-17.

KEYWORDS
American Blacks, Historical, Political