Dr. Hortense Gerardo is a playwright, filmmaker, and anthropologist, and serves as the Director of the Anthropology, Performance, and Technology (APT) Program at the University of California, San Diego. Her works have been performed nationally and internationally, including: LaMama Experimental Theatre, the Institute of Contemporary Art (ICA) in Boston, the International Performance Art Festival, the Venice Biennale, the Nuit Blanche Festival in Toronto, and The Fence International Playwright Network. Hortense was the Artist-in-Residence at the Metropolitan Area Planning Council (MAPC) where she created the audience-interactive, site-informed play, THE MEDFIELD ANTHOLOGY, and the award-winning documentary films, THE OPIOID EPIDEMIC: A MOTHER’S RECKONING and SMALL STEPS: DANCES OF RESILIENCE, recipient of award for Best Environmental Film at the 2021 Vancouver Independent Film Festival, and Best Dance Film at the 2021 Rome Film Awards. She received a 2021 Artist Fellowship in Dramatic Writing from the Massachusetts Cultural Council, the Leighton Artist Residency at Banff, and was a Company One Theatre Playlab Unit Playwright, a New World Theatre Masterclass Playwright Fellow, and a Dance Fellow at the Institute of Contemporary Art in Boston. She will have a World Premiere of her play, MIDDLETON HEIGHTS in March 2022 by Umbrella Arts Center Dr. Gerardo is a co-founder of the Asian American Playwright Collective (AAPC) and currently serves on the Marine Biological Laboratory (MBL) Council and on the Board of Directors of the Woods Hole Film Festival leading the Screenwriting Competition. Dr. Gerardo received her B.A., M.A., and Ph.D. in Anthropology and Performing Arts from Boston University. 

WEBSITE AND SOCIAL MEDIA
Website: https://hortensegerardo.com
TW: @hfgerardo
LI: Hortense Gerardo

MORE ABOUT ME
If I could change one “thing” about theater, it would be the perception of it among people outside of the theatre community as a frivolous, expendable, somewhat fusty form of entertainment engaged in by the very wealthy, elite and/or deluded. Of course, this “thing” is a complex, systemic hydra, and addressing its many heads would involve a paradigmatic, cultural shift in the way we perceive the significance of live performance. But some of the answers may lie in the economics of providing theater work that is relevant to diverse audiences, and one way to do that, is to present work by a diversity of writers. There has been a cultural shift in recent years that has allowed a diversity in playwrights’ stories reaching the stage, and this has been very promising. It seems that the “final frontier” of diversity, equity, and inclusion in the theatre has to do with ageism, particularly against women. So I am very thankful for projects like Honor Roll that are raising awareness of the need to produce more stories from this particular demographic not out of a desire to meet quotas, but out of a genuine recognition of the relevance of stories from people with lived experience. 

WHAT I'M WORKING ON
I’m always juggling several projects in different media at once, for better or worse. Right now I’m: 1. Writing a dramedy TV pilot 2. Revising a commissioned full-length work 3. Editing a short documentary film about an anthropology fieldwork project 4. Storyboarding a new media project based on an ancient text 

KEYWORDS
​Asian American Pacific Islander, Comic Tragedy, Tragicomedy, New Media, Site-informed Work, Allegory, Metaphor Social Consciousness

Jan Probst is an actor, writer, and filmmaker. Striving to put women’s issues center stage, she jumped headfirst onto the stage in 1976, as a writer-performer and founding member of The Whole Works Women’s Theater Collective. A decade later, she combined art forms with the performance troupe Streetwise Women’s Martial Arts Theater. Her plays have been on stage at numerous venues in the San Francisco Bay Area, as well as the Midwest and Alaska, and have recently reached a broader audience via publication and online production. Nearest to her heart, was her mother playing the lead in a reading of her play The First Page, at a retirement center in Indiana. Jan has been an Artist in Residence at Z Space Studios, Playwright of the Month at Off-Market Theater, guest artist for the ATHE Annual Conference, and while earning her MFA in Playwriting from San Francisco State University, she was a national finalist for the American College Theater Festival. In 2021, after a pandemic cancellation, her play Bird on a Tree Branch premiered online via zoom production by Phoenix Arts Association, received commendation from the San Francisco Bay Area Theatre Critics Circle and is now published by Next Stage Press. As a longtime member of Barewitness Films, an award-winning film company, Jan has helped create several short films, shot script-less from improv. In addition to Honor Roll, Jan is a member of the International Centre for Women Playwrights, Theatre Bay Area, Theatre Communications Group, Playwrights Center, and the Dramatists Guild. 

WEBSITE AND SOCIAL MEDIA
Website: https://newplayexchange.org/users/27880/jan-probst
FB: https://www.facebook.com/janny.probst/
IG: @pratsis

MORE ABOUT ME
My most gratifying moment in theater was at the Valdez Theatre Conference in 2019. My play Road Trip closed the show for the Ten-Minute Play Slam, and the audience laughed long and hard. I was on stage reading stage directions and was in such shock at the end of the play, I nearly forgot to join the other playwrights for our final bow. I strive to broaden my playing field as I tell stories in these challenging times. I had to be convinced something good could happen when my world stage premiere became a zoom production instead. And good things did happen! While I look forward to fully returning to the stage, I am exploring radio plays and podcasts as storytelling mediums. And I will continue to write older women characters. They have a lot to say.

WHAT I'M WORKING ON
Given my comments above, I might want to focus on comedy! And we certainly could use some laughs. I am exploring a historical character, and continuing my love affair with ten-minute plays. Who doesn't have a short attention span?

KEYWORDS
​plays, radio plays, social commentary, historical play, women of color, older women, disability, comedy

Mary Goggin (actor, writer, self-producer) AEA-DG-SAG/AFTRA award winning solo show “Runaway Princess, a hopeful tale of heroin, hooking and happiness” Wrote the spellbinding, riveting, autobiographical Runaway Princess (directed by Dan Ruth) in 2017. Her gut told her of her responsibility to use talent and bravery to tell it and use it for the good. A survivor of alcoholism, heroin, meth addiction, prostitution, domestic violence and the horror and shame of being incapable of caring for her baby she provides hope, and takes us on a spellbinding journey to humanity. The mission being to normalize emotions. Her story has been impacting audiences with its universal message of empowerment. Runaway Princess has been accepted into 12 play festivals in 3 years’ time, has performed over 50 performances worldwide (including Ireland), and garnered rave reviews, winning several awards.” Her parents emigrated from Ireland to the Bronx, she is a successful NY actor for 25 years. www.marygoggin.com and sober for 34. Her favorite roles include “Ella O’Neill” (mother of Eugene O’Neill) in Ann Hansen’s “Road to Babylon,” in the Broadway Bound Festival. A joy being directed by Cyndy Marion in numerous Tennessee Williams works: Cavalier for M’Lady, Clothes for A Summer Hotel and A Perfect Analysis Given by a Parrot. Mary appeared in PB & J for the NY Fringe Festival and Born to be Blue, a winner in the Samuel French Festival. Her favorite TV roles include spots in Broad City, Law and Order, Guiding Light, The Grind (Amazon). Favorite film roles include Little Children, MAD? The Trouble with Bliss, Gasoline, Bronx Paradise. The recent winner of Best Actress Award. The NJ Freeway Film Festival for her role I Reservations”, a film by Jeanine Flynn, directed by Neal Hemphill. Mary also uses the Show to raise Awareness of Human Trafficking, utilizing powerful talkbacks. 

WEBSITE AND SOCIAL MEDIA
Website: http://runawayprincessplay.com
Facebook: Runawayprincessplay
Twitter: @marypat218
Instagram: marypat218-runawayprincess

MORE ABOUT ME
As a former black sheep telling my side of the story is gratifying. I feel most myself when, after a performance of Runaway Princess, audience members approach me with their their secrets. "I worked in a brothel, I am in the life, I drank when I was pregnant, My baby was taken away, I am a battered woman." It is an honor.

WHAT I'M WORKING ON
Edinburgh 2022, raising awareness booking shows, kicking some ass

KEYWORDS
​stigma; addiction; irishfamine; domestic violence; humantrafficking; recovery; empowerment; humanity; bullying; normalizeemotions

(Updated 3/31/2024) Louise Schwarz is a New York-based, Virginia-raised writer and educator, whose award-winning plays include Control of the Dirt, Goat Coaster, The Fair Hope Memorial, This Is Not A Project, Next Time On Spring Valley, Floor Show in the Sweet Life, When The Lights Go Out in Georgia, Beauty Pageant Massacre, and Sorry City, among many others. Her work has been produced and/or developed by Mark Taper Forum, Horizon Theatre, Stage Left Theatre, Cherry Lane Alternative, New York International Fringe Festival, Playwrights’ Round Table, Railroad Playhouse, Shakespeare on the Sound, Primary Stages/ESPA, Pandora’s Box, and New Perspectives Theatre, to name a few. Her monologues and ten-minute plays have also been seen at dozens of festivals and late-night pub showcases, and her one-act play Goat Coaster is published with New Stage Press. She has taught playwriting at Hofstra University, Oklahoma State University, Appel Farm Arts & Music Center, Northern Stage, and Hostos Community College. Awards and fellowships include: Edward F. Albee Fellowship, John Golden Award, Chicago Script Award, Blue Mountain Center, Atlantic Center for the Arts, Hambidge Center for Creative Arts & Sciences, and the Marsha A. Croyle Award. Member: Dramatists Guild, Playwrights’ Round Table, Honor Roll!. Ms. Schwarz earned an MFA from Columbia University, an MA from NYU, and a BA from University of Georgia. 

WEBSITE AND SOCIAL MEDIA
Website: https://www.louiseschwarz.org/
FB: https://www.facebook.com/louiseschwarz
IG: @louises.97
Threads: @louises.97
LinkedIn: https://www.linkedin.com/in/louise-schwarz-b1ab21201/

MORE ABOUT ME
My favorite thing to do when I'm not writing is obsess over other stories. Plays, novels, TV shows, nonfiction essays, documentaries, films, the stories of songs or history, the way people informally tell their own stories, and how to draw out people's stories directly from the source. 

WHAT I'M WORKING ON
I just started writing a surprisingly creepy one-act and am waiting to see if my instincts tell me to lean into the creepiness or take my usual left turn into mitigating comedy!

KEYWORDS
Drama, comedy, lesbian, queer, Equality, satire, tragicomedy, mystery, dark comedy, dramedy, bisexual, female adolescence, grief

Stephanie Satie is an actor/playwright who often writes plays that explore the way refugees and immigrants respond to disruption and relocation. She’s written and performed three critically acclaimed solo plays – “Refugees,” published by Samuel French, “Silent Witnesses,” based on interviews with child survivors of the Holocaust (multiple award winner) and “Coming to America,” monologues of 10 women asylum seekers. Other plays include “Leon’s Dictionary,” that was a semifinalist in 2006 at the O’Neill Playwrights Conference and a finalist at Ashland’s New Play Festival, Icicle Creek and the Princess Grace Award. It is set in the early 1990s in Ukraine as the Soviet Union crumbles. Stephanie divides her time between writing and performing. Other plays include “Say Goodnight George – the Final Episode,” inspired by George Burns and Gracie Allen, and a departure from her usual subjects. Her most recent play is “The Martyr of Moscow,” propelled by the assassination of independent Russian journalist, Anna Politkovskaya.

During the pandemic, she completed a quasi-memoir, “Postcards from the Old Country, Brooklyn,” several essays and stories that appeared in anthologies, and wrote a short film that was a semi-finalist at the Prague short film festival, “Ukrainian Railroad Ladies Waiting for the Call,” and a short play that will be read in March in N.Y.C. by Women in the Arts and Media Coalition.

WEBSITE AND SOCIAL MEDIA
http://[email protected]
https://www.facebook.com/silentwitnessesthesoloplay
facebook.com/stephanie.satie
@stephsatie
@comingtoamericasoloplay

MORE ABOUT ME
As I’ve been going to the theatre since I was a very young girl, I think seeing “West Side Story” first blew me away. Then several years later, maybe just a few years after my father had died, I saw George C. Scott in Death of a Salesman and found myself lost in grief, remorse as animal noises burst out of me. Then seeing Helen Mirren, Joan Plowright and Frank Finley in the Seagull my first time in London. I think seeing For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf changed the way I saw theatre, what was possible how one could merge movement and words in a new way. And Company – how could he say those things we all feel? How audacious.

I think I overcome disappointment by returning to the work, whether it’s acting or writing or getting deliciously lost in research for a new project.

My favorite thing to do when I’m not writing is studying other languages and traveling and of course, visiting my friends, the paintings in museums all over the world. I also love hiking with my husband and our dog and going to see theatre, film and dance.

WHAT I'M WORKING ON
A Flamenco-Jewish tragic love story

KEYWORDS
solo plays, documentary theatre, refugee and immigrant women, Jewish, Russian interest

Aleta Barthell is a playwright/screenwriter/teacher.  Aleta is the recipient of a grant from California Humanities for a project called SAVING STORIES: A Toolkit in the Age of Covid-19. Her play, WINDOW OF SHAME, was a finalist for the 2021 National Playwrights Conference at the O’Neill Center. The same play was also a finalist for the 2016 HUMANITAS/CTG Playwriting Prize. Her play, NIGHT WITCHES: Flight into Fantasy, was a part of the New Village Arts Theatre’s “2019 Final Draft Festival.”

Aleta is currently developing a television series about the 12th century queen, Eleanor of Aquitaine, for which she received a grant to study source material in Paris through the French Ministry of Foreign Affairs.

Aleta is a teaching artist with Playwrights Project and founder of the youth theater education program, Kids Act, at New Village Arts Theatre.

She holds a Bachelor in Science from Northwestern University (Evanston, IL) and has trained at British American Drama Academy (Oxford, England); and Shakespeare and Company (Lenox, MA). She studied playwriting and screenwriting at UCSD.

Aleta serves as an Ambassador for the Dramatists Guild in San Diego.

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

MORE ABOUT ME
I have to say that the last project that I worked on, SAVING STORIES, has felt like an endeavor where I “met the moment” of our time through my work. I received a grant from California Humanities to interview individuals isolated in assisted and skilled nursing facilities during the pandemic. I was able to hire four other writers to do the work with me. The writers created a monologue based on those interviews. We had professional actors perform the pieces virtually via Zoom and we shared them through New Village Arts Theatre's Virtual Arts Program.

A member of our team had been a hospital chaplain for years. He talked about the significance of allowing someone to voice the meaning of their life through this process. This is indeed what happened. We had a Black woman with dementia who was able to talk about her life and family's struggle during the Civil Rights Movement with absolute clarity. We had a woman who thanked us for bringing her story to life and told us that many people in her facility treated her with more respect having learned about her life and accomplishments. I also had a writer turn in her finished monologue to me on a Tuesday, and we learned that following Wednesday that her storytelling partner had died. The family was so grateful to have that memory of their mother and grandmother.

We all felt so honored to have these storytellers share themselves with us in this project. It also provided such a meaningful way for various artists to use their talents to connect with their community during this time.

WHAT I'M WORKING ON
I've been commissioned to write a play, a comedy, for eight actors over the age of 60 and it's an absolute blast! I'm calling it THE DOWAGERS.

KEYWORDS
Political, Supernatural, Historical, Pandemic, Fable/folktales, Young Audiences, Horror

Susan I Weinstein's ETHER: The Strange Afterlife of Harry Houdini and Sir Arthur Conan Doyle was presented Dec 19-22nd 2019 at IRT Theatre in the 3B residency program for experimental work. Marcus Gualberto directed. Link to video of Ether at I.R.T. Theater.

THE WAPSHOT WHATEVER: The Secret Lives of Computer Programs showcase 2018 on Dixon Place Mainstage (directed by Vincent Sandvoort) May Day-1 night 2018. Vimeo exists.   Her 2014 Adaptation of Hans Christian Anderson's "The Little Mermaid" was produced at ToyKraft in Williamsberg, directed by Charlie Kanev w/music by Rima Fand.

EARLY WORK Susan's lingo play, RABIES was a staged reading by A.C.T. at Squaw Valley, directed by Ed Hastings. "Stakes," a vampire play, led to a playwriting scholarship at University of Iowa. She developed WHITE-WALLED BABES  at The Public Theater, performed at Trinity Rep. Her green card play, “Something About that Face,” was selected by Samuel French, produced at The Harold Clurman Theater (directed by Brian Mertes) Other plays, developed at Playwrights Continuum, "Vagus", "The Media Play." Susan is the author of three books published in 2016-18 by Pelekinesis Press--The Anarchist's Girlfirend, Paradise Gardens, Tales of the Mer Family Onyx.  Originally from Phila., Susan attended Temple Univ.'s Tyler School of Art and earned a BFA in sculpture. She lives in NYC.

WEBSITE AND SOCIAL MEDIA
http://newplayexchange.org/user/16895
https://www.dramatistsguild.com, susaniweinstein
FB: Susan Weinstein (PR specialist, writer, painter, playwright)
TW: @swpubrel
IG: @swpubrel

MORE ABOUT ME
In 2019 I was gratified, when we lost ETHER's essential visuals on opening night. The director looked at me in surprise and said "the script works!" WHITE WALLED BABES changed my life. It was selected from an anonymous Public Theater WKSHP one of 4 scripts to be presented to Mr. Papp. I was the sole woman and sexism in the workshop process proved devastating. After my entire cast was fired by the workshop director, I had to drop out, though at 25 it was everything to me. 1981, it was finally performed bare bones at 2 small places. But It was a feminist play, written in “lingo, slang verse,” and people were moved, thought it revolutionary. I learned to stick w/the vision. I would change in theater (besides sexism, ageism) the fixity of style in U.S. plays produced. Stuck in actors' studio 1950s' realism. If you write in another style, the play's disregarded. "Camino Real," rarely produced, is my favorite Williams' (Hamilton is an exception). I would like artistic directors to know I am a mature, not developing, playwright.  A lot of stories now focus on victimization. I want to tell stories about the future, after this scary era. I keep doing theater because the work stops time, making meanings of life-- for a couple hours.

WHAT I'M WORKING ON
I would still like ETHER to finally have a showcase, and Wapshot Whatever to find another night. So I send these scripts out. I am working on a new play about Mars in the reading stages, People have found it intriguing. I want to have it done by Spring. I have a lifetime of scripts, all with staged readings, some productions. My life dream is a Signature Theater retrospective. But since I am obscure, that seems unlikely. Meantime, I am assembling paper and floppies to convert to modern formats and send out. Never know...

KEYWORDS
Political, Science Fiction, Visual,  Psychological mystery,  Computer fantasy, mystic, biography

Emma Palzere-Rae is a playwright, actor, director, producer and non-profit administrator. Emma spent 15 years as part of the NYC theater community, where she began producing one-woman plays and founded the Womenkind Festival. Over its ten-year run, Womenkind presented nearly 75 different performers, mainly original works. She is the Associate Director at Artreach, Inc. (Norwich, CT), and has also held the position of Artistic Director for Plays for Living (NYC), a touring company dedicated to social change, where she also wrote and developed plays for the repertoire. Emma’s plays include “Aunt Hattie’s House”, about what compelled Harriet Beecher Stowe to pen “Uncle Tom’s Cabin”, and “Live from the Milky Way… It’s Gilda Radner!” Her current projects include “The Woodhull Project” about 1872 Presidential candidate, Victoria Woodhull; and the two-act “Finders Weepers”. Her one-woman plays tour throughout the country under the banner of Be Well Productions. Her recent acting performances include playing Mother Miriam in John Pielmeier’s “Agnes of God” at Madison Lyric Stage, and Essie Miller in Eugene O’Neill’s “Ah, Wilderness!” at East Lynne Theater Company. Emma is passionate about nurturing theater artists and co-founded The Way of the Labyrinth Playwright’s Retreat, held in June in southeastern Connecticut. Emma has also been an adjunct professor in the Arts Administration program in the Dramatic Arts Department at the University of Connecticut. Emma serves on the steering committee of the League of Professional Theatre Women (CT Chapter) and the boards of the New London Arts Council, CT Chapter of the Association of Fundraising Professionals, and East Lynne Theater Company. She is also a member of Actors Equity Association and the Dramatists Guild. Emma holds a B.F.A in Acting with minors in Creative Writing and Speech from Emerson College, Boston. A native of Newington, CT, Emma now resides in New London, CT.

WEBSITE AND SOCIAL MEDIA
Facebook: https://www.facebook.com/BeWellProductions

MORE ABOUT ME
My first solo production changed the trajectory of my career and my life. I produced The Belle of Amherst as a project to keep me busy 'between jobs.' Unexpectedly, it gave me control over my creative life, while also providing a way to earn a living in the theater. It also led to my becoming a playwright and writing original solo works that I continue to perform to this day.

WHAT I'M WORKING ON
a one-woman show about Victorian photographer Julia Margaret Cameron

KEYWORDS
​Historical; social change; feminist; period; biography; devised

Thelma Virata de Castro is a Filipinx dramatist whose plays explore identity and belonging. The TAG Project was produced by Playwrights Project with support from an Artist’s Grant from the William Male Foundation and a Rising Arts Leaders San Diego (RALSD) Virgil Yalong Quick Grant. “Hand Under Hand” and “The Fire in Me” were produced at Southwestern College October 2021 in an evening entitled Kasama. Her interview-based work with Asian Story Theater (AST) investigates history and race within communities, with subjects ranging from the incarceration of Japanese Americans to contemporary mixed racial identity. In 2017 she acted as a playwright and Community Liaison for AST’s California Humanities project Halo-halo, which centered San Diego’s Filipinx stories. Additional California Humanities projects: “The Fire in Me” (Access, Inc., 2019) and Saving Stories (New Village Arts, 2021). With AST she won The San Diego Foundation’s 2018-2019 Creative Catalyst Fellowship for “The Fire in Me,” which examined domestic violence in San Diego’s Filipinx community. Access Inc. awarded her the Esperanza Award for extraordinary commitment to eradicating domestic violence in San Diego County. AARP sponsored readings of “Hand Under Hand,” a musical focused on AAPI caregivers (music and lyrics by Emily Rutherford). Her work was featured in The Old Globe Powers New Voices Festival (2020, 2021). Thelma received two Hedgebrook residencies (1999, 2016) and attended the A Room of Her Own Foundation retreat (2015). She founded San Diego Playwrights (2013) and serves the Dramatists Guild on the Regional Affairs Committee and as San Diego Co-Ambassador. She’s been a dramaturge (San Diego Rep, Playwrights Project) and teaching artist (Playwrights Project) and is on the Board of Directors for San Diego Writers, Ink. She attended the Kennedy Center Playwriting Intensive. The San Diego Union-Tribune included her in its list of Phenomenal San Diego Women: Creators and Performers (2020).

WEBSITE AND SOCIAL MEDIA
Website: https://thelmaviratadecastro.com/
FB: @PlaywrightThelmaViratadeCastro
TW: @ThelmaVdeCastro
IG: @tvdecastro

MORE ABOUT ME
I am a female playwright of color over the age of fifty. Every time I create, it is a political act. I teach playwriting in prison, and many of my students have expressed the freedom that writing gives them. I write because I can, despite the racism of Primarily White Institutions. I am drawn to challenging issues, such as domestic violence, racism, and caregiving. They are puzzles in which I need to find meaning. I take them apart and ask questions. I always look for the hope. My humor builds connection. I incorporate nature to ground and heal. My work unites through compassion, empathy, and grace. I am a caregiver to the audience. 

WHAT I'M WORKING ON
Penumbra is a full length based on a one-act. Three characters, inspired by nature, dwell at the mouth of the San Diego River and are caught in a triangle of power: Osprey (river hawk), Gullie (seagull), and Ric (electricity). They are humans who become River Gods, yet colonialism and environmental abuse bear down on them. Hope comes through magic as the characters feel the power of their individuality. They clash, yet there is beauty in their quests for love, security, excitement, and integrity. 

KEYWORDS
​Filipinx, Global Majority, BIPOC, Humor, Hope, Interview-based, Community, Humanities

Allison Moon is a playwright and the author of five books, including the critically acclaimed sexual education guide Girl Sex 101 and Getting It: A Guide to Hot, Healthy Hookups and Shame-Free Sex. Moon is a popular sex educator, leading workshops on sexual pleasure and technique, polyamory, LGBTQ+ issues, and more. She has been quoted in Cosmopolitan, New York magazine, and the Washington Post. Her other writing includes screenplays, teleplays, the story collection Bad Dyke: Salacious Stories from a Queer Life, and stories for the RISK! podcast, Bawdy Storytelling, and various anthologies.

WEBSITE AND SOCIAL MEDIA
Website: http://alliedmoon.com
TW: @HeyAllieMoon
IG: @allison_moon

MORE ABOUT ME
Everytime I see my work performed by professional actors, I am reminded of the magic of live performance and my energy and love for the theatre is renewed. 

WHAT I'M WORKING ON
I'm hoping to begin my MFA in dramatic writing in Fall of 2022 and work on my new play, a 2 hander about intimacy told through the lens of physics.

KEYWORDS
​Queer, LGBTQ, Consciousness, Science Fiction