Jacquelyn Reingold writes for theatre and television. Her plays, which include "String Fever," (starring Cynthia Nixon and Evan Handler), "I Know," "They Float Up," "Girl Gone," "A Very Very Short Play," "2B (or not 2B)," "A Story About a Girl," and "Acapulco," have been seen in New York at Ensemble Studio Theatre, Naked Angels, Theatre for One, MCC Theatre; at the Actors Theatre in Louisville; Portland Center Stage in Oregon; PlayLabs in Minneapolis; and in London, Dublin, Belgrade, Berlin, and Hong Kong.
Honors and awards include: the Kennedy Center‘s Fund for New American Plays, New York Foundation of the Arts playwriting grant, two Sloan Foundation commissions, Oscar Ruebhausen Greenwall Foundation commission, a finalist for the Susan Smith Blackburn prize, and MacDowell and Hermitage Artists Retreat Fellowships. She has been published in two "Women Playwrights: The Best Plays," several "Best American Short Plays," by Samuel French, Vintage Books, DPS, Smith & Kraus. A collection of her one-acts "Things Between Us" is published by DPS. Several of her short plays have been recorded for radio/podcast by Playing-on-Air.
Her newest play, "Kiss Me Somewhere Else," had its first reading, 2020, via Zoom with actors: Maria Dizzia, Kathryn Kates, Richard Kind, Hamish Linklater, and Evan Handler on stage directions. She is currently writing her second Sloan Foundation/Ensemble Studio Theater commissioned play.
In television, she is a Writer/Executive Producer for CBS All Access’ critically acclaimed "The Good Fight." She has also written for Netflix’s "Grace and Frankie," NBC’s "Smash," and all the "Mia" episodes for Emmy nominated Gabriel Byrne and Hope Davis in HBO’s "In Treatment."
Jackie has taught dramatic writing at NYU, Columbia, Fordham, and Ohio University, where she got a Playwriting MFA. She's a member of Ensemble Studio Theater, an alum of New Dramatists, and a founding member of Honor Roll!
WEBSITE and SOCIAL MEDIA
MORE ABOUT ME
What was your most gratifying moment in the theater?
When my first play was produced and people laughed. It somehow made everything make sense.
What play or production changed your life?
Maybe “Mad Forest” by Caryl Churchill at NYTW. Or maybe the production of “The Importance of Being Earnest” my mother was in when I was four. She wore a helluva wig.
I feel most like myself when I...
Am in rehearsal.
How do you overcome disappointment?
I reach out to my Honor Roll! friends!!
If you could bring one change to theater what would it be?
Free theater tickets for everyone who can’t afford to pay.
What do you want artistic directors to know?
Fresh voices doesn’t mean young voices. Emerging writers doesn’t mean young writers. Provocative playwrights doesn’t mean young playwrights.
What’s the one thing nobody knows about you that you’d like them to know?
I auditioned for the Jodie Foster role in “Taxi Driver.”
Why do you keep doing theater?
I keep doing theater because I love to be punished. No that can’t be it. I keep doing theater because I love to be rejected. No that can’t be it, either. I keep doing theater because I love being passed over for younger writers. No, of course that can’t be it. I keep doing theater because of love. Pure love.
What is your favorite thing to do when you’re not writing?
Playing Skee-ball! Ok, that isn’t really true, but it matches the photo.
WHAT I'M WORKING ON?
I’m writing a Sloan Foundation/Ensemble Studio Theatre commissioned play. Two women characters, over decades, out of chronological order. One is a Neuroscientist, who is Black, the other, white, is her human subject, loosely inspired by the real “SM 46,” who experiences little, if any, fear. It tracks their volatile relationship, and how fear, race, class, science, feminism, and sexism propels them together and apart, over thirty years. And in mid-November I go back to writing for TV’s “The Good Fight.”