Jennie Webb is an LA-based playwright and dramaturg (she created the new play development program, Seedlings, at Will Geer’s Theatricum Botanicum) with works including “Reach,” “Currency," “Yard Sale Signs,” “Smiling Cat Candy Heart,” "Remodeling Plans,” "Unclaimed Assets," "On Tuesday," "It's Not About Race," “Rebecca on the Bus,” “Brand New Script” and "Buying a House" produced locally by Inkwell Theater, Rogue Machine Theatre, EST/LA, Santa Monica Rep, Virginia Avenue Project, Road Theatre, Theatre of NOTE and La Jolla Playhouse’s WOW Festival as well as in Canada, the UK, India and Iceland. Her plays have been developed and presented by Great Plains Theatre Conferences, The Playwrights’ Center, Moving Arts MADlab, Blank Theatre, Playground-LA, National Winter Playwrights Retreat, Little Black Dress INK Festivals, Protest Plays Project, PlagueWrites, Climate Change Theatre Action, Rogue Artist Ensemble’s Rogue Lab, and Road Theatre’s Summer Playwrights Festivals and “Under Construction” Playwrights Group. National recognition includes Finalist (O’Neill Playwrights Conference, City Theatre Short Play Festival) and Semi-Finalist (O’Neill, PlayPenn, Athena Project, Trustus Theatre Festival) nods; she is the recipient of Max K. Lerner Playwriting Fellowships and a Women in Theatre Red Carpet Award. Member: the Playwrights Union, EST/LA, Honor Roll!, Dramatists Guild; co-founder: LA Female Playwrights Initiative (LAFPI).
WEBSITE AND SOCIAL MEDIA
MORE ABOUT ME
Yeah. Why we keep doing theater? When people ask me - but to be honest, it's usually me asking me - "Why are you a playwright?" I turn to two words: Identity and Truth. (The last from playwright Alice Tuan, when we were having this sort of conversation.) I write plays because I am a playwright; that's part of what makes me who I am. And I think that I can tell a truth in my work that's unique to me, that needs to be told onstage. That's my job.
WHAT I'M WORKING ON
I recently started a new full length called "Dead People's Dishes," a play about what we hang onto and what we let go of, how we get through surreal events set in different time periods in Los Angeles. I also hope to pick back up my recently completed full length, "adaptation.resilience" soon; it's a play about sustaining love and navigating grief in times of extreme disruptions, and I'm anxious to dig into re-writes in the right development situation.
Domestic Absurdism, Women, Dark Comedy, Los Angeles
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