Peter Ackerman Plays: Things You Shouldn’t Say Past Midnight (The Promenade), Adaptation for Broadway Revival of The Pajama Game (Roundabout, TONY for Best Musical Revival), and The Urn (Page 73, Irish Arts Center). Movies: Ice Age and Ice Age III; Dawn of the Dinosaurs. Radio Play: I’d Rather Eat Pants, commissioned by NPR and broadcast serially on Morning Edition. Children’s Book: The Lonely Phone Booth (Godine, Spring ‘10).

Janet Allard.  Recent works include:Vrooommm! A NASComedy (SPF 2007, published by Samuel French). Commissioned by Signature Theatre, Vrooommm! was developed at Theatreworks iand at Playlabs in Minneapolis. The Unknown: a silent musical, was developed with Page 73 and was granted an award from the Jonathan Larson Foundation. The Unknown appeared at Joe’s Pub and the New York Musical Theater Festival in 2005.Untold Crimes of Insomniacs premiered at the Guthrie Lab in April, 2004. Incognito, Loyal and Fashionistas, all Guthrie Theater Commissions are published by Playscripts, Inc. Ms. Allard is the recipient of two Jerome Fellowships at the Playwrights’ Center in Minneapolis. Her work has been seen at The Guthrie Lab, The Kennedy Center, Mixed Blood, Playwrights Horizons, Yale Rep, The Yale Cabaret, Theater Row, The Women’s Project and Productions, Perseverance Theatre, The House of Candles, Access Theater in New York City and internationally in Ireland, England, Greece and New Zealand. She is a Macdowell Colony Fellow, and a Fulbright Fellow (1998 New Zealand and the South Pacific) and has taught at Bennington College, The New School, University of Minnesota and Victoria University, New Zealand. She is a core member of the Playwrights’ Center, has attended the Graduate Musical Theatre Writing Program at NYU as a bookwriter/lyricist, and has an M.F.A in Playwriting from the Yale School of Drama. She recently worked on the Fox Television series “New Amsterdam”.

Adam Blau is a Los Angeles-based composer whose highly eclectic works have appeared in film, television and theater. A native New Yorker, Adam’s early professional forays into the world of composing included the cult favorite Monica! The Musical, a full-length musical comedy that satirically retells the Monica Lewinsky scandal. The show, produced by Page 73, played to sold-out audiences and made several runs in New York before being killed off by a vast right-wing conspiracy. Adam has assisted composer John Swihart (“How I Met Your Mother”, Napoleon Dynamite) and composer Christophe Beck (“Buffy the Vampire Slayer”, We Are Marshall). As Beck’s sole assistant, Adam orchestrated, arranged, performed, and composed for films like The Sentinel, School for Scoundrels, and Year of the Dog, among numerous others. Just as Adam set to strike out on his own, he composed a whole bunch of delightfully retro-quirky music featured in the Robin Williams comedy License to Wed. After leaving Beck’s nest, Adam (a TV junkie at heart) has steered his composing skills in the direction of television. He wrote music for ABC’s “Day Break,” the 2006 series starring Taye Diggs. He also contributed additional music to the reality show “Tori and Dean: Inn Love”, where his music was featured in nearly every episode of the show’s second season. His music has been heard on sitcoms and reality shows from CMT to CBS.

Daniel J. Blau is a Los Angeles-based writer who has quite nearly become quite famous quite a number of times. Since 1999, Daniel has been a staff writer for the internet juggernaut Television Without Pity, where he skewers popular television shows 6,000 words at a time.  Since October of 2007, he has also spearheaded the site’s video division, where he writes, produces, and edits the TWoP original show “The Week Without Pity.” For some reason, it rarely dawns on him that such a job would pose a conflict of interest with his other job of “television writer.”  Daniel has worked on both reality and scripted offerings for such networks as ABC, HBO, VH1, UPN, and Oxygen, and has appeared on several VH1 shows all seemingly titled “The Fifty Greatest…” He is also a frequent contributor to The Advocate, where he writes about television and pop culture.

Andy Bragen, a graduate of Brown University’s MFA Program in Literary Arts, was the winner of the 2007 Clubbed Thumb Biennial Commission.  Other honors include a 2009-2010 LMCC Workspace Residency, a Tennessee Williams Fellowship from Sewanee: The University of the South, a Jerome Fellowship, a New Voices Fellowship from Ensemble Studio Theatre, a Dramatists Guild Fellowship, and residencies at Millay Colony and Blue Mountain Center.   The Hairy Dutchman, commissioned by the University of Rochester, was produced at the university in April 2009.  His second collaboration with jazz saxophonist John Ellis, The Ice Siren, premiered at the Jazz Gallery in May 2009.  Spuyten Duyvil, which Andy developed at the 2004 Seven Devils Playwrights Conference, was produced by Brown/Trinity Playwrights Rep. in July 2008.  Greater Messapia was produced at Queens Theatre in the Park in March 2004.  Also a translator, Andy works directly from French and Spanish, and with a co-translator from the Japanese.  Vengeance Can Wait, workshopped at the 2006  Playlabs Conferences in Minneapolis, was produced at PS122 in April 2008.  Other plays and translations have been seen and heard at numerous theatres in New York and elsewhere, including The Guthrie Theatre, Ars Nova, Rattlestick, LAByrinth, EST, Repertorio Español, Soho Think Tank, Page 73 Productions, NYU’s hotINK Festival, The Illusion Theatre, The Aurora Theatre and the Lark Theatre.  More information is available at www.andybragen.com.

Eliza Clark’s plays include EDGEWISE, RECALL, and PUPPY. Her work has been developed at Manhattan Theatre Club, the Studio at Cherry Lane Theatre, Page 73 Productions, Ensemble Studio Theatre, The Provincetown Playhouse, The New York International Fringe Festival, and Yale University. She received a commission from the Yale O’Neill Studio in 2006. Eli is a member of Ensemble Studio Theatre’s emerging writers group, Youngblood, where her short plays can often be seen in the Youngblood monthly brunch series. She was a member of the P73’s 2008-2009 Interstate 73 writers group. She co-created, wrote, and performed in the Internet sitcom, INCONVENIENT MOLLY. She graduated from Yale University in 2007 and is currently living in Los Angeles writing for a new AMC show, RUBICON.

Kara Lee Corthron’s plays have been produced and developed by the Vineyard Theatre, Center Stage (Baltimore), ACT Seattle/Hansberry Project, New Dramatists, Naked Angels, New Georges, Raw Impressions (HERE Arts Center), E.S.T., Page 73 Productions, ManhattanTheatreSource, Electric Pear Productions, The Shalimar, Penumbra Theatre, Horizon Theatre (Atlanta), African Continuum Theatre (D.C.), and Voice & Vision, among a few others. Last year, she was a staff writer for the critically-acclaimed NBC drama, KINGS. Kara’s honors include the Princess Grace Award, a 20/20 New Play Commission from InterAct Theatre, the Helen Merrill Award for Emerging Playwrights, Lincoln Center’s Lecomte du Nouy Foundation Award (three-time recipient), commissions from South Coast Rep, Naked Angels, New Georges, and E.S.T./Sloan, the Theodore Ward Prize, the New Professional Theatre Writers Award, residencies at the MacDowell Colony, Skriðuklaustur (Iceland), the Millay Colony for the Arts and Ledig House, and she was a finalist for the second consecutive year for New Dramatists membership (‘08 and ‘09). Kara is an alumna of the Juilliard School and Interstate 73 (Page 73’s inaugural writers group), member of the Play Group at Ars Nova, the Dramatists Guild, ’Wright On! Play Group (co-founder), BMI/Lehman Engel Librettist Workshop, Blue Roses Theatre, the Writers Guild of America, the Barrow Group Women’s Development Project, and is a New Georges Affiliated Artist.

Michael Friedman is a founding Associate Artist of The Civilians, and has been the Composer/lyricist for the company’s productions [I Am] Nobody’s Lunch, Gone Missing, Canard, Canard, Goose? and This Beautiful City. He also wrote music and lyrics for The Brand New Kid, Bloody Bloody Andrew Jackson, God’s Ear, and the upcoming Alice in Wonderland and Saved. His music has also been heard at the New York Shakespeare Festival/Public Theater, New York Theatre Workshop, Playwrights Horizons, The Roundabout Theatre Co., Second Stage, Soho Rep, Theater for a New Audience, Signature, and The Acting Company, regionally at The Kennedy Center, The Huntington Theatre Co., La Jolla Playhouse, Hartford Stage, Humana Festival, ART, Berkeley Rep, Dallas Theatre Center, Williamstown Theatre Festival, Portland Center Stage, and internationally at London’s Soho and Gate Theatres, and the Edinburgh Festival. Film work includes On Common Ground and Affair Game. He was also the dramaturg for the recent Broadway revival of A Raisin in the Sun, directed by Kenny Leon. He is an Artistic Associate at New York Theatre Workshop, a Princeton University Hodder Fellow, and a recipient of a MacDowell fellowship. He received a 2007 Obie award for sustained excellence.

Kirsten Greenidge’s play Rust was produced by the Magic Theater in 2007. Kirsten was the playwright-in-residence at Woolly Mammoth Theatre Company as part of the NEA/ TCG Theatre Residency Grant where she worked on her latest play The Curious Walk of the Salamander. Kirsten’s work includes Proclivities, At Sunday Dinner and The Interpretation of Being, Bossa Nova, 103 Within The Veil: A Theatrical Collage, (2005 Independent Reviewers of New England Award for Best New Play), The Gibson Girl; Hinges Keep A City: Neighborhood Stories, Sans-Culottes In The Promised Land, Fast and Loose: An Ethical Collaboration, Familiar (winner of the Kennedy Center’s Lorraine Hansberry Award), and Devil Must Be Deep. She has enjoyed development experiences at Magic Theatre, Page 73, Madison Rep, Hourglass Theatre, Playwright’s Horizons, Bay Area Playwrights Festival, Sundance at Ucross, New Dramatists, and The O’Neill. Kirsten is also working on commissions with CompanyOne, Cardinal Stage, South Coast Rep, and the Kennedy Center/White House Historical Society. Kirsten attended Wesleyan University and The Playwright’s Workshop at the University of Iowa, and is a member of New Dramatists.

Jason Grote was P73’s 2006 playwriting fellow, where he worked on his plays 1001 and This Storm Is What We Call Progress. P73’s New York Premiere of 1001 was listed in Time Out New York’s Top Ten for 2007. The play has had a total of eleven productions throughout the United States, receiving such honors as Best New Play from Denver’s alternative weekly Westword; critics’ top ten lists in The Rocky Mountain News and The Boulder Daily Camera; and Best Performance nominee from L.A. Weekly. The Washington, DC production of 1001 was featured by Voice of America in a Farsi-language segment broadcast into Iran. The play is published by Samuel French, and Jason is currently working on a musical adaptation of the play with Marisa Michelson in Montclair State University’s New Works Initiative. Jason’s other plays include Maria/Stuart, Hamilton Township, Box Americana, Darwin’s Challenge, Civilization (All You Can Eat) and Half-Moon Mirror. He has received commissions from The Denver Center, ACT/Seattle, Clubbed Thumb, The Working Theater, and The Keen Company, and he has been published by Samuel French and Playscripts, and in The Back Stage Book of New American Short Plays 2005 (edited by Craig Lucas). Other honors include Best Performance of 2008 from The Austin Chronicle (for Hamilton Township) and Best of Fringe 2009 from The Seattle Times (for Maria/Stuart). He wrote the screenplay for What We Got: DJ Spooky’s Quest for The Commons and was the co-host of The Acousmatic Theater Hour on WFMU for one year. He has created devised theater with David Levine, Radiohole, Maureen Towey, and Karinne Keithley, and is currently developing a live radio play to coincide with the Tim Burton retrospective at The Museum of Modern Art. He is a member of PEN and New Dramatists; visit him at www.jasongrote.com

Raised in Hong Kong and South Carolina, Sarah Hammond is the author of Green Girl (SPF at the Public Theatre, Bay Area Playwrights Festival), Kudzu (Trustus Theatre), The Extinction of Felix Garden (Ars Nova reading), and House on Stilts (P73 reading, Royal National Theatre reading). Honors include the Heideman Award (Actors Theatre of Louisville), two MacDowell Colony Fellowships, a residency at the Royal National Theatre in London, and commissions from South Coast Repertory Theatre and Broadway Across America. Her short plays “Hum of the Arctic” and “Cancer Walking Through These Woods” can be found in anthologies from Smith & Kraus and Playscripts Inc. She is a New Dramatists playwright and lives in Brooklyn.

Karen Hartman is a playwright and librettist whose current projects include GOLIATH, a drama set in the Gaza Strip (Winner of the 2008 Dorothy Silver Playwriting Prize, commissioned by the National Foundation for Jewish Culture, workshops at the Public Theater, New York Theatre Workshop, McCarter Theater, Magic Theatre, Voice & Vision, Williamstown, and others); a contemporary female Don Juan tale entitled DONNA WANTS (A.C.T.’s First Look Festival, Theater at Boston Court); and the book for A SEA CHANGE, music and lyrics by Annmarie Milazzo.  CARMEN, LA GITANA, directed by Cirque de Soleil’s Franco Dragone, with music by John Ewbank, lyrics by Annmarie Milazzo, and book co-written with Sarah Miles, will open in Madrid, September 2008.  Her plays are GUM (Women’s Project, Center Stage, Magic Theater, P73, published by Theater Communications Group and Dramatists Play Service, in continuous production nationwide); GOING GONE (N.E.A. New Play Grant, Cincinnati Playhouse in the Park); ANATOMY 1968 (Summer Play Festival on Theater Row); GIRL UNDER GRAIN (Best Drama in NY Fringe, extended by P73); TROY WOMEN (based on Euripides, Yale Repertory Theater/School of Drama, published by Backstage Books in Divine Fire), and LEAH’S TRAIN. Musical works include ALICE: TALES OF A CURIOUS GIRL, based on Lewis Carroll with music by Gina Leishman (AT&T Onstage Award, Dallas Theater Center, published by Playscripts, Inc.), and MOTHERBONE, an opera composed by Graham Reynolds (Loewe Award, Salvage Vanguard Theater).  Her work has been supported by the Rockefeller Foundation, the N.E.A., the Helen Merrill Foundation, the Jerome Foundation, a Daryl Roth “Creative Spirit” Award, a Hodder Fellowship, and a Fulbright Scholarship to Jerusalem. An alumna of New Dramatists, Yale University, and the Yale School of Drama, Karen has taught playwriting at the Yale School of Drama and many other venues, and also teaches private writing workshops.

Cory Hinkle’s plays include Little Eyes, Cipher, Phosphorescence, and SadGrrl13 and have been produced or developed at the Guthrie, ART, Williamstown Theater Festival, the SPF Summer Play Festival, The Playwrights Foundation, Illusion Theater, Rattlestick, Salvage Vanguard, Workhaus Collective, P73 Productions, Hangar Theater, and Red Eye Collective, among others. Cory is a co-creator of Fissures (Lost and Found) commissioned by Actor’s Theater of Louisville and scheduled to premiere at the 2010 Humana Festival. He has been commissioned by the Guthrie, is a former MacDowell Colony fellow, Sewanee Writer’s Conference Fellow and recipient of a Jerome Travel and Study Grant. He is a Core Member of the Playwrights’ Center, a member playwright of the Workhaus Collective and he received two Jerome fellowships through the Playwrights’ Center. Cory earned his MFA in Playwriting from Brown University and his work is published by Playscripts Inc. and Heinemann.

J. Holtham’s plays include: Creative Writing, Lovers to Bed, 11th Hour, Race Music, Household Name, Splendid, and Daylight Savings (What Happens Now). His work has been seen and developed at the Ensemble Studio Theatre (Posterity, Thicker Than Water 2001), BE Company, Williamstown Theatre Festival, the Magic Theatre (SF), Clubbed Thumb, the Vital Theatre, New Dramatists, Broken Watch Theater Company, the 24Seven Lab and others. His play, Manifesto, was commissioned by Time Warner and Second Stage Theatre. Several of his plays are published by Playscripts, Inc. He is a member of E.S.T. and an alumnus of Youngblood. M.F.A.: The Actors Studio Drama School/New School for Social Research. He has worked as a teaching artist for TDF, Vital Theatre, and MCC. In addition, he writes the blog, 99 Seats. He is a proud product of the New York and New Jersey public education systems.

Quiara Alegria Hudes Broadway: In the Heights (book, 2008 Tony Award for Best Musical, Tony nomination for Best Book, Pulitzer Finalist). Off-Broadway: In the Heights (Lucille Lortel Award, Outer Critics Circle Award). Off-off: Elliot, A Soldier’s Fugue (Pulitzer Finalist). Regional: 26 Miles (Alliance Theatre), Barrio Grrrl! (book and lyrics, Kennedy Center for the Performing Arts). National tours: In the Heights and Barrio Grrrl! Workshops: Water By the Spoonful (Hartford Stage), Like Water for Chocolate (book, Sundance at White Oak Project). Film and TV: In the Heights (screenplay, Universal Pictures), Untitled Quiara Hudes Project (sitcom, NBC). B.A. from Yale, M.F.A. from Brown, resident writer at New Dramatists. Mentor and Board Member for Philadelphia Young Playwrights, who produced her first play in the tenth grade.

Samuel D. Hunter is from Moscow, Idaho. He received a BFA in Dramatic Writing from NYU in 2004, an MFA from the Iowa Playwrights Workshop in 2007, and recently graduated from the Lila Acheson Wallace Playwright-in-Residence Program at Juilliard. Sam is a two-time recipient of Lincoln Center’s Le Compte du Nuoy Award, a current member of Playgroup at Ars Nova, and was awarded the 2008-2009 Playwrights of New York (PONY) Fellowship from the Lark Theater, where he was a member of the Lark Playwrights Workshop. His plays include: I AM MONTANA (produced at London’s Arcola Theater in June 2009, produced at Montana Repertory Theater in November 2008, developed at the Flea Theater, 2007 Seven Devils Playwrights Conference, 2008 Ojai Playwrights Conference, 2008 Juilliard New Play Festival, 2007 Bay Area Playwrights Festival), IDAHO / DEAD IDAHO (2009 Princess Grace Award Runner-Up, developed at the 2009 Seven Devils Playwrights Conference, Ars Nova, Juilliard, the Lark Theater, and Rattlestick Playwrights Theater), NORMAN ROCKWELL KILLED MY FATHER (developed at the 2005 O’Neill Playwrights Conference), ABRAHAM (A SHOT IN THE HEAD) (produced at Richard Foreman’s Ontological-Hysteric Theater), HELLS CANYON (developed at Juilliard and the 2009 LAByrinth Summer Intensive), GOD OF MEAT (developed at the Lark Theater, Partial Comfort, the Playwrights Foundation in San Francisco, and Stanford University), and his newest plays, ATLASING SODOM (developed at the Kennedy Center’s MFA Playwrights Workshop in July 2009, readings at Primary Stages, Playwrights Horizons, and the NNPN National Showcase), and FIVE GENOCIDES (recently translated into Spanish and presented in Mexico City). Sam has taught at the University of Iowa, Fordham University, and in the Palestinian Territories at Ashtar Theater (Ramallah) and Ayyam al-Masrah (Hebron). At Ashtar, he was co-writer on THE ERA OF WHALES which was produced in the West Bank and at the Istanbul International Theater Festival in Turkey.

Julia Jordan was awarded a 2007 Lucille Lortel Playwriting Fellowship. She is the author last year’s Dark Yellow at Studio Dante, with Elias Koteas. It was shortlisted for the Susan Smith Blackburn Award and is being made into a feature film by Glen Luchford, starring John Hawkes and Melinda Walters. Tatjana In Color won The Francesca Primus Prize, was short-listed for the Susan Smith Blackburn Award and was included in Best Plays by Women 1997. Boy at Primary Stages with T.R. Knight, was given a Susan Smith Blackburn Award honorable mention and won a Drama Desk Award for Knights portrayal of the lead character. Other plays include St. Scarlet, Nightswim and Smoking Lesson. Her plays for children includeSummer of the Swans, Guitar with music by Duncan Sheik and Walk Two Moons with music by Lucas Pappaelias. As a musical librettist she has written The Mice, which was part of Harold Princes 3HREE and Sarah, Plain and Tall which won a Kleban Award and an ATT Onstage award. She was the first librettist ever to be given a Jonathan Larson Award. She is currently working on a musical adaptation of Bernice Bobs Her Hair by F. Scott Fitzgerald, in which she is writing both book and lyrics. Adam Gwon is composing. Her short film The Hat premiered at Sundance and was the most played short shown on IFC in 2001-2002. She wrote the book to The Moscow Circus’s Winter Queen tour. She is a Juilliard Playwright Fellow, Manhattan Theater Club Fellow, Member of New Dramatists and the Dramatists Guild. She holds an M. Phil. in Creative Writing from Trinity College, Dublin and teaches advanced playwriting at Barnard and Primary Stages.

Krista Knight is originally from the Bay Area. Her plays have been produced by The Assembly, The Ontological Hysteric Theater, Dixon Place and The Women’s Work Theatre in New York City, The Ashland New Plays Festival, The Hangar Theatre, Brown University Graduate New Play Festival, LiveGirls! in Seattle, Harvest Theatre in Toledo, Panoply in Huntsville, Alabama, Goshen College in Indiana, The Attic Theatre in Los Angeles, The New Perspective Festival and The Baldwin New Play Festival in San Diego, The Pan Theatre in San Francisco, and The Bus Barn Stage Company in Los Altos. Her plays have been developed at Abingdon, P73, and The PossEble Theater in New York City, First Stage in Los Angeles, the Institute of Contemporary Art in London, Penobscot Theatre in Maine, and the Magic Theatre and the Playwrights’ Center in San Francisco. Krista has been in Residence at the Atlantic Center for the Arts, Interplay in Australia, the UCROSS Foundation, the Santa Fe Art Institute, Yaddo, and MacDowell. She was the winner of the 2005 Southwestern States National Playwriting Contest and was the 2007 Page 73 Playwriting Fellow. Krista is a graduate of Brown University and has a Masters in Performance Studies from NYU. She is currently in her second year of the Playwriting MFA program at UCSD studying with Naomi Iizuka. www.KristaKnight.com

Dan LeFranc is a recent graduate of the MFA playwriting program at Brown University, where he is currently in residence as the 2007-2008 John C. Russell Fellow in Playwriting. His plays have been seen or developed at Actors Theatre of Louisville, The Vineyard Theater, MCC, The Kennedy Center, American Repertory Theatre, ArsNova, Clubbed Thumb, Portland Center Stage, Woolly Mammoth Theater Company, The Magic Theater, Milwaukee Repertory Theater, Perishable Theater, foolsFury, Kitchen Dog Theater, Santa Cruz Actors’ Theatre, Contemporary Arts Center of Cincinnati, UCSB Summer Theater Lab, and the Page 73 Summer Residency at Yale, among others. Dan is a member of the MCC Playwrights Coalition, the Soho Rep Writers/Directors Lab, and teaches playwriting at the Brown/Trinity Rep Consortium. His short play Hippie Van Gumdrop is published in The Backstage Book of New American Short Plays 2005, edited by Craig Lucas.

Kenneth Lin’s is an award-winning playwright whose works said Saïd, Agency*, Po Boy Tango, Intelligence-Slave, Genius in Love and The Lynching of a White Man in Rural, CA have been premiered, commissioned and developed at theaters throughout the country, including the Alliance Theatre, Northlight Theatre Company, Alley Theatre, South Coast Rep, Manhattan Theatre Club, the Wilma Theatre, Arena Stage and P73 Productions. He is the winner of the Princess Grace Award, The Alliance Theatre’s Kendeda Graduate Playwriting Competition, The Williamstown Theatre’s L. Arnold Weissberger Award and the TCG Edgerton New Play Prize. Recently, he was recognized by the Dramatists Guild as a top “Playwright to be Watched.” Lin is an alumnus of Cornell University, the U.S. Fulbright Fellowship and the Yale School of Drama where he was awarded the Cole Porter Prize for excellence in playwriting. More information is available at www.endofscene.com

Heather Lynn MacDonald: Originally from New Hampshire, Heather currently lives in Harlem with her husband Anuj Shah.  Her plays have been produced and developed by The New Group, Naked Angels, A.R.T. Theatre Institute, Summer Play Festival, Page 73 Productions, Atlantic Theater Company, Philadelphia Theatre Company, Hangar Theatre and The New York International Fringe Festival.  She is the recipient of a NYSCA Individual Artist grant and NYFA fellowship; additional honors include residencies at the MacDowell Colony, Yaddo, Page 73 and the Orchard Project. Her play Expats was a Susan Smith Blackburn nominee, her play Retrospective was a Princess Grace Award finalist, and her play Indian Point was an Actor’s Theater of Louisville Heideman Award finalist.  Heather spent the past three years participating in Barrington Stage Company’s Playwrights Mentor Project leading workshops for high school students in Western Massachusetts.  Member: Interstate 73 Writers Group.  Heather holds a MFA from Columbia University where she received the Brander Matthews Fellowship, and a BFA from NYU’s Tisch School of the Arts.

Josh Malmuth.

Sam Marks. NYC Productions: Brack’s Last Bachelor Party (Babel Theater Company directed by Geordie Broadwater) The Joke, (Studio Dante directed by Sam Gold). Nelson (Partial Comfort Productions directed by Kip Fagan), Craft (The Bat Theater Company directed by Robert O’Hara), and The Bigger Man (Center Stage).   His work has also been produced by Circle X (LA) and at the Perishable Theater (Providence) and workshoped at The Flea, The Vineyard Theater, and the Berkshire Playwrights Festival.  Sam’s plays have also been developed and seen at Manhattan Theater Club,  New York Theater Workshop, Playwrights Horizons, and The Rattlestick Theater.  A graduate of Brown’s Graduate Playwriting program, where he studied with Erin Wilson and Paula Vogel, Sam was named “50 to Watch” by The Dramatist Magazine.   Sam developed two series for cable based on his plays Craft and The Joke. He is currently working on a feature screenplay based on an episode of This American Life. His short political film,F–k New York, immensely popular on the Internet, was optioned for series development by MTV. Sam has taught playwriting and screenwriting at Brown, Harvard, and Providence College. He is a member of I-73, the P73 writers group. He lives in Brooklyn with his wife, Greer, and their son, Ozzy.

Kara Manning’s plays, including Mind the Gap, Killing Swans, afterdark and Sleeping Rough, have been performed or developed via the Royal Court Theatre, Hampstead Theatre, the O’Neill Playwrights Conference, Playwrights Horizons, MCC Theater, Rattlestick, NYTW, LAByrinth Theater, the Magic Theater, New Dramatists, the Lark Play Development Center, Studio Dante, the Brooklyn Academy of Music (The 24 Hour Plays), Here (Raw Impressions), The Directors Company, Ensemble Studio Theatre, Makor, Expanded Arts, Theatre for the New City and the Bloomington Playwrights Project. She is the 2007-08 recipient of the Princess Grace Award in playwriting and a member of the 2008-2010 Women’s Project Playwrights Lab and MCC Theater’s Playwrights Coalition. Kara was a playwright-in-residence with the Royal Court Theatre’s International Residency, Page 73 Productions’ 2008 Yale retreat and Women’s Project’s 2009 Envision Lab retreat via Voice & Vision. She was a recipient of the 2000-2001 Jerome Foundation, Affiliated Writers Program grant in association with American Theatre magazine, a finalist for the Bay Area Playwrights Festival (2008), P73 fellowship (2008), the Heideman Award (2009, 2007), PlayPenn Conference (2006), Barrie Stavis Award (2005), semifinalist for the Cherry Lane Mentor Project (2007), shortlisted for NYU’s Hot Ink festival (2008) and nominee for the 2007-08 Susan Smith Blackburn Prize. She is the literary manager of the Irish Repertory Theatre in New York. Member of the Dramatists Guild. She served as an assistant director at Edinburgh’s Traverse Theatre (Fringe Festival), research assistant to Anne Bogart and the SITI Company. Kara is also a freelance music/arts journalist and a former MTV News reporter and staff writer for Rolling Stone magazine. She wrote liner notes for the Grammy-nominated Rhino box set “Respect: A Century of Women in Music.” In addition, she is a web editor/on-air interviewer for WFUV/The Alternate Side and wrangles musicians for Vin Scelsa’s “Idiot’s Delight” on WFUV and John Wesley Harding’s Cabinet of Wonders. Graduate of Columbia University’s M.F.A. program in playwriting.

Peter Morris

Dave Mowers


Dan O’Brien’s new play The Cherry Sisters Revisited will premier at the 2010 Humana Festival of New American Plays, with original music by Michael Friedman and directed by Andrew Leynse. Dan’s play The House in Hydesville premiered at Geva Theatre Center in 2009. Dan is the recipient of the 2009-2010 McKnight National Residency & Commission from the Playwrights’ Center. He was recently the Hodder Fellow Playwright-in-residence at Princeton University, the inaugural Djerassi Fellow in Playwriting at the University of Wisconsin-Madison, and a two-time Tennessee Williams Fellow at the University of the South (Sewanee). Previous productions include The Dear Boy (Second Stage Theatre), The Voyage of the Carcass (Stage 13 / SoHo Playhouse), Moving Picture (Williamstown Theatre Festival), Key West (Geva Theatre Center), Am Lit (Ensemble Studio Theatre), The Voyage of the Carcass (Page 73), and Lamarck (Perishable Theatre). He has received playwriting commissions from Manhattan Theatre Club, Williamstown Theatre Festival, Ensemble Studio Theatre Sloan / First Light Grant, and residencies and fellowships from O’Neill Playwrights Conference, New Harmony Project, Yaddo, Bread Loaf Writers’ Conference, TCG Future Collaborations, and the Thomas J. Watson Foundation. Awards include the American Theatre Critics Association’s Osborn Award for an emerging playwright. Dan is a Core Writer with the Playwrights’ Center. Visit his website at www.danobrien.org

Kristen Palmer is a playwright and arts educator. She was a 2008-09 Jerome Fellow at the Playwrights Center and her play, THE MELTING POINT, was a finalist for 2008 National Playwright’s Conference at the O’Neill Center. Her plays include: LOCAL STORY produced by Overlap Productions (NYC), Theatre of NOTE (LA) and MadCap Players (Washington DC); DEPARTURES, produced by Blue Coyote (NYC); ALL THE GIRLS LOVE BOBBY KENNEDY produced by Marist College, presented by Orlando Shakespeare Festival, and New Georges (NYC); THE MELTING POINT developed in the SOHO Rep Writer/Director Lab, at the Playwrights’ Center and New Georges; THE HEART IN YOUR CHEST developed with P73, the William Inge Center for the Arts, and Circle X Theatre, and many shorter ones including SAD (written with Adam Szymkowicz) and SOMETHING DECENT commissioned by Blue Coyote for their Standards of Decency Festival. She received a BA in Dramatic Arts at Bretton Hall College and an MA from NYU’s Gallatin School. She is an associate artist of New Georges, a Soho Rep Writer/Director Lab Alumni, and a member of P73’s writing group. In 2008 she was the Fall Writer in Residence at the William Inge Center for the Arts. Originally from Virginia, she has lived and worked in Yorkshire, England; Washington DC, Seattle, WA; Minneapolis, MN and Brooklyn, NY.

Tracie Potochnik

Scott Prendergast

Jean Randich

Shane Rettig

Molly Rice’s plays have been developed/ produced in NYC and in theaters across the country. Her plays include DON’T STOP (developed by Voice and Vision), LINE (produced by Perishable Theater), WATCH (produced by the Strand Theater in Baltimore), and the original musical CANARY (developed by Rattlestick and Playwrights Horizons). Heinemann Press, Clarkson Potter, the University of Mary Hardin-Baylor Press, Salvage Vanguard Press, Perishable Press, Austin Script Works Press, and DEVICE have published her plays, and her articles have appeared in the Kenyon Review, American Theater and the Austin Chronicle. Residencies include the Visible Bartlett Island Retreat (2009), Yale/ P73 Residency (2008), Missoula Colony (2007), Voice and Vision (2006), and Hangar Theater (2005); awards include the Weston Award for Graduate Playwriting (Brown University) and the Women’s International Playwriting Festival (Perishable Theater), as well as nominations for the Kesselring Fellowship, the PONY Award, Cherry Lane Mentor Project, and New York Innovative Theater Award (Outstanding Original Short Play). Molly was a Lucille Lortel fellow at Brown University (2004-2007), where she earned her MFA in Playwriting. She has taught graduate and undergraduate students at Brown, the University of Rhode Island, and Kenyon College; she currently teaches at Marymount Manhattan College and continues to teach Site-Specific Theater in an old mansion at Brown. She is Resident Writer and Artistic Developer of MOTHERLODGE, a live arts exchange linking local American culture-rich communities and New York theater/music/film artists, and is currently working on THE SAINTS TOUR, a bus tour of the “secret saints” of a community, featuring local musicians and community service organizations. The play will be produced by MOTHERLODGE this spring in Louisville KY and the West Village, with help from Actors’ Theater of Louisville, the Louisville Salvation Army, HERE Arts Center, Judson Church, Barrow Street Theater, and Rattlestick.

Mia Rovegno is a multi-disciplinary theater artist, the founding artistic director of HummingbirdWORKS and a company member with foolsFURY. She has worked with Redmoon Theater, Bread and Puppet, Shadowlight, and Intersection for the Arts, among others. Her plays Kill The Keepers (co-written with Dan LeFranc) and Apartment have been developed by foolsFURY, Page 73 Yale Summer Residency and Empire Street Lab at Perishable Theater. New work development: Brown /A.R.T. Institute Bakeoff, Harvard Playwrights Festival, Brown New Plays Festivals, Brown Summer Playwrights Rep, Hangar Theatre. Favorite productions: Polaroid Stories, Elektra, Girls on the Clock, The Maids, Tartuffe. Workshop productions: Origin Story, Inked Baby, Some of the Rooms, Diagram of a Kidnapping, fracture/mechanics, Love in the Time of Channukah. Guest director residencies: Harvard University, A.R.T. Institute, and Brown University. BS in Performance Studies: Northwestern. MFA in directing: Brown /Trinity Rep Consortium. Teaching: New College of California and Brown University. Recipient of Drama League Fellowship, Jonathan Alper Directing Fellowship with Manhattan Theatre Club, and SDC Directing Observership. 2010 Ockrent Directing Fellowship Nominee. Member of 2009-10 Soho Rep Writer/Director Lab.

Matt Schatz is a playwright and songwriter who was a finalist for the 2009 Fred Ebb Award for excellence in musical theatre songwriting. Matt’s plays and musicals include The Tallest Building in the World (Luna Stage, spring 2011), Love Trapezoid (Developed with EST/Sloan and p73), Pinning Hope (Creative Destruction’s “Obama Drama” Festival) The Baby is Blue (Incumbo Theater Company/Midtown International Theatre Festival) and Hearing Things. Matt has written music and lyrics for Roanoke (Actors Theater of Louisville, Heideman Finalist, published as part of Humana Festival 2009: The Complete Plays), Co-op (EST), Before the Moment (EST/Sloan, 2008 AFI Sloan Summit in Los Angeles), and lyrics for Oh My! (IRT Theater’s Artist in Residence Program). Matt is a three-time recipient of an EST/Sloan Commission, a two-time Shubert Fellow, and has been a finalist/semi finalist for the Page 73 Playwriting Fellowship, the Princess Grace Playwriting Fellowship and the Magic Theatre’s Sloan Initiative. Member: the BMI Advanced Musical Theatre Workshop and the Dramatists Guild. Alumnus: P73’s “Interstate 73,” Youngblood Playwrights Residency at EST. MFA: Carnegie Mellon University. mattschatz.com

Micah Schraft

Heidi Schreck is a playwright and OBIE-winning actor whose plays include Creature, Backwards into China, Stray, Mister Universe, Memorial Day, and Spirit Lake. Her work has been produced or developed by Soho Rep, Vineyard Theatre, New Georges, The Foundry, Printer’s Devil, On the Boards, FronteraFest, the UNO Festival, Consolidated Works, and National Public Radio. She was a member of the 2006 Soho Rep Writer/Director Lab and is an affiliated artist with the OBIE-winning companies New Georges, Clubbed Thumb, and Theatre of a Two-Headed Calf. She has been a finalist for the Eugene O’Neill Playwrights Conference and the Bay Area Playwrights Festival. Her play Stray was published in The Manifesto Series, an anthology of new work edited by Erik Ehn, and her plays Backwards into China and Memorial Day are published through Rain City Projects. Heidi writes about new plays for The Brooklyn Rail and worked as a journalist in Russia in the late 1990s. Her newest play There Are No More Big Secrets is partially inspired by the years she spent working in Siberia and St. Petersburg. As an actor, Heidi has worked with Actors Theatre of Louisville, Clubbed Thumb, The Empty Space, The Foundry, MCC, New York Theatre Workshop, Playwrights Horizons, PS 122, New Dramatists, Printer’s Devil (founding member), Soho Rep, SPF, Sundance Theatre Lab, and others. She was named one of Time Out New York’s favorite actors in 2007, and in 2008 she received an OBIE for her work as an actor in Two-Headed Calf’s Drum of the Waves of Horikawa at HERE Arts Center. Heidi lives in Brooklyn with her husband Kip Fagan.

Tommy Smith is a New York based playwright. His plays include SEXTET (upcoming, Washington Ensemble Theatre; Roger Benington, director), THE WIFE (upcoming, IRT Theater; May Adrales, director), WHITE HOT (produced at Here Arts Center; May Adrales, director), PTSD (produced at Ensemble Studio Theatre; Billy Carden, director), THE BREAK-UP (produced at Flea Theater; Sherri Kronfeld, director), BEAUTIFUL NIGHT (commissioned by E.S.T.; Evan Cabnet, director), AIR CONDITIONING (selected for Eugene O’Neill Playwrights Conference; Steve Cosson, director), GOODNIGHT MECCA (produced at Williamstown Theatre Festival; Gabriel Kahane, composer & lyricist; Kip Fagan, director), among others. His work has also appeared at PS 122, Yale Cabaret, The Ontological Theatre, The Lark Play Development Center, A Contemporary Theatre, Portland Center Stage, Soho Rep Writer/Director Lab, The Huntington Theatre; internationally, he has been produced in Prague, Edinburgh, Amsterdam, Montreal and Athens. He is a two-time winner of the Lecomte du Nouy Prize, a recipient of the E.S.T. Sloan Grant, a winner of the Page73 Productions Playwriting Fellowship and a member of the Dorothy Strelsin New American Writer’s Group at Primary Stages. Publications include WHITE HOT in the 2008 New York Theatre Review and STREAK in “Laugh Lines: Short Comic Plays”, printed by Vintage. He is a graduate of the playwriting program at The Juilliard School, and serves as Artistic Associate for The Cape Cod Theatre Project. Tommy co-created (with Reggie Watts) the theatre piece DISINFORMATION, which played at the Under The Radar Theatre Festival at The Public Theatre, The Portland Institute for Contemporary Art’s Time-Based Art Festival, The Museum of Contemporary Art (Chicago), The Warhol Museum (Pittsburgh) and ICA (Boston). Tommy won the MAP Fund Award and Creative Capital Award for their follow-up show TRANSITION, which played at the PICA: TBA Festival, Under The Radar and On The Boards. Other collaborations include RADIO PLAY (Ars Nova, Redhouse, Bumbershoot), OCCURRENCE (Galapagos, The Tank, Ars Nova, Portland’s Leftbank, ICA) and DUTCH A/V (IRT Theater).

Peggy Stafford ’s plays have been developed and produced at theatres across the country including Women’s Project, Soho Rep, P73, Dixon Place, Bottom’s Dream, HERE, Annex Theatre, On The Boards, Empty Space Theatre, and The Playhouse in Northern Ireland. Her play WAPATO was commissioned by the Off-Broadway Women’s Project and opened their 2007 season. She was a member of the Soho Rep’s Writer/Director Lab and her play LITTLE MISS 1565 was developed through their Phase 2 Program. She’s an affiliated artist with New Georges and was a 2006-08 member of the Women’s Project Playwright’s Lab. Her film, A Problem With Sharks, premiered in 2002 at The Seattle International Film Festival and screened nationally. She has scripted for kids’ television including Nickelodeon’s Noggin and Kids’ Discovery Channel. Current projects include the libretto for an opera with Madelyn Kent and Maja Milanovic to be workshopped at Zvezdara Teatar in Begrade in 2010; the book for SUNRISE IN HYDE PARK with lyrics and music by Tom Weinberg, to be produced at the Art House Theatre in Provincetown in August 2010; and a new play, THE JEWEL CASKET, based on a box by Joseph Cornell. Peggy studied playwriting with Maria Irene Fornes, Mac Wellman, and Paula Vogel through Pataphysics at The Flea Theater and holds an MFA in Creative Writing from Bennington College. She has been awarded fellowships from the MacDowell Colony; a recipient of Northern Ireland Arts Council Travel Grant, Rain City Project Sweetness Grant; and proud member of the Brooklyn-based experimental writer’s collective Machiqq, as well as The Dramatists Guild.

Victoria Stewart graduated from the Playwrights’ Workshop at the University of Iowa. Her plays include LIVE GIRLS (Urban Stages, WHAT, Stage Left), Hardball (SPF), 800 Words: The Transmigration of Philip K. Dick, (Workhaus Collective, Hourglass Group, Live Girls Productions), Leitmotif (South Coast Rep, Page 73), Nightwatches (Overlap Productions), The Last Scene and an adaptation of Henry James’ The Bostonians. She has received the Francesca Primus Award, a McKnight Advancement Grant, the Helen Merrill Award, the Susan Smith Blackburn Award (finalist), and the Jerome Fellowship as well as residencies at Ucross/Sundance, Hedgebrook, Hermitage Artist Retreat and the Donmar Warehouse. She is a producing member of the Workhaus Collective and a core member of the Playwrights’ Center. In 2009, she was the Martha R. Ingram Artist-in-Residence at Tennessee Repertory Theatre where she developed her newest play, Rich Girl. She is one of the collaborators on Fissures (lost and found) which will be presented at the 2010 Humana Festival. She is now working on a screenplay for HBO about the recording industry’s battle with Napster.

Gary Sunshine has been the recipient of a NYFA fellowship and a Helen Merrill Award for Emerging Playwrights. His play SWEETNESS was produced in the Summer Play Festival (SPF); MERCURY was produced at HERE in association with Eve Ensler; THE NAMES OF FOODS was produced by the eXchange; other recent productions include KAHN & KANT (Drama League Directors Project), AL TAKES A BRIDE (Actors Studio; Sydney Mardi Gras Festival; King’s Theater) and MY PRESIDENT (Echo Theater Company). His work has been seen/developed at the Royal National Theatre Studio, New York Stage & Film, Playwrights Horizons, NYTW’s Just Add Water Festival, Theatre of Note, P73 Productions, Rattlestick, the New Group, the New Company (London), Underwood Theater, MCC Theater, the Actors Studio, and Rising Phoenix Rep. His one-act play AL TAKES A BRIDE was published in “The Best American Short Plays of 2001” (Applause), and by Playscripts, Inc. Gary wrote, co-created, and co-produced the documentary WHAT I WANT MY WORDS TO DO TO YOU (Freedom of Expression Award, Sundance Film Festival; Audience Award, Lake Placid Film Festival; Crystal Award, Heartland Film Festival; HBO Audience Award for Top Documentary, Provincetown International Film Festival), which premiered nationwide on PBS’s “P.O.V.” He is a staff writer on HBO’s “Hung” and has written for CBS’s “As the World Turns” (WGA Award nomination). His first screenplay, MOSCOWS, is currently in preproduction with Starry Night Entertainment. He received an A.B. from Princeton and an M.F.A. from NYU’s Dramatic Writing Program, and is a resident playwright at New Dramatists.

C. Denby Swanson graduated from Smith College, the National Theatre Institute, and the University of Texas Michener Center for Writers, where she was a fellow in playwriting and screenwriting. She has been a Jerome Fellow, a William Inge Playwright in Residence, and a McKnight Advancement Grant recipient. Her work has been commissioned by the Guthrie Theater, 15 Head a Theatre Lab, Macalester College, and The Drilling Company, and featured in the Southern Playwrights Festival, the Women Playwrights Project, the Lark Theater’s Playwrights Week, PlayLabs, the WPA Festival at Salvage Vanguard, JAW: A Playwrights Festival at Portland Center Stage, and residencies at New York Stage & Film. Her full length adaptation, ATOMIC FARMGIRL, has been developed by the Drilling Company, at the Culture Project’s Impact Festival and at the Icicle Creek Theatre Festival, and won a prize in the 2009 Earth Matters on Stage Festival at the University of Oregon. She won a 2008 Susan Smith Blackburn Special Prize for her short play THE POTATO FEAST, which was also nominated for a 2008 New York Innovative Theater Award. Her blues play BLUE MONDAY was developed at ZACH Theatre Center as part of the NEA/TCG National Theater Residency Program for Playwrights. She is a former Artistic Director of Austin Script Works and on the faculty at Southwestern University. Her work is published by Smith & Kraus, Heinemann, and Playscripts, Inc.

Cori Thomas is a playwright and actress who lives in New York City. Her plays include: HIS DADDY 2009 River Crosses Rivers at EST and New Federal Theatre. (Smith and Kraus Best Short Plays of 2010);When January Feels Like Summer World Premiere- City Theatre Co. Pittsburgh 2010; Sundance Theatre Lab ‘08 , Momentum 08, Finalist Juilliard Fellowship, Finalist O’Neill Festival, Nominated for Susan Smith Blackburn Prize 08; My Secret Language of Wishes 2011 Mixed Blood Theatre; St Louis Black Rep, Columbia College Chicago, University of Louisville, 2007 Theodore Ward Prize. KY. Pa’s Hat: Liberian Legacy 2010 Pillsbury House Theatre; our lives, our fortunes, and our sacred honor: 2nd Place 2004 Theodore Ward Prize; Lifetime member Acting/Writing of Ensemble Studio Theatre, 2009 Page 73 Fellowship finalist, 2008/2009 Interstate73; Wright on!, New Georges Affiliated Artist ; Cori’s plays have been developed at Sundance Institute, The Goodman Theatre, City Theatre Pittsburgh, Page 73, Rockefeller Brothers Foundation, Playwrights Horizons, EST, New Federal Theatre, Going To The River, Queens Theatre in the Park. Cori is currently working on a commission for South Coast Repertory Theatre.

Lauren Weedman made her television debut on Comedy Central’s Emmy Award-winning THE DAILY SHOW WITH JON STEWART in 2001 as a featured Correspondent. It was at that same time that Lauren was a regular on NPR’s national, political satire show, REWIND and appeared in her solo show, HOMECOMING, Off-Broadway at the Westside Theatre. The New York Times said of Lauren and HOMECOMING, “Like Bob Newhart in his early stand-up routines, she’s particularly good at making her points – and making us feel clever. Most important, she’s just plain funny, physically and verbally”. For two years, Lauren was also a cast member for the long running local-turned-national comedy show ALMOST LIVE for Comedy Central.
After studying, writing and performing in Amsterdam for five years, Lauren returned to the States with a bang. Her first play, HOMECOMING, began as a 15-minute performance art piece that grew into a full-length show that ultimately toured with the Seattle Repertory Theatre. Later that year, HOMECOMING was featured at HBO’s U.S. Comedy Arts Festival in Aspen, Colorado and later found it’s way to New York City. HOMECOMING earned Lauren the honor of being published in Women Playwrights: The Best Plays of 2002. In the fall of 2002, The Empty Space Theatre in Seattle premiered her latest solo work, RASH, directed by Trip Cullman with music by David Russell and produced by Arielle Tepper Productions. Later that year, RASH was recognized by The Seattle Times’ Footlight Awards, with nods for both Best New Play and Best Solo Performance. Both RASH and Lauren received tremendous reviews including “Weedman comes so very close to celebrating indulgence rather than just contemplating it that when she manages to do both things at once, it’s dizzyingly brilliant: She ends up hitting all her targets – including herself (Seattle Weekly) and “Since first turning up on Seattle stages in the early 1990s, Lauren Weedman has proved herself one terrifically funny gal. And more people know that since she moved to New York two years ago and earned some well-deserved breaks in TV and Off-Broadway (The Seattle Times).” In 2004, Lauren’s show WRECKAGE, was selected for The NOW Theatre Festival at the REDCAT Theatre at The Disney Music Hall after a successful run at the Upright Citizens brigade theatre in Los Angeles. It was a LA weekly pick of the week describing Lauren and her work as “breathtaking…a female Robin Williams.” Last year, Lauren’s most recent performance, BUST, was voted Best of the Arts by The Seattle Times, Seattle Magazine and Boise Weekly. Her performance of the show landed her on the cover of LA Weekly’s Comedy Issue. It was her work in BUST that led to her to receive the Alpert Award in the Arts for Playwriting. The award took her to a six week fellowship at the Macdowell Artist Colony in New Hampshire. Her newest show NO..YOU SHUTUP (aka OFF) directed by Jeff Weatherford was commissioned by Boise Contemporary Theater and was featured as a part of Los Angeles’s REDCAT Theater New Works festival in the summer of 2009. Lauren currently lives and performs in Los Angeles. She has appeared multiple times on RENO 911 for Comedy Central, as well as CURB YOUR ENTHUSIASM for HBO. She also starred opposite Eddie Griffin in PRYOR OFFENSES, a Showtime pilot based on the life of Richard Pryor. Last year, Sasquatch Books released her first book, a collection of comedic essays, A WOMAN TRAPPED IN A WOMAN’S BODY (TALES FROM A LIFE OF CRINGE) which the Kirkus Review identified as one of the Top Ten Indy Books of 2007. Lauren recently appeared on the HBO series HUNG as “Horny Patty”, as well as opposite Eddie Murphy in IMAGINE THAT for Paramount. She will next be seen opposite Steve Carell and Tina Fey in the Fox feature DATE NIGHT.

Ken Weitzman’s previous plays include, The As If Body Loop (Humana Festival ’07), Arrangements (Atlantic Theatre Company, Pavement Group), Spin Moves (Summer Play Festival), Stadium 360 (Out of Hand Theater), Memorabilia (Alliance Theatre), Hominid (Theatre Emory), Fire in the Garden (Castillo Theatre). Ken’s plays have also been developed and presented at, among others, New York Stage and Film, Steppenwolf Theatre Company, Playwrights Horizons, Arena Stage, the Geva Theatre, the Mark Taper Forum, Williamstown Theatre Festival, Dad’s Garage, Florida Stage, Page 73 Productions. Ken’s latest play, The Catch, will be part of the Denver Center’s Colorado New Play Summit in February. Commissions: Arena Stage, South Coast Repertory, the Alliance Theatre, Theatre Emory, and Actors Theatre of Louisville. Currently, Ken is the Playwright-in-Residence for Out of Hand Theater Company. Awards: 2003 L. Arnold Weissberger award for Arrangements, the McDonald Playwriting Award for The As If Body Loop (best new play in San Diego), and the Elizabeth George Commission for an Outstanding Emerging Playwright (chosen and awarded by South Coast Repertory Theatre.) Ken received his MFA from the University of California, San Diego, and has taught playwriting at the University of California San Diego, Emory University, and currently at Indiana University.

Samuel Brett Williams hails from Hot Springs, Arkansas, where he was raised in a strict Southern Baptist environment. He received his BA in English and Political Science from Ouachita Baptist University in Arkadelphia, Arkansas, and his MFA in Playwriting from Rutgers University, where he studied under Lee Blessing. Brett’s plays have been developed at the Eugene O’Neill National Playwrights’ Conference, the John F. Kennedy Center for the Performing Arts, the Lark Play Development Center, Naked Angels, Yale University, and P73 Productions. His plays have been produced at Cherry Lane Theatre, Ars Nova, Stageworks/Hudson, Mile Square Theatre, the D.C. Arts Center, and New Orleans Theatre Experiment. Brett is published in Best New American Plays 2004-2005, Best New American Plays 2006-2007, and by Northwestern Press. Recently, he received the Helen Merrill Emerging Playwright Award and a National New Play Network Commission to adapt the book of Revelation into a play. In September of 2010, Project Y will produce his play, The Revival, on Theatre Row. He teaches Basic Composition, Expository Writing, and Playwriting for Rutgers University. Brett is twenty-eight years old.