HEIDI SCHRECK (2009) 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 (2008) 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).

Krista Knight(2007) 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

Jason Grote’s (2006) 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.

Quiara Alegría Hudes’s (2005) 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.

Kirsten Greenidge’s (2004) 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.