Krista Knight’s (2007) play Anaerobic Respiration won the 2005 Southwestern States National Playwriting Contest and was produced in the 2005 New York Fringe Festival. Her short play Apricot Supernovas was published in 14 Hills and was a finalist for the 2006 Humana Festival’s Heideman Award at Actors Theatre of Louisville. Another play, Biotintillation, is currently a finalist for the 2007 Heideman. Her work has been staged at the Ashland New Plays Festival, Dixon Place and The Women’s Work Theatre in New York, LiveGirls! in Seattle, The Attic Theatre in Los Angeles, Harvest Theatre in Toledo, Panoply in Huntsville, Alabama, Goshen College in Indiana, the Pan Theatre in San Francisco, and the Bus Barn Stage Company in Los Altos. It has been developed at Abingdon in New York, First Stage in Los Angeles, the Institute of Contemporary Art in London, and the Magic Theatre and the Playwrights’ Center in San Francisco. Krista has been in Residence at the Atlantic Center for the Arts in Florida and the UCROSS Foundation in Wyoming. She is a graduate of Brown University and the 2007 P73 Playwriting Fellow.

During her fellowship year, Krista worked on her new play Filling with directors Davis McCallum and Lear DeBessonet and actors Jesse Campbell, Teddy Canez, Raul Castillo, Maria Cellario, Marilyn Dodds Frank, Mercedes Herrero, Jon Levenson, Sara Lord, James Martinez, Andres Munar, Tommy Schreider, Matthew Stadelmann and Kira Sternbach.

Jason Grote’s (2006) plays include 1001, This Storm is What We Call Progress, Hamilton Township, Maria/Stuart or Platzangst, and Box Americana. His work has been presented at The 92nd Street Y’s Makor/Steinhardt Center, Baltimore Centerstage, Boston Court, The Brick, CalArts, chashama, Circle X, Clubbed Thumb, The Contemporary American Theater Festival, CUNY’s Prelude ’06 Festival, Denver Center Theater, The Edmonton Fringe, The Eugene O’Neill Playwrights’ Conference, The Fire Dept’s Salon Series, The Flea, The Glej Theater (Ljubljana, Slovenia), HERE, The Lark, The Lincoln Center Directors’ Lab, The NY Fringe, New York Theatre Workshop, The Orchard Project, Page 73, The Playwrights’ Foundation, Playwrights’ Horizons, Portland Center Stage, Rorschach Theater, Salvage Vanguard, Soho Rep, Theater J, Theatre of NOTE, The Williamstown Theater Festival workshop, and The Working Theater, and published in various anthologies. Honors include nominations for the Kesselring Prize and the Weissberger Award; an NEA Grant via Soho Rep; a Sloan Commission from Ensemble Studio Theatre; the P73 Playwriting Fellowship; and “Best New Play” (for 1001) from Denver’s alternative weekly, Westword. Past productions: 1001 in New York (Page 73) and Denver (Denver Performing Arts Center); commissions from Clubbed Thumb and Denver Center; and a collaboration with the performance group Radiohole. He teaches playwriting and screenwriting at Rutgers University, is a member of PEN and New Dramatists, and a contributor to Comedy Central’s “Indecision 2008″ blog.

During his fellowship year, Jason worked on his new plays 1001 with director Liesl Tommy and on This Storm Is What We Call Progress with directors Andrew Grosso and Stephanie Gilman and with actors Stephanie Beatriz, Kate Benson, Jeff Biehl, Aysan Celik, Veronica Cruz, Anita Keal, Jacob Knoll, Stephen Kunken, Charles Parnell, Asif Mandvi, Mia Katigbak and Gordana Rashovich.

Quiara Alegría Hudes’s (2005) was a Pulitzer Prize finalist in 2007 for her play Elliot, A Soldier’s Fugue. She wrote the book for the Broadway-bound In The Heights, which received the Lucille Lortel and Outer Critics Circle Awards for Best Off-Broadway Musical. Other plays include Yemaya’s Belly and her latest drama, 26 Miles. Her children’s book, Barrio ABC’s, will be published by Arthur Levine Books, an imprint of Scholastic, Inc. Hudes holds degrees from Yale and Brown Universities and is a resident writer at New Dramatists. She is originally from West Philadelphia.

Kirsten Greenidge’s (2003-2004) 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.