Bios: Artists, Special Projects
Elizabeth Bosjza, graduated from Stony Brook University’s MFA dramaturgy program in 2004, and has stayed on at Stony Brook as an adjunct faculty member. She teaches play analysis, American Theatre, and Prevention Through the Arts as well as other courses. Ms. Bojsza received the Stony Brook University’s John Gassner Award for Dramaturgy in 2004. On days she is not teaching, Ms. Bojsza is fulfilling her responsibilities as Literary Manager of Young Playwrights Inc, a non-profit theatre company founded by Stephen Sondheim and dedicated to fostering the development of playwrights 18 years of age and younger. She also works professionally as a dramaturg and director of community performance projects.
Linsey Bostwick, is a freelance video designer, production manager and educator. She has worked internationally with performance company Big Art Group (www.bigartgroup.com) since 2002. She has also toured with Cynthia Hopkins (www.accinosco.com) and choreographer Susan Marshall (http://susanmarshallandcompany.org) among others. She has been a guest lecturer at NYU Playwrights Horizons school, adjunct professor at Brooklyn College, director at Vassar’s Powerhouse theatre program, and teaching artist with many theatre company in New York. Bostwick recently premiered her theatre/dance piece, Times Two, at the Mabou Mines space in New York. She has collaborated on video design with Aaron Rhyne on the premiere of “Bonnie and Clyde” at La Jolla Playhouse and “Jerry Springer the Opera” at Carnegie Hall among other projects. She is the resident video artist with Lynn Thomson’s America- in-Play. Bostwick holds an MFA from Brooklyn College in Performance and Interactive Media Arts.
Erin Browne‘s A Meth Play was the recipient of the 2008 International Student Playscript Award at NSDF and was a finalist for the BBC Worldservice International Playwriting Competition. Lucky in Love has played at Columbia as part of the Torture Project, at Adelphi University, at the Brecht forum through Brooklyn Playwrights Collective, and in Spork Fest. Could was in Sticky: Bowery Poetry Club, and God Exitswas in Sticky: Galapagos. The Blahs and A Party Story were in Gone in 60 Seconds, Harrogate Theatre. 30 Patriot Actors: Playing Real People was in ColumbiaÕs Patriot Project and was in Poliglot Theater’s Riot Act. Not As of Yet received a reading at the Abingdon Theater. Hence was read at The Flea. Browne has been working on Tryingand Narrator 1. She is a graduate of NYU: Tisch School of the Arts and earned an MFA from Columbia University. Browne works in television and education.
Laura Eason is the author of more than fifteen plays, both original work and adaptations. She is an Affiliated Artist and Kitchen Cabinet member of New Georges, a playwright member of the Women’s Project Lab, and an Ensemble Member and the former Artistic Director of Lookingglass Theatre Company, Chicago. Her plays have been produced in New York by 59E59, Vital Theatre, The Thursday Problem/Working Man’s Clothes, and Andhow Theater, and regionally by Steppenwolf (three productions), Lookingglass (four productions), Two River, Walkabout, and Touchstone Theatres, among others. Her plays have been developed in New York at MCC, New York Theatre Workshop, and New Georges, and are published by Broadway Play Publishing where she was named playwright of the year in 2007. Eason is a graduate of the Performance Studies Department of Northwestern University. Originally from Chicago, she now lives in Brooklyn, NY. www.lauraeason.com.
C.S. Hanson’s play Falutin, developed thanks to a commission from America-in-Play, is a Heideman finalist at Actors Theatre of Louisville. Her plays have been produced at Theatre for the New City, Metropolitan Playhouse, 3Graces, Manhattan Theatre Source, Samuel French Festival, Around The Block/Al Doblar La Esquina, American Globe/Turnip Theatre, Pittsburgh New Works, Little Theatre of Rockville, and Muse of Fire. HansonÕs plays have been developed at Ensemble Studio Theatre, Abingdon Theater, LaMaMa, New Jersey Rep, The Barrow Group, Naked Angels (Tuesdays@9), Living Image Arts, and FirstStage/L.A. Awards/honors from Actors Theatre of Louisville (two-time Heideman finalist), Drury University, Scriptapalooza, Moondance Film Festival, Moving Arts – LA, PlayLabs Festival, Stage 3 Theatre Festival, and EST (Marathon finalist). Member, Dramatists Guild of America.
Rob Hartmann is a composer, lyricist, and bookwriter; he has been a member of the faculty of New York University’s Graduate Musical Theater Writing Program since 1999. His work has been produced across the country, including in New York (Carnegie Hall), Chicago, Los Angeles, Minneapolis, Seattle, and Nashville. Hartmann has written over a dozen articles on theater for the Encyclopedia Americana, including the revision and expansion of Ethan Mordden’s article on musical theater history. He has lectured on musical theater history at Lincoln Center, and has also written a number of study guides for Broadway productions, including Wicked, Titanic, 1776, Kiss Me Kate, Amadeus,Aida, Jane Eyre, 42nd Street, Copenhagen, Into the Woods, and Hairspray. Currently he is at work on the score of a new musical about the Galveston hurricane of 1900, which will premiere at American Stage in Florida in the fall of 2009.
Laura Henry‘s plays have been produced or workshopped at theatres across the country that include the Hangar Theatre, Cleveland Public Theatre, Centenary Stage Company, Echo Theatre, and OpenStage Theatre & Co. Laura has received fellowships from Cornerstone Theater Company, the Edward Albee Foundation, and the Dramatists Guild. She is a graduate of the MFA playwriting program at the University of California, San Diego, and is currently a teaching artist for Theatre for a New Audience and Playwrights Theatre of New Jersey.
Leeanne Hutchison, has been an actress with AIP from close to its beginnings in 2005, after Lynn Thomson “discovered” her playing Euridice at the HERE Arts Center in AIP-Alum Stephanie Fleischmann and Kristin Marting’s musical adaptation of Orpheus. LeeAnne just wrapped her own short film as well as the independent feature One Fall opposite Dominic Fumusa and Jim McCaffrey. She is also developing the role of Young Clarissa in Septimus and Clarissa, Ellen McLaughlin’s new stage adaptation of the Virginia Wolff novel “Mrs. Dalloway,” at Classic Stage Company, NYC. Favorite stage experiences include Blanche/A Streetcar Named Desire (WV Public Theater), Helena/A Midsummer Night’s Dream (Hamptons Shakespeare Festival), Mary Brenham/Our Country’s Good (The Culture Project), Bertha Dorset/Innocents (Ohio Theater, NYC), Alice/Vinegar Tom (Chelsea Rep), Rosalind/As You Like It (Red Barn Theater, MA), Viola/Twelfth Night (Chelsea Rep) and RubyMae in T.Cat Ford’s Pow’r in the Blood. LeeAnne hails from Athens, GA, got her BA in Theater from Smith College, serves on the Board of Voice & Vision Theater, and is a grateful member of both Actors Equity and The Actors Center Workshop Company, which is her creative home.
David Johnston‘s plays have been performed and read at the New Group, Moving Arts, Rude Guerrilla, the Neighborhood Playhouse, Ensemble Studio Theatre, and Wellfleet Harbor Actors Theatre. Previous NYC productions include Busted Jesus Comix, an adaptation of The Oresteia; The Standards of Decency Project; Happy Endings; George Dubya and the Xmas of Evil (all with Blue Coyote Theater Group); and Candy & Dorothy, directed by Kevin Newbury. Member: Dramatists Guild, Blue Coyote Theater Group, Actors Equity, and Charles Maryan’s Playwrights/Directors Workshop. Playwriting awards include the Playwright Residency at the University of Cincinnati, and awards from the Ludwig Vogelstein Foundation, the Arch & Bruce Brown Foundation, the Berrilla Kerr Foundation, Theater Oxford Ten-Minute Play Contest, and GLAAD. Publications: The Eumenides, (Playing With Canons, published by New York Theatre Experience, Inc.), Leaving Tangier (Samuel French), and A Funeral Home in Brooklyn(Smith & Kraus.)
Andrea Lepcio‘s Looking For the Pony will be presented in a “Rolling World Premiere” at Vital Theatre Company in New York City and Synchronicity Performance Group in Atlanta in 2009. One Nation Under was presented by Three Chicks Theatre in August of 2008. Additional 2008 New York productions include Dyke Patrol at New Perspectives Theatre and Tumble Jumble at Estrogenius. Lepcio holds an M.F.A. in Dramatic Writing from Carnegie Mellon University where she is a visiting faculty member. She is also Program Director of the Dramatists Guild Fellows.
Quincy Long‘s NY theatre credits include People be Heard, Playwrights Horizons; The Joy of Going Somewhere Definite, Shaker Heights, and The Virgin Molly, The Atlantic;The Year of the Baby and Yokohama Duty, Soho Rep; The Johnstown Vindicator, The Harold Clurman; Something About Baseball, Ensemble Studio Theatre. Regional credits include The Lively Lad, Actors Theatre of Louisville and New York Stage and Film; The Joy of Going Somewhere Definite, Mark Taper Forum, Magic Theatre, and others; The Virgin Molly, Berkeley Rep. Awards: Kennedy Center Fund for New American Plays; ASCAP/Cole Porter Prize for Playwriting; Finalist, Outer Circle Drama Critics Award, Kesselring Prize. Projects slated for 2007: The Only Child at South Coast Rep, and Horse Opera, commissioned by The Woolly Mammoth Theatre and The Empty Space. Long is a graduate of The Yale School of Drama and a member of New Dramatists, E.S.T., and the Playwrights Unit at the Actors Studio.
Kate McLeod‘s plays have been seen at Ensemble Studio Theatre, Looking Glass, and The Flea, as well as in regional and New York festivals such as Midtown, Noor, Northern Writes, and Actors’ Ensemble. Her plays have been produced in London and Alaska. She has received playwriting residencies at Jentel Artists Residency Program and Ledig House, and she is a member of America-in-Play. McLeod is a playwright, journalist, and author. Dramatists Guild; MFA, Catholic University.
Sarah Stern, is the Associate Artistic Director of the Vineyard Theatre, an off-Broadway theatre company dedicated to the development and production of new plays and musicals. She has directed, dramaturged, or devised new work with New Georges, Clubbed Thumb, Voice and Vision, Exiles Theatre in Northern Ireland, Summerscape/Bard College, Atlantic Theatre Company New Works, chashama, Cherry Lane, Cornell University, HB Playwrights, NY Fringe Festival, and more. She is delighted to be part of America-in-Play, and to have an outlet for her interest in American cultural history.
Dominic Taylor is a writer, director, and professor of playwriting. His plays have been developed by Ensemble Studio Theatre, Playwrights Horizons, The Public Theater, Hartford Stage, New York Theatre Workshop, The Goodman Theatre, Steppenwolf Theatre, Crossroads Theatre, The African Continuum Theatre, and The Kennedy Center, among others. Published plays include Personal History, Wedding Dance, and UpCity Service(s). Taylor directed the cantata Negroes Burial Ground (libretto by Ann Greene, music by Leroy Jenkins) at The Kitchen, and the parody Uppa Creek (by Keli Garrett) at Dixon Place. He is a member playwright as well as a board member of New Dramatists, and a Usual Suspect with NY Theatre Workshop. Taylor was previously an Assistant Professor of Theatre at Bard College. He is now Associate Artistic Director of Penumbra Theatre and an Assistant Professor in Directing at the University of Minnesota.
Susan Tenneriello‘s plays include Banana and Booh in Security, America-in-Play commission, 2007 Spring Festival at Tribeca Performing Arts Center; Tick Tock, Paper Beats Rock series; He Who Makes Water, Each to Each, What If You Never Saw the Moon Again? and Grave Matter. This season her work will be presented at the Casa Italiana Zerilli-Marimo, NYU. She writes extensively on theater, dance, and visual art, pursuing interdisciplinary work in cultural aesthetics. Recent publications include “The Industry of Spectacle Entertainment: Imre Kiralfy’s Grand Dramatic Historical Productions of The Fall of Babylon and Nero, or the Destruction of Rome in Staten Island, Journal of American Drama and Theatre 19:3 (Fall 2007). Her performance criticism appears in Theatre Journal, Women and Performance, Slavic and East European Performance, and PSA, The Journal of the Pirandello Society of America. She is Assistant Professor in the Fine and Performing Arts Department at Baruch College.
DeLora Whitney is the recipient of a commission from Mad River Theater Works; the resulting play, The Lay of the Land, is touring historic Ohio barns in Fall 2008. Her playAdam & Evey was performed for FutureFest 2008 at Dayton Playhouse. The Visit was a finalist in the 2008 33rd Annual Samuel French Off-Off Broadway Short Play Festival; and The Never Simple Truth was a semi-finalist for the 2008 O’Neill festival. Malhado: The Storm of a Century, conceived and developed with Ensemble Studio Theatre’s Actor/Director Lab, was produced at the Strand Theatre in Galveston, TX. Whitney has served as the Readings and Workshops Coordinator for New York Stage & Film and the Associate Program Director for the Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project. She received her M.F.A. in Playwriting from the New School and is a proud member of the Dramatists Guild.