People and Places

Julie Fei-Fan Balzer, Artistic Director of The Milk Can Theatre Company, directed the workshop and the showcase of “Mushroom in Her Hands,” the showcase of “Kansas Faust” and a staged reading of the one-act version of “The Red Variations.”

Terry Berliner directed “The Player King Musical.”

Michael Butler directed the Juilliard workshop of “The New York Play,” and he’s now Artistic Director of the Center Repertory Company.

Composer Alan Cancelino wrote the wonderful music for “Kansas Faust.”

Rych Curtiss is the best lighting designer I know. He designed the earlier incarnation of “Let Nothing You Dismay,” ”Maura and Katinka,” and I interviewed him for “Stage Directions” magazine.

I’ve been a member of the Dramatists Guild of America for 20 years, the professional association of playwrights, lyricists, and composers.

Dramasource publishes my children’s play, “The White Cat.” You can read it for free on their site.

Marija Djordjevic did the fabulous costumes for the Milk Can Theatre showcase of “Mushroom in Her Hands.”

The Edward F. Albee Foundation’s William Flanagan Memorial Creative Persons Center is the best place to write in the world.

Peter Ellenstein directed a reading of “Geography” at the Inge Festival.

The lovely Tamara Fisch (www.tamarafisch.com) directed the first production of the first version of “The Red Variation.”

Joel Froomkin won the Fringe Festival Award for Best Direction in ’06, and has done great dramaturgy work on “Let Nothing You Dismay” (and came up with the title, too).

Tom Galati designed the site—check out another of his sites at Decorum Talent.

Meganne George designed sets and costumes for the earlier incarnation of “Let Nothing You Dismay” and “Maura and Katinka.”

My monologue “Robin” is in “Monologues for Women, By Women, Vol. 1” published by Heinemann.

The Drama Division of The Juilliard School workshopped “The New York Play.”

Jessica Katz took the photos of “The New York Play.”

M.L. Kinney, currently at The Milk Can Theatre Company, and I first worked together at Hampshire College. She directed the earlier incarnation of “Let Nothing You Dismay,” “Maura and Katinka,” “Acquired Deficiency,” and “Strike Two.”

The Lewis Carroll Society was very helpful during the New York showcase run of “Mushroom in Her Hands.” The play and materials from the production are in their archive.

My fellow Edward F. Albee Foundation Fellow, Jacob Ouillette, is a wonderful painter. I own one of his Cape Cod watercolors. You can see his work at http://jacobouillette.com. I am particularly fond of his untitled Montauk series, because I watched him paint them.

Michel Ostaszewski designed the hats for “Mushroom in Her Hands,” the set for “The Hamlet Plays” and took the photos as well.

Fitz Patton wrote original music and sound designed “The New York Play” in its Juilliard incarnation.

I was one of the first playwrights-in-residence at The Acting Studio/Chelsea Rep. Artistic Director James Price was my Meisner Technique instructor at the Trinity Rep Conservatory.

Lauren Reinhard directed “La Leçon de Musique.” 

James Robinson, who often works at the NewGate Theatre, Providence, RI, and I were scene partners our first year at the Trinity Rep Conservatory. He directed the one-act version of “It’s Called Development” and “The New World Order.”

Some of my short plays are listed on Lewis W. Heniford’s handy Small-Cast One-Act Guide site.

Smith & Kraus are publishing three ten-minute plays of mine in three upcoming anthologies: “Body Shop,” 2006: The Best 10-Minute Plays for 3 or More Actors; “The New World Order,” 2006: The Best 10-Minute Plays for 2 Actors; “It’s Called Development,” 2005: The Best 10-Minute Plays for 3 or More Actors, all due out in 2007.

Tristate Actors Theater did a staged reading of “Geography” in November 2006.

The multi-faceted Douglas Wagner directed a reading of my first full-length play, and did a hilarious sound design for the earlier incarnation of “Let Nothing You Dismay.”