Official Lineup for the 38th Humana Festival of New American Plays
This year’s Festival program will feature (in order of opening):
Partners Begins February 26
by Dorothy Fortenberry
directed by Lila Neugebauer
Clare has big plans with her best friend Ezra—starting a food truck, making him marry his boyfriend—until an unexpected windfall forces them to face how they truly feel about money and commitment. A witty, incisive look at two young couples struggling with personal finance, the meaning of marriage, and the deeply human capacity for self-sabotage—as they decipher the ongoing mystery of how to be an adult.
About the Playwright
Dorothy Fortenberry’s work has been produced and developed by Arena Stage, Center REP and Oregon Shakespeare Festival, among other theatres. She is working on a commission for Yale Repertory Theatre and writes for the television show The 100. Fortenberry is a winner of the 2011 Helen Merrill Award and holds an M.F.A. from Yale School of Drama.
The Christians Begins March 4
by Lucas Hnath
directed by Les Waters
Twenty years ago, Pastor Paul’s church was nothing more than a modest storefront. Now he presides over a congregation of thousands, with classrooms for Sunday School, a coffee shop in the lobby, and a baptismal font as big as a swimming pool. Today should be a day of celebration. But Paul is about to preach a sermon that will shake the foundations of his church’s belief. A big-little play about faith in America—and the trouble with changing your mind.
About the Playwright
Lucas Hnath’s plays include Red Speedo (Studio Theatre), A Public Reading of an Unproduced Screenplay About the Death of Walt Disney (Soho Rep), nightnight, part of Sleep Rock Thy Brain (2013 Humana Festival), Isaac’s Eye (Ensemble Studio Theatre), Death Tax (2012 Humana Festival, Royal Court Theatre) and The Courtship of Anna Nicole Smith (Actors Theatre of Louisville).
The Grown-Up Begins March 7
by Jordan Harrison
directed by Ken Rus Schmoll
Kai is a ten-year-old boy sitting at his grandfather’s feet, listening to a story. Or else he’s a young television writer weathering the humiliations of the Hollywood rat race. Or else he’s a salty old man in a wheelchair, receiving an award for “not being dead yet.” Has Kai run afoul of some powerful magic, or is he just living an ordinary, too-quick human life? A time-bending, sad, funny adventure about how to survive growing up.
About the Playwright
Jordan Harrison’s previous Humana Festival productions include Kid-Simple, Act a Lady, Fit for Feet and Maple and Vine, which went on to be produced at Playwrights Horizons in New York and A.C.T. in San Francisco. His play Marjorie Prime will premiere in fall 2014 at the Mark Taper Forum. Harrison is the recipient of a Guggenheim Fellowship and a Hodder Fellowship.
brownsville song (b-side for tray) Begins March 14
by Kimber Lee
directed by Meredith McDonough
Tray is only 18 when an act of senseless violence in his Brooklyn neighborhood brings his young life to a halt, leaving his family to grapple with the weight of his absence. In brownsville song time moves in scattered rhythms, pivoting unpredictably between before and after, as Tray’s loved ones stumble through loss, find each other, and fight their way toward hope.
About the Playwright
Kimber Lee’s plays include fight, tokyo fish story and brownsville song (b-side for tray). In May 2014, Center Theatre Group will present the world premiere of her play different words for the same thing. Lee’s work has been presented by The Lark, Page 73, Hedgebrook, Seven Devils and the Bay Area Playwrights Festival. She is a member of the Ma-Yi Writers Lab and is the 2013 PONY Fellow.
Actors Theatre of Louisville and SITI Company present Begins March 19
Directed by Anne Bogart
Music and Lyrics by Julia Wolfe
Original Text by Kia Corthron, Will Power, Carl Hancock Rux and Regina Taylor
Recorded Music performed by Bang on a Can All-Stars and Trio Mediaeval
Performed and Created by SITI Company
The legend of John Henry, deeply rooted in Appalachian folklore surrounding the construction of the American railroad, has existed in many variations and forms—from illustration to tall tale, political polemic to popular song. With music from Bang on a Can’s Julia Wolfe, and incorporating text from four remarkable playwrights, Anne Bogart and SITI Company explore the human impulse to tell stories through the rich tales surrounding this American folk hero.
About the Playwrights
Regina Taylor’s Crowns is one of the country’s most performed musicals, and recently she wrote and directed stop. reset. at Signature Theatre, where she is a resident playwright. She is an Artistic Associate at the Goodman Theatre. Taylor has many stage and screen credits, and starred in Television’s I’ll Fly Away (Golden Globe) and The Unit. ReginaTaylor.com
Anne Bogart is the Artistic Director of SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a Professor at Columbia University where she runs the Graduate Directing Program. Works with SITI include A Rite, Café Variations, Trojan Women (After Euripides), American Document, Antigone, Under Construction, Freshwater, Who Do You Think You Are, Radio Macbeth, Hotel Cassiopeia, Death and the Ploughman, La Dispute, Score, bobrauschenbergamerica, Room, War of the Worlds–the Radio Play, Cabin Pressure, Alice’s Adventures, Culture of Desire, Bob, Going, Going, Gone, Small Lives/Big Dreams, The Medium, Noel Coward’s Hay Fever and Private Lives, August Strindberg’s Miss Julie, and Charles Mee’s Orestes. She is the author of five books: A Director Prepares; The Viewpoints Book; And Then, You Act; Conversations with Anne and upcoming, What’s the Story.
Kia Corthron’s previous Humana Festival productions include Moot the Messenger, Slide Glide the Slippery Slope and The Open Road Anthology. Regionally, her work includes Snapshot Silhouette (Children’s Theatre Company), Slide Glide the Slippery Slope (Mark Taper Forum), The Venus de Milo Is Armed (Alabama Shakespeare Festival), Breath, Boom (Huntington Theatre Company, Yale Repertory Theatre), Splash Hatch on the E Going Down (Yale Repertory Theatre, Center Stage, New York Stage & Film), Digging Eleven (Hartford Stage) and Seeking the Genesis (Goodman Theatre). Other production credits include: A Cool Dip in the Barren Saharan Crick (Playwrights Horizons/Play Company/Culture Project), Trickle (Ensemble Studio Theatre), Light Raise the Roof (New York Theatre Workshop), Breath, Boom (Playwrights Horizons), Force Continuum (Atlantic Theater Company) and Seeking the Genesis (Manhattan Theatre Club and the Royal Court, Donmar Warehouse in London.) Corthron is the recipient of a McKnight National Residency and The Callaway and Fadiman Awards and aNational Endowment of the Arts/TCG Residency. She has also received the Writers Guild and Edgar Allan Poe awards for The Wire. She is an alumnus of New Dramatists and serves on the Dramatists Guild Council.
Carl Hancock Rux’s work has been presented at McCarter Theatre, Walker Arts Center, Penumbra Theatre and Off-Broadway at Lincoln Center Theater, The Public Theater, Playwrights Horizons, 651 Arts and BAM’s Next Wave Festival. Rux’s work has also been produced at Maison des arts de Créteil; Montclair State College; Hong Kong Arts Festival; Esplanade Theatre of Singapore; Scuola di Danza Mimma Testa in Trastevere and Teatro de natal infantil Raffaelly Beligni. Rux has received an Obie Award, an Alpert Award in the Arts, a New York Press Club Journalism Award for Entertainment News, is a NYFA Gregory Millard Fellow, the recipient of a New York Foundation for the Arts Prize and a CINE Golden Eagle Film and Video Award. Published works include: Pagan Operetta (SemioText), Talk (TCG) and Asphalt (Simon & Schuster).
Julia Wolfe’s music draws inspiration from folk, classical, and rock genres, bringing a modern sensibility to each while simultaneously tearing down the walls between them. Wolfe’s music is distinguished by an intense physicality and a relentless power that pushes performers to extremes and demands attention from the audience. In the words of The Wall Street Journal, Wolfe has “long inhabited a terrain of [her] own, a place where classical forms are recharged by the repetitive patterns of minimalism and the driving energy of rock.” Her music has been heard in venues worldwide including BAM, the Sydney Olympic Arts Festival, Theatre de la Ville, Lincoln Center and Carnegie Hall, and has been recorded on Cantaloupe, Teldec, Point/Universal, Sony Classical, and Argo/Decca.
Will Power’s work regionally includes The Seven (La Jolla Playhouse), Flow (Children’s Theatre Company, Studio Theatre) and Five Fingers of Funk (Children’s Theatre Company). Off-Broadway credits include: Fetch Clay Make Man, The Seven, Flow (New York Theatre Workshop) and The Gathering (PS 122). Power’s numerous film and television appearances include: Drylongso (Sundance), Bill Moyers on Faith and Reason, Theatre Talk and The Colbert Report. His awards include a Lucille Lortel Award for Best Musical and the TCG Peter Zeisler Memorial Award, and he is a U.S.A Fellow. As a guest of the State Department, Power traveled to South Africa, Botswana, Lesotho, Turkmenistan and Kyrgyzstan. Power is on the faculty at Southern Methodist University and is the Andrew W. Mellon Playwright in Residence at the Dallas Theater Center.
Remix 38 Begins March 21
by Jackie Sibblies Drury, Idris Goodwin, Basil Kreimendahl, Justin Kuritzkes, and Amelia Roper
directed by Ian Frank
performed by the 2013-2014 Acting Apprentice Company
commissioned by Actors Theatre of Louisville
In honor of Actors Theatre’s 50th Anniversary Season, we’ve commissioned five adventurous writers to craft a fresh and diverse evening of short pieces, inspired by iconic plays from throughout the Humana Festival’s 38-year history. Created for the Acting Apprentice Company, this playful experiment pays homage to the groundbreaking work of Festivals past, while celebrating singular voices blazing new trails of their own.
About the Playwrights
Jackie Sibblies Drury’s plays include We Are Proud to Present a Presentation… and Social Creatures. Her work has been presented at Victory Gardens, Soho Rep, Trinity Repertory, Woolly Mammoth and The Bush (London), among others; and developed at Sundance, The Ground Floor at Berkeley Repertory, Prelude.11, New York Theatre Workshop and The Bay Area Playwrights Festival. She was a Van Lier Fellow at New Dramatists and is currently a Jerome New York Fellow at The Lark.
Idris Goodwin is the author of the critically acclaimed How We Got On, which made its debut in Actors Theatre of Louisville’s 2012 Humana Festival. Goodwin is currently developing new plays with Denver Center Theatre Company, Steppenwolf Theatre Company and StageOne Family Theatre. He teaches performance writing and Hip Hop aesthetics at Colorado College.
Basil Kreimendahl’s plays have been developed by The O’Neill National Playwrights Conference, New York Theatre Workshop, La Jolla Playhouse, About Face Theatre, The Lark and Oregon Shakespeare Festival. Sidewinders premiered this year at Cutting Ball Theater where it won the Rella Lossy Playwright Award. Kreimendahl is currently a Jerome Fellow and is a 2013 M.F.A. graduate from the University of Iowa.
Justin Kuritzkes’ plays have been produced and developed at venues including New York Theatre Workshop, the Brecht Forum, Colt Coeur, Dixon Place and the New York International Fringe Festival. Kuritzkes is a MacDowell Colony Fellow, an Edward F. Albee Foundation Fellow and a member of SPACE on Ryder Farm’s inaugural writers’ group: The Working Farm.
Amelia Roper is currently writing for Yale Repertory Theatre, Berkeley Repertory Theatre, Soho Rep’s Writer/ Director Lab and The Rose. Roper recently graduated from the Yale School of Drama and has worked in Australia, Russia and the United Kingdom.
Click on each play title for additional information.
Ticket packages will go on sale Tuesday, November 12
Single Tickets will go on sale Thursday, November 14