A “gorgeous” world premiere theatrical adventure.
April Matthis as Not Sheila.
Polly Lee as DT.


“Gorgeous!  Poignant and transporting and sly… Matthis exudes vulnerability, self-effacing humor, and a crackling intelligence.” — New York Theatre Review

April Matthis is “beautifully mordant!”  Polly Lee is “amusingly frenetic!”
“Aesthetic pleasures surface… and NOT WATER may push people to reflect
on their own relationship with water.” — The New York Times

“[A] deliberately provocative object… by turns poetic, immersive, maddening,
opaque, luminous, clever, and heartbreaking.” — Exeunt

“Clearly delineates the personal, human cost of ignoring the signs of the darkening clouds around us… in that moment we understand how intimate theater can address something monumental.” — The Village Voice

Thru Friday June 30 only!
Days, times & special events below!

June 23 / 4pm & 9pm   skip outta work Friday matinee + the late-night show!
June 24 / 7:30pm
June 25 / 12:30pm  with Sunday brunch in the gallery starting at 11:30!

June 27 /
7:30pm  followed by The 10-Year Process — a conversation with (NOT) WATER collaborators open to all
June 28 / 8:30pm
June 29 /
June 30 /

The Works on Water gallery — inaugural triennial, no less! — is open 45 minutes before curtain, in the same space as the play!  Come early (or stay late: free beer + gallery hang-out after every performance!).

“Are you the type of person who drinks water on a daily basis? Brushes your teeth, bathes, cooks noodles with relative frequency? Eats fish? Flushes your toilet? Washes (or pays someone else to wash) your clothes? Yeah, I thought so. This play has something for you, and you owe it to yourself to find out what it is.”
— The Haiku Guys & Gals


Sheila Callaghan & Daniella Topol’s
epic exploration
of their epic exploration
of an element so epic
it’s taken a decade to explore
is a large-scale, immersive theater piece that addresses humanity’s relationship to water in the face of profound environmental change

a world premiere play
co-conceived by Sheila Callaghan & Daniella Topol
by Sheila Callaghan, directed by Daniella Topol
associate playwright: Liza Birkenmeier

with Rebecca Hart, Carmen M. Herlihy, Ethan Hova, Polly Lee, April Matthis
and Mike Shapiro 

design by Deb O (set), Ari Fulton (costumes), Barbara Samuels (lights),
Broken Chord (music and sound) and Cory Einbinder (video)

production stage manager Danielle Teague-Daniels  
assistant stage manager Andrea Jess Berkey       line producer Lara Gold,
production manager Rebecca Key    assistant director Daniella Caggiano,
science dramaturgy by Guerilla Science  general collaborator Susan Bernfield
press rep Emily Owens

Polly Lee and April Matthis (left, with Topol and Callaghan) have played many roles over many years in many processes of developing this play… in this year’s ultimate revision, they get to play the ultimate parts. They’re both New Georges friends and alums, and we’re so happy to have them back.

We thank the many glorious and committed artists whose contributions to this play have been invaluable: the original design team of Mimi Lien, Tyler Micoleau, Katie Down and Leah Gelpe, and more recently Louisa Thompson, design dramaturg of our June 2016 workshop; and actors who include Carolyn Baeumler, Jeff Biehl, Oliver Burns, Michael Cullen, Jessica Dickey, Andrew Garman, Adam Green, Anna Gutto, KK Moggie and Monica Risi.  Its many-phased development was supported by HERE Arts Center, Baryshnikov Arts Center, Solar One, Vicious Bear Productions, Epic Theater Ensemble and The Flea!

Conversation: THE 10-YEAR PROCESS: Callaghan, Topol & their collaborators
directly following the performance on Tuesday June 27

and Liza Birkenmeier’s PAGEANT: a super casual reading of a play-(almost)-within-a-play
happens twice post-show: June 16 (Bloomsday!) and June 29
(NOT) WATER associate playwright Birkenmeier makes a contribution so big and beautiful it stands alone… we’re going to play around with it after the show!

Meet the company!
Sheila Callaghan
’s plays have been produced and developed with Soho Rep, Playwrights Horizons, Yale Rep, South Coast Rep, New Georges, Clubbed Thumb, The LARK, Actor’s Theatre of Louisville, The Flea, Woolly Mammoth, Boston Court, and Rattlestick Playwright’s Theatre, among others. Sheila is the recipient of the Princess Grace Award for emerging artists, a Jerome Fellowship from the Playwright’s Center in Minneapolis, a MacDowell Residency, a Cherry Lane Mentorship Fellowship, the Susan Smith Blackburn Prize, and the prestigious Whiting Award. Her plays have been produced internationally in New Zealand, Australia, Norway, Germany, Portugal, and the Czech Republic. These include SCAB, CRAWL FADE TO WHITE, CRUMBLE (Lay Me Down, Justin Timberlake), WE ARE NOT THESE HANDS, DEAD CITY, LASCIVIOUS SOMETHING, KATE CRACKERNUTS, THAT PRETTY PRETTY; OR, THE RAPE PLAY, FEVER/DREAM, EVERYTHING YOU TOUCH, ROADKILL CONFIDENTIAL, ELEVADA, BED, and WOMEN LAUGHING ALONE WITH SALAD. She is published by Playscripts.com and Samuel French, and several of her collected works are published by Counterpoint Press. She has taught playwriting at Columbia University, The University of Rochester, The College of New Jersey, Florida State University, and Spalding University. Sheila is an affiliated artist of New George and Clubbed Thumb, a member of the Obie winning playwright’s organization 13P, and an alumni of New Dramatists. She is currently a writer/producer on the hit Showtime comedy Shameless and a founder of the feminist activist group The Kilroys. She was nominated for a 2016 Golden Globe for her work on the Hulu comedy series Casual and a 2017 WGA Award for her Shameless\ episode “I Am A Storm.”

Daniella Topol  World-premiere productions include: Martyna Majok’s Ironbound (Rattlestick; Roundhouse; Steppenwolf’s First Look, NY Times Critics’ Pick), Jessica Dickey’s Charles Ives Take Me Home (Rattlestick) and Row After Row (Women’s Project), Cori Thomas’ When January Feels Like Summer (EST/P73/WP Theater; NY Times Critics’ Pick), Rachel Bonds’Five Mile Lake (South Coast Rep), Sheila Callaghan’s Dead City (New Georges) and Lascivious Something (WP Theater), Rajiv Joseph’s Monster at the Door (Alley Theatre), Tony Meneses’ Guadalupe in the Guest Room (Two River), Catherine Treischmann’s How the World Began (South Coast Rep and WP Theater), Lloyd Suh’s Jesus in India (MaYi and Magic). Topol has been the Artistic Program Director of the Lark Play Development Center, New Works Program Director of the National Alliance for Musical Theatre, and Associate Producing Director of City Theatre. She is a graduate of Carnegie Mellon’s Directing Program where she also has a Masters in Arts Management. She is currently a member of the board of the Lark Play Development Center. She is an NYTW Usual Suspect, member of EST, a Women’s Project Lab alumnus, and a New Georges affiliated artist.

Liza Birkenmeier is a member of the 2016-2017 Emerging Writers Group at the Public Theater and a Playwrights Realm Writing Fellow. She is an alum of Play Group at Ars Nova and a New Georges Affiliated Artist. Her work has been seen or heard at Ars Nova, The Working Theater, BAX, The San Diego Museum of Art, Los Angeles Contemporary Exhibitions, The Catch Series, Prelude, Rattlestick Playwrights Theater, Dixon Place, The Invisible Dog, New Georges, The San Francisco Playhouse, City Theatre in Pittsburgh, and the Classic Coin Laundry. She has had residencies at the MacDowell Colony and the Millay Colony. She received her BA from Washington University in St. Louis and her MFA from Carnegie Mellon. She lives in Greenpoint, Brooklyn.

April Matthis With New Georges: Anna Bella Eema, Dead City, Good Heif. Off-Broadway: Signature Theatre, Playwrights Horizons, The Public, Labyrinth, Elevator Repair Service/NYTW, LCT3, Soho Rep, Ma-Yi. Regional: Yale Rep, Humana, Rude Mechs. Film/Video: Wendell and the Lemon, Black Card (HBO/Cinemax), Anohni’s HOPELESSNESS Tour. OBIE Award for Sustained Excellence of Performance, Ruth Maleczech Award.

Polly Lee was seen most recently on The Americans (FX).  She was last seen at New Georges in Nightlands by Sylvan Oswald. Other NY theater includes Lincoln Center Theater, Ensemble Studio Theater, Clubbed Thumb, HERE Arts Center and Little Lord among others. Regional: ART, Yale Rep., La Jolla Playhouse, Humana Festival, Passage Theatre, O’Neill Playwrights Conference, Gloucester Stage Co., McCarter Theatre, Wilma Theatre, Repertory Theatre of St. Louis, Studio Arena and more. Film & TV: Gotham, Baggage (Extraordinary Alien Prod) Butterflies of Bill Baker (I Laugh I Cry Prods), The Americans (recurring), Chicago Med, Younger  (recurring), Donny!, Alpha House. Proud member of EST, Rising Phoenix Rep., AEA and an affiliated artist of Clubbed Thumb.

Mike Shapiro Theatre projects with New Georges, Soho Rep, Clubbed Thumb, PearlDamour, The Flea, Little Theatre, Annex Theatre, Seattle Rep, New City Theatre and The Playhouse (Londonderry, N.I.) on plays by Ethan Lipton, Anne Washburn, Peggy Stafford, Kristen Kosmas, Jeff Jones, Lisa D’Amour, Erin Courtney, David Adjmi and Erik Ehn. Screen credits include HBO’s Last Week Tonight, Robert DeNiro’s The Good Shepherd, Georgia, Day Zero, and Late Night With Conan O’Brien. Mike also writes songs and performs with the bands Dirty Waltz and 9 Pound Hammer. www.MikeShapiro.com.

Rebecca Hart  Productions with Target Margin, Clubbed Thumb, New Georges, and The Civilians (Associate Artist), and numerous regional credits including the 35th and 37th Humana Festivals (Actors Theatre of Louisville). She is the female lead in the indie film “Wendell & the Lemon” (SlamDance Fest 2015) and can be seen playing guitar and sulking in Jason Reitman & Diablo Cody’s “Young Adult”. She has made songs for productions with The Civilians, Target Margin Theatre, the New Ohio’s Ice Factory Festival, the Spkrbox Festival in Oslo Norway, and the National Alliance for Music Theatre (NAMT) Conference 2014. As a singer/songwriter/composer, she is a regular at venues like The Rockwood Music Hall and Joe’s Pub  and sings frequently with Brooklyn-based folk outfit the Dirty Waltz Band (also featuring Mike Shapiro).  She is currently collaborating with acclaimed cellist/songwriter Ben Sollee on a new recording.

Ethan Hova New York/US: Intelligence (Arena Stage), Guards at the Taj (Woolly Mammoth), Metrocards (Ensemble Studio Theatre), The Wong Kids…! (Ma Yi), The 28 Hours Plays (McCarter Theatre), Water by the Spoonful (Premiere Stages), Magic Trick (Caps Lock Theatre), The Further Adventures of Hedda Gabler (Exit, Pursued by a Bear). TV/Film: The Blacklist, ER, E-Ring, Accepted. Ethan is a founding member of Exit, Pursued by a Bear and a member of Ensemble Studio Theatre. BFA: Carnegie Mellon University.

Carmen M. Herlihy‘s New York City theater includes Kingdom Come (Roundabout) The Tomb of King Tot (Clubbed Thumb), Doctor Faustus (Classic Stage), Bachelorette (Second Stage), Five Genocides (Clubbed Thumb), Buffalo Gal (Primary Stages), crooked (Women’s Project; Lucille Lortel Nomination for Outstanding  Lead Actress), The Piano Teacher (Vineyard Theatre), The Thugs (Soho Rep), columbinus (NYTW, Drama League Nomination for Ensemble), The House of Bernarda Alba (NAATCO), Regional: Humana Festival, Centerstage, Hartford Stage, Berkshire Theater Festival, McCarter, Mark Taper Forum. TV: “Madam Secretary”, “The Unusual”, “Cold Case”,“Six Degrees” Film:  The Trouble with Cali, The Switch, The ReboundTwo Lovers, Burn After Reading, Morning Glory, Extremely Loud and Incredibly Close, My First Kiss and the People Involved, M Training: NYU Tisch, ETW Amsterdam, The Royal Academy of Dramatic Arts in London, The Public Theater Shakespeare Lab.

Deb O’s range of experiences and background in folk art, dance and gymnastics, clowning and mask making, a bit of puppetry have lent themselves to an innovative approaches to the creation of unique theatrical events.  Deb O has enjoyed intimate, long-term collaborations with theater directors Brian Mertes, Tamilla Woodard, Jen Wineman, Jess K Smith, Alex Harvey, Stephen Brackett, GT Upchurch, Lee Sunday Evans of C Town, Mia Rovegno, Sarah Cameron Sunde and dance-theatre makers Tami Stronach Dance, Dan Safer of Witness Relocation, Sam Pinkleton, and Diane Vanderhei and Tom Thoreson of Footworks Dance Company.  With The Lake Lucille Project, Deb O has devised and created large-scale, environmental designs for day-long performances of Chekhov’s great works.  With playwright/producer Beau Willimon and directors Brian Mertes and Alex Harvey, the project moved to a 7,000 square foot warehouse in Sunset Park, Brooklyn, for an epic environmental staging of Lanford Wilson’s Balm In Gilead.  New works and new musicals she’s designed include The Lacy Project, Jihad the Musical, The Daughters, The Deepest Play Ever, F%#King Up Everything, Bubble Boy, Magical History Tour, Fable and The Material World (Time Out New York Top 10 shows of 2012). Deb O is a member of the Wingspace Design Collective, co-artistic director of ARTBARN, on the Design Faculty of NYU Tisch’s Playwrights Horizons Theater School, teaches collaboration for the Brown University/Trinity Rep MFA Program, and has given master classes at Fordham University, Marquette University, Fairmont University, Meredith College. She is a recipient of Yale’s Jay and Rhonda Keene Award, has been featured twice at the Prague Quadrennial, MFA, Theater Design, Yale School of Drama. She also studied folk art at the Jagiellonian University in Krakow, Poland and Nicolaus Copernicus University in Torun, Poland.  She is also a member of the Union Scenic Artist Union Local 829.

Ari Fulton is a New York-based costume designer for stage, film, opera and dance.  She has trained at DePaul University.  She followed her undergraduate studies by receiving an MFA in Design for Stage and Film from NYU’s Tisch School of the Arts.  Ms. Fulton has designed in Paris, Ireland and Ghana.  Recently, she has finished working on the Showtime series Nurse Jackie and Orange is the New Black. She is most interested in captivating the imagination, by creating iconic characters that stick with the viewer longer after the performance has ended. With New Georges: Hilary Bettis’ Alligator, directed by Elena Araoz, in collaboration with The Sol Project.

Barbara Samuels is a New York based lighting designer and producer. Recent design credits include Esai’s Table (Cherry Lane Mentor Project), The Terrifying (Julia Jarcho/minor theater), Orange Julius (Rattlestick/P73), Don’t Look Back (Daniel Fish/PS122 COIL/Chocolate Factory), The Rape of Lucretia (Curtis Opera Theater), Caught (Play Company, Drama League Nominee), O, Earth (The Foundry Theatre, Henry Hewes Design Nom.), A Ride on the Irish Cream (Erin Markey/Jordan Fein), Kate Benson’s OBIE Award-winning A Beautiful Day in November on the Banks of the Greatest of the Great Lakes (New Georges/WP Theater), and Julia Jarcho’s OBIE Award-winning Grimly Handsome. Barbara served as the General Manager of OBIE Award-winning 13P and is the Producing Director for Morgan Gould & Friends. In 2016 The Interval named Barbara a Woman to Watch and she was a Target Margin Institute Fellow.  Barbara holds a B.A. from Fordham University and an M.F.A in Lighting Design from NYU. Proud member of USA Local 829.

Broken Chord Collective is made up of Daniel Baker, Aaron Meicht and creates sound design and original music for theater, film and dance.  Some directors they work with include May Adrales, Daniel Aukin, Samantha Bellomo, Evan Cabnet, Jeremy B. Cohen, Pat Diamond, Gia Forakis, Stephen Fried, Jackson Gay, Stephanie Gilman, Daniel Goldstein, Pam MacKinnon, Brian Mertes, Kevin Moriarty, David Muse, Katie Pearl, Kim Rubinstein, Hana Sharif, Lucie Tiberghien, Alex Timbers, Liesl Tommy, Daniella Topol, Beau Willimon, and Henry Wishcamper.

Cory Einbinder holds an MFA in Performance and Interactive Media Arts from Brooklyn College, and a BFA from University of the Arts in Philadelphia.  He is the Artistic Director of Adhesive Theater Project, producing and developing original multi-media productions and adaptations steeped in spectacle, including the critically-acclaimed production of The Service Road by Erin Courtney, directed by Meghan Finn.

All of ’em game for an ever-unusual process!  From Sheila, on Facebook:

…in case you’re wondering what it looks like when you rehearse on speaker phone from across the country and you crack a joke and Mike takes a reaction shot and texts it to you.



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