Meet the new Jammers and returnees, too! The 2018-19 Jam is here

In this biennial round of finding new members of The New Georges Jam, our collaboration-based lab for early-career theatermakers, we were simply bowled over by the astonishing — and energizing! — field of applicants. Now we’re thrilled to welcome Bleu Beckford-Burell, Lydia Blaisdell, Deepali Gupta, Miranda Haymon, Dara Malina, Rebecca Martinez, Eli Nixon, Jolene Noelle, Caitlin Ryan O’Connell, Taylor Reynolds, Charly Evon Simpson and Kate Tarker — playwrights, directors, The Jam’s first composer and first generative dramaturg!

Since you can Jam as long as you’re finding it useful, new Jammers join returnees Colette Robert, Julia May Jonas and Sarah Einspanier (the co-leaders of the 2018-19 Jam), Tara Ahmadinejad, Tasha Gordon-Solmon, Estefanía Fadul, Sarah Hughes, Kristine Haruna Lee, Celine Rosenthal, Christina Roussos, Zarina Shea, Normandy Sherwood, Caitlin Sullivan and Lisa Szolovits.  Meet them all below (new members framed in yellow, returning in blue!):

Tara Ahmadinejad is a director, theater maker, and a core founding member of the theater company Piehole. She is currently directing for VR on a project by LA-based Tender Claws in collaboration with Piehole. Recent theater work with Piehole includes Ski End at The New Ohio (Archive Residency, LMCC Workspace), Hand Foot Fizzle Face at JACK (Drama League, NYTW Fellowship) and Old Paper Houses at the Irondale Center (NYTW Fellowship). Outside of devised works, Tara recently directed Chana Porter’s Leap and the Net Will Appear (Catastrophic Theatre, Houston), which will premiere in NYC in 2019 (New Georges). She is also developing Emily Black, a new musical written by Daaimah Mubashshir and composed by Julia Sirna-Frest and Shane Chapman (NG Audrey Residency). Tara also teaches theater to undergrads, most recently at Gettysburg College, and most favorite-ly at University of Tehran. NYTW Usual Suspect, Clubbed Thumb Directing Fellow, Columbia University MFA Directing.

Bleu Beckford-Burrell is a first-generation Jamaican-American actor/playwright. Born and raised in New York City, she works for a non-profit organization where she teaches acting to teens, as well as writes and directs plays. Her M.F.A in acting was received at Rutgers University.  Some credits include Doubt as Mrs. Muller, Uncle Vanya as Marina, Intimate Apparel as Mrs. Dickson.  NYC credits include Nelly as Jenny, Hobart’s Dilemma as Eileen, Seen Her as Yara. She is the 2018 Runner Up for the Yale Drama Series Prize, is a former member of the Obie Award-winning Ensemble Studio Theatre playwrights group Youngblood, was a Page 73 2017 summer resident, and was commissioned for EST’s 2019 One-Act Play Festival. Her plays include P.S.365 (showcased in EST’s workshop series and The National Black Theatre’s Keep the Soul Alive reading series), Lyons Pride (EST Bloodwork Reading Series, Finalist for 2018 PWC New Voices Fellowship, Finalist of 2018 BAPF, Finalist for 2018 Princess Grace Award) and La Race (featured in EST 2018 Bloodwork Reading Series). Some of her short plays produced at EST Brunch series and play festivals include: Time, Neutered, M.D.M.A., Forecon, and Masque.


Lydia Blaisdell
is a graduate of the Michener Center for Writers at UT Austin and an alumnus of Youngblood at Ensemble Studio Theater.
She Buried the Pistol, her first (and only) solo show premiered at the Cincy Fringe in June 2018.  Bear Eats Bear, her immersive apocalyptic audio piece, has toured to Toronto, Brooklyn, Charlotte, Minneapolis, and Austin, TX (as a Rude Fusion Project of the Rude Mechs). Her historical sex-doll play, The Silent Woman, won the 2015 Kentucky Women Writers Conference Prize and made Honorable Mention on the 2016 Kilroys List of best new plays.  She has been awarded residencies at Yaddo (fall 2016), the Marble House Project (fall 2017), and Ucross in Wyoming (spring 2018). Her current play tackles the inner lives and conflicts of Olive baboons. Lydia lives in Brooklyn with her pup.

Sarah Einspanier is a playwright from Dallas, TX. Her plays include I LOVE SEAN (New York Theatre Workshop’s Mondays@3), The Convent of Pleasure (Cherry Lane’s Mentor Project with Sheila Callaghan), House Plant (Horton Foote Scholar at Sewanee Writers’ Conference with Naomi Iizuka), Lunch Bunch (upcoming, Clubbed Thumb’s Winterworks), and MADONNA col BAMBINO created with composer Deepali Gupta and director Caitlin Sullivan (Ars Nova’s ANT Fest and the New Ohio’s Ice Factory, curated by New Georges). Her work has also been developed and presented by Ars Nova’s Play Group, Clubbed Thumb’s Early Career Writers’ Group, a New Georges Special Residency, and Williamstown Theatre Festival’s Directing Studio. She has been a resident at the Millay Colony, SPACE on Ryder Farm, and Stratford New Works Lab, and has participated in Erik Ehn’s annual Texas Silent Writing Retreat.

Estefanía Fadul is a Colombian-born, New Hampshire-raised, NYC-based director and producer. Upcoming projects include the world premieres of Azul by Christina Quintana (Southern Rep), and Same Day by Stefan Ivanov (Sfumato Theatre, Bulgaria). Recent: Pranayama by James Anthony Tyler (Juilliard), Scissoring by Christina Quintana (INTAR), The Nature Room by Nora Sørena Casey (Columbia/Signature Theatre), and Óye Oyá by Rebecca Martínez/music by Rodolfo Ortega (Milagro). She has also developed new plays and musicals at The Drama League, LPAC, Hi-Arts, Barton Booth, Fresh Ground Pepper, and Rising Circle, among others. Estefanía is a 2017-18 National Directing Fellow at the Eugene O’Neill Theatre Center/NNPN, and an alumna of the Drama League Directors Project, the Foeller Fellowship at the Williamstown Theatre Festival, the Van Lier Fellowship at Repertorio Español, and the Civilians’ R&D Group. She is a member of the Latinx Theatre Commons steering committee, and the Lincoln Center Theatre Directors Lab. BA: Vassar College.  www.estefaniafadul.com

Tasha Gordon-Solmon’s plays have been developed and produced at the Humana Festival of New American Plays, Clubbed Thumb, Northern Stage, Ars Nova, Perry Mansfield New Works Festival, Dixon Place, INTAR, New Georges, Sun Valley Center for the Arts / Company of Fools, The Tank, The Flea and the 24 Hour Musicals.Directing credits include EST, The Tank, The Flea, Dixon Place, INTAR, The Brick, Pipeline Theatre, InViolet, Brooklyn Museum, Columbia University, NYU, Brooklyn Generator, Crashbox Theater Company, The Cell, Sound Bites Festival, Fire This Time Festival, New York Fringe Festival, and the O’Neill Young Playwrights Festival. Tasha is a recipient of the Dramatist Guild Fellowship, a Puffin Foundation Grant, two VCCA residencies, and commissions from Actors Theatre of Louisville and Project Y. She is a member of the BMI Workshop and Directors Lab West, and an alumna of the Ars Nova Playgroup and Clubbed Thumb Early Career Writers Group.

Deepali Gupta is a writer, composer, and performance artist based in Brooklyn, NY. Her work ranges from explicit choral settings to morbid love songs to freaky little musicals. Her work has been presented at Lincoln Center Theater, New York City Center, The Public (Under the Radar), Ars Nova, Joe’s Pub, The Bushwick Starr, The New Ohio, and Vital Joint. Recent projects as a performance artist include I Love You Stranger, No Way To Say Goodbye, Over(Reverberating). Recent projects as a composer include original music for Madonna col bambino, Cute Activist, and Minor Character. She is an Affiliated Artist with The Civilians and an Audrey Resident with New Georges, as well as a member of the BMI Advanced Musical Theatre Workshop. B.A. Brown (Performance Studies); M.F.A. Tisch (Musical Theatre Writing)  deepaligupta.net

Miranda Haymon is a director and curator of performance originally from Boston. She is an artist in residence at Roundabout Theatre Company; previously as the 2017/18 Directing Fellow, currently as the Artistic Development Associate. She is the Co-Artistic Director and Resident Performance Director at The Hodgepodge Group, an interdisciplinary, intersectional, insurrectional performance duo. She was an Allen Lee Hughes Directing Fellow at Arena Stage, a member of the Lincoln Center Director’s Lab, and received a 2018 Princess Grace Award/Honoraria in Theater. Miranda is a graduate of Wesleyan University where she double majored in German Studies and Theater and was awarded the Rachel Henderson Theater Prize in Directing. www.mirandahaymon.com

Sarah Hughes is a director and producer of theater and new media. She’s developed performances with artists such as Eliza Bent, Julia May Jonas / Nellie Tinder, MJ Kaufman, Sibyl Kempson, McFeely Sam Goodman, Chana Porter, Deepali Gupta, Cara Scarmack, Alaina Ferris, and Pablo Helguera. With Graham Sack and Geoff Sobelle she’s created VR & AR pieces for Tribeca Film Festival, New York Theatre Workshop, and The New York Times. She’s presented work at Abrons Arts Center, BAM Next Wave, The Bushwick Starr, Japan Society, Columbia University, and Prelude, among others. Sarah worked with Elevator Repair Service from 2007-14, assistant directing Gatz, The Select, Arguendo, Shuffle, and Fondly, Collette Richland, and she was Co-Artistic Producer of Target Margin Theater from 2015-17. She co-teaches a Contemporary Theater class at Dartmouth College, is a New Georges Affiliated Artist, a Target Margin Associated Artist, a 2016-17 Civilians R&D Lab Member, a Clubbed Thumb 2017-18 Directing Fellow, a 2018 New Georges Audrey Resident, and a 2018-2020 WP Theater Directors Lab member. www.sarahcameronhughes.com

Julia May Jonas is currently developing ALL LONG TRUE AMERICAN STORIES (a 5-play cycle reimagining contemporary classic American-male-experience plays for other people (mostly women) including the plays A Woman Among Women, in which Kim Sparrow is Prey to Unfortunate Circumstances, Problems Between Sisters, and We Used to Wear Bonnets & Get High All the Time.  Jonas recently developed Michigan Murders with Meghan Finn and composer Brian Cavanagh-Strong as part of the New Works Initiative at Montclair State University. Other recent work includes Emily Climbs (Machine Mechant), Raise Your Voice in Medieval Counterpoint, Evelyn, For Artists Only, and Your Own Personal Exegesis.  Her work has or is currently being presented/developed with JKB Theater at Skidmore College, NACL, Great Plains Theatre Festival, The Bushwick Starr, PRELUDE Festival, New Georges, Target Margin Theater, Incubator Arts Center, The International Revolutions Festival, The Brick, Dixon Place, PS122 (with TerraNova), HERE, Chashama, BAX, International Theater Society of Vietnam and others. Founder and Artistic Director of Nellie Tinder, she has been granted support by The Mental Insight Foundation, NYSCA and The Rockefeller Foundation. 2018/19 member or Ars Nova Playgroup, 2018 Artist-In-Residence with Target Margin Theater, 2016 Audrey Resident, Co-Leader of The New Georges Jam, New Georges Affiliated Artist. MFA: Columbia University. She teaches playwriting at Skidmore College.

Kristine Haruna Lee is a theater maker whose work navigates non-linear playwriting, the practice and performance of auto-theory, and the construction of visually rich performance landscapes with her company harunalee, hailed by the New York Times as “So full of impulses and splendid, fractious energy”. Recent plays with harunalee include Memory Retrograde (The Public’s Under The Radar Festival) Sugar Shack (La MaMa Club) and War Lesbian (Dixon Place TONY LGBT Critic’s Pick). Her play Suicide Forest directed by Aya Ogawa will premiere at the Bushwick Starr in February 2019. She’s a recipient of the MAP Fund Award, the Lotos Foundation Prize for Directing, New Dramatists Van Lier Fellowship, and has been a member of Interstate 73, The Public’s Devised Theater Working Group, Ars Nova Maker’s Lab, and BAX AIR. She is an affiliated artist with New Georges and currently in the Soho Rep Writer/Director Lab. Check out harunalee’s statement on equity and ethical collaboration.

Dara Malina is a director of theatre, performance, opera and video. Past credits include Alexis Roblan’s Ours at Dixon Place, Daaimah Mubashshir’s Live Essay at New Ohio Theatre’s American AF festival, and Jillian Walker’s Structure/Race at JACK. Original works include This is a Protest of What Happened (The Brick), Clarice Lispector’s The Hour of the Star (Connelly Theater), Müller’s Hamletmachine, Lilith (Columbia Stages), Blanche in a Box, Hysteria Project/Beautiful Women Eating Cake (chashama), Les Boudoirs des Deux Femmes (chashama; Bushwick SITE Festival), and The Post-Structuralist Utopia: Now, with Cats! (chashama; Ugly Ducking Presse 2015 Emergency INDEX). She has collaborated with playwrights at EST, The Tank, Dixon Place, JACK, The Flea, Chez Bushwick, New Ohio, and Rattlestick. She recently directed Much Ado About Nothing through the lens of 1970s second-wave feminism. Next, she will direct Machinal at PACE University (March 2019). MFA Theatre Directing, Columbia University. www.daramalina.com

Rebecca Martinez is an NYC-based director, choreographer, deviser, and ensemble member of Sojourn Theatre. Recent & upcoming projects: [Director] Anna in the Tropics (Fine Arts Center, Colorado Springs); Wolf at the Door (Milagro Theatre, NNPN rolling world premiere), DON’T GO (Sojourn Theatre/USC), Pork Kidneys to Soothe Despair (Drama League DirectorFest). Rebecca has worked with Cleveland Public Theatre, PlayMakers Repertory Company, LPAC Rough Draft Festival, INTAR, Radical Evolution, Fordham/Primary Stages, Artists Repertory Theatre, Signature Theatre, the Lark, the 52nd Street Project, Poetic Theater among others. Member of: 2018-2020 Women’s Project Lab, Drama League Directing Fellow, Lincoln Center Theater Directors Lab, INTAR’s Unit52, SDCF Observership Class, Latinx Theatre Commons Steering Committee, Brave New World Repertory Theatre, Associate Member of SDC. Awards: four Portland Drammy Awards; Lilla Jewel Award. rebeccamartinez.org

Eli Nixon builds portals and gives guided tours to places that don’t yet exist, or already exist but call for DIY translation. They are a genderqueer clown, a cardboard constructionist, and a maker of plays, puppets, parades, pageants, suitcase theaters, and low-tech spectaculah- on their own, and in collaboration with artists, dancers, and musicians of all ages, abilities and persuasions. Their performances and installations occur in galleries and garages, on street corners and stages. For 20 years, Eli has also been creating theater with museums, schools, senior centers, and addiction recovery and mental health programs. Eli’s current creative efforts include identifying opportunities to dismantle Manifest Destiny and white supremacy, foster intra and interspecies kinship, probe the ethics, perils and possibilities of anthropomorphization, and co-parent a 9 year old human. Eli graduated from Brown University’s MFA in Writing for Performance program in 2018.

Jolene Noelle is an NYC-based dramaturg with Colorado roots, specializing in developing and generating new work through physical, collaborative, and research-fueled means. In addition, she has been investigating the efficacy and application of the horror genre on stage, writing and producing a number of horror works, including co-founding Traumaturgy Productions and directing the company’s newest plays Remains, Sunset Park, and Trypophobia. Recent dramaturgy projects include: Dramaturg on Wendy, Peter, Peter, Wendy written by Joshua Conkel for Single Carrot Theatre in collaboration with Baltimore-based LGBTQ+ communities; Story Consultancy on the upcoming webseries Tuesday Nights, Associate Director and Dramaturg on Emmy award-winning comedian Ted Greenberg’s one-man show ACE (Philadelphia, NYC); Dramaturgy on Julie (25f), a new adaptation of Strindberg’s Miss Julie (Colorado Mesa University); Dramaturgy on an original adaptation of Clarice Lispector’s novella The Hour of the Star (Connelly Theater, NYC). Program Director: Theaterlab. MFA: Columbia University. shinyobjectsdramaturgy.com

Caitlin Ryan O’Connell
is a freelance director and teaching artist. She has developed work at The Denver Center, Bushwick Starr, Ars Nova, The Lark, Roundabout, Fault Line Theatre, Actors Theatre of Louisville, Trinity Repertory Company, and Clubbed Thumb. Upcoming projects include
Macbeth in Stride  by Whitney White at Joe’s Pub, Sick by Elizabeth Kenny, and Twin Size Beds by Sam Schanwald. Caitlin teaches at The Eugene O’Neill Theater Center, The Ridgewood Bushwick Senior Center, and with the International Theater and Literacy Project in Rwanda. She is a 2018 New Georges Audrey Resident, a former Clubbed Thumb directing fellow, and a former Actors Theatre directing apprentice. BA Wellesley College, MFA Brown University/Trinity Rep.

Taylor Reynolds is a New York-based director from Chicago and one of the Producing Artistic Leaders of The Movement Theatre Company in Harlem. She has worked as a director, assistant, and collaborator with companies including Clubbed Thumb, Radical Evolution, Atlantic Acting School, NY Madness, Ally Theatre Company, JAG Productions, The United Solo Festival, and The 24 Hour Plays. Select directing credits: Plano by Will Arbery, Allond(r)a by Gina Femia, Songs About Trains (co-directed with Rebecca Martinez), Think Before You Holla (creator/deviser), An Informal Presentation…(Or, BURN) by Pascale Smith, Food by Rhonda Marie Khan, Accidental Burlesque by Gina Femia (developed through the Audrey Residency at New Georges). She is a member of NY Madness and the Lincoln Center Theater Directors Lab, a New Georges Affiliated Artist, and a 2017-2018 Clubbed Thumb Directing Fellow. BFA, Carnegie Mellon University. iamtaylorreynolds.com

Colette Robert is a Los Angeles native currently based in New York. Recent directing credits include: Mary’s Wedding (Chester Theatre Company), Big Love (Sarah Lawrence College), How My Grandparents Fell in Love (EST, NYT Critic’s Pick), Hottentotted (The Tank), The Mountaintop (Chester Theatre Company), Icons/Idols (Ice Factory), and When Last We Flew (Diversionary Theatre and FringeNYC, GLAAD Media Award). As a playwright, her play The Harriet Holland Social Club Presents the 84th Annual Star-Burst Cotillion in the Grand Ballroom of the Renaissance Hotel was developed with Fuller Road, New Georges, and Mabou Mines. Colette is a member of EST, a co-facilitator of the New Georges Jam, and the recipient of The Drama League’s 2018 Beatrice Terry Residency for Women Writer/Directors. Alumnus of the Mabou Mines Resident Artist Program, Lincoln Center Directors Lab and The Civilians R&D Group. Colette was previously an Audrey Resident at New Georges and a Van Lier Directing Fellow at The Public. www.coletterobert.com

Celine Rosenthal is an NYU Tisch alum, Tony-nominated producer (Leap of Faith, Seminar), and the Associate Artistic Director at Asolo Repertory Theatre. She is the recipient of an SDCF Observership and Directing Fellowships at Asolo Repertory Theatre and Manhattan Theatre Club. Celine received her MFA in Directing from The New School for Drama, where she directed Little Man by Bekah Brunstetter, The Winter’s Tale, and David Greig’s Yellow Moon, among others. Her work has been seen at the Tristan Bates Theatre in London, NYMF, New York City Center, MMAC, 54 Below, 59E59, Abingdon Theatre and in the Broadway’s Future Songbook Series at Lincoln Center. Recent projects include Chicago at Children’s Theatre Company in Minneapolis, Borders in a Bedroom at The Tamasha Festival (Awarded Best Production), Drowning in Cairo at The National Queer Theater, and Asolo Rep’s touring production of Shakespeare’s The Tempest.

Christina Roussos is a director and teaching artist. She has worked with Ensemble Studio Theatre, Theater Breaking Through Barriers (Associate Director 2009 – 2012), Clubbed Thumb (2017 Directing Fellow), and Fault Line Theater. Her work has appeared at the Kennedy Center, Rattlestick Theater Jam, the Brick, The Tank, Judson Church, and Performa. Besides theater she directs webseries, short films, and music videos. She has devised work with Bennington College students, was a 2016 Teaching Fellow at Brooklyn College and teaches project building and character creation in the MFA Visual Narrative program at the School of Visual Arts. Upcoming work includes a workshop showing of Whip it Up With Wendy (developed in the New Georges Jam with Tasha Gordon-Solmon!) produced by All For One Theater. christinaroussos.com

Zarina Shea‘s plays include Just up the road, slightly; I Am Here; The Part Where Peter Leaves; Stella Stein; and The Peggy Project. Her work has been produced and/or developed by Berkeley Rep, Clubbed Thumb, Two River Theater, New Georges, New York Theatre Workshop, JACK, and Actors Theatre of Louisville, among others. She has been a resident at Berkeley Rep’s Ground Floor, the Ucross Foundation, and Norm’s Fish Camp at Tofte Lake. She is an alum of Clubbed Thumb’s Early Career Writers Group and a member of The New Georges Jam, and is a recipient of a Clubbed Thumb Short Play Commission and Brown University’s David Wickham Playwriting Award. Zarina has performed at the Williamstown Theatre Festival, Actors Theatre of Louisville, Trinity Rep, and Ars Nova, among others. BA: University of Chicago, MFA in Acting: Brown University, MFA in Playwriting: Brooklyn College. www.zarinashea.com

Normandy Sherwood is theatermaker: playwright, costumer, director, performer. Her plays have been presented at The New Ohio Theater, The Kitchen, Dixon Place, The Brick and more. Her theater company, The Drunkard’s Wife, creates spectacles with no-wave inflected music and a generous, maximalist design sense. She was a lead artist of the OBIE-award-winning National Theater of the United States of America (2000-2017, R.I.P.). She has participated in residencies at Yaddo, The MacDowell Colony, The Millay Colony, University Settlement and more. She is a fellow in the 2018 Target Margin Theater Institute. As a costume designer she has worked with Rachel Chavkin, Kristin Marting, Mac Wellman, Young Jean Lee, Half Straddle, Faye Driscoll and more. She is a Senior Lecturer in the Expository Writing Program at NYU. MFA in playwriting from Brooklyn College.

Charly Evon Simpson’s plays include Jump, Behind the Sheet, Scratching the Surface, form of a girl unknown, and more. Her work has been seen, heard, and/or developed with Ensemble Studio Theatre, Ars Nova, The Tank, Chautauqua Theater Company, Salt Lake Acting Company, P73’s Summer Residency, NNPN at its Kennedy Center MFA Playwright’s Workshop and National Showcase of New Plays, and others. She’s currently a member of WP Theater’s 2018-2020 Lab, The Amoralists’ 18/19 ‘Wright Club and she’s The Pack’s current playwright-in-residence. Charly is a former member of SPACE on Ryder Farm’s The Working Farm, Clubbed Thumb’s 17/18 Early Career Writers’ Group, EST’s Youngblood, and Pipeline Theatre Company’s PlayLab. She’s currently an adjunct lecturer in playwriting at SUNY Purchase. BA: Brown. MSt: Oxford. MFA: Hunter College. www.charlyevonsimpson.com

Caitlin Sullivan is a New York-based director and theatre-maker with over a decade of experience creating performance collaboratively. Directing credits range from new plays and experimental musicals to solo performances and large-scale, site-specific events. Caitlin’s work has been presented by Ars Nova, the New Ohio, New Georges, the Drama League, On the Boards, Seattle Rep, ACT/Hedgebrook Women Playwrights Festival, Rutgers University, Williams College and Cornish College of the Arts. Other recent associations include New York Theatre Workshop, LCT3, Manhattan Theatre Club and ZSpace. She is currently the Associate Director of Hundred Days and The Lucky Ones (by The Bengsons and Sarah Gancher, dir. Anne Kauffman). Before moving to New York, Caitlin co-founded and served as Artistic Director of Seattle’s critically acclaimed Satori Group. She is a graduate of Williams College, an alum of the Drama League Directors Project and Next Stage Artist Residency, and a New Georges Affiliated Artist.


Lisa Szolovits
is 
a Brooklyn-based director and developer of new performance with a particular interest in the relationship between digital and physical presence. She has made performance and multimedia work in New York at 3LD Art & Technology Center, Brooklyn Museum, Prelude Festival, Dixon Place, Trans-Pecos, and Ars Nova, in Los Angeles with the Echo Theater Company and Circle X Theatre Co., and also in living rooms and on the internet. She holds an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College. www.lisasz.com

Kate Tarker’s plays THUNDERBODIES and Dionysus Was Such a Nice Man will have their world premieres this season, at Soho Rep and the Wilma Theater, respectively. Other plays include God is Dead, Let’s Make Love and Laura and the Sea (a finalist for the L. Arnold Weissberger Award and Princess Grace Award, and a semi-finalist for the Relentless Award). Her works have been developed at The Lark, The Vineyard, The Wilma, Ars Nova, New York Theatre Workshop, Magic Theatre, Cutting Ball, the Playwrights’ Center, and The O’Neill National Playwrights Conference, among others. She is the recipient of a Jerome Fellowship, The Vineyard’s Paula Vogel Playwriting Award, Theater Masters’ Visionary Playwright Award, and a PWCenter/NET Ensemble Collaboration Grant.  Tarker is a two-time MacDowell Colony Fellow, an Ars Nova Play Group alum, a New Georges Jam member, and a former Playwrights’ Center Core Writer. She has been featured twice on the Kilroys List. M.F.A. Yale.

The Jam in 2018-19 is generously supported by Jody Falco & Jeffrey Steinman

The Jam was founded here in 2010 by playwright Lucy Alibar and directors Jess Chayes and Portia Krieger, and its alumni are a happening bunch! They are: Lucy Alibar, Sofia Alvarez, Kathleen Amshoff, Helen Banner, Kate Benson, Eliza Bent, Mary Birnbaum, Rachel Bonds, Katherine Brook, Charise Castro Smith, Adrienne Campbell-Holt, Jess Chayes, Jihan Crowther, Kim Davies, LaShea Delaney, Lee Sunday Evans, Meghan Finn, Morgan Gould, Morgan Green, Dipika Guha, Mary Elizabeth Hamilton, Lindsay Joelle, MJ Kaufman, Krista Knight, Portia Krieger, Sarah Krohn, Caroline V. McGraw, Anna Moench, Daaimah Mubashshir, Louisa Proske, Mia Rovegno, Caitlin Saylor Stephens, Danya Taymor, Nicole A. Watson, Emma Weinstein, Kat Yen and Pirronne Yousefzadeh

 

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