Announcing Cycle 6,  the new group of Audrey residents at New Georges!

Named for Audrey Bernfield, Susan’s mom, an innovative mentor and of course a great supporter of our company, the year-long residencies that make up our core play development program are project-based and collaboration-focused.  Residency consists of up to 3 weeks of space in The Room to spend working on a new-play project over the course of the year, a monthly meal and conversation with the full resident community, and additional resources we muster as needs emerge.

Big thanks to prior residents Liza Birkenmeier, MJ Kaufman and Caitlin Ryan O’Connell, who joined Susan, Jaynie and Deadria to select the new batch in one very long inspiring day of conversations with potential residents. Here are the people and projects they chose:

Playwright Raquel Almazan and director Miranda Haymon team up to hold Henrik Ibsen accountable for appropriating the “skylark” Laura Kieler’s real-life narrative.  A multi-generational, multi-racial ensemble of actors, three Noras, and one very angry ghost will venture to answer the question: who really built A Doll’s House?

Director Morgan Green and playwright Rachel Kauder Nalebuff will research medieval drama and the history of morality plays, looking to discover something special in the archives on which to model a moral and highly theatrical work that’s distinctly not in conversation with contemporary theater — and in no way subtle.

Playwright Amina Henry and director Sarah Blush will imagine Hamlet as a place (not a person) in Hamlet is Dead. What does it mean for a small town to undergo an existential crisis?  Embracing mortal arrogance, destructiveness, and greed, they will attempt to capture nature and render it theatrically.

Playwright/Director Seonjae Kim will juxtapose the Korean myth of kumiho, a nine-tailed fox that attempts to “pass” as a human man’s wife by suppressing her animal desires for 100 days… with a sometimes satirical, sometimes collage-like, sometimes achingly naturalistic portrait of white male/Asian female relationships.


Playwright/performer Eli Nixon and director Rebecca Martínez will explore real and perceived dangers in a new play about risk, security, fear and mutual aid. With movement, clown, and transformational objects, Peril, us will peel apart whiteness, weapons, and ways we separate from ourselves when we rely on those paid to protect us.

To write Mary Shelley and the Creature, playwright Kathryn Walat will put all the sex and birth and everything female back into the process of creating Frankenstein, while taking structural and linguistic inspiration from the world of contemporary chamber opera.