As I recall, I was first noticed as writer when I penned the immortal phrase, “tender pillows of ravioli” for a restaurant in Cambridge, Massachusetts. I was working as a waitress there and the owner wanted to jazz up the menu. In between dishing out spaghetti, I wrote a children’s play called WERNER AND THE MAGIC BOOTS that was produced for a children’s radio show on NPR called “The Spider’s Web.” I wrote a couple of other radio plays: THE COSMIC YANKEE, about Henry David Thoreau, and THE FIRST WINTER, about the first year of the pilgrims landing on Cape Cod. I sold them both to the Canadian Broadcasting Corporation. I wrote for the Boston Symphony Orchestra, little monologues about famous composers, and I wrote some short stories. One of them was published in Cosmopolitan. I wrote a couple of screenplays, and sold one of them to Public Television. My first play, PERMISSION FROM CHILDREN, received a Drama League Award, workshoped at the Ensemble Studio Theatre in New York, and produced by the University of Oklahoma where I was Artist in Residence. My second play was a short comedy called WOMEN WHO LOVE SCIENCE TOO MUCH, which was produced off Broadway, and then in Chicago, and was made into a radio play for NPR. The Massachusetts Artists Foundation gave me an award for a play called DITCHED. Someone hired me to turn it into a screenplay, and the money allowed my husband and me to make the down payment on our first house. A play called THE STILL TIME was produced in Chicago and received the Connecticut Commission on the Arts Playwrighting award.
I was given a scholarship to NYU Tisch School for the Arts in Musical Theatre. I wrote the libretto for CLARA, an opera about Clara Schumann, and received a Rockefeller Grant to Bellagio Italy to work on it with the composer. The opera was subsequently produced by the Maryland Center for the Arts. Two years of work; four performances. I determined never to write an opera again, but for over a decade I was under the spell of musicals and composers. I wrote THE FIFTH SEASON (later changed to DAKOTA SKY) that received the Jane Chambers Playwrighting Award and was produced by the Olney Theatre. North Shore Music Theatre commissioned me to write a musical about an 18th century merchant ship: FRIENDSHIP OF THE SEA toured schools along the coast of Massachusetts for a season. I turned it into another musical, THE NAVIGATOR, which was performed at the Berkley College of Music in Boston.
Then I came to Utah and had brain surgery. My life changed. There were mountains and sky and something in the air (besides pollution I mean.) I wrote a play in Utah that I had wanted to write for years, about Margaret Fuller and the Transcendentalists: CHARM received it’s world premiere at the Salt Lake Acting Company. It received an Edgerton Award; it was nominated for a Pulitzer Prize. Orlando Shakespeare and Kitchen Dog Theatre in Dallas produced it. THE PERSIAN QUARTER premiered at the Salt Lake Acting Company and received another Edgerton Award. It opens the season at Merrimack Rep in Massachusetts in September 2011. I’m a member of a great playwrighting group here in Salt Lake. I see my career as a playwright like this: a little stream growing bigger and wider as it heads towards the “far and boundless sea” to steal a quote from one of my own plays.
Kathleen Cahill's awards include the Jane Chambers Playwrighting Award, two Connecticut Commission on the Arts Playwrighting Awards, a Massachusetts Artists Foundation Award, a Rockefeller Grant, a National Endowment for the Arts New American Works Grant, two Edgerton Foundation Awards and a Drama League Award. Her play Charm was nominated for a Pulitzer Prize; her play The Persian Quarter was nominated for a Steinberg Award.(Both published by Dramatic Publishing.) Her produced musicals include for The Navigator, Friendship of the Sea, Dakota Sky; an opera, Clara, two opera/cabarets, A Tale of Two Cities: Paris and Berlin in the Twenties, the lyrics for David Zabriskie's Requiem, and an opera cabaret, Fatal Song ,(which is being produced by Utah Opera in November 2013. ) She is listed as one of the top twenty-five songwriters in the new Directory of Musical Theatre Writers. Her plays include the comedy, Course 86B in the Catalogue (Salt Lake Acting Company) The Still Time (Georgia Rep/ Porchlight Theatre, Chicago) the comedy, Women Who Love Science Too Much (Porchlight Theatre and NPR Radio) Henri Louise and Henry (Cleveland Public, Firehouse Theatre, Massachusetts) Charm ( National New Play Network Festival, Salt Lake Acting Company premiere, Kitchen Dog Theatre, Dallas; Orlando Shakespeare) and The Persian Quarter ( Salt Lake Acting Company, Merrimack Rep.) A new play, Monsterheart, will be heard in June at Kitchen Dog Theatre's New Play Festival. She wrote the screenplay for the independent feature, Downtown Express. She is Playwright-in-Residence at the Salt Lake Acting Company. For the past decade she has written the introductions presented by Laura Linney and Alan Cummings on Masterpiece/Mystery on PBS.
Julie Jensen is currently working on an adaptation of MOCKINGBIRD by Kathryn Erskine for the Kennedy Center's Theatre for Young Audiences. The story follows, Caitlin a young girl with Asperger's Syndrome as she copes with a chaotic world and the death of her brother. The play is part of their Page-to-Stage Festival, and will be workshopped at Weber State University with Director Tracy Callahan in spring 2014. MOCKINGBIRD is expected to reach full production at the Kennedy Center in late 2014.
Julie is also the recipient of the Kennedy Center Award for New American Plays for WHITE MONEY, the Joseph Jefferson Award for Best New Work for The Lost Vegas Series, and the LA Weekly Award for Best New Play for TWO-HEADED. She has received the McKnight National Playwriting Fellowship for WAIT!, the TCG/NEA Playwriting Residency for WAIT!, and a major grant from the Pew Charitable Trusts for DUST EATERS. She has won the Mill Mountain Theatre Playwriting Competition three times for TENDER HOOKS, LAST LISTS OF MY MAD MOTHER and TWO-HEADED. Her play, TWO-HEADED, was included in the volume Best Plays by Women, 2000, and she has twice been nominated by the American Theatre Critics Association for the Steinberg Award for the best new play produced outside of New York for LAST LISTS OF MY MAD MOTHER and DUST EATERS. She was twice a finalist for the PEN USA Award in Playwriting for TWO-HEADED and DUST EATERS, and her play, BILLION DOLLAR BABY received the New American Plays Award from the Edgerton Foundation.
Her most recent play, SHE WAS MY BROTHER, premiered at Borderlands Theatre in Tucson and was produced this season at Plan-B Theatre in Salt Lake City. She just finished THE HARVEY GIRLS, commissioned by Penn State University and Dramatic Publishing. It has just been published by Dramatic. Her play for young people, ACROSS THE WIDE AND LONESOME PRAIRIE, was produced this season by Playwrights Theatre of New Jersey. Her playwriting book, Playwriting, Brief and Brilliant, is published by Smith and Kraus. An excerpt of WAITING was published in Latter-Gay Saints by Sunstone Publishing.
Jensen is a frequent speaker and workshop coordinator. In the last three years, she has conducted masterclasses for the winning playwrights at American College Theatre Festival at Kennedy Center. She also addressed the playwrights last at the Missoula Colony and at the Region 8 and Region 5 ACTF. For two years she has taught the playwriting intensive at Kennedy Center.
Her work has been produced in London, Hamburg and at the Edinburgh Fringe Festival as well as in this country in New York and theatres nationwide. She has been commissioned by Mark Taper Forum, ASK Theatre Projects, Kennedy Center, Actors Theatre of Louisville, Salt Lake Acting Company, Geva Theatre, Philadelphia Theatre Company, Penn State University, and Dramatic Publishing. Her work is published by Dramatic Publishing, Dramatists Play Service, Playscripts, Inc., and Smith and Kraus.
She is Resident Playwright at Salt Lake Acting Company and Regional Representative for the Dramatists Guild.
London, England. (summer, 2009.)
Frankfort, Germany. (summer, 2009)
Missoula Colony, Missoula, MT. (summer, 2009)
Borderlands Theatre, Tucson, AZ. (fall, 2009)
Penn State University, State College, PA. (fall, 2009)
Native Voices Theatre, Los Angeles, CA. (winter, 2009)
American College Theatre Festival, Region 8, St. George, UT. (winter, 2010)
Penn State University, State College, PA. (spring, 2010)
American College Theatre Festival, National, Kennedy Center, Washington, DC. (spring, 2010)
College of Fellows of the American Theatre, Washington, DC. (spring, 2010)
Dramatic Publishing, Woodstock, IL. (summer, 2010, forthcoming)
Native Voices, San Diego, CA. (summer, 2010, forthcoming)
University of Nevada Las Vegas, Las Vegas, NV. (summer, 2010, forthcoming)
Kennedy Center, Washington, DC. (summer, 2010, forthcoming)
EM & ME. [in preparation]
MOCKINGBIRD. [Adaptation of a novel commissioned by Kennedy Center]
THE HILLARY WITHIN. [Short play commissioned by Baltimore Centerstage]
SHE WAS MY BROTHER. [Commissioned by Salt Lake Acting Company]
THE HARVEY GIRLS. [Commissioned by Penn State University and Dramatic Publishing]
PLAYWRITING: BRIEF AND BRILLIANT. [A book on playwriting]
BILLION DOLLAR BABY. [Recipient of the Edgerton Foundation New American Plays Award]
LION TONGUE and DON'T TALK, DON'T SEE. [Short plays commissioned by Actors Theatre of Louisville]
WATER TURN. [Short play commissioned by Salt Lake Acting Company]
DUST EATERS. [Written with the support of a major grant from the Pew Charitable Trusts]
WAIT! [Commissioned by Salt Lake Acting Company; supported by NEA/TCG Residency Grant; the McKnight National Playwriting Fellowship from Playwrights' Center, Minneapolis; and Women's Theatre Festival, Seattle, WA]
ACROSS THE WIDE AND LONESOME PRAIRIE. [Play for young people, commissioned by Kennedy Center]
ON LINCOLN'S HEAD. [Short play, commissioned by Actors Theatre of Louisville]
WATER LILIES. [Short play, commissioned by Salt Lake Acting Company for the Olympics]
CHEAT. [Commissioned by Geva Theatre, Rochester, NY]
TWO-HEADED. [Commissioned by ASK Theatre Projects, Los Angeles, CA]
LAST LISTS OF MY MAD MOTHER. [Commissioned by Mark Taper Forum, Los Angeles, CA]
THE LOST VEGAS SERIES.
WHITE MONEY. [Commissioned by Philadelphia Theatre Company, Philadelphia, PA]
AWARDS AND PRIZES.
Nancy Borgenicht (Playwright) has been part of The Salt Lake Acting Company since 1974. She served as Co-Executive Producer with Allen Nevins from 1993-2005 and as Interim Executive Producer for the 2009-2010 Season. She received the Mayor's Award for the Arts in 1999 and accepted, for SLAC, the Governor's Award for the Arts in 2001. As an actor, she has appeared in SLAC productions of MISS MARGARIDA'S WAY, HUNTING COCKROACHES, ON THE VERGE OR THE GEOGRAPHY OF YEARNING, HEDDA GABLER, KENNEDY'S CHILDREN, SYLVIA PLATH: A DRAMATIC PORTRAIT, THE IMPORTANCE OF BEING EARNEST, and EL GRANDE DE COCA COLA. Her directing credits for SLAC include ANGELS IN AMERICA, WHITE MAN DANCING, OLEANNA, WOMEN AND WALLACE, CABBIES, COWBOYS AND THE TREE OF THE WEEPING VIRGIN, and SATURDAY'S VOYEUR from 1993 to 2003. She conceived and created SATURDAY'S VOYEUR in 1978.
Allen Nevins (Playwright) has been writing for SATURDAY'S VOYEUR the last 20 years. He came to the Salt Lake Acting Company in 1989 as the Literary Manager and in 1990 he formed a writing and business partnership with Nancy Borgenicht. In 1993, their partnership, Saturday's Voyeur, Inc., became the management company and the Executive Producers of the Salt Lake Acting Company, for which they received the UAF Mayors Award for the Performing Arts and also the Governors Award for the Arts. As Executive Producers they expanded and re-built the Upstairs Theatre, designed and built the Chapel Theatre as an alternative performing space, unionized SLAC's acting pool and re-instituted SATURDAY'S VOYEUR as the annual summer fundraiser for the Salt Lake Acting Company. In his 12 years as an Executive Producer, the Salt Lake Acting Company produced over 70 full-length plays, 40 public readings, and developed multiple new works for the American stage. Since his retirement in 2005, he has focused his talents on maintaining SATURDAY'S VOYEUR as an outlet for discourse, dissent, irreverent humor, cheap shots at elected officials; and of course, political in-correctness in all its forms. He'd like to thank Rep. Carl Wimmer for replacing Sen. Chris Buttars as the most ridiculous legislator on planet Utah and for all the Tea Baggers in the Patrick Henry Caucus for making "all our differences so painfully obvious."
Will Snider was born and raised in the suburbs of Washington, D.C. His play HOW TO USE A KNIFE received a National New Play Network Rolling World Premiere in the 2016-17 season through Capital Stage (Sacramento), Phoenix Theatre (Indianapolis), Unicorn Theatre (Kansas City), and InterAct Theatre Company (Philadelphia). Other plays include THE BIG MAN (Ensemble Studio Theatre’s 35th Marathon of One-Act Plays), STRANGE MEN, and DEATH OF A DRIVER. His work has been developed at MCC, NNPN National Showcase of New Plays, The Kennedy Center, SPACE on Ryder Farm, #serials@theflea, the claque, and MAKEHOUSE. He is an alumnus of Youngblood and received a Barrymore Award for Outstanding New Play, an EST/Soan Grant and The Kennedy Center’s Paula Vogel Playwriting Award. MFA: UCSD.
Mark Bly is currently on The Artists Advisory Board of and has dramaturged frequently for The Acting Company led by Artistic Director Ian Belknap and founded by John Houseman and Margot Harley. He is the Associate Director of the MFA Playwriting Program at Fordham/Primary Stages where he helps to supervise the graduate program, produces new plays, and teaches. He is an active free-lance dramaturg in the New York, Washington, DC area for such playwrights and television writers as Ken Lin, Andrew Hinderaker and for such theaters as The Arena Stage and Tectonic Theater Project among others. Bly is former Director of the MFA Playwriting Program at Hunter College 2011-2013. He was the Chair of the MFA Playwriting Program at The Yale School of Drama from 1992-2004 and taught Dramaturgy while serving as the Associate Artistic Director at Yale Rep. Over the past 35 years he has worked as a Dramaturg, Director of New Play Development, and Associate Artistic Director at the Arena Stage, Alley Theatre, Guthrie Theatre, Seattle Rep, Yale Rep, The Acting Company, and on Broadway dramaturging and producing over 200 plays. He has dramaturged on Broadway Emily Mann’s EXECUTION OF JUSTICE (1985) being credited by Alisa Solomon as the first production dramaturg on Broadway; Moises Kaufman’s 33 VARIATIONS (2009); and lbsen’s AN ENEMY OF THE PEOPLE (2012). Bly has served as Dramaturg for world and United States premieres of plays by Rajiv Joseph, Suzan-Lori Parks, Howard Brenton, David Hare, Tim Blake Nelson, Sarah Ruhl, Ken Lin, James Magruder, Jeffrey Hatcher, Charles Randolph Wright, and Moises Kaufman. He has dramaturged new plays by Robert Schenkkan, Maria Irene Fornes, Marcus Gardley, Dorothy Fortenberry, David Henry Hwang, Daniel Beaty, Kevin Kling, Karen Zacarias, Matthew Maguire, and Amy Herzog. Bly has appeared in numerous publications: Yale Theatre as Contributing Editor and Advisory Editor, Theatre Forum, American Theatre, The Dramaturgy Sourcebook, Critical Stages, The Routledge Companion to Dramaturgy, LMDA Review and Stage Directors and Choreographers Journal. He is Editor of Production Notebooks: Theatre in Process: Volumes I & II (TCG, 1996, 2001), and Special Editor for Yale Theatre, “Return of the Dramaturgs,” Summer, 1986. In 2018 his latest book New Dramaturgy: Strategies and Exercises for 21st Century Playwriting will be published by Routledge Publishers. In 2010 Bly received the Literary Managers and Dramaturgs of the Americas G.E. Lessing Career Achievement Award. In 2014 he established the Literary Managers and Dramaturgs of the Americas Bly Creative Capacity Grants/Fellowships Fund that supports innovative projects that advance the field of dramaturgy. He has served as Director of the Kennedy Center New Play Dramaturgy Intensive for the past eight years. Bly is an Ambassador at Large for the National New Play Network and has served on its Board.
Eleanor's work has been produced at the Alliance Theatre, the Contemporary American Theatre Festival, Portland Stage Company, Merrimack Repertory Theatre, and Centenary Stage Company, and presented or developed at Manhattan Theatre Club, The New Group, New York Theatre Workshop, Ensemble Studio Theatre, Huntington Theatre Company, the Lark Play Development Center, the Kennedy Center/NNPN MFA Playwrights Workshop, Everyday Inferno, Ryder Farm and Luna Stage. She’s currently a 2050 Fellow at New York Theatre Workshop, a member of The Civilians' R&D Group, and a semifinalist for the 2018 P73 Playwriting Fellowship. She has also been the recipient of the Alliance/Kendeda National Graduate Playwriting Award, an EST/Sloan commission, a Keen Teens Commission, and the Susan Glaspell Award for Women Playwrights. She grew up in Brookline, Massachusetts, studied history at Yale College, and recently completed the M.F.A in Dramatic Writing at NYU/Tisch.
David Kranes is a writer of seven novels and three volumes of short stories--most recently, (novel) Abracadabra (2017) and (stories) The Legend’s Daughter (2013). His 2001 novel, The National Tree, was made into a film by Hallmark, which aired in November, 2009. His short fiction (appearing in such magazines as Esquire, Ploughshares, Transatlantic Review) has won literary prizes and has been anthologized. Over 40 of his plays have been performed in New York and across the U.S. (in theaters such as The Actors’ Theater of Louisville, The Mark Taper Forum, Manhattan Theater Club, Cincinnati’s Playhouse in the Park), and his Selected Plays was published in 2010. His most recent theater venture was contributing a play to an evening (with the prompt of “bravery”) of six short plays—3 by American playwrights; 3 by Iraqi playwrights. His play, A LOSS OF APPETITE was performed (with an honoring of his body of work) at Salt Lake Acting Company in April, 2014. He has written for radio, film and for dance companies. The opera, ORPHEUS LEX, for which he wrote the libretto, was performed at New York City’s Symphony Space in February of 2010 and again, recently, in Salt Lake. For 14 years, he directed the Playwrights' Lab at Robert Redford's Sundance Institute. In 2015, he was asked to recreate a national-in-scope version of this Playwrights’ Lab for Salt Lake Acting Company. The SLAC Playwrights' Lab has been a resounding success. Two new novels, abracadabra and Crap Dealer will appear in 2017 and 2018. Mr. Kranes is an award-recognized mentor and continues mentoring whenever and wherever he can (most recently, in Provence, France).
Shannon Robert serves on the design faculty at Clemson University, and is a proud member of USA 829. She received the M.F.A. in scene design from Florida State University and studied at the Moscow Art Theatre Conservatory in 1991. Shannon was director of theatre and head of design at William Carey University and serves as a member of the Hollins University M.F.A. Playwriting Faculty (in the area of design). She served KCACTF as Region IV design chair, regional vice chair, and on national design committees. Shannon served on the board of directors and executive committee of SETC. She managed the paint/craft departments of The Spoon Group Productions in NJ/NY, and fabricated props/painted for the Broadway productions of THE GRINCH, GREASE, XANADU, LEGALLY BLONDE, INHERIT THE WIND, THE PIRATE QUEEN, CORAM BOY, THE COLOR PURPLE, JERSEY BOYS, SPAMALOT, and HAIRSPRARY. With Technical Theatre Solutions, she painted for the national tours of CINDERELLA, IN THE HEIGHTS, and MAMMA MIA. She has designed for The Warehouse Theatre, Aurora Theatre, Cincinnati Shakespeare, Theatrical Outfit, Salt Lake City Acting Company, The Tennessee Williams Festival (Provincetown - current) Actor’s Express, Mill Mountain Theatre, Brian Clowdus Experiences, New Stage Theatre, Auburn University Theatre, Texas Tech University Theatre, Middle Tennessee State University Theatre, Southern Arena Theatre, University of Southern Mississippi, The Peace Center (Gala) and the University of West Georgia. She has worked internationally as a designer, consultant, and respondent. She served as design consultant for Albert and Associates Architects for The Saenger Theatre renovation, and as the Productions Unlimited consultant for the Upstate Children’s Museum featured climbing sculpture. Shannon was the Associate Artistic Director and Scene Designer in Residence for The Warehouse Theatre in Greenville, SC. She received Atlanta’s 2014 and 2016 Suzi Bass Awards for best set design for a musical for MARY POPPINS and IN THE HEIGHTS.
Regional: ABIGAIL/1702 (Merrimack Rep, Boston); PERIBAÑEZ (Quantum Theatre, Pittsburgh) [co-directed with Megan Monaghan Rivas]; JOHANNA: FACING FORWARD (Cleveland Public); WIT and MARIELA IN THE DESERT (Aurora Theatre, Atlanta); IN LOVE AND WARCRAFT (Halcyon Theatre, Chicago), THE NEW WORLD (Shakespeare Festival of St. Louis), and others.
He is a co-founder of the Latinx Theatre Commons, a Usual Suspect with New York Theatre Workshop, an associate member of Stage Directors & Choreographers, and a member of the Dramatists Guild. Tlaloc is a graduate of UC Santa Cruz (with honors) and the University of Washington’s Professional Directors’ Training Program, with advanced training from SITI Company, Cornerstone Theater, and the Sir John Gielgud Fellowship in Classical Directing at the Court Theatre in Chicago.