Walt McGough is a Boston-based playwright, a previous Next Voices Fellow with New Rep, and a Huntington Playwriting Fellow. His plays include Pattern of Life—which was produced by New Rep in 2014 and named Best New Play by the Independent Reviewers of New England—as well as The Farm, Priscilla Dreams the Answer, and Paper City Phoenix, all of which received Best New Play IRNE nominations. Other plays include Chalk, Dante Dies!! (And Then Things Get Weird), The Haberdasher!, and Non-Player Character. He has worked around the country with companies such as The Lark, the Huntington, New Rep, the Kennedy Center, NNPN, Boston Playwrights Theatre, Fresh Ink, Sideshow, Orfeo Group, Nu Sass Productions, Chicago Dramatists, and Argos. In 2015, his play Advice for Astronauts was selected as the winner of the Milken Playwriting Prize. He serves on the staff at SpeakEasy Stage Company, and was previously the company manager at Chicago Dramatists. He holds a BA from the University of Virginia, and an MFA in playwriting from Boston University. (Website / New Play Exchange Profile)
John Minigan’s plays have been produced throughout the US and Canada, Europe, Asia and Australia. He has developed new work with the Orlando Shakespeare Theater, the New American Playwrights Project and Actors’ Repertory Theatre of Vermont; his work has been selected three times for the Samuel French Festival and published in the “Best Ten-Minute Plays” and “New England New Play” anthologies. He is a three-time winner of the Firehouse New Works Contest, a winner of the Nantucket Short Play Contest, the Rover Dramawerks Competition, the Longwood 0-60 Contest, New York’s 8-Minute Madness Festival, the Nor’Eastern Playwriting Contest, Seoul Players Contest and the KNOCK International Short Play Competition. When not writing, John teaches theater, writing and Shakespeare. He is a member of the Dramatists Guild. (Website / New Play Exchange Profile)
Ellen O’Brien is a Boston-based playwright. Her full-length plays include Rabbit Hunting at Dawn, Common Cores, and Check your Privilege. Her 10-minute plays include Singing Sands, Chip Woodshow’s Wedding and Phenom, which was featured in the 2016 Boston Theater Marathon. O’Brien is a 2016 recipient of an MFA in Creative Writing for Stage and Screen from Lesley University. A former newspaper reporter assigned to some of the nation’s deadliest traumas, O’Brien’s work for the stage often draws upon that earlier career. Her intimate plays unfold in kitchens and kindergarten classrooms, set against a backdrop of headline news and controversies debated around the world. Grief and loss are central themes to her plays, and she aims to provide a new understanding of how we heal, and how we connect to people whose values and belief systems contradict our own. (New Play Exchange Profile)
Danny Bryck is an actor, playwright, producer, educator and private coach based in New York and Boston. He is the creator of No Room for Wishing, a solo documentary play based on interviews with people involved in Occupy Boston, and The River and the Sea, based on interviews in Israel/Palestine in 2012-2013. Other recent work includes cement, love, nothing else and Lucky, two short pieces written for “United Story: Boston Beyond Today,” a series of events Danny co-produced featuring art and stories from the community responding to police brutality and systemic racism, and Quixote in Kabul, an exploration of Cervantes’ Don Quixote as the journey of an American soldier in Afghanistan, told through spoken word, music and dance, commissioned by Boston University. His play Love in the Time of Time Travel, co-written with A. Vincent Ularich, was given a staged reading at OBERON, A.R.T.’s second stage. As an actor he has performed in Boston with Actors’ Shakespeare Project, New Repertory Theatre, Underground Railway Theatre, the Publick Theatre, the Huntington Theatre Company, American Repertory Theater, and Stoneham Theatre, among others, and in New York with The Civilians and New Perspectives Theatre Company. He was an artistic associate with Whistler in the Dark Theatre for three years, and has appeared on the daytime drama As the World Turns and in a handful of independent films, including The Rasmussen Brothers’ Dark Feed and The Inhabitants. He holds a BFA from Boston University’s School of Theatre, studied at the London Academy of Music & Dramatic Art, and is a member of Actors’ Equity Association. (Website)
Peter M. Floyd was a Next Voices fellow in 2012-13. His play Absence, winner of the Kennedy Center’s Jean Kennedy Smith Award, has had readings in New York, Atlanta and South Orange, NJ (the last of these featuring Olympia Dukakis). Absence received its first production in early 2014 at the Boston Playwrights’ Theatre, directed by Megan Schy Gleeson and with Joanna Merlin in the lead role; it received Eliot Norton and IRNE nominations for best new script. The European premiere of Absence was in September 2015 at the Oslo Nye Trikkestallen in Norway. Peter developed The Centipede King at the Kennedy Center in the summer of 2012. Other plays include Protocol (developed during his time with Next Voices) and the short play “Too, Too Solid Flesh” (included in the Smith and Kraus anthology The Best Ten-Minute Plays of 2015). He is a member of the Dramatists Guild and received his MFA from Boston University in 2012. (Website / New Play Exchange Profile)
Patrick Gabridge’s full-length plays include Lab Rats, Distant Neighbors, Fire on Earth, Constant State of Panic, and Blinders, and have been staged by theaters across the country. He’s been a Playwriting Fellow with the Huntington Theatre Company and recent commissions include plays and musicals for In Good Company, The Bostonian Society, Central Square Theatre, and Tumblehome Learning. His short plays are published by Playscripts, Brooklyn Publishers, Heuer, Smith & Kraus, and YouthPlays, and have received more than 1,000 productions from theatres and schools around the world. He’s also the author of three novels, Steering to Freedom, Tornado Siren and Moving (a life in boxes). His work for radio has been broadcast and produced by NPR, Shoestring Radio Theatre, Playing on Air, and Icebox Radio Theatre. Patrick helped start Boston’s Rhombus Playwrights writers’ group, the Chameleon Stage theatre company in Denver, the publication Market InSight… for Playwrights, and the on-line Playwrights’ Submission Binge. He’s a member of the Dramatists Guild, StageSource, and a board member of the Theatre Community Benevolent Fund. He is the co-founder and coordinator of the New England New Play Alliance. In his spare time, he likes to farm. (Website / New Play Exchange Profile)
Deirdre Girard, who has an artistic passion for creating distinctive stage roles for women, completed her MFA in Creative Writing/Playwriting at Boston University. She has had dozens of one-act plays produced in national and international festivals, most recently as part of the ATHE conference in Montreal. Her first full-length play The Christina Experiment was produced in an historic 200-seat theater by the Firehouse Center for the Arts in Newburyport, MA. Deirdre was named a 2012-2013 Playwriting Fellow at New Repertory Theater in Watertown, MA, and a Returning Fellow in 2013-2014. During this Fellowship she developed her historically based play Reconsidering Hanna(h), which was produced by Boston Playwrights’ Theatre in 2014. In 2015, Deirdre was selected for the BCA/Company One Play Labs development program. There she crafted her two newest, female centric, Boston-based plays, Duplex and Little Jewel. Her extensive volunteer work in theater includes being a member of Arts Emerson’s Founder’s Council as well as a co-owner of TideTaken studio, which provides rehearsal space free of charge to nonprofit performing arts organizations. (Website / New Play Exchange Profile)
Colleen M. Hughes is a playwright born and raised in Somerville, MA. She received her BA in English and Theatre from the College of the Holy Cross and her MFA in Playwriting from Boston University. Colleen’s work has been produced and developed at the Boston Theater Marathon, Boston Playwrights’ Theatre, Fresh Ink Theatre, New Repertory Theatre, and the College of the Holy Cross. Her play The Mouse was a national semifinalist for the 2011 KCACTF Ten-Minute Play award, and Directive 47 was an O’Neill semifinalist. Colleen was a 2011–2012 Next Voices Fellow at New Rep and is a member of the Dramatists Guild. (Website)
Lila Rose Kaplan writes heartfelt comedies, bittersweet dramas, and musicals for young people. Her play Wildflower made its Off-Broadway debut at Second Stage Uptown and was published by Dramatists Play Service. Her other works include The Magician’s Daughter, 1 2 3 – a play about abandonment and ballroom dancing, Home of the Brave, The Light Princess, We All Fall Down, 100 Planes, Bureau of Missing Persons, and Tink. Her plays have been produced by Second Stage Uptown, A.R.T., The New Victory Theatre, The Old Vic, Perishable Theatre, Know Theatre, Chalk Rep, Fresh Ink, Launch Pad, Neighborhood Productions, and La Jolla Playhouse/Moving Arts. Her plays have been developed by The Huntington Theatre, Arena Stage, The Kennedy Center, Ensemble Studio Theatre, Center Theatre Group, The Playwrights Realm, Theatreworks, PlayPenn, and The Lark among others. Awards and Fellowships include The National Science Award in Playwriting, The International Women’s Playwriting Award, The Old Vic/New Voices T.S. Eliot Exchange, and The Playwrights Realm Writing Fellows. Lila Rose has been Playwright-in-Residence at Cornerstone
Theatre Company, Harvard Business School, and the Kavli Institute for Theoretical Physics. She is a graduate of Brown University and she received her MFA in Playwriting from UC San Diego. Lila Rose lives in Cambridge with her marine biologist and two cats. She is also a Huntington Theatre
Company Playwriting Fellow. (Website / New Play Exchange Profile)
James McLindon’s play, Comes a Faery, was developed at the Eugene O’Neill National Playwrights Conference and will be premiered at the New Ohio Theatre by Nylon Fusion Theater Company this fall. His play Salvation was premiered by Hudson Stage Company, directed by Giovanna Sardelli and will receive its second production in New York by Nuance Theater this summer. Faith will be premiered by Local Theatre Company in Boulder, CO this fall. Distant Music has enjoyed eight productions around the country, most recently at the Stoneham Theatre in Boston. Mr. McLindon’s plays have been developed and/or produced at theaters such as the Abingdon, hotINK Festival, Irish Repertory, Lark Play Development Center, Samuel French Ten-Minute Play Festival, PlayPenn, Victory Gardens, Lyric Stage, Boston Playwrights Theatre, Great Plains Theatre Conference, Seven Devils Playwrights Conference, and Telluride Playwrights Festival. His plays have been published by Dramatic Publishing, Smith and Krause, Original Works Publishing (Dusk) and Level 4 Press. (Website)
Lenelle Moïse is the author of Haiti Glass (City Lights Publishers) and was a 2012-2014 Huntington Theatre Company Playwriting Fellow. She wrote, composed, and co-starred in the critically acclaimed Off-Broadway drama Expatriate. Her two-act comedy Merit won the 2012 Ruby Prize. As a 2014 Next Voices Fellow at New Rep, she developed K-I-S-S-I-N-G, a play commissioned by Clark University. Moïse’s other plays include The Many Faces of Nia, Matermorphosis and Cornered in the Dark. She is an internationally touring solo performer and a Poet Laureate emeritus of Northampton, MA. Her writing has appeared in Make/Shift Magazine, the Utne Reader, Platte Valley Review and Meridians. Her work is also published in several anthologies, including Word Warriors: 35 Women Leaders in the Spoken Word Revolution. She has received awards, residencies and/or commissions from the Gaea Foundation, Southern Rep, the Kitchen Theatre Company, Serious Play Theatre Ensemble, Hedgebrook and the Astraea Lesbian Foundation for Justice. Moïse has taught solo and ensemble performance at Northwestern University and UT Austin. (Website / New Play Exchange Profile)
Ronan Noone is a graduate of Boston University’s MFA Playwriting Program and is currently an Assistant Professor (adj) in the same program. His plays, The Lepers of Baile Baiste, The Blowin of Baile Gall, The Gigolo of Baile Breag, Brendan, Little Black Dress, and The Compass Rose, have played in theaters across the United States. His play The Atheist played at the Huntington Theatre Company and the Williamstown Theatre Festival. It was also co-produced by The Culture Project and Ted Mann’s Circle in the Square productions in New York, and received both Drama Desk and Drama League Acting nominations. Other recent international productions have taken place in the UK, Spain, Canada, the Philippines and upcoming in Ireland. His full length and one act plays are published by Samuel French, Smith and Kraus, Baker Plays, and Dramatists Play Service. Awards include Jeff recommendations in Chicago, Ovation Recommendations in Los Angeles, Critics Award in Austin, Texas, American Critics Steinberg New Play Award nomination, three separate Independent Reviewers of New England (IRNE) for Best New Play, the Boston Theatre Critics Association’s Elliot Norton Outstanding Script Award, a Kennedy Center National Playwriting Award, an Edgerton New American Play Award and the 2015 Inaugural ATHE (Association for Theatre in Higher Education) Excellence in Playwriting Award. His essay on theatre, “Being Afraid to Breathe” is published by the Princeton University Library Chronicle LXVIII. Noone has also developed work for television with Pretty Matches Productions and the reality TV-based production company High Noon Entertainment. His 2014 Live Action Short The Accident has played the Boston International Film Festival and the Montclair Film Festival. His play The Second Girl, directed by Campbell Scott, had its World Premiere at Boston’s Huntington Theatre Company and his play Scenes from an Adultery, directed by Bridget Kathleen O’Leary, had its World Premiere at New Repertory Theatre. He is a member of Dramatists Guild of America. (Website)
Evan Sanderson is currently pursuing a Masters Degree in Arts Management from American University, with a Certificate in International Cultural Management. His current writing focuses more on essays and policy briefs, but his interest in using creative and artistic means to express the American veteran experience remains strong. Through an internship at the NEA, Evan was able to work on the Military and Healing Arts National Initiative, including work with the National Intrepid Center for Excellence. His capstone work will be on how game design and video game engagement can be leveraged to help bridge the gap between civilian and veteran experiences. (Website)
Cassie M. Seinuk is a Jewish Cuban playwright, AEA stage manager, and visual artist with an MFA in Writing for Stage and Screen from Lesley University, and her BA at Brandeis University with High Honors in Theatre Arts and Creative Writing. Her play Occupy Hallmark is the 2015 Winner of the Gary Garrison National Ten Minute Play Award at The Kennedy Center. Seinuk’s full-length play From the Deep is the second place recipient of the 2014 Latinidad Playwrights Award at The Kennedy Center American College Theatre Festival, the 2014 winner of the Pestalozzi Prize for best New Play at the Firehouse Center for the Arts, a Global Age Project semi-finalist at the Aurora, and a semi-finalist for the nuVoices Festival in at the Actors’ Theatre of Charlotte NC. She was a Kennedy Center Fellow and Playwright Observer at The O’Neill National Playwrights Conference 2014 and 2015. She is the recipient of the Boston University Jewish Cultural Endowment grant for From the Deep with Boston Public Works. Seinuk’s short play Leave A Message is a Region 1 regional semifinalist for the National Ten-minute Play Award. Occupy Hallmark and Playing Checkers were national finalists at Region 1 for the National Ten-Minute Play Award at KCACTF 2015. Her newest play Eyes Shut. Door Open will receive a production with Wax Wings Productions this August. It is also a 2014 Inkwell Finalist, and has received development with Interim Writers, Wax Wings, and Argos Productions. In addition, Seinuk is the co-founder of Interim Writers, and is a member of their Accomplice Writers’ Group. Seinuk is a member of Boston Public Works Theatre Company (P2), a Dramatist Guild member and Ambassador, and a proud member of Actors’ Equity Association. (Website / New Play Exchange Profile)
|False Flag by Walt McGough – Saturday June 4 at 3pm
Tori’s brother Hank likes guns. He also likes: talk radio, survivalism, investigative deep-web forums, and telling Tori about all of it when they see each other once a year. But when Hank is killed in an apparently random event, Tori can’t help but wonder. Didn’t Hank say that there was no such thing as coincidence? Didn’t he say he knew too much? Was Hank’s death just a matter of chance, or was it part of a bigger agenda, and which possibility is worse?
|Jesus Girls by Lila Rose Kaplan – Saturday June 4 at 7pm
A group of young women come out at a small conservative Christian college. After some fiery national press, the college’s administration calls for “week of dialogue.” As the week unfolds, the dialogue is one sided and the students must fight to be heard. Inspired by interviews, Jesus Girls highlights the journey of a group of extraordinary young women in their quest to be recognized as both Christian and gay. What happens when Jesus Girls come out?
|When Herod Came to Georgia by James McLindon – Sunday June 5 at 3pm
When Lula’s baby daughter is taken hostage by her Master to ensure Lula does not reveal the family’s hidden gold to Sherman’s Army, Lula’s mistress, Rebekah, assures her that the child will be returned safely once the danger has passed. Meanwhile, Lula is harboring Cobb, a poor rebel deserter and Brock, a wealthy, escaped Union officer. But unknown to Lula, Cobb knows of the treasure and has come to find it to save his starving family, with or without Brock’s help.
|Dream House by Cassie M. Seinuk – Sunday June 5 at 7pm
“WEST stands at the base of the tree. He looks at the tree, and it’s as if the tree looks back at him. He rubs the back of his neck, and then shakes his head out. He grabs a pencil, lays the childlike blueprint on the ground and starts to draw on top of it.” Life has been easy for West, a 27 year old RISD graduate, who has just spent the past seven years of his life working as a customer service rep at an online banking company, that is until a collapse at work and subsequent diagnosis puts an expiration date on West’s life. West see’s a doctor who lays it out on the table for him, he is dying, he has a few months to live, and his brain tumor is inoperable. She then encourages him to stay with family and do the things he’s always wanted to do. Shocked by the news West quits his job and moves back to semi-rural Amherst, Massachusetts, back to his overbearing yet nurturing Mother’s home, where he sets out to build the tree house of his dreams before his time runs out.
New Repertory Theatre is committed to the development and production of new work. Through our Next Voices Fellowship program, we are dedicated to providing a creative laboratory for four playwrights each season who will work as a group on tackling the challenges of their individual plays. We believe that bringing life from the page to the stage does not happen in isolation and neither should the writing process.
Next Voices Advisory Committee
Kirsten Greenidge, Melinda Lopez, Bridget Kathleen O’Leary, Jim Petosa, and Kate Snodgrass
New Repertory Theatre seeks four playwrights to join us to work on one of their plays for a season. The program will culminate in a workshop performance as part of New Rep’s Next Voices Reading Series in the Black Box Theater at the Arsenal Center for the Arts each spring. We seek playwrights with a strong vision, who have a specific play that connects to New Rep’s mission. These plays will be considered for a potential production in a Black Box theater space. Selected writers should clearly articulate where they want their play to go and should be collaborative, open to discussion about their work, and able to engage with the group on other projects as well. Plays may be in the form of outlines, treatments or early drafts at the time of submission, though early drafts are preferred.
Each writer selected as a Next Voices Fellow will enjoy access to New Rep’s staff, area actors, designers, and directors to help realize their work. The group will meet regularly at New Rep’s offices to talk about the plays, and to hear them read aloud. Every meeting will focus on two playwrights’ work and will rotate each session.
New Repertory Theatre has an open submission policy for New England area playwrights looking to participate in our Next Voices Fellowship. Participants must be able to meet regularly at New Rep’s office in Watertown, MA.
Interested writers may send a cover letter, a synopsis of their proposed play, and a 10-page sample of the play. Submissions may be sent to:
New Repertory Theatre
Attn: Next Voices
200 Dexter Avenue
Watertown, MA 02472
All submissions will be read and responded to within the year.