Pride & Prejudice
adapted by Kate Hamill
directed by Amanda Dehnert

Monday, February 13, 2017 at 7:30 p.m.
PONCHO Forum at Seattle Repertory Theatre

It is a truth universally acknowledged that Pride and Prejudice ranks among author Jane Austen’s works as one of her best. Playwright Kate Hamill imbues new life into this classic love story with a decidedly progressive take on the trials and travails of Elizabeth Bennet, Mr. Darcy, and, of course the delightful Bennett clan.  But not to worry, empire waists and lavish Regency-era attire still abound in this familiar yet surprisingly modern world premiere adaptation.
Kate Hamill is a NYC-based actor and playwright. As playwright: SENSE AND SENSIBILITY (in which she originated the role of Marianne)—Winner, Off-Broadway Alliance Award (Best Unique Theatrical Experience 2016); Nominee, Drama League Award (Best Revival, 2016). S&S was named "Top 10 Theater of 2014" by The New York Times (two-time Critic’s Pick) and was called “perhaps the greatest stage adaptation of this novel in history” by the Huffington Post; it ran for 265+ performances off-Broadway. Other plays include In the Mines (2015 Sundance Lab semi-finalist, NEXT New Musical Festival), Em (Red Bull New Play finalist), Little Fellow (2015 O’Neill semi-finalist), Pride & Prejudice (HVSF2). Since its premiere in 2014, S&S has been produced at the Guthrie Theater, Dallas Theater Center, and Folger Theatre (Best of 2016 – Washington Post). Kate’s Pride & Prejudice premieres at Hudson Valley Shakespeare Festival this summer. More information at www.kate-hamill.com.

I’ll Get You Back Again
by Sarah Gancher
directed by Rachel Chavkin

Monday, December 12 at 7:30 p.m.
PONCHO Forum at Seattle Repertory Theatre

I’ll Get You Back Again is a bittersweet comedy with music set in Berkeley. Struggling stand-up comedian Chloe is sitting in for her dead father as the bassist for his seminal psychedelic rock band. As rehearsals progress, Chloe finds herself navigating increasingly delicate emotional terrain as old conflicts flare up and old flirtations reignite. By turns comic and tragic, scathing and tender, the play is a meditation on what we inherit from the sixties; the joys and frustrations of collaboration; and the search for transcendence in art and comedy.

About the Playwright:
Sarah Gancher’s writing has been seen on stages across the US and internationally, including London’s National Theatre, Edinburgh’s Traverse Theatre, Budapest’s Quarter6Quarter7 Festival, Steppenwolf, Hartford Stage, Seattle Rep, The Public Theatre, PS122, Ars Nova, P73, The Flea Theatre, and NYC SummerStage. Honors include the New York Stage and Film Founders’ Award and the AR Gurney Prize. Co-writer of The TEAM’s Mission Drift, directed by Rachel Chavkin (Edinburgh International Festival Fringe Prize, Scotsman Fringe First, Herald Angel; London’s National Theatre, int’l tour). Time Warner Fellow at Women’s Project Lab, Playwrights’ Realm Writing Fellow, alumna of P73 and Ars Nova Play Group. She frequently partners with devising ensembles including NYC’s The TEAM, Colorado’s Telluride Theatre, Portland’s Hand2Mouth, and Blue Man Group. Upcoming: working on a commission for Second City Theatricals, a radio drama podcast for Wondery, and two musicals created with The Bengsons and Anne Kauffman, Hundred Days for The Public’s Under the Radar Festival and The Lucky Ones for Ars Nova. MFA: NYU.

The Grove
by Mfoniso Udofia
directed by Valerie Curtis-Newton

Monday, November 21 at 7:30 p.m.
PONCHO Forum at Seattle Repertory Theatre

Adiagha Ufot, first generation offspring and eldest daughter of a transplanted Nigerian family, is both conduit of her rich culture and fulfiller of the legacy of the American dream. Adiagha struggles to balance as her Nigerian history and her American present collide and combust.

About the Playwright:
Mfoniso Udofia, a first generation Nigerian-American storyteller and educator, attended Wellesley College and obtained her MFA in acting from the American Conservatory Theater. She co-pioneered the youth initiative The Nia Project, providing artistic outlets for youth residing in Bayview/Huntspoint. Mfoniso's Ufot Family Cycle plays, Sojourners and Her Portmanteau, will be produced this coming Spring 2017 as part of New York Theatre Workshop's season. She was also Playwrights Realm's 2015-16 Page One Playwright and in Winter 2016 they produced the World Premiere of Sojourners. In Spring 2016, The Magic Theater in San Francisco produced the West Coast Premiere of Sojourners and the World Premiere of the third installation in the Ufot Family Cycle, runboyun. Mfoniso is currently working on Oregon Shakespeare Festival’s Play On! commission translating Shakespeare’s, Othello. She’s also the Artistic Director of the NOW AFRICA: Playwrights Festival and a proud member of New Dramatists class of 2023. Mfoniso’s plays have been developed, presented and/or produced by New York Theatre Workshop, Playwrights Realm, The Magic Theatre, Dr. Barbara Ann Teer’s National Black Theatre, Hedgebrook, Sundance Theatre Lab, Space on Ryder Farm, NNPN New Play Showcase, Makehouse, Soul Productions, terraNOVA, I73, The New Black Fest, Rising Circle's INKTank, At Hand Theatre Company, The Standard Collective, American Slavery Project, Liberation Theatre Company and more. Please follow her at www.mfonisoudofia.com.

About the Director:
Director Valerie Curtis-Newton is a Professor and the Head of Performance at the University of Washington School of Drama. She is the Founding Artistic Director of The Hansberry Project.

The Burdens
by Matt Schatz
directed by Matt Giles

Kickoff Event for The Other Season
& Public Reading of The Burdens

Monday, November 14 at 7:30 p.m.
PONCHO Forum at Seattle Repertory Theatre

Mordy is a struggling musician living in Los Angeles. His older sister Jane is a successful attorney and a mother of three in New Jersey. But when their widowed mother's life becomes emotionally and financially taxed by her terrible, centenarian father, these two adult siblings are drawn together into an elaborate plot to relieve their mother's burden and their own. Told almost entirely via text messages, The Burdens is a dark, family comedy about how technology helps keep us close, while still enabling us to keep our distance. It's sometimes easier to type something than it is to say it face to face. But please, be careful of auto-correct. It can be murder.

About the Playwright:
Matt Schatz is a writer and composer. He won the 2012 Kleban Prize in Musical Theatre for Love Trapezoid (Astoria Performing Arts Center). Other plays and musicals include The Burdens (2016 O'Neill National Playwrights Conference), Dunkfest '88 (Ars Nova) Georama (St. Louis Rep, GRSF), I Battled Lenny Ross (EST), Oh, Gastronomy! (Humana Fest), The Tallest Building in the World (Luna Stage), An Untitled New Play By Justin Timberlake (Playwrights Union First Peek), and Where Ever It May Be (EST/Sloan Commission). Also a TV writer, Matt has written pilots for Fox Television Studios, the USA Network, and TBS and is currently working on a musical series for the streaming site Fullscreen. Matt was born in Camden, New Jersey and currently lives in Los Angeles.

a new interpretation
directed and devised by Erica Schmidt

Monday, June 20, 2016
7:30 p.m. in the PONCHO Forum

In director Erica Schmidt’s innovative adaptation, seven women embody the entire cast of Macbeth, Shakespeare’s tragedy about the corrosive power of ambition. Witches, ghosts, and prophecies drive this tale of a brave Scottish general who believes he is destined to be king of Scotland. Spurred on by his wife, Macbeth murders the ruling king and takes the throne for himself. But one slaughter leads to another, and guilt tortures the new king and queen until retribution finally overtakes them.

About the Director/Adaptor
Erica Schmidt’s directing credits include: Taking Care of Baby by Dennis Kelly at Manhattan Theatre Club; Jonas Hassen Khemiri’s Obie Award-winning Invasion! and I Call My Brothers for The Play Company; Honey Brown Eyes (The Working Theater); The Burnt Part Boys (The Vineyard and New York Stage and Film); Humor Abuse (co-creator with performer Lorenzo Pisoni at Manhattan Theatre Club, the show won: Lucille Lortel, Outer Critics, Drama Desk, and Obie awards; also The Taper, ACT, Philadelphia Theatre Company, and Seattle Rep); Rent (Tokyo); Moliere’s Imaginary Invalid, Chekhov’s Uncle Vanya, Gilbert and Sullivan’s The Sorcerer, and Copland’s The Tender Land  (all at Bard Summer Scape); Mezzulah, 1946 (Pittsburgh City Theatre); Carnival (The Paper Mill Playhouse); People Be Heard (Playwrights Horizons); Trust (The Play Company, Callaway Award nominee); As You Like It (The Public Theater/NYSF, chashama and New York International Fringe Festival Winner for Best Direction); Debbie Does Dallas (wrote the adaptation and directed Off-Broadway at the Jane Street); Spanish Girl (Second Stage Uptown); slag heap (The Cherry Lane Alternative); Romeo and Juliet (Outdoor Garage); The White Devil and Don’t Blink (The Directors Company). College and University work: TopDog/UnderDog, R&J, and Buried Child (The Juilliard School); Fair Ladies at a Game of Poem Cards (The McCarter’s Berlind Theater, Princeton University); The Desire Project (Vassar College and subsequent workshop at The Vineyard); The Identity Project (NTI at the O’Neill); Top Girls (Fordham University); The Price of Pearls: an adaptation of The Canterbury Tales (The New School). Adjunct faculty in Advanced Directing for Syracuse University’s Tepper Semester since 2010. Upcoming: workshop of Hamlet for TFANA; Titus Andronicus for Vassar College. Princess Grace Award recipient 2001, BA cum laude from Vassar College.

by Yussef El Guindi
directed by Victor Pappas

Monday, May 23, 2016
7:30 p.m. in the PONCHO Forum

When Muaz agrees to meet an older man, Rupert, for a discreet encounter, he isn’t expecting his race to be the thing that makes him the ideal submissive in his new partner’s eyes. It likewise comes as a surprise to Muaz when Rupert turns out to be a prominent islamophobic  pundit–especially one scheduled to debate a fiery female Muslim activist, Enas, who happens to be Muaz’s wife. As Rupert and Enas converge, questions of sex, religion, race, and cultural tradition start to swirl around Muaz and his family, each presenting their own dark and inescapable truths. 

About the Playwright
Yussef El Guindi’s most recent productions include Collaborator at Macha Monkey Productions, Threesome at Portland Center Stage, ACT, and at 59E59 (winner of a Portland Drammy for Best Original Script), Pilgrims Musa and Sheri in the New World (winner of the Steinberg/American Theater Critics Association’s New Play Award in 2012; Gregory Award 2011;) at ACT, and at Center Repertory Company (Walnut Creek, CA) 2013; and Language Rooms (Edgerton Foundation New American Play Award), co-produced by Golden Thread Productions and the Asian American Theater Company in San Francisco; at the Wilma Theater in Philadelphia (premiere), and at the Los Angeles Theater Center. His play Our Enemies: Lively Scenes of Love and Combat, produced by Silk Road Theater Project, won the M. Elizabeth Osborn Award. Yussef is the recipient of the 2010 Middle East America Distinguished Playwright Award, and Seattle’s 2015 Stranger Genius Award.

Wolf Play
By Hansol Jung
Monday, May 2 at 7:30 p.m. in the PONCHO Forum;

A Lone Wolf stands onstage. He holds in his hands the puppet of a Korean boy floating between alien worlds. The father who first adopted the boy is overwhelmed by a new baby in his house and answers an ad seeking a child. He transfers his adopted son’s custody to a Ash and Robin, a boxer and her wife, two women at very different stages of wanting children in their lives. The boy’s new mothers attempt to make the Wolf feel at home in these new surroundings, but the Wolf finds it is as terrifying and foreign as his last. Survival, quick instincts, and a fighting stance stand the wolf in good stead as the adults surrounding him try to sort out what it means to be a parent, a spouse, a sibling, a child, a family. And, what it means to be a fighter alone in the ring. Can this Lone Wolf find his own version of a pack?

About the Playwright
Hansol Jung is a playwright and director from South Korea. Regional theatre credits include No More Sad Things (co-world premiere at Sideshow Theatre, Chicago and Boise Contemporary Theater). Commissions include a translation of Romeo and Juliet for the Play On! project at Oregon Shakespeare Festival. Fellowships and residencies: 2050 Fellowship at New York Theatre Workshop, Sundance Institute Playwrights Retreat at Ucross, MacDowell Colony Artist Residency, International Playwrights Residency at the Royal Court (London), Berkeley Repertory Theatre’s Ground Floor, O’Neill National Playwrights Conference, Rita Goldberg Fellow at the Lark, Seven Devils Playwrights Conference, and OD Musical Theater Company (Seoul). Jung holds an M.F.A. in playwriting from Yale School of Drama, and is a proud member of the Ma-Yi Writers Lab.

by Mona Mansour
Monday, April 18 at 7:30 p.m. in the PONCHO Forum;

Conflict photographer Mia wakes up in the Istanbul apartment of her on-again, off-again girlfriend after being found unconscious at the scene of a massacre she was photographing. Mia can’t even remember being there, but she wired photos of the site hours before she was found. The two women resume their volatile push-pull when Mia’s well-meaning Californian mother arrives from the US, trying to help unravel what happened to her daughter.

About the Playwright

Mona Mansour’s play The Way West just received its NYC premiere at Labyrinth Theater, directed by Mimi O’Donnell. Prior to that, the play was at Steppenwolf in Chicago, directed by Amy Morton and Marin Theatre Company, directed by Hayley Finn. The Hour of Feeling (directed by Mark Wing-Davey) received its world premiere in the Humana Festival at Actors Theatre of Louisville. Urge for Going (directed by Hal Brooks) received a LAB production at the Public Theater, and a West Coast premiere at San Francisco’s Golden Thread (directed by Evren Odcikin). The Vagrant, the third play in the trilogy, was commissioned by the Public Theater and workshopped at the 2013 Sundance Theater Institute. Mona was a member of the Public Theater’s Emerging Writers Group, a Core Writer at Minneapolis’ Playwrights’ Center, and is a member of New Dramatists. Other plays include Across the Water and Broadcast Yourself (part of Headlong Theater’s Decade). With Tala Manassah she has written The House and The Letter (Golden Thread’s ReOrient Festival); and Falling Down the Stairs, an Ensemble Studio Theatre/Sloan commission about a scientist in 1970s Iraq. Their short play Dressing is part of Facing Our Truths: Short Plays about Trayvon, Race and Privilege, a collection of plays commissioned by the New Black Festival that has been presented at various theaters around the U.S., including the Goodman, Center Theater Group, and Baltimore Center Stage. 2012 Whiting Award. 2014 Middle East America Playwright Award, monamansour.com

Reading: Ibsen in Chicago
Monday, January 25 at 7:30 p.m. in the PONCHO Forum;

Picture it: Chicago, 1882 – the White Stockings won the National League Championship; the city prepared to host the World’s Fair: Columbian Exposition; the meatpacking industry reined supreme; and a surge of over 205,000 immigrants made the Windy City their new home. Of this new wave of Chicagoans, a group of Scandinavian immigrants staged the world premiere of Henrick Ibsen’s Ghosts. Commissioned playwright David Grimm theatricalizes the making of this modest debut of the renowned classic in Ibsen in Chicago, Directed by Seattle Rep Artistic Director Braden Abraham.

About the Playwright

David Grimm is a Brooklyn-based award-winning playwright and screenwriter. He wrote and adapted the dialogue for Matthew Barney’s film River of Fundament which premiered at BAM in 2014. Plays include: Oriflamme (part of “Tennessee Williams’ Desire” at 59E59); Tales from Red Vienna (Manhattan Theatre Club); Measure for Pleasure (Public Theatre; Bug ‘n Bub Award; GLAAD Award nomination); The Miracle at Naples (Huntington; Best New Play IRNE Award); Steve Á Idi (Rattlestick); Chick (Hartford Stage); The Learned Ladies of Park Avenue (Hartford Stage); Kit Marlowe (Public Theatre; GLAAD Award nomination); Sheridan, or Schooled in Scandal (La Jolla); Enough Rope (Williamstown; starring Elaine Stritch), and Susanna Centlivre's The Gaming Table (for which he wrote additional material; Folger Library Theatre). Shorter works include the song cycle Boxes, Buckets, Á Bags (music by Peter Golub; Liederabend @ The Kitchen); Divinity du Styx (24 Hour plays); Brooklyn Evening (One Minute Play Festival); A La Recherche du Frank Perdue (Red Bull Verse Play Festival); and others. David is the recipient of an NEA/TCG Residency Grant and has received commissions from Roundabout Theatre Company, Huntington Theatre Company, City Theatre Company, The Public Theater, and Hartford Stage. He has developed work at the Sundance Theater Lab, Old Vic New Voices, and NY Stage & Film. David holds an MFA from NYU, a BA from Sarah Lawrence College, and has lectured in Playwriting and Screenwriting at the Yale School of Drama, Brown University, Columbia University, and NYU. Grimm’s plays are published by Dramatists Play Service. Currently, he is working on a song cycle for Martha Clarke.

Reading: Sherlock Holmes and The American Problem
Wednesday, December 9 at 2:00 p.m. in the PONCHO Forum;

The artistic team behind Seattle Rep’s 2013 hit The Hound of the Baskervilles reunite for a theatrical reading of R. Hamilton Wright’s Sherlock Holmes and The American Problem. Join the playwright and Seattle director Allison Narver in this sneak-peek look at a mainstage work-in-progress. American Wild West and Victorian England collide in this latest adventure, making its premier on the Bagley Wright Stage in April 2016.

About the Playwright
In his own words:
I have been an actor for a really long time. I have worked in many theatres around the country, but I have always considered myself, first and foremost, a Seattle actor. I’ve appeared in over fifty productions at the Seattle Repertory Theatre, the first being 1979’s The Taming of the Shrew, directed by Dan Sullivan and the latest being 2014’s Who’s Afraid of Virginia Woolf, directed by Braden Abraham. For over 35 years the Seattle Rep has been a theatrical and creative home for me and so it does seem fitting and absolutely thrilling that my first solo World Premiere as a writer will not only take place on the Bagley Wright stage, but will be brought to life by an astoundingly talented group of Seattle actors surrounded by scenery and in costumes and under lights and supported by music created by Seattle designers, all led by the remarkable Allison Narver – a native daughter of Seattle if ever there was one. I am very proud that this is a Seattle production. I would like to dedicate this play to my parents Jack and Kay Wright. And to my wonderful wife, Katie Forgette: BALK!

Monday, October 19 at 7:30 p.m. in the PONCHO Forum;

Dry Powder viciously and deliciously funny new drama about the people molding, and messing with, the American economy.

The same week his private equity firm forced massive layoffs at a national grocery chain, Rick threw himself an extravagant engagement party – setting off a publicity nightmare. Fortunately Seth, one of Rick’s managing directors, has a win-win deal to invest in an American-made luggage company for a song and to rescue his boss from the company’s PR disaster. But Jenny, Seth’s counterpart, has an entirely different plan: to squeeze every last penny out of the company, no matter the human toll. The game is on in Sarah Burgess’ gripping, razor-sharp new play about the price of success and the real cost of getting the deal done.

About the Playwright
Sarah Burgess’s play Dry Powder will premiere off-Broadway at the Public Theater in winter 2016. Her other plays include Camdenside (developed at The Ground Floor, Berkeley Rep), Earthsiege: Commence, and FAIL: Failures (ANT Fest). Sarah was a writer for The Tenant (Woodshed Collective) and "Naked Radio," Naked Angels' monthly podcast series. She has been a writer-in-residence at the Cape Code Theatre Project and SPACE on Ryder Farm in Brewster, NY. Member of the WP Playwrights Lab. Ars Nova Play Group alum.