Announcing Matchstick Series: While We Slept

exterior_jeffersonmarket__3609We are thrilled today to announce that our upcoming Matchstick Series: While We Slept will be presented through a partnership with the New York Public Library, November 4-6, at the Jefferson Market Library (425 6th Ave). Through this unique collaboration, we are pleased to present the Series to the public free of charge. Mark your calendars now, we’ll begin accepting reservations in just a few short weeks.

The Matchstick Series is an annual night of short plays created by the current PlayLab class. The plays in this year’s Series are inspired by the childhood dreams (and nightmares) of members of our ensemble. Join us for an evening of never-before-seen work and traipse through Pipeline’s collective subconscious. See below for this year’s entire group of outstanding collaborators.


Production Team

Line Producer: Zach Donovan
Production Designer: Chris Bowser
Costume Designer: Heather McDevitt-Barton
Music Director: Nate Weida
Production Manager: Kristy Bodall
Stage Manager: Emily DeNardo


J. Julian Christopher, A.J. Ditty, Taylor Edelhart, Aeneas Sagar Hemphill, Francesca Pazniokas, Charly Evon Simpson


Lauren Z. Adleman, Shariffa Ali, Jaki Bradley, Tom Costello+, Felicia Lobo, Courtney Ulrich



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Our First Ever Playwright-In-Residence

Just three weeks ago, we introduced you to our PlayLab Class of 2017. We are now thrilled to announce that additionally, this year, we’re taking the PlayLab a step further. We are pleased to introduce you to our first ever Playwright-in-Residence, the endlessly insightful and imaginative A.P. Andrews.

APA.P. Andrews is a New York City-based playwright and theater maker. His Nebraska Cycle is a series of ten plays about life in the rural Midwest, and includes Abby in the Summer, Burning Barn, The Girl with the Red Balloon, Tailgates, Three More Sundays, Meth and Kisses, Cecil and Rose, Homesteads, Maria Barone Comes Home, and Winter Visits. His Seaside Cycle is a series of four magical plays about love, loyalty, jealousy and grief, and includes Tidal Shifts, Optimism Or, On the Ascent, and The Night Before. Other works include what the water gave me, it probably doesn’t matter, On the Outskirts of Corrales NM, LARK/SONG, Constantin, Ashling, Tommy and His Stars and Stripes, Jolly the Christmas Walrus, This Might Hurt a Little, and two collections of one-act plays entitled Awake and Dreaming and Corners of the World. His plays have been performed and developed in Nebraska, New York, Idaho, Minnesota, Pennsylvania, Washington, North Carolina and London. He is the Literary Manager and Dramaturg for the Seven Devils Playwrights Conference, co-founder (with Kaela Mei-Shing Garvin) of 6×6 Writer’s Group, and Playwright in Residence at the Red Cloud Opera House in Red Cloud, Nebraska. He is a graduate of NYU’s Playwrights Horizons Theater School where he studied with Jeni Mahoney, as well as an MFA Candidate at Hunter College under the tutelage of Brighde Mullins, Annie Baker and Branden Jacobs-Jenkins.

A.P. will serve as a key member of the Pipeline artistic team for the duration of our 8th season and as a mentor to this year’s PlayLab class. He will also receive a two-week workshop of his play, On the Ascent, in Spring 2017. This residency is designed as a step 2 in our PlayLab process, and is only available to PlayLab alumni. A.P. is a member of our inaugural PlayLab Class of 2014, where he worked with us to develop Optimism Or, part of The Seaside Cycle.

About the Ascent

Dillon has been working at Oceanside Municipal Airport for almost ten years, and has finally started to feel content with the quiet, peaceful life he has built. But when an intriguing new employee arrives on the scene and a mysterious creature begins visiting the airport late at night, Dillon’s stable life becomes much more turbulent. Can Dillon find the strength to reach in to the blue and grab on to the things he wants, or will letting himself be vulnerable simply lead to an even bigger free-fall?

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Introducing the PlayLab Class of 2017

The Pipeline PlayLab, a year-long series of monthly meetings and events, provides a developmental space for playwrights to turn their biggest, wildest ideas into finished plays. Through an extensive application process, we seek out big dreamers who are taking big risks with their plays, we put them all in a room together, we provide structure and support, and we make magic together.

This year, the Pipeline artistic team received applications from over 125 playwrights. We then selected 6 outstanding artists to be in residence with us through June 2017. It is with great admiration and excitement that we now introduce our fourth PlayLab class:

Christopher squareJ. JULIAN CHRISTOPHER
Bruise & Thorn

J. Julian Christopher is an internationally produced playwright exploring Queer subculture, egg whites, ostrich, and bellies — none of which are mutually exclusive.

About the Project: Bruise & Thorn is about a gender fluid teen and their gay brother surviving life in Jamaica, Queens. More



Ditty SquareA.J. DITTY
The Heart of Duckness

A.J. Ditty is an actor/writer/slash-mark enthusiast currently living in Queens.

About the Project: It’s the Berlin Conference of 1884, the colonial powers of Europe are meeting to divide Africa amongst themselves, but every character is a duck, and we’re all corkscrewed. More



The Holdfolk

Taylor Edelhart makes new plays that deal with the sinister, the power of objects, and the intersection between theatre and games.

About the Project: The Holdfolk is a play about a family of magical creatures who live inside massive rocks scattered throughout the [insert nation here] countryside. It’s also about what happens to any community that mainstream society has gone out of its way to define and then to ignore. More


The Troll King Rules

Aeneas Sagar Hemphill is a human being with a bleeding heart and a dangerous mind.

About the Project: The Troll King Rules, the second play of the Troll King Trilogy, will move on from high school and gaming to adulthood and social media, where online and real lives merge and clash in the eternal war between trolls and social justice warriors. More




Francesca Pazniokas is a writer and musician whose work has been produced and developed in New York, Chicago, Washington DC, London and Melbourne.

About the Project: A taxidermist trains a mysterious child to be his protégé in Wunderkammer–a play about the thin line between human and animal, and life and death. More




Charly Evon Simpson is a playwright and performer who spends her free time running, reading, drinking wine, and hanging out with her dog, George.

About the Project: This currently untitled project is about Aurora, her mother, a lost dog, and what happens when someone goes home again. It is about ghosts and memory and a pair of rocking chairs on a porch. More

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Trying to change the world by putting on a show

Hardy, ReinaThe world premiere reading of Reina Hardy’s The Puppet Show is coming to the Bonfire Series on July 24, 7:30PM. In advance of the reading, we learned a little more from Reina about this latest play (which is inspired by a political theater class and Sesame Street) as well as her other upcoming projects (including a sex-positive queer-positive re-interpretation of Barbarella).

Learn more below, and reserve seats ($10 suggested Donation) for her The Puppet Show, July 24, 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn).

Pipeline Theatre Company: What do you want us to know about your play?

Reina Hardy: This is a play about trying to change the world by putting on a show, something which I think is both necessary and probably not possible, and very likely dangerous.

PTC: When and where did you decide to start writing this play?

RH: Hoo boy. A really, really, really long time ago. I was taking a class in political theater during my first, non-successful run at grad school. The central question of the class was “what is political theatre?” And then I remember I was thinking about that question, and thinking about the Muppets, and then very suddenly thought of Sesame Street and shouted “of course!”

PTC: What excites you most about this project?

RH: The fact that I am completely out on a limb here, and have no idea if anything that I’m doing is going to work. That is thrilling. I also am in love with the death cult I invented for the purposes of the plot.

PTC: In one sentence, tell us something strange that happens in your play.

RH: A puppeteer has a depressed, neurotic roommate who is a failed writer and also a puppet.

PTC: Are you working on anything else?

RH: Yes! My devised circus show Agent Andromeda and the Orion Crusade is going up in Austin in September with Sky Candy, directed by Rudy Ramirez. “Devised” sounds so artsy, but it’s a take on Barbarella. It’s going to be a sex-positive, queer positive, ridiculous romp. I just finished the first draft, and post Bonfire I’m going to be all about Agent Andromeda rewrites.

PTC: Two truths and a lie, go:

RH: I sassed Oprah when I was 12.

I have appeared, under a pseudonym and presented in a sexualized fashion, in two memoirs: one reasonably successful, the other thankfully still unpublished.

I once wrote a play about a weird internet penpal of mine who still doesn’t even know my name.

PTC: What’s next for you?

RH: Teaching playwriting at Interlochen Arts Camp, followed by Agent Andromeda in Austin, followed by Fanatical (my musical with composer Matt Board) in England in March.

About The Puppet Show

by Reina Hardy | directed by Anais Koivisto
Sunday, July 24, 7:30PM
Make a Reservation

Sam is a puppeteer from a rough background. Imogen is an international humanitarian/producer with a secret. Together, they’re going to save the world through children’s television- or are they?

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Finding magic in the cracks of the sidewalks

Femia, GinaGina Femia’s The Mermaid Parade will receive it’s Pipeline reading premiere this coming July 23, 7:30PM, as part of our Bonfire Series. In advance of the reading, we caught up with Gina to learn a little more about the sparks of inspiration for this project, which may or may not have included a real life mermaid.

Learn more about Gina’s play below, and reserve your seats for her The Mermaid Parade, July 23, 7:30PM, South Oxford Space (138 S. Oxford St, Brooklyn).

Pipeline Theatre Company: What do you want us to know about your play?

Gina Femia: The Mermaid Parade is a play about friendship and trauma, about two people trying to connect with one another despite being worlds apart.  They’re connected by a mermaid –or the legend of a mermaid – who may or may not be real. 

PTC: When and where did you decide to start writing this play?

GF: The Mermaid Parade – the actual parade, not the title– is one of my favorite events of the year.  It’s a beautiful highlight where people from all over come together and celebrate the mythology of the sea in Brooklyn.  I’ve been trying to figure out a way to not only dramatize the event, but to dig deeper into what that parade represents personally to me; those who have lived in Coney Island their whole lives, the homeless that make the beach their home, just to name a few.  I also wanted to explore the complexity of a friendship and what happens when two people who love each other so much are forced to be apart for a long period of time. 

I grew up – and stubbornly remain – in Brooklyn.  There have been times where I had to find magic in the cracks of the sidewalks in order to keep going.  I sometimes still do.  I firmly believe that sometimes we need to believe in magic.  We need to comfort ourselves with stories and the possibility that they may be true.   

And one day, I was walking along the beach and saw some footprints walking towards the ocean – and none coming back.  What else could it have been but a mermaid?  So I started to write this play.     

PTC: What excites you most about this project?

GF: Figuring out what the heck is going on with this mermaid!  I’m working on the third draft of this play and am still exploring exactly how the mermaid functions in the play – but thanks to PlayLab, both the playwrights in the group and especially Colby Day for providing constant optimistic guidance – I’m much closer to discovering her secrets.

I realized that this play is actually about characters who are experiencing trauma.  Amy, the mermaid, is the first character to undergo her trauma and carries it with her throughout the rest of the play.  She’s homeless, cast out of the sea and forced to live on land and her story reflects the trauma that both Islande and Biron wind up facing.   

But like, do mermaids talk?! Do they speak English?!  Come on by to find out! 

PTC: In one sentence, tell us something strange that happens in your play.

GF: Islande breathes fire.

PTC: Are you working on anything else?

GF: I’ve been working diligently-ish rewriting The Violet Sisters, a play I had developed at the Great Plains Theatre Conference.  It’s a two-hander that takes place in real time in a post-Hurricane Sandy kitchen in Brooklyn. I’m also working to get a draft of my supermarket play, Savings, done so I can get into a room with Michele Travis and a bunch of actors and play with it.  And I’m actively writing a play called A Way Around The Bend, which is an inter-alien love story.   

PTC: Two truths and a lie, go:

GF: I’m like, super tired.
The US Constitution is a solid piece of writing.
The only place I think is better than Brooklyn is Walt Disney World.

PTC: What’s next for you?

GF: I’ll be frolicking on Fresh Ground Pepper’s BRB Retreat, where I’ll be working on my long abandoned/neglected superhero play, Super, or, How Clark Graves Learned to Fly.

After that, I’ll be hopping into rehearsals for my solo show Things I Don’t Want to Talk About: a hero(ine)’s journey which will be getting a 3-day workshop in September – stay tuned!

And For The Love Of (or the roller derby play) will be receiving a workshop the last two weeks of October.

About The Mermaid Parade

by Gina Femia | directed by Erin Ortman
Saturday, July 23, 7:30PM
Make a Reservation

Biron has been deployed to Iraq and Islande is stuck in Coney Island. A fable of a mermaid connects them as they confront personal horrors and find one another and themselves during a time of war.

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How can you keep going when the world is so f*cked up?

Rice, Jacob MarxThe Pipeline reading premiere of Jacob Marx Rice’s Cracks is coming July 16, 7:30PM, to the Bonfire Series. In advance of his reading, we asked Jacob to tell us a little more about this third play in his The Suicidal Comedies series.

Learn more about this memory play that starts eating its own tale below, and reserve those tickets ($10 suggested donation) for his July 16, 7:30PM reading, at South Oxford Space (138 S. Oxford St., Brooklyn).

Pipeline Theatre Company: What do you want us to know about your play?

Jacob Marx Rice: The play is exploring a lot of different threads. It’s a science play. A play about mental illness. A fractured memory play. An in-depth exploration of the true nature of eggs. Despite the tangle, I think all the threads end up addressing aspects of the same question: How can you keep going when the world is so fucked up? Plus, it’s a comedy!

PTC: When and where did you decide to start writing this play? Why?

JMR: This play is the final piece of a trilogy called The Suicidal Comedies, which I started four years ago on a park bench in Ireland. The trilogy is thematically, rather than narratively, connected; Chemistry explores mania, depression and suicidal ideation while Coping explores OCD, and the immediate aftermath of suicide. The goal for the trilogy was to address mental illness and suicide in an honest way that neither fetishizes nor dismisses it. I wanted to find the truth of living and dying with mental illness.

PTC: What excites you most about this project?

JMR: This is my most theatrical play to date. It’s a memory play that starts eating its own tale. It’s been an exciting challenge to figure out how to keep the story clear while shifting and shattering the expected rules of reality. Thankfully, Pipeline’s been looking out for me!

PTC: In once sentence, tell us something strange that happens in your play.

JMR: Humpty Dumpty starts juggling, and then smashing, eggs.

PTC: Are you working on anything else?

JMR: I’m currently working a new play about Leni Riefenstahl, the first major female filmmaker, and Nazi minister Joseph Goebbels. Riefenstahl created a filmic language so ubiquitous we don’t even notice when films like Star Wars or the Lion King rip it off. Goebbels was this tiny, disfigured character who was supposedly the most seductive man in Germany. They were both strangely admirable underdogs, and yet they worked together to knowingly promote the deepest evil imaginable.

PTC: Two truths and a lie, go:

JMR: Due to similar chemical profiles, the best substitute for an egg in baking recipes is blood.

The original humpty dumpty rhyme never says he’s an egg. No one knows exactly how the two became inextricably linked.

The largest omelet in the world was made with 100,000 eggs.

PTC: What’s next for you?

JMR: I’m starting to grad school at NYU in September! That should hopefully keep me busy for a bit.

About Cracks

by Jacob Marx Rice | directed by Anna Strasser
Saturday, July 16, 7:30PM
Make a Reservation

Nicole is trying to unboil an egg. Kat is trying to stop Global Warming. When romance sparks between the two, Nicole must confront the explosive ending of her last relationship, with the help of a giant egg named Humpty Dumpty.

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Trust, love, and believing with every fiber of your existence

Stout, CallanThe Pipeline reading premiere of Callan Stout’s Girl Becomes Bone is coming to the Bonfire Series on July 22, 7:30PM. In advance of the reading, we learned a bit more from Callan about the seeds of inspiration for this project (poetry and religious text) as well as what’s coming next (hint: it might involve ghosts and cats).

Learn more in our interview below and reserve your seat now for Girl Becomes Bone, July 22, 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn).

Pipeline Theatre Company: What do you want us to know about your play?

Callan Stout: This play is about religion. In the future. In outer space. But it’s not a sci-fi play. It’s a human play about the unknown. It’s also about trust, love and believing with every fiber of your existence.

PTC: When and where did you decide to start writing this play?

CS: This play actually started as an exercise in a class with Lynn Nottage. I realized this little seed of an idea could sprout into a full play after hearing the first and only scene aloud. I wrote these prayers that are supposed to be sung in a unison monotone, and my classmates made a go of it.

The weirdness of that sound and how different it made the theatrical experience even just around a table, inspired me to continue writing the idea.

In the play I use The Duino Elegies by Rainer Maria Rilke as the religious text of the future religion. It is a series of poems that I have returned to time and time again over the last fifteen years. Every time I read them I’m able to apply them to my life in that current moment and take something new away. I always felt that was how some people felt about the sacred texts of their own religion, as pieces of writing that could be reinterpreted through each stage of life. Additionally, the poems are both very specific and very open to interpretation, and I think that even if you don’t understand the exact language a reader takes away a feeling, an emotion, and an impression that is very accurately what the writer, Rainer Maria Rilke was talking about.

PTC: What excites you most about this project?

CS: This project excites me because it has given be the chance to dig deeply into themes and topics I know nothing about. It’s been an opportunity to discover something new and challenge myself. Religion has always been one of those mysterious realms of life that I’m both endlessly curious about and completely distanced from. This play gave me an excuse to broach that taboo topic with other people (instead of just reading about it) and really inquiry about other individual’s beliefs and practices.

PTC: In one sentence, tell us something strange that happens in your play.

CS: There’s a mummified body on stage. Let’s just leave it at that.

PTC: Are you working on anything else? What?

CS: I feel like I’m working on a million projects all at once. I’m starting to dive head first into the play that will be my thesis project for my MFA. I’m working on turning a short play into a short film, with the goal of shooting it this summer or fall. Fingers’ crossed. I’ve been revamping my website (shameless plug). And I’m amassing pages and pages of notes on finished plays that need rewrites, so I’m hoping to find time to go back and rip those old plays apart and put them back together.

PTC: Two truths and a lie, go:

CS: I purposefully give American tourists wrong directions when I’m in foreign countries.
I can tell you the stories of all the constellations in the Northern Hemisphere.
One of my forefathers was canonized as a Catholic Saint and is the perpetual king of Norway.

PTC: What’s next for you?

CS: I’ll be joining Fresh Ground Pepper on their summer retreat to start working on a new play that will be my thesis play for the MFA at Columbia University. It’s about a young woman from the Czech Republic who sells encyclopedias door to door. She’s trying to escape the trauma of her past, but it keeps following her and she keeps meeting people who need her help to confront the reality of their own trauma.

It’s also a ghost story.

And it might include cat videos.

About Girl Becomes Bone

by Callan Stout | directed by Jaki Bradley
Friday, July 22, 7:30PM
Make a Reservation

It’s Quadrant 23’s turn to make the ultimate act of Faith. Someone must go to Earth and seek a path to Unity with the Void while self-mummifying. Three friend decide if their future is growing old or venturing into the stars. And one of them goes.

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The fierce women that occupy this dreamland

Witting, AmyThe Pipeline premiere reading of Amy E. Witting’s Eleven Shades of Blue is coming to our Bonfire Series this coming July 15, 7:30PM. In advance of her reading, we asked Amy to tell us a little more about how this, her lightest and perhaps most outrageous play yet, came into existence.

And don’t forget to reserve your seat to Eleven Shades of Blue, July 15, 7:30PM, South Oxford Space.

Pipeline Theatre Company: What do you want us to know about your play?

Amy E. Witting: This play is a love letter to my MFA professor Tina Howe. She inspired my imagination to go in fantastical directions. I never thought this piece would ever have a life because of how outrageous it is but grateful for Pipeline’s commitment to the unbridled imagination.

PTC: When and where did you decide to start writing this play? Why?

AEW: As a writer based in Queens I’m often found writing on the Q train riding from Astoria to Coney Island. One hot summer day a couple years ago I went on an adventure with Tina Howe to Coney Island. We went to the aquarium and stood watching the fish swim around and around and around. We ate at a place called Paul’s Daughter and I thought that would be a good title for a piece. After chewing on it for a bit Tina gave me a prompt (or perhaps a challenge) to write a play that was outside my normal wheelhouse.


  1. The play should be set in Coney Island with scenes in and around the rides and/or the aquarium.
  2. The time frame is is up to you. You can use time as you will.
  3. The characters should include:
    a) A precocious little girl between the ages of 8 and 10 who has some enormous ambition
    b) Someone with a physical disability who works on one of the rides or at the aquarium
    c) A member of a royal family from a far away foreign country who’s lost
    d) A photographer

The zero draft was workshopped in my class and I started doing a first round of rewrites though Mission to (dit)MARS and finally committed to doing a page one rewrite during the PlayLab this past year. I intuitively write plays that deal with darkness and the complexity of the mind in relationship to others, and Tina encouraged my lighter side, which was a delightful challenge.

PTC: What excites you most about this project?

AEW: The fierce women that occupy this Dreamland.

PTC: In one sentence, tell us something strange that happens in your play.

AEW: I don’t think anything normal happens in this play.

PTC: Are you working on anything else? What?

AEW: I’m working on a few things at the moment but most pressing is my new TV Pilot WIDOWED – about a woman in her thirties whose husband dies just before she asks him for a divorce and freezes his sperm to please her mother-in-law. It’s a traumcom.

PTC: Two truths and a lie, go:

AEW: I once got stuck on a log flume ride at Great Adventure.
I briefly lived overlooking the Coney Island Boardwalk.
My first rollercoaster ride was by myself at Busch Gardens after winning a giant Shamu doll.

PTC: What’s next for you?

AEW: End of July I’m gratefully going back as an alumni to the Kennedy Center to workshop my new play HOUSE ON THE HILL as part of NNPN’s MFA Playwrights workshop.

About Eleven Shades of Blue

by Amy E. Witting | directed by Sash Bischoff
Friday, July 15, 7:30PM
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Four women in search of a missing piece of themselves meet on the Coney Island boardwalk. Through their unlikely adventures, each learns to let go of her past and move forward alone, together.

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Just ride the current, don’t panic, you’ll be fine

Browne, JenThe Pipeline premier reading of Jen Browne’s Hags Mopes and the End of All Existence is coming to our Bonfire Series this coming July 21 at 7:30PM. Check out our interview below to learn more about Jen and her very strange play about the sustainability of love and the end of the world.

And don’t forget to reserve your seat for Hags, Mopes, and the End of All Existence, July 21, 7:30PM, South Oxford Space.

Pipeline Theatre Company: What do you want us to know about your play?

Jen Browne: A lot will happen in a fairly short amount of time, just ride the current, don’t panic, and you’ll be fine.  

PTC: When and where did you decide to start writing this play? Why?

JB: Hags and Mopes were birthed out of a writing session with playwright collective Lather Rinse Repeat.  LRR hosts bi-annual retreats focused on generating the next big idea and out came Hags and Mopes.  Many members of LRR claim partial ownership for the play as some of their prompts played a key role in the play’s existence.  At the time I was also thinking a lot about my grandparents and love and the sustainability of relationships, so that coupled with the insane suggestions I was pulling out of a hat is why this play exists.

PTC: What excites you most about this project?

JB: Hags and Mopes is particularly exciting because it represents a moment in time where I decided not to avoid writing something just because it was impossible.  This play has many impossible moments and that is what excites me about theatre in general seeing the impossible played out beautifully.

PTC: In one sentence, tell us something strange that happens in your play.

JB: Literally everything that happens in this play is strange, it’s hard to pick just one….also I don’t want to ruin the fun, so it’s a surprise.

PTC: Are you working on anything else? What?

JB: The Diabolical Starfish, a solo show for person and puppet I wrote for the amazing Stacey Raymond is ready for some on your feet exploratory work.  I’m in pre-production for a seven part series I co-wrote and am co-producing called 18 Grand, we should go into production in September (fingers crossed).  Preparing for a first workshop production in 2017 of a multi-media dance theatre piece titled Call Me She with Purple Threads Ensemble and Damaged Dance.  Fellow PlayLab classmate Gina Femia and I are kicking off a new Brooklyn writers group called Coffee Klatsch, it’ll be just like when our moms went to coffee klatsches only we’ll be writing new plays.

PTC: Two truths and a lie, go:

JB: 1) I’m engaged in a long term battle with squirrels.  They are an ever disturbing foe.
2) Road tripping to California was one of the longest car rides of my life.
3) Once I stole a lipstick from a small store, I then had a nightmare about the shop owner chasing me.  I never stole again.

PTC: What’s next for you?

JB: Almost immediately after the Bonfire Series I will be traveling to Nova Scotia.  Eastern Canada is one of the most beautiful places in the world.  I will sleep in, write, maybe paddle around a lake, and attend a busking festival in Halifax.  Then I will return to Brooklyn and write more plays, submit those plays and/or push them on anybody that might be interested in developing/producing them for me.

About Hags, Mopes, and the End of All Existence

by Jen Browne | directed by Tasha Gordon-Solmon
Thursday, July 21, 7:30PM
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Hags and Mopes are the oldest couple in the world and they’ve had enough, so maybe it’s not so bad the snow keeps coming, the cow and the goat have retired, and a comet is heading straight for them. What else can go wrong before death comes a barkin’?

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A video game world with fairy soldiers

Barbot, MatthewThe Pipeline premier reading of Matt Barbot’s Princess Clara of Loisaida, directed by Nelson Eusebio, is coming up July 14, 7:30PM, as part of our Bonfire Series. Check out our interview with Matt below to learn more about how this very personal, highly imaginative play, came to be.

And reserve your seat now for Princess Clara of Loisaida, July 14, 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn).

Pipeline Theatre Company: What do you want us to know about your play?

Matt Barbot: It is simultaneously my most personal play and also a play that takes place half in a video game world with fairy soldiers.

PTC: When and where did you decide to start writing this play?

MB: Why I decided to start writing this play as part of an exercise in Kelly Stuart’s class at Columbia University. I think the prompt was something like “Write a scene in which a character tells another character a story to make a point.” Or something. Anyway, the scene took shape the way it did because it struck me that characters of color don’t often get to be imaginative.

PTC: What excites you most about this project?

MB: I’ve lived with these characters for a while on the page, so I’m excited to see them borrow some actors’ bodies and speak.

PTC: In one sentence, tell us something strange that happens in your play.

MB: The main characters’ father communicates entirely in classic sitcom theme songs.

PTC: Are you working on anything else? What?

MB: Oh man. I’m currently shuttling back and forth from LA trying to make some cool TV stuff happen, and preparing for a production of my play El Coquí Espectacular and the Bottle of Doom this November.

PTC: Two truths and a lie, go:

MB: I haven’t seen Hamilton yet.
I’ll probably never get to see Hamilton.
I’ve seen Hamilton.

PTC: What’s next for you?

MB: I’ve got an exciting residency in August that I’m, unfortunately, not at liberty to talk about yet!

About Princess Clara of Loisaida

by Matt Barbot | directed by Nelson Eusebio
Thursday, July 14, 7:30PM
Reserve Your Seat

When José finds out the tales he’s been telling his little sister Clara might be true – that she’s really a princess from a distant land – he is forced to fight a magical battle for her destiny.

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