When I was in Bosnia, an interview with Jeremy Wine

Wine_EditedJeremy Wine’s latest draft of Proximity, directed by Kel Haney, will premiere on July 16 as part of our Bonfire Series. Read his interview below to learn more about this project and his next much much much bigger project.

And reserve your seat now for Proximity, July 16, 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn).

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

Jeremy Wine: The play is an entirely plausible supposition of what could have happened 20 years ago. When 20 years ago, someone very influential changed their mind in a way not even the person credited with changing his mind can explain.

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

JW: I started writing this play, in a sense, when I was in Bosnia. I started writing 50 plays when I was in Bosnia, because I felt it would take 50 plays to come to an understanding of what the hell happened to two very funny friends of mine.

PTC: What excites you most about this project? 

JW: It tries to work on several different levels at once. You’ve got ethnic cleansing, ass sex jokes, the first generation of drones used in war, hoagies, two historical figures, experimental neuroscience, diplomacy. But it’s really a fight about love.

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

JW: The main character sees and converses with Nikola Tesla because she’s been using his more obscure inventions on her brain.

PTC: Are you working on anything else? What?

JW: I’ve started a new play. It has something to do with a deck of cards and an obscenely obvious amount of blood.

PTC: Two truths and a lie, go:

JW: My wife is in labor right now.

I recently learned I had another brother I never knew existed.

I don’t think I know how to spell anymore.

PTC: What’s next for you?

JW: The rest of 2015 will be dominated by the dark oubliette that is surviving a newborn. Talk to me in January.

About Proximity

by Jeremy Wine | directed by Kel Haney
July 16, 7:30PM
138 S. Oxford St., Brooklyn
Reserve Your Seat

Munderton, an underground inventor on the forefront of the early days of drone research, has been repeating unauthorized experiments out of Nikola Tesla’s confiscated notebooks. Pressured by the leading diplomat negotiating peace in Yugoslavia, she is caught between helping end the war, repairing Tesla’s legacy, and Kevin, the sandwich delivery guy.

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It’s a bit randy, an interview with Salty Brine

Brine_EditedThe world premiere reading of Salty Brine’s Let Me Be Frank, directed by Jesse Thurston, is coming up on July 17 as part of our Bonfire Series. Read our interview with Salty below to learn more about this project and why he considers it a bit randy.

And reserve your seat now for Let Me Be Frank, July 17 at 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn).

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

Salty Brine: It’s about sexual education in America; It’s about a sex ed class that covers just about everything a sex-ed class doesn’t cover. So it’s a bit randy. Which is exciting. And hopefully surprising.

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

SB: I’ve been thinking about writing this play for years. I can’t remember when or where the idea came. But I do remember realizing, years after I’d lived it, how cheated I’d been by my sex-ed class. It had absolutely nothing to do with me. And how angry that made me. And I’ve daydreamed over the years about finding myself in a room with a bunch of teenagers, locking the door, and telling them everything I’ve learned that I wish someone would have told me. It struck me that that’s probably not going to happen. Because, for a number of terrible reasons, we’re not supposed to do so. The truth is considered too dangerous. So I decided I’d just take that daydream and make it into a play.

PTC: What excites you most about this project?

SB: Dirty words? Sexy topics? No. I imagine it’s exacting a kind of revenge on my high school that’s most exciting. I think that’s healthy, don’t you?

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

SB: A globe is used for a very odd purpose.

PTC: Are you working on anything else? What?

SB: Oh yes! I’m running a weekly series which I call my Spectacular Living Record Collection Cabaret. Every Wednesday night I perform a show I’ve built around an entire, amazing album. And every month we change the album. So there’s always a new show and something exciting to see and hear. If you want to know more: www.thesaltiestbrine.com.

PTC: Two truths and a lie, go:

SB: I’m considered Rhode Island royalty.

I’m just mad about shoes. 

I didn’t eat eggs until I was 26.

PTC: What’s next for you?

SB: More cabaret! And a vacation! And then more cabaret! And more plays!

About Let Me Be Frank

by Salty Brine | directed by Jesse Thurston
July 17, 7:30PM
138 S. Oxford St, Brooklyn
Reserve Your Seat

The students at North Langdon High are scheduled to start sex-ed today. But their teacher, Frank Dosier, has been asked to remove himself from school grounds due to allegations that he might be— ehem— gay. What starts as a lecture on the fertilization of an ovum quickly becomes a down-and-dirty, no-holds-bar manifesto of pleasure and passion. The students find themselves confronted with the realities of a sexually active lifestyle. And Frank finds himself in the midst of a classroom hijacking that might just change his life.

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Take 5 Minutes & Win Tix to The Gray Man

At Pipeline, we’re working to build a more courageous and compassionate world by unbridling the imaginations of our artists and audience members. To better understand our impact, we’ve realized we need to know a bit more about exactly whose imaginations we’re reaching.

If you have attended a Pipeline event within the last two years, we want to know more about you. Complete this brief survey by June 29, 5PM ET (that’s one week from today) and you’ll be entered to win a pair of tickets to our upcoming production of Andrew Farmer’s The Gray Man (September 23 – October 18, Walker Space). It should take you no more than 5 minutes to complete, and you’ll be providing us with information that will help us better understand our current audience, as well as guide our community building and outreach efforts for years to come.

Take Survey

The survey is built to collect demographic information, so it will ask you questions about age, ethnicity, gender, income, relationship status, and education. You will have the option to remain anonymous, and to skip any question.

Thanks in advance for your participation, and we look forward to seeing you at our upcoming Bonfire Series (July 9 – 19, South Oxford Space) and this Fall at The Gray Man!

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We’ve Received a Grant from A.R.T./New York!

artny_logolowWe are pleased to announce that Pipeline has been awarded a Creative Space Grant, our second grant this year from our very good friends at A.R.T./New York.

The A.R.T./New York Creative Space Grant, supported by the Andrew W. Mellon Foundation, is designed to provide theatre companies with real estate opportunities to help them meet their creative needs. The grant awarded to Pipeline includes 67 fully subsidized hours of rental space, to be used for our rehearsals for our upcoming production of The Gray Man (September 23 – October 18, Walker Space).

We are delighted to again be recognized by A.R.T./New York, and included among so many highly accomplished grantees. Click here to view a full listing.

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It’s precious cargo, an interview with Rachel

Music_EditedThe world premiere reading of Rachel Music’s Hiding In Sanity: A Tragicomedy, directed by Courtney Ulrich, is coming up on July 11 as part of Bonfire Series. Check out an interview with Rachel below to learn more about her inspiration for this project and why you don’t need “nerd cred” to get this particular narrative.

And reserve your seat now for Hiding in Sanity: A Tragicomedy, July 11, 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn.


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

Rachel Music: Hiding in Sanity: A Tragicomedy ​looks at the origin of Gotham’s craziest power couple. The Joker’s on-again, off-again, off-her-rocker girlfriend Harley Quinn used to be a psychiatrist. ​His psychiatrist. The show reads between the comic panels and shows a violent and darkly funny descent into the mind of a criminal and the heart of the woman who loves him.

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

​RM: About a year ago I was having some crazy writer’s block. I was broke, I was stressed, my life was like a fart. I didn’t have the bandwidth to read novels, so I picked up some of the recent Batman comics by Scott Snyder. I was pulling an all-nighter with my fiance and talking about Harley Quinn. She’s featured a lot in the comics, but her character is younger than I am, in a franchise over 75 years old. She’s still a baby! We’re talking about her history, before Dr. Harleen Quinzel became Harley Quinn, and I’m asking all these questions that I realize haven’t been answered. Here’s a brilliant doctor who is systematically broken down and reinvented by her patient. Even outside the comic book universe that story is fascinating to me; it deserved so much more than an episode of Batman: The Animated Series or a cut scene in Arkham Origins. Then he just looks at me and says, “so write that story, dummy.” The show ​started as fan fiction and snowballed into something a lot bigger than that​. In order to paint this realistic picture, finding out what it would take for this kind of transformation in the real world, the show starts exploring all this other material — the nature of trauma, narcissism, power struggles, even the state of mental health care. It became weirdly clear that I was uniquely qualified to write this show–I studied abnormal psychology and child development, I’m a big advocate for mental health reform, and from working as a Dominatrix I have a hands-on knowledge of power exchange and sadomasochism.​​ It was perfect to snap myself out of that funk, and it became urgent. I am aware of how melodramatic this sounds, but I felt like I had made this pact; I couldn’t abandon it and I couldn’t half-ass it because it’s precious cargo.

PTC: What excites you most about this project?

RM: I always have trouble with this. If I start I get on a roll and I come off like a reeeeal comic book nerd, which is fine, but I’m always worried that it will turn people off from the project, like I’m trying to be exclusive or write for a niche audience of mega-fans. The impetus to write the show actually came from the opposite feeling. I came to comics comparatively late and I wanted to honor ​this couple ​in their​ own story, in a grounded narrative that doesn’t require all this “nerd cred,” for lack of a better term​. What has been consistently exciting is that I did months of research for this, and I like to think that I did this world a lot of justice, and that the interpretation is a loving one, but after all of the details and Easter eggs in there, I got to let that go and watch half the audience enjoy this story outside of any comic context without feeling left out, and the other half get really excited over a Jason Todd reference or a nod to Alan Moore.

​​I actually started writing the show before Suicide Squad was even announced. At first I was terrified, thinking that my perfect window had passed, but it’s really a great thing. They are taking their relationship in a justifiable but totally different direction, and the whole aesthetic is different (and divisive, if you remember that Jared Leto picture). The beauty of these universes is that they can be remarkably open to interpretation. Sometimes that means retconning a whole backstory or gender-swapping a character, but sometimes it just means that writers take a different look at a well-loved element. Amanda Connor and her husband Jimmy Palmiotti are doing some incredible things with the Harley Quinn comics–they’re set in Coney Island and they’re kooky as hell. Going back to her beginnings and taking a much darker turn, it feels like joining this community, this genre- and generation-spanning fan club.

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

RM: A dead cat becomes a cameo.

PTC: Are you working on anything else?

When I’m not writing or personal assistant-ing, I’m the lead singer and lyricist of Oh! Mega!, a five piece rock band. Really fun eclectic stuff. We play shows all over the city and have a new EP out. We’re actually playing a midnight show after the reading on July 11th at Desmond’s Tavern (433 Park Ave. South). Other than that ​I’m working on a pilot based on my time working in the dungeon and a Hipster-Western rock opera called The Billyburg Kid.​

PTC: Two truths and a lie, go:

RM: My mom dated Ray Parker Jr., aka the Ghostbusters theme song guy.

I worked with a man who confessed to murdering the doctor who botched his wife’s surgery.

My dad used to be a roadie for Air Supply.

PTC: What’s next for you?

RM: Oh! Mega! is planning a to​ur.

​The Hive NYC Collective is workshopping ​Obsolete Bird, my post-humanism play about robots, plastic surgery, and a love triangle.

I’m moving in with my bassist and his girlfriend and their cat and my fiancé and our French Bulldog, Beemo, where I shall perfect my recipe for sweet potato bacon hash.

About Hiding in Sanity: A Tragicomedy

by Rachel Music | directed by Courtney Ulrich
July 11, 7:30PM
138 S. Oxford St., Brooklyn
Reserve Your Seat

Over 20 years ago in Gotham City, a young doctor forged a dangerous alliance with a known killer; the rest is comic book history. Hiding In Sanity explores between the panels and reimagines the sessions of The Joker with his devoted psychologist and her inevitable transformation. 46 Grounding both characters in a stark reality, the show both asks and answers questions about their twisted affair. 64 Part origin story, part psychological thriller, and part sick romantic comedy, Hiding In Sanity paints a portrait of mad love for both avid fans and the uninitiated.

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There are a lot of ants, an interview with Sarah

Einspanier_EditedThe world premiere reading of Sarah Einspanier’s The Convent of Pleasure, directed by Portia Krieger, is coming up on July 9 as part of our Bonfire Series. Check out our interview below with Sarah to learn more about her play, her process, and how you can make a quick $20.

And reserve your seat now for The Convent of Pleasure, July 9, 7:30PM, South Oxford Space (138 S. Oxford St., Brooklyn).


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

Sarah Einspanier: Nothing/as little as possible. Because I like being surprised. Because I’m still writing.

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

SE: I started this play last year—the way I start most of my plays—with a pack of sticky notes. I write down the things I’m interested in, things I’d like to see on stage, bits of speech. From there, I search for characters and relationships between them. And finally I start digging around for a play that will hold these things and people.

Some of my initial sticky notes included:

Margaret Cavendish’s The Convent of Pleasure
James Lovelock’s Gaia Theory
Relaxation Apps

PTC: What excites you most about this project?

SE: Silence.

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

SE: There are a lot of ants.

PTC: Are you working on anything else?

SE: I’m searching for a new title for my triptych. I’ve offered 20 dollars to a few friends if they can come up with a winner. Unfortunately, I still have 20 dollars burning a whole in my pocket.



PTC: Two truths and a lie, go:

SE: I bike 16 miles a day.

I was a production assistant for Season 17 of The Bachelor.

According to Myers-Briggs, I’m an ENFP.

PTC: What’s next for you?

SE: The Habitat’s Summertime Re-Write Festival with Lauren Z. Adleman.

A residency at The Barn Arts Collective with Morgan Green.

The Mississippi Delta—I’m on a road trip.

About The Convent of Pleasure

by Sarah Einspanier | directed by Portia Krieger
July 9, 7:30PM
138 S. Oxford St., Brooklyn
Reserve Your Seat

Margaret, a scholar, and Katherine, her partner mate, are moving? Going back to the earth? Going off the grid? Singing kumbaya? Whatever you want to call it, because they sure don’t know what to. Margaret is studying Margaret Cavendish, the 17th century playwright, and so she’s inspired (or perhaps deluded?) by Cavendish’s play The Convent of Pleasure. A play about our desire to escape the world alongside our desire to indulge in it. Exploring our excess and our emptiness and how they relate to our constant quest for “happiness.”

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Be Part of the PlayLab Class of 2016!

Through a year-long series of monthly meetings, the PlayLab serves as a workshop for playwrights to build new plays with constructive feedback from fellow writers, directors, and the artistic staff of Pipeline. Each PlayLab playwright will write a one-act play and a full-length play over the course of the season.

PlayLab playwrights commit to participate in the following programs:

  • Monthly Meetings (Sept. 13, Oct. 11, Nov. 8, Dec. 13, Jan. 10, Feb. 14, March 13, April 10, June 12, July 10*) – Meetings are held the second Sunday of every month. All PlayLab playwrights and the artistic team of Pipeline will be in attendance.
  • Matchstick Series (January 2016) – Each playwright will write a one-act play to be presented as part of the Matchstick Series. The group will select the theme of the Matchstick Series at their September meeting.
  • Annual Retreat (May 6-8, 2016*) – Each playwright will attend the Pipeline annual retreat, during which each developed full-length play will be given it’s first cold reading.
  • Bonfire Series (July 2016): Each playwright will write a full-length play to be presented as part of the Bonfire reading series in July.

PlayLab playwrights are also expected to attend Pipeline events throughout our seventh season.

*Dates subject to change.

Who Should Apply?

We’re looking for playwrights who are excited to collaborate with Pipeline and fellow playwrights throughout the season in developing new shows that fit with our vision to create imaginative new worlds for audiences. We like big dreamers, working on something brand new they haven’t quite figured out yet. Special efforts will be made to recruit a diverse group in terms of ethnicity, gender, educational and professional background, etc. Our vision: we believe that an unbridled imagination is a force of magic with the power to provoke a more courageous and compassionate world.

What to Expect

PlayLab playwrights meet once a month (second Sunday of every month) to review pages of their projects with one another through cold readings and dramaturgical discussion. We strive to build a strong sense of community within our PlayLab, so each month the meeting travels to a different PlayLab or Pipeline artistic team members’ home. Often the host provides food, even drinks, for the group. PlayLab playwrights should be excited to work within a collaborative group atmosphere, and enjoy providing one another with constructive feedback.

At the beginning of the season, Pipeline’s artistic team will work with each writer to determine ideal goals and writing deadlines throughout the year to help maintain steady progress leading towards the readings. Playwrights will also collectively determine the theme they’ll be writing towards for Pipeline’s January one-act event, the Matchstick Series.

Members of the PlayLab are part of the Pipeline family for the year, and as such, are expected to attend our retreat in May, where company members and playwrights will get a chance to together read through PlayLab playwrights’ full drafts, get away from the city for some dedicated writing time, and probably play Capture the Flag (be sure to stretch first…there have been injuries).

We’ll also work with playwrights to pair them with directors and actors who are excited to help bring their work to life.


We are now accepting PlayLab submissions! To submit please send the following by 11:59PM June 30, 2015 to submissions@pipelinetheatre.org with the subject line: 2016 PlayLab Submission. (Be sure to name your file in the following format: [LASTNAME_Playlab2016])

  •  Your Resume
  • Your Bio
  • A brief cover letter about your proposed play and why you’re excited to work with Pipeline on it (1-2 pages is plenty!)
  • A sample of your proposed play (we’ll take anything from a complete first draft, to a paragraph-long outline)
  • A full-length writing sample (We wanna get to know you!)
  • Major conflicts from September 2015 – July 2016

Some finalists can expect to be contacted mid-August for follow-up interviews via phone or skype.

What past PlayLabbers Say:

“The capable artistic staff of the Pipeline PlayLab are truly passionate about new plays and the people who write them. Their feedback and support – along with the inspiring work of my amazing PlayLab colleagues – allowed my work to grow in ways I never could have anticipated. I’ll carry this experience with me forever.” – Jessica Fleitman, Class of 2014

“Pipeline’s PlayLab is a terrific incubator for new work. They provided me and my fellow playwrights with an environment where I felt safe to share raw pages, but also gave me the challenges and support I needed to craft a brand new play. Pipeline has an ear for unique voices, and brought together such an exciting group of emerging playwrights that I was always thrilled to show up to meetings and hear what was going to be read. I wish could write everything this way.” – Scott McCarrey, Class of 2014

“Pipeline’s Playlab has provided me with the supportive, joyful, hilarious, brilliant space I need in order to create. I gain access to great minds every time I walk into our meetings. And there is laughter. And there is dedication. We are WORKING. There are pages printed if I need them and conversations over cups of coffee upon request. There are treats. TREATS! AND I have a big ol’ bucket full of new, marvelous, play-writing friends. To freak out with. And celebrate with. And get right down to the nitty-gritty with. My play has come miles; Has travelled distances it never could had I been stuck alone in my apartment hashing it out on my own. This Playlab is a treasure!” – Salty Brine, Class of 2015

“Pipeline’s Playlab is an island in the sea of melancholy that is being a New York playwright. No, I’m kidding… But seriously, Pipeline has taken care of me, listened to me, and inspired me in ways that I did not dare expect. I’ve found true friends and artistic collaborators and every meeting we had was not quite long enough. It’s incredibly exciting to get in on the ground floor of this burgeoning theater company – I can’t wait to see what they do next almost as much as I can’t wait to meet the talented members of the next Playlab.” – Claire Kiechel, Class of 2015


Send ‘em to Colby Day, our manager of artistic development. He loves emails: colby@pipelinetheatre.org

All applicants will be notified by August 31, 2015.

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Be Our First Ever Mystery Artist!

In May 2016, Pipeline will present our first ever Big Mystery Show. This program will provide a dedicated space for devised theater artists in the Pipeline season.

We are currently seeking an artist or group of artists with a very big idea who is interested in partnering with Pipeline to bring their idea to life for one night only. The artist will be selected in September, production planning will begin immediately, rehearsals will be throughout April, and the final performance will be in May. The identity of the artist will not be revealed until 2 weeks before the performance. This mystery element will aid us in creating an utterly unique performance event for both our artists and our audiences – an electric experience infused with wonder and joy.

The big idea should include the opportunity to use space in unconventional ways, should create a complete audience experience, should combine artistic disciplines, and should be in line with Pipeline’s vision. Beyond that…it could be anything. Individuals from diverse artistic, educational, and cultural backgrounds are encouraged to apply.


We believe that an unbridled imagination is a force of magic with the power to provoke a more courageous and compassionate world. Visit our about page to learn more.

To Apply

To be considered, please send resume, writing sample, and statement of interest to submissions@pipelinetheatre.org by July 15, 2015. Please use the subject line: 2016 Mystery Artist Submission (be sure to name your file in the following format: [LASTNAME_Mystery2016]).

Statement should not exceed 3 pages and should be written in Calibri size 12 font. The statement should include the following information:

  • THE BIG IDEA: Please provide an overview of your big idea.
  • WHY PIPELINE: Please provide an explanation of why you are specifically interested in working with Pipeline on this project and in this format.
  • TEAM: Please provide a list of all other individuals involved in this big idea. This can either be specific individuals you are interested in working with and their role in the project OR a list of positions that will need to be filled. IE – costume designer, composer, accompanist, director, etc.
  • USE OF SPACE: Please provide a description of your ideal venue. This can either be a specific venue or (in the case that you don’t have a specific venue in mind) a description of your dream venue. Please also provide a description of how this space will be used in your big idea.
  • AUDIENCE: Please describe your target audience for this big idea and their role in your big idea. How will this project impact your audience? How will they be involved in the actual performance? How will their experience of your project be unique?


Email Colby Day, manager of artistic development, or Ari Schrier, artistic director.

The Mystery Artist will be notified of his/her/their selection by September 15, 2015.

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We Received a Grant from Off Broadway Angels!

offbroadwayangelsWe are pleased to announce that we have been awarded a grant from the Off Broadway Angels. The small foundation, dedicated to supporting theater groups that make new and unique contributions to the New York theater community, has awarded Pipeline $3,000 to be put toward the design of our upcoming production of The Gray Man (September – October, 2015, Walker Space).

Off Broadway Angels was formed by interested theater-goers, who served on boards of not-for-profit, Off Broadway theaters. The founders saw the need for creating a small foundation which would fund developmental work, whether done by smaller theater companies or organized around a creation of specific theatrical production.


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Work with Pipeline This Summer!

Pipeline Theatre Company is currently seeking artistic interns for Summer 2015! Interested candidates should reside in New York and be available from June 1st – August 30th, 8-15 hours per week. We are looking for highly motivated and enthusiastic individuals with a passion for big imaginative theater.

Responsibilities Include:

  • Read and report on play submissions (minimum of 4 plays per week);
  • Stage Manage two play readings for our Bonfire Series (July 9-19);
  • Research performance venues for our Matchstick Series;
  • Attend readings/performances on behalf of Pipeline;
  • Special Projects

This is a volunteer position, but can be used for school credit, if desired.

To Apply:

Please complete our application (PDF) and send with resume to jobs@pipelinetheatre.org. We encourage you to review our ABOUT page before completing your application.

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