Through a year-long series of monthly meetings, the Pipeline PlayLab serves as a workshop for playwrights to build new plays with constructive feedback from other playwrights, directors, and the artistic staff of Pipeline, culminating in staged readings of the developed plays.
Class of 2018: Rick Burkhardt, J. Julian Christopher, Amy Gijsbers van Wijk, Jae Kramisen, K.T. Looney, Divya Mangwani, Matt Minnicino
Now Accepting Applications:
Be Part of the PlayLab Class of 2019
Deadline: April 30, 2018, 11:59PM ET
Guidelines & Info
In line with our vision, we are looking for artists who are excited to collaborate with Pipeline and fellow playwrights in developing plays that create imaginative new worlds and use bold and inventive methods to transport audiences. We like big dreamers, working to figure out a project in the earliest stages of incubation. We want to make something from scratch with you, so are interested in hearing about your spark of an impossible idea that we can help you grow into a big courageous new play. Learn More
Class of 2018
Rick Burkhardt is an Obie-award-winning playwright, composer, director, and performer whose original music and text pieces have been performed in Australia, Europe, Taiwan, Canada, Mexico, and over 40 US cities. He studied Music Composition (PhD 2006) at the University of California, San Diego, and playwriting (MFA 2016) at Brown University.
Project: Five Hundred
Four characters attempt to act out a traditional melodrama (a stolen painting! a threatened relationship!) with one constraint: each character may only speak 500 words total before falling silent completely. Language as scarce commodity, sometimes hoarded, sometimes shared, sometimes helplessly trickling away. Spout your language like it’s going out of style, or save it somehow for the future? Is the plot, which consumes your words, truly worth pursuing? Will your children ever hear you talk?
J. Julian Christopher
J. Julian Christopher received an MFA in acting from The Actors Studio Drama. Awards include: The 2009 Public Theater EWG Fellowship, The 2015 Queens Arts Council Grant, and The 2014 Best New Work Motif Award. Plays include: Animals Commit Suicide (First Floor Theater), Locusts Have No King (INTAR Theatre), Man Boobs (The Public Theater), Nico Was a Fashion Model (LAByrinth Theatre Company). This past year he developed his new play, Bruise & Thorn, with Pipeline Theatre’s PlayLab. He is a co-producer and co-writer of the hit web series, Bulk- The Series.
Project: Bundle of Sticks
The play is designed to explore what it means to be heterosexual versus homosexual, often mistaken as a declaration of masculinity and femininity. Masculinity varies globally, whether it’s from the Aboriginal society of Australia or the urban streets of NYC. Bundle of Sticks seeks to dissect these variations through the theatrical convention of fabulism, a reaction against the demands of mainstream verisimilar fiction where characters will not obey or conform to the conventions of realism, or in other words… some crazy-ass storytelling.
Amy Gijsbers van Wijk
Amy Gijsbers van Wijk is a playwright (sometimes performer) from Pasadena, TX, based in New York. She has been a recent semi-finalist for the O’Neill and Bay Area Playwrights Festival. Her work includes DIRTY DIRTY, a play about BDSM pornography, and The Alternate Possibilities of Our Past and Future History with Particular Regard to the Identification of the Eastern Puma and the Corps of Discovery, based on the diaries of Lewis and Clark. She holds a BA from Brooklyn College, and an MFA in Dramatic Writing from Carnegie Mellon University where she studied with Rob Handel. (www.amygvw.com)
Project: feminine octagon [or, aristotle can eat me]
College freshmen Allure and Candy want to know: would you rather be a warm or cold body in the trunk of a man’s car? & Orpheus is drunk — falls out of the sky into Candy’s bedroom — pregames the carpet — can’t seem to find his abusive girlfriend. Zoology Club President Flowers wants people to PLEASE SHARE!!! her GoFundMe for her fish, Flounders and also is definitely in love with Mary Shelley as manifested in her dreams, LOL. Cam girl Eurydice_19969 just wants to make that ca$$$h. feminine octagon is a play that feels like the Internet; a play that wants to know what’s left of your made-up, ripped-up, body glitter snakeskin identity; a play about YouTube makeup videos, Medusa, and the endless search for an unforgettable, life-changing party.
Jae Kramisen is an internationally produced playwright and New York City native. Having had her first production at only fifteen years old, her plays have had more than 50 productions across the U.S., Canada, England, and South Korea. An avid backpacker, Kramisen completed the Appalachian Trail, climbing from Georgia to Maine. She is using inspiration from the trail to write Earth is Greedy, the 2nd play in her Moon Trilogy. Jae was a recent member of Exquisite Corpse Company’s PlayLab, where her play, In Search of Glory, was developed and later presented on Governor’s Island. BA: SUNY Purchase www.jaekramisen.com
Project: Earth is Greedy
Earth is Greedy explores a world in which the moon is falling apart in the sky. Using a storyline labyrinth, we meet characters all struggling to survive as the world edges toward collapse. A little girl overcoming a tragic house fire begins to be haunted by a demonic form of the moon. As she locks herself inside, she watches as the world outside begins to fall apart. Survivors are forced to flee when new laws are enacted. Some flee to the woods, as others live in the underground tunnels of the city. Is anyone safe when the world is falling apart? Who can you trust when everything is on fire?
K.T. Looney is a New York City based theater artist fascinated with the strange and familiar. K.T.’s plays and collaborations have been presented at The Barn Arts Collective, Joe’s Pub at The Public Theater in the 2017 Downtown Urban Arts Festival, Insomnium: Nightmare at DCTV, HERE Arts Center, Dixon Place, Feinstein’s/54 Below, La MaMa Club Theater, Theater for the New City, The LGBT Center, and Stella Adler Studio among others. K.T. is a Field Research Team Member of The Civilians, Development Associate at Theater for the New City, and Teaching Artist at Brooklyn Acting Lab. BFA/NYU Tisch.
Project: House of Telescopes
House of Telescopes is a bluegrass punk fairytale about an artist commune in rural America where magic and violent legislation are at odds. House of Telescopes interrogates how power structures manifest in microcosms and, more specifically, how a group of people can keep fighting for what they believe in even under the weight of extreme hopelessness.
Divya Mangwani is a playwright from Pune, India. She was the Artistic Director of Moonbeam Factory Theatre, where she wrote and directed plays that were staged in Pune, Mumbai, Chennai, Goa, Singapore and Glasgow. Her play ‘One, Two, Three’ won best play, best script, best director and audience vote at the international Short+Sweet Festival. Divya writes plays that merge words with music, movement, puppetry and art. She holds an M.A. in International Journalism from Cardiff University and an M.F.A. in Dramatic Writing from Tisch School of the Arts, NYU
Project: The Rise of the River
The Hilsa fish is dying in Sindh. The river Indus is shrinking and the Hindu-Muslim divide is growing. The fisher folk whose livelihoods depend on the famous Hilsa fish are turning on each other. Art is disappearing as civilization breaks down. The last Hilsa fish goes in search of his patron, the God Jhulelal, who may be the only hope. But God has forsaken man and fish.
Matt Minnicino is a Virginia-born, Manhattan-based theatre maker who tells old stories in new ways. He has been the recipient of the Arts & Letters Prize, the Clay E. Delauney Prize; residencies with SPACE on Ryder Farm, Barn Arts Collective, and Sugarglass Theatre at Trinity College-Dublin; semifinalist for the Eugene O’Neill New Play Conference; and has developed work for Artilliers, Cradle Theatre, Exquisite Corpse, Underling Productions, Wandering Bark, and many others. He has professionally adapted Chekhov, Moliere, Ibsen, Strindberg, Shakespeare, Homer, Sophocles, Rilke, and others. He is a teaching artist at the American Shakespeare Center, and served as an Editorial Assistant at the Dramatists Guild. MFA: Columbia.
Manhattan gets hotter every day. Beneath the subway tunnels, Hell is rising. Demonic hymns echo down the High Line, words in dead languages crackle across the billboards in Times Square. Microaggressions have become macro—everyone hates everyone else and no one is sure why. As anger and fear congeal in the streets, three not-quite-mortal women sharing a Brooklyn apartment try to figure it all out. For centuries they’ve stirred the pot of human events whichever way their shadowy masters commanded. But, until now, they’ve never asked why—or tried to stir the pot in a different direction.
Class of 2017
Bruise & Thorne by J. Julian Christopher
Heart of Duckness by A.J. Ditty
The Holdfolk by Taylor Edelhart
The Troll King by Aeneas Sagar Hemphill
Wunderkammer by Francesca Pazniokas
Trick of the Light by Charly Evon Simpson
Class of 2016
Princess Clara of Loisaida by Matt Barbot
Hags, Mopes, and the End of All Existence by Jen Browne
The Mermaid Parade by Gina Femia
The Puppet Show by Reina Hardy
Cracks by Jacob Marx Rice
Girl Becomes Bone by Callan Stout
Eleven Shades of Blue by Amy E. Witting
Class of 2015
Let Me Be Frank by Salty Brine
Untitled Time Dilation Play by Colby Day
The Convent of Pleasure by Sarah Einspanier
The Serpent in Quicksilver by Adam Fried
Pilgrims by Claire Kiechel
Nostalgia is a Mild Form of Grief by Jerry Lieblich
Hiding in Sanity: A Tragicomedy by Rachel Music
Proximity by Jeremy Wine
Class of 2014
Optimism, Or by A.P. Andrews
The Great Molly by Colby Day
Tom’s Nightmare by Andrew Farmer
Show of Hands by Jessica Fleitman
Mystery of Fucking by Scott McCarrey
The Carrion Man by Alex Malcolm Mills
I’s Twinkle by Nate Weida