The PlayLab is a playwrights group that aids and encourages artists in growing their biggest, wildest ideas into imaginative and daring new plays. Through monthly meetings, workshop-events, and an artistic retreat, each writer is supported in developing their ambitious initial concept into a new script. At the end of the year, each playwright will have the opportunity to present their script as part of Pipeline’s Week of Extraordinary Risk.
Class of 2019: Skylar Fox & Simon Henriques, Sevan K. Greene, Sukari Jones, Sam Schanwald, Andrew Siañez-De La O, Kristin Slaney
Class of 2019
Skylar Fox & Simon Henriques
Skylar Fox is a playwright/director, and the co-artistic director of Nightdrive with Simon Henriques, where he has directed and co-written funny, strange, sad, spooky, highly-theatrical new plays at Ars Nova, the New Ohio, the Brick, and the Tank. His own plays include Heist Play, Deadsville, Fellowship, The Last of the Living Jeffersons, and The Archives. He was a 2016 Heideman Award finalist and a 2014 winner of the Samuel French OOB Play Festival. B.A. in Theatre from Brown University.
Simon Henriques is a writer, performer, and comedian. He is the co-artistic director of Nightdrive, where he makes plays with Skylar Fox. He writes strange, funny, sad plays about the stories we turn our lives into as we’re living them. His work has been seen at Ars Nova, The Flea, Fresh Ground Pepper, The Tank, and The Brick. He has won the Samuel French Off-Off-Broadway Festival, and been a finalist for the O’Neill National Playwrights Conference. He studied playwriting at Brown University.
A bomb goes off every day in the subway system of a city. No one knows where it’ll be, or when. It’s dangerous, but it’s still the easiest way to get around, so…most people do it anyway.
Society is the story of three people living in the same big city, and the impossible, terrifying, magical series of events that intertwines their lives. Part play, part participatory focus group, part collective fever dream, it explores what happens when the silent contracts we make with one another are pushed to extremes.
Come in. Have a seat. Have some mixed nuts. Circle a number from 1 to 5. This is just the beginning.
Sevan K. Greene
Sevan K. Greene is an award-winning NYC and London-based writer and actor. NYC: The Public Theater, The New York Theatre Workshop, The New Group, The Culture Project, New York Stage and Film, New York Musical Theatre Festival. London: The Bush Theatre, Old Vic Labs, Arcola Theatre, Theatre503, Theatre Royal Stratford East, Tamasha, Rich Mix, The Shubbak Festival. He is an alumni of The Public Theater’s Emerging Writing Group, Rising Circle’s inaugural INKTank Lab, The Bush Theater’s Inaugural Emerging Writers Group. He has been shortlisted and a finalist for the Princess Grace Award, the Saroyan Social Justice/Human Rights Playwriting Award, Papatango Playwriting Prize, William Saroyan Playwriting Prize, PlayPenn New Writing Lab, and the Sundance Theatre Lab. www.sevangreene.com
Project: When Bees Last Whispered
Set in the near and distant future, this play explores the effects of overpopulation and one-child policies at a time when the earth’s resources are nearing exhaustion. In 2015 a world-wide one-child policy is decreed. In 2020. Evan and Anne are expecting. And they’ve just found out they’re having twins much to the chagrin of an acerbic angel. In 2220 a human species collapse is eminent and 16-year-old twins Eedee and Ace are on the run from forced breeding policies. They are visited by, a now, meddlesome drunk angel and told that one of them must die to save humanity. Does the earth really need humans anyway?
Sukari Jones is an award winning musical theater lyricist, playwright and screenwriter whose work explores the intersection of race and power in the United States, with a particular focus on the Black experience in America. Sukari’s work often explores identity through a magical, sci-fi and/or satirical lens, and she is passionate about creating challenging principal roles within her pieces that feature actors of color, especially POC women. Education: B.A. from Vassar College, M.F.A. from New York University’s Tisch School of the Arts Graduate Musical Theatre Writing Program where she was twice awarded the Yip Harburg Outstanding Lyricist Award. Sukari is a member of the BMI Lehman Engel Musical Theater Workshop Advanced level and alum of several writers groups including the Public Theater’s Emerging Writers group. Sukari’s work has been produced and developed at The Public Theater, Tofte Lake Center, The Cherry Lane Theater, Lincoln Center Theater’s Songwriter Showcase, Vineyard Arts Project, Lark Play Development Center, Barrington Stage Company, Joe’s Pub, Prospect Theater Company, Feinstein’s/54 Below, National Alliance of Musical Theatre Conference (2017) and Goodspeed Opera House. Sukari is the 2017-2018 W.K. Rose Fellow for the Creative Arts at Vassar College, and a 2018 MacDowell Colony Fellow. Upcoming: Launch Commission, Atlantic Theater Company, Barrington Stage Company New Musical Commission (SupaDupa Kid), member of Pipeline Theatre’s PlayLab writer’s group, Eugene O’Neill Theatre Center National Music Theatre Conference INCUBATOR residency, NAMT Festival of New Musicals October 2018.
A whimsical and terrifying journey into a parallel universe where black is the privileged race, white people were the slaves and all the other races fall somewhere in between, discovered by a mad scientist — the Evil Dr. Excellent and his two accidental companions: an interracial couple shopping around wedding venues. Inspired by the 1927 film Metropolis.
Sam Schanwald is a writer and designer. Sam has enjoyed collaborations across disciplines with Esperanza Spalding, Phantom Limb Company, Amy León, Erin Markey, Dane Terry, Tectonic Theatre Project, and Fault Line Theatre Co. Sam’s plays include Twin Size Beds (reading: Loading Dock Theatre, samples: Dessert @ NYTW Next Door, The Museum of Sex), Pidor and the Wolf (workshops: AmericanAF Festival, IRT Theater), Driftwood (workshop + reading: In the Water Theatre Co). www.samschanwald.com // @sam_max__
COOP probes isolation and hunger through Ollie’s relationship with his infertile pet chicken. After Ollie loses hope trying to convince his father to keep the bird alive, he devises a plan. Ollie and his pet chicken decide to fly the coop, but find that their world of restrained American realism has caught the bird flu. Their reality evolves into a feverish organism of massive design. The story is told via a band, with looping pedals, and in drag.
Andrew Siañez-De La O
Andrew Siañez-De La O is a Chicanx playwright, actor, and author from El Paso, Texas. He graduated from Emerson College with a BFA in Theatre and Performance. He was a National Young Playwright in Residence with Echo Theatre Company (LA) and a Company One Playwriting Fellow (Boston) in 2017-2018. He attended the 2017 International Latino Theatre Commons Convening in Los Angeles as a representative of his hometown and border community.
Project: The River Becomes a Family
On the way to their abuelos hometown in Oaxaca, the siblings will come face to face with the ghosts of a Mexican revolutionaries, old and tired gods, the young crocodile wrestler their abuelo once was, and many others as they unwind the thread that brought their family to the states. It’s a story about discovering the pieces of culture and tradition, both good and bad, that make us who we are.
Kristin Slaney is a Brooklyn-based playwright originally from Cole Harbour, Nova Scotia. She is an alum of Ensemble Studio Theatre’s Youngblood playwriting group and she was a 2016-17 member of The Tank’s TV Writing group. Kristin’s plays have been produced and developed by theatres in New York and Canada. She has been a semifinalist for the Eugene O’Neill Center’s National Playwrights Conference, a semifinalist for the Clubbed Thumb Biennial Commission, and a two-time finalist for Roundabout Theatre Company’s Columbia@Roundabout Reading Series. She is also the writer for season 4 of the award-winning web series ADULTish. MFA: Columbia.
Project: Let’s Hex the President
Molly has only recently moved to NYC. Iris works at an occult store in Brooklyn. DeeDee is a goth teen. Linda is a housewife from New Jersey. After Molly places a Craigslist ad seeking coven members, the four of them start to meet monthly to cast spells on the President of the United States—but what starts out as innocuous soon takes a turn for the supernatural. Let’s Hex the President is a play about witchcraft and loneliness and female anger and politics.
Class of 2018
Five Hundred by Rick Burkhardt
Bundle of Sticks by J. Julian Christopher
feminine octagon [or, aristotle can eat me] by Amy Gijsbers van Wijk
Earth is Greedy by Jae Kramisen
House of Telescopes by K.T. Looney
Rise of the River by Divya Mangwani
wyrd by Matt Minnicino
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