Through our series of studio-setting interviews and workshops, The School of Drama students have significant opportunities to engage and work with a wide and distinguished range of visiting performing artists and creators.
This commitment to providing meaningful interactions with industry professionals exemplifies our belief in preparing students for the changing landscape of the profession and connecting them to the most relevant experience of working artists.
Each month the School of Drama welcomes notable working artists for an intimate conversation hosted by faculty Karen Ludwig.
In a series of seven-week modules, MFA Directors work with prominent theater directors and Industry professionals to gain hands-on experience understanding a range of creative processes, philosophies and applications to their own work.
2013:Directors collaborated with
visionary director and NSD faculty member, on Elriede Jelinek's play Rechntiz. While being led through
techniques used by Ms. Alagic, directors each created a section of the play,
integrating these new ideas into their own style and voice.
2015:NSD faculty member, Ms. Alagic
returned to the gym to workshop an upcoming production of Wedekind's LULU.
most recent work includes Romeo and
Juliet (Classic Stage Company), Venus
in Fur (Asolo Rep, Sarasota, FL), Elfriede Jelinek’s Jackie (Women’s Project, City Center Stage II), Tarell McCraney ‘s The Brothers Size (The Old Globe, San
Diego), Brandon Jacobs- Jenkins’ A Light
Design (Baryshnikov Art Center), Martyna Majok’s Petty Harbour (Carlotta Festival Yale), Man Of La Mancha (Burning Coal Theatre Company, Page 73,NYC), Cori
Thomas’ Waking Up (EST, NYC), Naomi
Iizuka’s Anonymous (Hispanic Cultural
Center, Albuquerque), Rainer Werner Fassbinder’s The Marriage Of Maria Braun (ZKM, Croatia), Jack Womack and Elliot
Sharp’s Binibon (The Kitchen, NYC),
Alberto Villarreal Diaz’s Events with
Life’s Leftovers (Dramafest, Mexico City), and Saviana Stanescu’s Aliens With Extraordinary Skills
(Women’s Project, NYC). She directed the world premiere of The Brothers Size by Tarell McCraney at The Public Theater, NYC,
and later productions at The Studio Theatre in Washington, DC, and The Abbey
Theatre in Dublin. Her original devised work includes The Filament Cycle, which performed at La Mama ETC, NYC, the 4+4
Festival in Prague, BAC London, Philadelphia, Colorado, Denver, and Potsdam;
and Zero Hour, about the Balkan War.
Other directing work from this period includes Man Have Called Me Mad, One
Day in Moscow, Cerebral Events and Sam
Perspective. She was Associate Artistic Director of the Ensemble Company
for the Performing Arts in New Haven, where she directed Woyzek by George Buchner, Self–Accusation
by Peter Handke, Preparadise Sorry Now
by Rainer Werner Fassbinder, Baal by
Berthold Brecht and Zero Hour. Alagić holds a BFA in acting
from The Charles University in Prague and an MFA in directing from Yale School
Directors collaborated with Ms. Kauffman on her preparation for the
world premiere of Kirk Lynn's play Your
Mother's Copy of the Kama Sutra at Playwrights Horizons. Directors were
involved in close readings and dialogue with the director and playwright, design
meetings and a site visit to the theatre.
is an Obie Award winning director.
Recent credits include Somewhere
Fun by Jenny Schwartz at the Vineyard and the co-world premiere of Smokefall by Noah Haidle at South Coast
Repertory & Goodman Theatre. Belleville
(NYTW, Lucille Lortel Nomination for Best Direction, Yale Rep, Steppenwolf
Theatre), Detroit (Playwrights
Horizons). Other production highlights include Slowgirl and Stunning (LCT3),
Maple & Vine (Playwrights
Horizons, Humana), Tales from My Parents’
Divorce (Williamstown, The Flea), This
Wide Night (Naked Angels, Lucille Lortel Nomination for Best Direction), Becky Shaw (Wilma Theater), Sixty Miles To Silver Lake (P73 &
Soho Rep), God’s Ear (Vineyard, New
Georges), The Thugs (Soho Rep), The Ladies (Cherry Lane and Dixon Place)
and the new musical We Have Always Lived
In The Castle (Yale Rep). Upcoming: Cherokee
(Wilma Theater), 100 Days (Z Space), Your Mother’s Copy of the Kama Sutra
(Playwrights Horizons). Anne is a recipient of the Lilly Award, the Alan
Schneider Director Award, Joan and Joseph Cullman Award for Exceptional
Creativity, and several Barrymore Awards. She is a Program Associate for
Sundance Theatre Institute, a member Usual Suspect at NY Theatre Workshop, an
alumna of the Soho Rep Lab, a current member of Soho Rep’s Artistic Council,
Lincoln Center Directors Lab, The Drama League, a founding member of The
Civilians, and Associate Artist with Clubbed Thumb and New Georges.
Artistic Director of Ripe Time,
Ms. Dickstein worked with directors in her style of movement based adaptation,
focusing on the development of an new project based on Haruki Murakami's short
Dickstein is the founder and Artistic Director of Ripe Time, a performance
company that specializes in creating visually arresting movement theatre works
from novels and stories. For the company she devised, choreographed, and
directed Septimus and Clarissa
(Baruch Performing Arts Center, Drama Desk, Drama League and Joe A. Calloway
Award nominations), Fire Throws at
3LD ART & Technology Center, Innocents
(Ohio Theatre) Betrothed (Ohio
Theatre), The Secret of Steep Ravines
(P.S. 122), The Holy Mother of Hadley New
York (New Georges), and The Palace at
4 A.M. (HERE Arts Center). Other projects include Vijay Iyer/Mike Ladd’s In What Language? (Asia Society, REDCAT,
PICA) and Ellen McLaughlin’s The Trojan
Women (Purchase Repertory Theatre, Fordham). Rachel is a former Resident
Director at New Dramatists and served for three years as an Assistant Director
to dance-theatre luminary Martha Clarke nationally and internationally. She is
a recipient of NEA/TCG Director’s Fellowship and the Drama League Fellowship
and holds a B.A. from Yale College. Physical theatre training with Complicite,
Dell Arte, and Balinese master I Ketut Kantor. Rachel will direct Thumbprint, a new opera by Kamala
Sankaram at Prototype in January 2014 and will premiere Ripe Time’s The World is Round, a new music theatre
piece with composer Heather Christian, at BAM in April 2014. She is devising
and directing Lear’s Shadow for
Estelle Parsons and is under commission from People’s Light and Theatre/
Longwood Gardens to create And Suddenly A
Kiss, There On The Back Of My Neck, a site-specific outdoor performance
with designer Susan Zeeman Rogers. Rachel is an Assistant Professor of Theatre
and Performance at Purchase College, SUNY.
Famed Broadway and international director Doug Hughes, an ongoing
contributor the New School's directing department, worked with directors in an
intensive workshop on his approach to preparation and scene work. Directors worked on plays Mr. Hughes had
directed with a company of professional actors including Cherry Jones, Karen
Kandel, Reg Rogers and Laila Robins.
Directors were given the opportunity to direct these actors in workshop
with Mr. Hughes.
recent Broadway productions include The
Big Knife, An Enemy of the People, Born Yesterday, Elling, Mrs. Warren’s
Profession, The Royal Family, Oleanna, Inherit the Wind, Mauritius, A Naked
Girl on the Appian Way, Doubt and Frozen.
His Off-Broadway productions include Death
Takes a Holiday, The Whipping Man, Defiance, Engaged, Othello, Henry V, An
Experiment with an Air Pump, The Grey Zone, A Question of Mercy, The Beard of
Avon, and Flesh and Blood. Doug
has also been a resident director for The Seattle Rep (also serving as
Associate Artistic Director), the Guthrie Theatre (also serving as Director of
Artistic Planning), La Jolla Playhouse, McCarter Theatre, Long Wharf Theatre
(also serving as Artistic Director), Harford Stage, The Manhattan Theatre Club
(also serving as Associate Artistic Director), Playwrights Horizons, Signature
Theater, New York Theater Workshop, Theatre for a New Audience, The Atlantic
Theater Co., The Public Theater, Lincoln Center Theater Co., Westport Country
Playhouse, The Mark Taper Forum, The Ahmanson Theatre, Steppenwolf Theatre, and
The Shakespeare Theatre-Washington D.C. He is currently a Resident Director of
Roundabout Theatre and has also served as Resident Director for MCC Theatre.
Doug is an award-winning director, having received two Tony Awards, two Obie
Awards, two Drama Desk Awards, the Lucille Lortel Award, an Outer Critics
Circle Award, two Callaway Awards, and the Governor of Connecticut’s Medal for
Achievement in the Arts. Doug intends to direct John Patrick Shanley’s Outside Mullingar on Broadway at the MTC
Friedman Theatre and The City of
Conversation by Anthony Giardina at the Mitzi Newhouse Theatre at Lincoln
Center in the upcoming 2013-2014 season. Doug is an alumni of Harvard College.
A detailed seminar in producing, budgeting, grant-writing and promoting
work in the New York Theatre. Ms. Martig
is the founder and Artistic Director of the HERE Arts Center in New York
Kristin Marting is Co-Founder and
Artistic Director of HERE and a director of hybrid work based in NYC. As
Artistic Director of HERE, she cultivates artists and programs all events for
two performance spaces for an annual audience of 30,000. Under her leadership,
HERE has garnered 16 OBIE awards, 2 OBIE grants for artistic achievement, a
2006 Edwin Booth Award (“for Outstanding Contribution to NY Theatre”) from the
CUNY Graduate Center, five Drama Desk nominations, two Berrilla Kerr Awards,
four NY Innovative Theatre Awards and a Pulitzer Prize nomination. She
co-created and co-curates HARP, HERE's Artist Residency Program. For 19 years,
she curated The American Living Room, an annual summer festival featuring over
30 new works by emerging artists; and for 8 years, Queer@HERE, an annual
festival of gay and lesbian work. She was recently named a nytheatre.com Person
of the Year for outstanding contribution and honored with a BAX10 Award for
She has constructed 26 works for the
stage (11 original works, 8 adaptations of novels and 7 classic plays) and is
currently developing a tour for Lush Valley,
a live art political work which premiered in September 2011. Other recent
projects include Orpheus, a
collaborative alt-musical; James Scruggs’s solo eight channel video work Disposable Men and his recent hybrid
play (Rus)h. She also directed Soundingand Dead Tech (collaborative works adapted from Ibsen), both of which
received prestigious MAP Fund awards. Her work has been supported by the NEA,
NYSCA, DCA, Aeroflex Foundation, Axe-Houghton Foundation, Greenwall Foundation,
Harkness Foundation for Dance, Jerome Foundation, Rockefeller Foundation Multi
Arts Program and Peg Santvoord Foundation; reviews have appeared in all major
New York media. Prior works have toured around the US. She has also
collaborated on several large-scale political action art events, including The
Line in 2004. For the last 20 years, she has been developing a unique hybrid
directorial/choreographic form that features a “gestural vocabulary” used both
as an emotional signifier and as a choreographic element. This vocabulary,
though specific to each project, is in a state of constant development with an
ever-growing set of permanent gestures being added to the repertoire.
She teaches Creative Producing at NYU and
lectures at Bard, Brown, Columbia, Harvard, and Williams College among others.
She regularly serves on grant panels for NEA, NYSCA, DCA and TCG, among others.
Previously, Marting co-founded and served as co-artistic director of Tiny
Mythic Theatre Company for nine years. She served as Robert Wilson’s assistant
for Hamletmachine andSalome. She graduated from NYU with
honors in 1988. .
The founder and Artistic
Director of The Civilians, Mr. Cosson brought directors into the company's
specific documentary/interview process, challenging them to work with him on
the development of a new piece created specifically for the Egyptian Room of
the Metropolitan Museum of Art.
STEVE COSSON is a
director and writer and the Artistic Director of the Civilians. Recently, Pretty Filthy by Michael Friedman and
Bess Wohl, The Great Immensity at The
Public and Mr. Burnsproduced by
Playwrights Horizons, top 10 lists in The
New York Times, Time Out, The New Yorker, Vogue and others. Other Civilians projects: Paris Commune (Public Theater, BAM Next
Wave, La Jolla Playhouse); In the
Footprint (Top 10 The New York
Times); This Beautiful City(Vineyard, Kirk Douglas Theatre, Humana
Festival); (I am) Nobody’s Lunch (Edinburgh
Fringe First Award); and Gone Missing.
Other Civilians productions at Actors Theatre of Louisville, Kansas City Rep,
American Repertory Theater, TED Conference, HBO’s Comedy Festival, MoMA, The
Baltic Triennial, The Gate Theatre and Soho Theatre in London, and many others.
This season, the company is the first ever theater company in residence at The
Metropolitan Museum of Art. Other recent credits: Dael Orlandersmith’s Stoop Stories; Ethel’s Documerica (BAM
Next Wave); Spring Awakening (Olney
Theatre); Anne Washburn’s A Devil at Noon
(Humana Festival); Bus Stop(Kansas
City Rep). His plays are published by Dramatists Play Service, Oberon Books,
and Playscripts, Inc.
Ms. Evans, the Artistic Director of LCT 3, the new play theatre at
Lincoln Center, brought directors inside the new play landscape in New York,
providing insight and access to the process and production of choosing,
developing and presenting new work.
An NSD faculty member, Mr. Aukin worked with directors to prepare his
upcoming broadway production of Sam Shepard's Fool for Love. Gym members
worked on the play with Mr. Aukin, directing scenes with their acting cohort,
and were visited by the production's stars, Nina Arianda and Sam Rockwell.
Most recently Daniel Aukin
directed the lauded revival of Sam Shepard's Fool for Love on
Broadway for Manhattan Theater Club and the Williamstown Theatre Festival. Notable recent producitons include the world
premieres of Melissa James Gibson's Placebo
at Playwrights Horizons, Michael Friedman and Itamar Moses' Fortress of Solitude for The Public and
Dallas Theater Center, Bad Jews by
Josh Harmon for The Roundabout and 4000
Miles by Amy Herzog for Lincoln Center.
Other credits include What Rhymes
with America (Atlantic) and This
(Playwrights Horizons and Center Theater Group) both by Melissa James Gibson, Paraffin by Adam Rapp at Rattlestick and
The Ugly One at Soho Rep by Marius von Mayenburg. Also, Itamar Moses’ Back Back Back (MTC) Elmer Rice’s The Adding Machine (La Jolla Playhouse) and Arthur Miller’s A View from the Bridge (Arena Stage).
From 1998-2006 Daniel was
Artistic Director of Soho Rep where he developed and produced plays by many of
the country’s most iconoclastic playwrights and theater-makers, establishing
the company’s reputation for richly produced, jewel-box productions of some of
the most exciting and uncompromising new work in the country. Work he directed
there includes Melissa James Gibson's [sic]
(OBIE Award for direction), Mark Schultz’sEverything
Will Be Different, Quincy Long’s The
Year of The Baby, and Maria Irene Fornes’ Molly’s Dream (OBIE Award), all world premieres. His work has been seen at Center Theater
Group, Lincoln Center (LCT3), The La Jolla Playhouse, The Guthrie, Arena Stage,
The Children’s Theater of Minneapolis, Manhattan Theater Club, Playwrights’ Horizons
and Woolly Mammoth. Daniel is the
recipient of three OBIE Awards for his work.
Chambers: World renowned director and
faculty member at The Yale School Drama, and visiting faculty member at NSD,
Mr. Chambers took directors through the process of Activated Analysis, based on
the later work of Stanslavski.
David Chambers is a director, writer, and
producer of theatre, opera, film, and television. His stage work has been seen
on and off Broadway, at major regional theatres around the U.S., and theatres
in Europe. He has staged numerous U.S. premieres of American, Canadian,
British, and European plays and original translations at theatres such as
Broadway’s ANTA, Circle in the Square, the New York Shakespeare Festival, the
Tyrone Guthrie Theater, the Goodman Theatre, the Shakespeare Theatre Company,
and the Manhattan Theatre Club (of which he was an early co-founder). He has
also directed half the Shakespeare canon and the major plays of Molière, as
well as numerous other classical and modern plays. He has enjoyed long-term
artistic relationships with South Coast Repertory in California where he was an
Artistic Associate, Washington DC’s famed Arena Stage, where he served as
Associate Producing Director and later as Producer, and the Yale Repertory
Theatre as a resident director. In opera he has directed in venues including PS
122, the New Haven Festival of Arts and Ideas, Bard Summerscape, the Brooklyn
Academy of Music (BAM) and The Prague National Theatre. Chambers is a Professor
of Directing at Yale School of Drama; since 1987 he has taught everything from
Shakespeare in performance for actors and directors to intensive text analysis
of Chekhov to devised contemporary theatre. In addition, he founded The
Meyerhold Project, a co-venture between Yale School of Drama and the Saint
Petersburg Academy of Theater Arts. This project, which spanned several years,
ultimately created an independent production about revolutionary director
Vsevolod Meyerhold’s 1926 landmark staging of Gogol’s Inspector General. The performance, complete with biomechanics,
digital media, and internet rehearsing was presented in Russia, Holland, and
the US. Continuing his pursuit of practical Russian theatre techniques Chambers
is currently writing a book for London's Routledge Press about Analysis Through
Action, a directing and acting technique barely known in the west which is
based on the last experiments of Stanislavksi and generationally revised up to
today's leading Russian avant-garde directors. In film he worked closely with
producer/director Robert DeNiro on The
Good Shepherdstarring Matt Damon and Angelina Jolie, and was the Producing
Director of Shakespeare Now, a
project of The Documentary Group in New York and LA. He has written book and
lyrics for musicals, librettos for operas, and translation/adaptations of plays
by Ibsen and Molière. During the 2015-16 academic year he will be teaching and
directing at Harvard University, The New School in New York, and Rose Bruford
College of Theatre and Performance in London.
Ed Sylvanus Iskandar: Director and founder of the New York Theatre
collective, Exit Pursued by a Bear, Mr. Iskandar works with directors on
defining their aesthetic and personal visions, evolving their personal narrative
into defining force in their work. Ed's
upcoming production of Taming of the
Shrew at The Shakespeare Theater in Washington DC was used as a model for
discussion and workshop.
directed over 150 productions globally.
NEW YORK: The Mysteries, Restoration Comedy, and These Seven Sicknesses (all NYT Critics'
Picks, The Flea Theater); The Red
Umbrella (Drama League); The Golden
Dragon (The Play Company at the New Ohio Theatre). REGIONAL: Head Over Heels (Oregon Shakespeare
Festival), Don Juan, Translations,
and The Collection (Stanford
Repertory Theatre); Homemade Fusion
(Pittsburgh CLO); Don Carlos, Brand and Miss Julie (CMU); The Dumb Waiter, No Exit, Death and the Maiden and Sexual Perversity in Chicago (Edinburgh
Fringe Festival). INTERNATIONAL: Venus in
Fur (Singapore); Memphis (Japan)
Founding Artistic Director of invite-only NYC collective Exit, Pursued By a
Bear (EPBB), Ed has served over 12,000 free home-cooked meals and shared 150
priceless nights of theater over the course of staging 8 Labs and 40 Salons, including
NY or world premieres of The Further
Adventures of Hedda Gabler, Arok of Java, and the musical Dani Girl, alongside new versions of Don Carlos, The Master Builder, and King
Lear. Restoration Comedy and These Seven Sicknesses both began their
NYC lives as EPBB Labs, later transferring to critical acclaim as productions
at The Flea. EPBB fulfills a vision of theater that deepens the audience's
ability to engage by creating empathy for the human effort behind the art. Ed's
body of work with EPBB was honored with the 2013 National Theatre Conference
Emerging Professional Award, conferred by Bill Rauch (Artistic Director of the
Oregon Shakespeare Festival).
MFA, Carnegie Mellon; BA, Stanford.
Director, actor and Artistic Director of New York's Bedlam Theatre, Mr.
Tucker will work with directors in his defining style of creating fresh and
transformational productions of Shakespeare and other classic works.
Street Journal DIRECTOR OF THE YEAR 2014. O Broadway: Bedlam’s Saint Joan (NY
Times top 10 of 2014; Time Magazine top 10 of 2013; NY Times, Backstage
Magazine Critics’ Pick; O Broadway Alliance Best Revival 2014), Bedlam’s Hamlet
(NY Times top 10 of 2014; Time Out NY and Backstage Critics’ Pick), Tina
Packer’s Women of Will (The Judson), The Belle of Belfast (Cherry Lane). For
Bedlam: The Seagull and Sense and Sensibility (NY Times top 10 of 2014; NY
Times/Wall Street Journal/Time Out Critics Pick), Saint Joan and Hamlet (NYC,
D.C, Boston). The Libertine (The Kirk, NYC and Boston Center for the Arts,
Bridge Rep; IRNE nomination, Best Director). Other: Copenhagen (Central Square
Theatre), A Midsummer Night’s Dream, The Two Gentlemen of Verona (Hudson Valley
Shakespeare Festival), Hunter/Gatherers (Playhouse Creatures), Hamlet (with
William Hurt, Stella Adler Theatre, Los Angeles), Mate (The Actors’ Gang),
Macbeth (nominated Best Overall Production and Best Director by LA Weekly),
Uranium and Peaches (with Ed Asner), Pinter’s Mirror, Bad Dates (Shakespeare
and Co.), Women of Will (Shakespeare and Company and Tour) Twelfth Night, Romeo
and Juliet (Trinity Repertory Company), Antony and Cleopatra, Hamlet, Measure
for Measure (Redlands Shakespeare Festival), Man of La Mancha, Sanctuary (North
American Premiere, Veterans Center for the Performing Arts). Angels in America:
Parts 1 & 2 (Beowulf). As an actor: Hamlet, Iago, Henry V, Macbeth, Romeo,
Malvolio, Orsino, Prince Hal, Master Ford, Benedick, Orlando, Laertes,
Demetrius, Angels in America: Parts 1 & 2, Time Stands Still, Man of La
Mancha, Closer, Burn This, True West, Into the Woods. Eric received his M.F.A.
from the Trinity Rep Conservatory. He resides in New York City where he is
Artistic Director of Bedlam.
A conversation with Emilya Cachapero on Diversity, Equity, and Inclusion work at Theatre Communications Group (publisher of American Theatre magazine) and in the national theatre industry.
Emilya Cachapero is the director of artistic programs and International Theater Institute at the Theatre Communications Group. She oversees all of the Theatre Communications Group’s artistic and international programs, including grant programs and special events. Prior to her current position, Cachapero served as general manager for the Concordia Chamber Symphony; associate director of the Non-Traditional Casting Project in New York; the conservatory administrator for the American Conservatory Theater, San Francisco; and chair of the artistic committee for the Asian American Theater Company, San Francisco. She is also a published poet whose work has appeared in the American Poetry Review and several other poetry anthologies. She served as the Center’s Pew Fellowships panel chair in 2010.
A conversation with Jaclyn Backhaus on working with gender in playwriting and working with transgender artists.
Jaclyn Backhaus is a playwright based in Brooklyn, co-founder of FGP, and co-director of the FGP PlayGround PlayGroup. She is a member of Clubbed Thumb’s Falcons, where she developed her play Men on Boats, which will premiere in Clubbed Thumb’s 2015 Summerworks Festival and has also received a SuperLab in conjunction with Playwrights Horizons. She is also the resident playwright for Theater Reconstruction Ensemble. Plays for TRE include You On The Moors Now (HERE Arts Center, February 13-28, 2015), Set in the Living Room of a Small Town American Play (Walker Space/Semifinalist, O’Neill Conference), and Three Seagulls or MASHAMASHAMASHA! (HERE). Other credits include The Incredible Fox Sisters(2014 Ice Factory Festival), Shoot the Freak (Not Just 3 New Plays), and F Train(Woodshed Collective’s Empire Travel Agency). Her musical works with director Andrew Neisler and composer Mike Brun include Folk Wandering (Ars Nova/Joe’s Pub) and the forthcoming Bull’s Hollow trilogy, which recently received a New Works Commission from Ars Nova. She is a member of the 2014-2015 Civilians R&D Group. BFA: NYU.
A conversation with Dael Orlandersmith on exploring complex stories as artists.
DAEL ORLANDERSMITH (Playwright, Lady in Denmark) previously collaborated with the Goodman on Black n Blue Boys/Broken Menduring the 2012/2013 Season and Stoop Stories during the 2009/2010 Season. Black n Blue Boys/Broken Men was developed as a co-commission between the Goodman and Berkeley Repertory Theatre, where it was staged in May 2012. Ms. Orlandersmith first performed Stoop Stories in 2008 at The Public Theater’s Under the Radar Festival and Apollo Theater’s Salon Series; Washington, D.C.’s Studio Theatre produced its world premiere in 2009. Her new play Forever, commissioned by the Center Theatre Group in Los Angeles was performed at the Mark Taper Forum last fall. The show was then performed at the Long Wharf Theatre in winter 2015 and New York Theatre Workshop in spring 2015, and will be performed at Portland Center Stage this fall. She is currently working on a play about the recent events in Ferguson, Missouri, for the Repertory Theatre of St Louis. Her play Horsedreams was developed at New Dramatists and workshopped at New York Stage and Film Company in 2008, and was performed at Rattlestick Playwrights Theater in 2011. Bones was commissioned by the Mark Taper Forum where it premiered in 2010. Ms. Orlandersmith premiered The Blue Album, in collaboration with David Cale, at Long Wharf Theatre in 2007. Yellowman was commissioned by and premiered at McCarter Theatre in a co-production with the Wilma Theater and Long Wharf Theatre. Ms. Orlandersmith was a Pulitzer Prize finalist and Drama Desk Award nominee for Outstanding Play and Outstanding Actress in a Play for Yellowman in 2002. The Gimmick, commissioned by McCarter Theatre, premiered in their Second Stage OnStage series in 1998 and went on to great acclaim at Long Wharf Theatre and New York Theatre Workshop; Ms. Orlandersmith won the Susan Smith Blackburn Prize for The Gimmick in 1999. Her play Monster premiered at New York Theatre Workshop in November 1996. Ms. Orlandersmith has toured extensively with the Nuyorican Poets Café (Real Live Poetry) throughout the United States, Europe and Australia. Yellowman and a collection of her earlier works have been published by Vintage Books and Dramatists Play Service. Ms. Orlandersmith attended Sundance Institute Theatre Lab for four summers and is the recipient of a New York Foundation for the Arts Grant, the Helen Merrill Award for Emerging Playwrights, a Guggenheim and the 2005 PEN/Laura Pels Foundation Award for a playwright in mid-career. She is the recipient of a Lucille Lortel Foundation Playwrights Fellowship and an Obie Award for Beauty’s Daughter.
A conversation with Jackie Sibblies Drury on approaching race, microaggressions, and creating theatre through We are Proud to Present…
Jackie Sibblies Drury is a Brooklyn based playwright. Her plays include We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, From the German Sudwestafrika, Between the Years 1884-1915, Social Creatures, and Really Really Really Really Really. Jackie’s plays have been presented by Soho Rep, Victory Gardens, Trinity Rep, Matrix Theatre, Woolly Mammoth, Undermain Theatre, InterAct Theatre, Actors Theater of Louisville, Available Light, Company One, and The Bush Theatre in London. Her work has been developed at Sundance, The Ground Floor at Berkeley Rep, A.C.T., The Soho Rep Writer/Director Lab, New York Theatre Workshop, PRELUDE.11&14, The Civilians, The Bushwick Starr, The LARK, The Magic Theatre, The Bay Area Playwrights Festival and The MacDowell Colony. Jackie was a dramaturg for Zero Cost House by Pig Iron Theatre Company & Toshiki Okada and The Garden by Nichole Canuso Dance Company. She received the 2012-2013 Van Lier Fellowship at New Dramatists, and was the inaugural recipient of the 2012-2014 Jerome Fellowship at The LARK. Jackie is a NYTW Usual Suspect and is currently a member of The Writer's Room at Manhattan Theatre Club and Ars Nova.
The Lark Play Development Center
Coleader of the Fall 2015 Allies Skills Building Workshop.
Michael Robertson is the Managing Director of The Lark, an international theater laboratory based in New York City, where he oversees finance, fundraising, human resources and strategic planning for the 21-year-old company. Robertson is honored to work for The Lark, an organization dedicated to reinvigorating the theater as a platform for conversation and debate by nurturing vibrant, diverse voices from a wide cross-section of backgrounds and connecting those voices with audiences nationally and internationally. Robertson is fiercely dedicated to increasing his engagement around issues of equity in the field (and beyond) through research, facilitation, and training. He is a proud member of the Theater Communications Group (TCG) Equity Diversity and Inclusion Institute and a recipient of a TCG Leadership U grant, which is supporting his professional development activities focused in anti-racism and facilitation training. Previously he served as Director of Development for Collaborative Arts Project 21 (CAP21), Membership Director of the National Alliance for Musical Theatre, Managing Director of Assembly Productions, and Director of Annual Fund for Trinity School. He is currently working on a study for the New World Foundation exploring the intersection of theater and social change. He serves as Vice President of the Louisiana School of Math, Science, and the Arts Foundation Board of Trustees and has served on panels for the National Endowment for the Arts, NYC Department of Cultural Affairs, Alliance of Resident Theatres/New York, The MAP Fund, the Philadelphia Arts Initiative (The Pew Center for Arts and Heritage), New York State Council on the Arts, National Alliance for Musical Theatre and TCG. As a Henry Luce Foundation Scholar, Michael spent a year in Bali, Indonesia where he served as a management consultant for the Agung Rai Museum of art. He has a BA in Music from Trinity College and a Master of Arts Management from Carnegie Mellon University. He is originally from Bunkie, Louisiana and currently lives in New York City and Gardiner, New York with his husband Jim.
August Schulenburg is a founding Creative Partner of Flux and current Artistic Director. With Flux, he directed Ajax in Iraq (NYITA nomination), A Midsummer Nights Dream, and the Food:Souls Goldsboro and Volleygirls. As an actor with Flux, he has played Dr. X in Hearts Like Fists, Ezekiel in 8 Little Antichrists (NYITA nomination), and the Professor in Rue. As a playwright, his work with Flux includes Riding the Bull, Rue, Other Bodies, The Lesser Seductions of History, Jacob’s House, DEINDE and Honey Fist.
August’s plays include Carrin Beginning, Kidding Jane, Rue, Riding the Bull, Good Hope, Other Bodies, Honey Fist, Dark Matter, Jacob’s House, DEINDE, Dream Walker, Denny and Lila, Dark Matter, Jane the Plain and The Lesser Seductions of History. His plays have been produced and developed at the Lark Play Development Center, Bay Area Playwrights Festival, Ensemble Studio Theatre, Chelsea Playhouse, Theater for the New City, Portland Stage Company, Dayton Playhouse, Colonial Players, Pennsylvania Shakespeare Festival, Contemporary Stage Company, Abingdon Theater Company, Gideon Productions, New Amerikan Theatre, Penobscot Theatre, Impetuous Theater Group, Decades Out, Soundtrack Series, Reverie Productions, Wolf 359, Blue Box Productions, Piper McKenzie, Boomerang Theatre Company, Adaptive Arts, Hall High School, Nosedive Productions, MTWorks, Purple Repertory, Valley Repertory Company, The Brick Theater, CAPS LOCK Theatre, Chameleon Theatre Circle, Retro Productions, Elephant Run District, and TheatreLAB and Flux Theatre Ensemble. He is a member of the Propulsion Lab for Mission to (dit)Mars. His work has also been published in the New York Theater Review, Stage and Screen, Indie Theater Now, Midway Journal, NoPassport Press and in two issues of Carrier Pigeon. He also writes for film and television with MozzleStead Productions.
Mei Ann Teo is a Singaporean theatre/film maker currently based in New York. Her professional work has toured the U.S. and international festivals including Belgium’s Festival de Liege (Lyrics From Lockdown, “Truly polished, meaningful and entertaining” – New York Times), M1 Singapore Fringe Festival, Edinburgh International Fringe (MiddleFlight, “Stunning” – Scotsman), INFANT Experimental Theatre Festival in Novi Sad, Serbia, Edmonton Fringe Festival, and the Montreal World Film Festival (Not Here). She is the artistic director of The Wandering Fools, whose inaugural production, Caucasian Chalk Circle, is an official selection at the Shanghai International Experimental Theatre Festival (Oct 2013). She has worked with The Public Theater, Berkeley Rep, Theatre of Yugen, Crowded Fire, Cutting Ball, and the Bay Area Playwrights Festival.
For seven years, she was the Chair of Drama/Resident Artist at Pacific Union College where she founded a program focused on original ensemble creation and rooted in personal and communal history. She received the Meritorious Service Award for creating Red Books: Our Search for Ellen White, documentary theatre that KQED called “without a doubt a seminal moment in Adventist History”.
Her work, especially in documentary theatre, also extends to China. In Ji’an, the seat of the Cultural Revolution, she made Wo Men Zhe Yang Kai Shi (This is How We Begin), a play about the education system through the eyes of several generations. With factory workers in Shen Zhen, she made Meng Xiang (Dreams), a play about their secret wishes for their lives. With locals in a remote mountain village, she made Fei (Fly), a play dealing with the value of human life. In New York, she has made 19 – a promenade theatrical installation using the essay “19 Days” by Chinese poet Liao Yiwu, published by the Paris Review. She continues her exploration of Liao Yiwu’s life with Go On Living, the stage adaptation of his prison memoir by Frances Ya-Chu Cowhig.
As a filmmaker, Teo directed a short documentary entitled Please Listen To Me, about marginalized and at risk youth in Singapore. She co-directed and produced a short film Not Here that received the Singapore Film Commission’s Short Film Grant and was screened internationally. She produced Stop All The Clocks, a feature-length documentary, and she is currently pursuing an MFA in Theatre Directing at Columbia University.
Equity, Diversity and Inclusion Consultant and Workshop Facilitator
Nelson T. Eusebio III is a freelance director, producer and award-winning filmmaker. He is the former artistic director of
Leviathan Lab, an Asian American creative studio. In 2008 he co-founded Creative Destruction, a NYC-based theatre collective. He has directed and developed work at theaters throughout the country, including the Public Theater/NYSF, Oregon Shakespeare Festival, South Coast Repertory, The Old Globe, Playmaker's Repertory, and Ma-Yi Theatre Company. He is a member of the Lincoln Center Theater Directors Lab and the Rhodopi International Theatre Collective, was a resident director at Ensemble Studio Theatre during the 2008-9 season and is a recipient of the 2009-11 NEA/TCG Career Development Program for Directors, and was the 2012 Phil Killian Directing Fellow at the Oregon Shakespeare Festival. He has a B.A. in Drama from UC Irvine and an M.F.A. in Directing from the Yale School of Drama.
Equity, Diversity and Inclusion Workshop Facilitator
Dafina McMillan serves as the Director of Communications & Conferences for Theatre Communications Group (TCG), the national service organization for not-for-profit theatre. Dafina is also leading TCG’s multi-pronged Equity, Diversity & Inclusion Initiative, a long-term program to transform the national theatre field into a more inclusive and diverse community. Prior to joining TCG in 2010, Dafina served as the Associate Managing Director of Penumbra Theatre in St. Paul, MN. She’s held numerous leadership positions at global public relations agency GCI Group (now Cohn & Wolfe) in NYC. Dafina also consulted with the Brooklyn Center for the Performing Arts on marketing and community engagement initiatives. Dafina is an alumna of Kennedy Center’s International Arts Management Fellowship in Washington, D.C. She received her Bachelor of Science degree in Public Relations from the University of Texas at Austin.
“Why, hello young people,” said Mark Ruffalo as he settled onstage next to Pippin Parker, director of The New School for Drama. The actor and activist momentarily struggled with his lavalier mic before exclaiming, “We don’t need these! We’re actors! We should be loud!” The 40 or so Drama students in the audience laughed in response.
The event was part of Ruffalo’s role as The New School for Drama’s 2014 Artist-in-Residence, a centerpiece of the program’s hands-on, project-based educational methodology that gives students direct access to New York’s global theater and acting scene. The discussion began with Ruffalo reminiscing about his early career nearly two decades ago in Los Angeles.
“Well, at the beginning, my moral code was just say ‘yes’ to everything,” Ruffalo said.
“That’s not a morality, just a code,” shot back Parker amid laughter from the crowd. Parker continued: “From what I remember of those early days, the day you got your big break, you were cleaning floors at Stella Adler’s.
“Not cleaning,” said Ruffalo of his side job while he studied at the renowned acting conservatory. “Had cleaned.”
“Oh yes, my mistake,” said Parker. “But that’s where you met [playwright and director] Kenneth Lonergan, which led to your role in the original cast of This is Our Youth.”
To this day, Ruffalo still uses the techniques he learned while at Stella Adler’s Conservatory, and he passed those tips along during the town hall held last night. One involved the importance of props. “A character is how they use a prop,” he explained. Picking up a nearby water bottle, Ruffalo proceeded to explain the concept while gesturing wildly. “It’s always the inner that has to be tamed by the outer. Not adapting the character to the prop shows insincerity.” Water spilled all over the stage as he continued to move his arms. “Actors must be honest to the environment. Props don’t lie.”
Another tip hit closer to home. Ruffalo spoke of how Adler always challenged her students to be well-informed citizens and active participants in the broader community. “Artists have a responsibility to reflect the times they live in, to believe in something and stand for something,” he said. “The spotlight is on us as celebrities, and we have just enough time to throw someone in front who’s facing a social justice issue.”
Ruffalo is a living example. Worried about the risks of hydraulic fracturing for natural gas near his upstate New York home, he co-founded the Solutions Project with Stanford professor Mark Jacobson, Pegasus Capital Advisors partner Marco Krapels, and filmmaker Josh Fox. The initiative has created a plan to get every state using completely renewable energy by 2050.
“Actors by their very nature are passionate. It’s part of our job. Now we need to use it for the good of society.” Passion is infectious, after all.
“Mark Ruffalo is not only recognized as one of the finest stage and film actors of his generation,” said Parker, “but also a leading advocate for environmental issues. With a career that stretches from New York’s experimental downtown theater scene to Hollywood's blockbusters, Mark is sharing with our students a unique perspective on the role of citizen-artist, which is in the best tradition of The New School.”
During more than 20 years, Mark Ruffalo has acted in films including Kenneth Lonergan’s You Can Count on Me (Lonergan has also taught at The New School for Drama), Lisa Cholodenko’s The Kids Are Alright (for which he was nominated for an Academy Award for Best Supporting Actor), Michel Gondry’s Eternal Sunshine of the Spotless Mind, David Fincher’s Zodiac, and The Avengers series. He is director of the film Sympathy for Delicious. Ruffalo had his start in New York theater as the cofounder of the Orpheus Theater Company. He is also well known for his environmental and political activism supporting renewable energy and clean water.
NEW YORK, New York, November 8, 2012 - The New School for Drama has announced that BAFTA Award-winning English playwright, director and screenwriter Sir David Hare will serve as distinguished Artist-in-Residence for one week beginning Monday, November 12, 2012.
As artist-in-residence, Hare met with student playwrights and others to speak about his experience writing and directing for different mediums. Hare participated in a town hall meeting on Thursday, November 15 at 8:00 p.m. in the New School for Drama Theater. The session was moderated by noted playwright and New School for Drama faculty member Jon Robin Baitz.
"Over nearly half a century, Sir David Hare has been the exemplar of the theater-artist as humanist; no other living playwright has so consistently and brilliantly explored the intersection between our public and private lives," said Baitz. "As The New School for Drama enters an exciting period of growth and development, David represents a gold standard for the work we hope to do-work that is rich, provocative, and reflective of a keen awareness of the relationship between the artist and the society in which he or she lives."
Hare was recently named by the Sunday Times as one of the 50 most influential Britons of the last 50 years. He is author of 28 plays for the stage, sixteen of which have been presented at the National Theatre in London. Hare was awarded the BAFTA Award in 1979 for Best Single Play for Licking Hitler, the New York Drama Critics Circle Award in 1983 for Best Foreign Play for Plenty, the Berlin Film Festival Golden Bear in 1985 for Wetherby, the Laurence Olivier Award in 1990 for Best New Play forRacing Demon, the London Theatre Critics' Award in 1990 for Best Play for Racing Demon, and the Drama Desk Award in 1999 for Outstanding One-Person Show for Via Dolorosa. He was knighted in 1998.
The New School for Drama's Artist-in-Residence series is a centerpiece of the program's hands-on, project-based educational method, which gives students direct access to New York's global theater scene. Past Artists-in-Residence have included including Kathleen Chalfant (2011-2012), Joe Mantello (2010-2011), and Jon Robin Baitz (2009-2010).
David Hare 2012-2013 (Playwriting)
New York, July 19, 2011—The New School for Drama has announced that Drama Desk Award-winning actor Kathleen Chalfant will be the distinguished Artist-in-Residence for the 2011-2012 academic year. Chalfant earned a Tony nomination for her role in the New York premiere of Angels in America, and won Drama Desk, OBIE, Lucille Lortel and Outer Critics Circle awards for starring in the original Broadway production of Wit.
"The New School has always been a mythical place for me, and I am deeply honored to be asked to be the Artist-in-Residence at The New School for Drama," said Chalfant. "As a mentor, I hope to reassure these aspiring actors that their commitment to art, though not always easy, is right and good. As actors and artists, our goal is nothing less than to make the world a better place."
As artist-in-residence, Chalfant will teach master classes in the fall and spring semesters. In addition, she will speak about her experience on stage and her approach to theater before the assembled student body of The New School for Drama in a town-hall meeting moderated by New School for Drama Director Pippin Parker.
The New School for Drama's MFA acting program offers intensive training in all aspects of the craft of acting, as well as in the individual and collaborative application of classical and modern texts. The program is comprised of three year-long stages: Discovery, which builds a foundation of dramatic skills; Character and Demands of the Text, which expand and deepen actors' character, voice, and movement work; and Production and Professional Preparation, a year of in-depth professional training focusing on new full-length and canonical plays. The Artist-in-Residence program is one of many ways in which The New School's legacy and location provide students with unique access to New York's theater scene.
"Having originated some of the most notable roles in contemporary theater, Kathleen's artistry and commitment to the value of the theater as a significant cultural force is difficult to overstate," said Pippin Parker, Director, The New School for Drama. "Her storied career, which speaks to a passionate commitment to theater's ability to illuminate the human condition, is an inspiration to our students, faculty and the wider theater community Kathleen's residency gives our students a rare opportunity to interact closely with a legend, to address everything from the foundations of technique to larger issues about what it means to be an actor today."
Along with Angels in America and Wit, Chalfant's New York stage credits include the New York premiere of Racing Demon, M. Butterfly, Spalding Gray: Stories Left to Tell, Talking Heads (for which she won a second OBIE Award), Great Expectations at Theatreworks/USA, Guantanamo at the Culture Project, and Henry V at the New York Shakespeare Festival. Her film work includes Tony Gilroy's Duplicity, Whit Stillman's The Last Days of Disco and Bill Condon's Kinsey.
In addition to her Drama Desk, OBIE, and Lucile Lortel honors, Chalfant has received the Drama League and Sidney Kingsley Awards for her body of work, as well as a 1996 OBIE Award for Sustained Excellence of Performance. A founding member of the Women's Project, Chalfant is a board member of The Vineyard Theatre and Broadway Cares/Equity Fights AIDS, and an advisory board member of the New York Foundation for the Arts. Chalfant has served as Artist in Residence at the Weill College of Medicine of Cornell University (2005 -- 2006) and a Beineke Fellow at the Yale School of Drama (spring 2006, fall 2008, fall 2010). She was awarded an honorary Doctorate of Humane Letters from the Cooper Union in June 2010.
New York, May 27, 2010—The New School for Drama has announced that the award-winning director Joe Mantello will be the distinguished artist-in-residence for the 2010-2011 academic year. Mantello's directing credits include the wildly popular Wicked, as well as Assassins and Take Me Out, each of which earned him a Tony Award for directing. As an actor, Mantello earned a Tony nomination for his performance in Angels in America, which also starred New School colleague Ron Leibman, who chairs the school's acting program.
"We're excited that Joe will be bringing his incredible talent, critical insight, and elegance to The New School for Drama. His devotion to the theater and professional experience make him a superb mentor and priceless addition not only to the directing department but the entire school," said New School Drama Director Bob LuPone.
Mantello is recognized as a tireless professional with an uncanny amount of energy—likely to serve him well in the kinetic New School for Drama learning environment. "In the nervous world of New York theater, Joe has come to be identified as one of few go-to guys who can reliably make the best case for a show. Slight but commanding, proud but dissatisfied, he is admired as much for his confidence as for his artistry…," Jessie Green of the New York Times wrote several years ago when Assassins was in rehearsal.
Mantello is the fifth artist-in-residence at the school. This residency provides students the opportunity to work with luminaries in the fields of playwriting, directing, and acting. Past New School artists-in-residence include Jon Robin Baitz, John Turturro, Doug Hughes, and John Patrick Shanley.
"I am looking forward to working with these gifted students and becoming a part of the New School faculty for this coming year. As is often the case with teaching talented people, the teacher gains as much insight or possibly more than the student," said Mantello.
As artist-in-residence, Mantello will teach directing master classes and will address the school in a town hall meeting where he will speak of his directing experiences and answer questions.
Mantello's experience in directing includes Pal Joey, 9 To 5, November, The Receptionist, The Ritz, Blackbird, Three Days Of Rain, The Odd Couple, Glengarry Glen Ross (Tony Nomination), Laugh Whore, Frankie and Johnny in the Clair De Lune, A Man of No Importance,Design For Living, and Terrence McNally and Jake Heggie's Dead Man Walking for San Francisco Opera. Mantello has also directed The Vagina Monologues, Bash, Another American: Asking And Telling, Love! Valour! Compassion! (Tony Nomination), Proposals, The Mineola Twins, Corpus Christi, Mizlansky/Zilinsky..., Blue Window, God's Heart, The Santaland Diaries, Snakebit, Three Hotels, andImagining Brad. He is recipient of Outer Critics Circle, Drama Desk, Lucille Lortel, Helen Hayes, Clarence Derwent, Obie and Joe A. Callaway awards. A member of Naked Angels, Mantello is an associate artist at Roundabout Theatre Company.
The New School for Drama has announced that award-winning playwright
Jon Robin Baitz will be the distinguished Artist-in-Residence for the 2009-10 academic year. Baitz is a Pulitzer finalist, a Guggenheim and NEA fellow, and winner of an American Academy of Arts and Letters Award. A founding member and former artistic director of New York's Naked Angels theater
company, Baitz has written a number of acclaimed plays, including The Film Society, The Substance of Fire, Three Hotels, A Fair Country, Ten Unknowns, Mizlansky/Zilinsky, and The Paris Letter. His new play, Love and Mercy, will be produced next season on Broadway. Baitz's experience in television includes creating the hit ABC show Brothers & Sisters and serving as executive producer for the first two seasons. He has also written episodes of The West Wing and Alias. His PBS film version of Three Hotels won a Humanitas Award. His other screenplays include The Substance of Fire, based on his play, and People I Know, which starred Al Pacino. Baitz is currently writing and executive producing a mini-series for HBO entitled Bush's War.
"Jon is such a versatile and accomplished playwright for both film and television," said Robert LuPone, director of The New School for Drama. "The fact that he has bridged these worlds is wonderful for our students to see. We are very
fortunate to have him on hand to mentor our students."
Baitz is the fourth artist-in-residence at The New School for Drama. This program provides students with the opportunity to work with leading luminaries in the fields of playwriting, directing, and acting. Past artists-in-residence include John Turturro, Doug Hughes, and John
Patrick Shanley. "Teaching, for me, is a way of reexamining old definitions of theatricality, and of narrative, of exploring which conventions to defy, and how and why, and sharing with writers who have as much to give as I do," said Baitz on hearing of his new position. "I
am humbled and honored to serve on The New School faculty in the company of playwrights, actors, and directors whose work I have always admired."
As artist-in-residence, Baitz will teach a year long-course on writing for television and will address the school as a whole in several town hall meetings where he will speak of his playwriting experiences and answer student questions. "We're honored
and excited that Robbie will be joining Drama as artist in residence this upcoming academic year," said Playwriting Chair PippinParker. "His incredible talent, devotion to the theater, experience in film and television, and well-known support of fellow writers and artists make
him a fantastic teacher and invaluable addition not only to the Playwriting department but the entire school."
John Turturro studied at the Yale School of Drama. He created the title role of John Patrick Shanley's Danny and the Deep Blue Sea in his theatrical début, for which he won an Obie Award and a Theater World Award. Since then, Turturro has returned to the stage often, in productions such as Waiting for Godot; performing the title role in Bertolt Brecht's The Resistible Rise of Arturo Ui; and in Eduardo de Filippo's Souls of Naples, for which he received a Drama Desk nomination. He recently completed Samuel Beckett's ENDGAME the Brooklyn Academy of Music (BAM).
Mr. Turturro has also performed in more than sixty films, working with directors such as Martin Scorsese (The Color of Money), Spike Lee (Do the Right Thing and Jungle Fever), Robert Redford (Quiz Show), Peter Weir (Fearless), Tom DiCillo (Box of Moonlight), and Joel and Ethan Coen (Miller's Crossing; The Big Lebowski;O Brother, Where Art Thou?; and the lead role in Barton Fink, which won him the Best Actor Award at the Cannes Film Festival and the David di Donatello Award.) His current projects include Columbia Pictures' The Taking of Pelham One Two Three, opposite Denzel Washington and John Travolta.
Mr. Turturro received SAG Award nominations for his television portrayals of Howard Cosell in Monday Night Mayhem and Billy Martin in ESPN's The Bronx Is Burning. He won an Emmy for his guest appearance on the hit series Monk.
John Turturro has also directed three films. His directorial debut, Mac, won the Camera d' Or at the Cannes Film Festival. He also directed Illuminata and the recently-released Romance & Cigarettes, starring James Gandolfini, Susan Sarandon, and Kate Winslet.
Award-winning director Doug Hughes is this year's Distinguished Artist-in-Residence. Hughes comes to the school on the heels of directing the Broadway revival of Inherit the Wind, starring Christopher Plummer and Brian Dennehy. He recently received a Tony Award for Best Direction for Doubt, written by 2006-2007 Artist-in-Residence John Patrick Shanley; he also won the Lucille Lortel, Outer Critics, and Drama Desk Awards for the same production. In 2004 Hughes received Tony, Lortel and Outer Critic's Circle nominations for his direction of Frozen by Bryony Lavery. Hughes is currently directing Theresa Rebeck's Mauritius for its Broadway premiere.
As Artist-in-Residence, Hughes will teach two master classes in the fall and spring semesters. He will also address the school as a whole in a town hall meeting moderated by LuPone, describing his experiences on the stage and answering student questions. His experience in both classic and modern productions provides an excellent opportunity for all our students, not only the directors.
Read Doug Hughes' speech delivered on May 15, 2008 to the Class of 2008 MFA Drama recipients (PDF).
Award-winning playwright John Patrick Shanley is the 2006 Distinguished Artist-in-Residence at The New School for Drama. Shanley comes to the school on the heels of winning the 2005 Pulitzer Prize for Drama and the 2005 Tony Award for Best Play for Doubt. A director and screenwriter as well as a playwright, Shanley has extensive experience in both theater and film. He received both the Academy Award and the Writers Guild of America Award for his original screenplay for Moonstruck. His plays include Doubt, Danny and the Deep Blue Sea, The Dreamer Examines His Pillow, Beggars in the House of Plenty, and Four Dogs and a Bone.