New Plays in Production

2011 Edgerton Foundation New American Play Awards:

Ghost Brothers of Darkland County

by Stephen King & John Mellencamp

at Alliance Theatre

Wild Swans

by Adapted by Alexandra Wood from the memoir by Jung Chang

at American Repertory Theatre


by Gabe McKinley

at Atlantic Theater Company

How to Write a New Book for the Bible

by Bill Cain

at Berkeley Repertory Theatre

The Kid Thing

by Sarah Gubbins

at Chicago Dramatists & About Face

Radiance: The Passion of Marie Curie

by Alan Alda

at Geffen Playhouse

Fish Men

by Cándido Tirado

at Goodman Theatre

Water By the Spoonful

by Quiara Alegria Hudes

at Hartford Stage

Waffle Chronicles

by Larry Larson & Eddie Levi Lee

at Horizon Theatre Company

The Columnist

by David Auburn

at Manhattan Theatre Club

The Convert

by Danai Gurira

at McCarter Theatre Center

All the Way

by Robert Schenkkan

at Oregon Shakespeare Festival

Rapture, Blister, Burn

by Gina Gionfriddo

at Playwrights Horizons

Trouble is My Business

by adapted by James Glossman from short stories by Raymond Chandler

at Portland Stage

Brother Russia

by John Dempsey & Dana Rowe

at Signature Theatre

Hurt Village

by Katori Hall

at Signature Theatre Company

Prince of Atlantis

by Steven Druckman

at South Cost Repertory

Two Things You Don't Talk About at Dinner

by Lisa Loomer

at The Denver Center for the Performing Arts

Some Lovers

by Burt Bacharach & Steven Sater

at The Old Globe

Twenty-Seventh Man

by Nathan Englander

at The Public Theater

Clementine in the Lower 9

by Dan Dietz

at TheatreWorks

How the World Began

by Catherine Trieschmann

at Women's Project

To read the press release, click here.

“The Edgerton Foundation’s grant is making it possible to add two extra weeks of rehearsal to the production schedule. These extra rehearsal weeks are critical due to the complex structure of the play, which includes filmed elements that will be projected on stage. Because of the “film within the play” the creative team will be limited in their abilities to make changes to the production once the filmed elements are shot since the film and the action on stage must work together. These extra rehearsal weeks will allow the writer, director, and actors to have time to rehearse and revise before the film components are finalized.”

- Carole Rothman, Artistic Director, Second Stage, New York, NY, By The Way, Meet Vera Stark, by Lynn Nottage