New Plays in Production

2012 Edgerton Foundation New American Play Awards:


What I Learned in Paris

by Pearl Cleage

at Alliance Theatre

Apples & Oranges

by Alfred Uhry, adapted from the memoir by Marie Brennar

at Alliance Theatre

Stuck Elevator

by Aaron Jafferis & Byron Au Yong

at American Conservatory Theater

Our Practical Heaven

by Anthony Clarvoe

at Aurora Theatre Company

Guapa

by Caridad Svich

at Borderlands Theater

Beneatha's Place

by Kwame Kwei-Armah

at CENTERSTAGE

Southbridge

by Reginald Edmund

at Chicago Dramatists

Abigail/1702

by Roberto Aguirre-Sacasa

at Cincinnati Playhouse in the Park

Build

by Michael Golamco

at Geffen Playhouse

The Primrose Path

by Crispin Whittell

at Guthrie Theater

Breath & Imagination

by Daniel Beaty

at Hartford Stage

Nikolai and the Others

by Richard Nelson

at Lincoln Center Theater

Still Alice

by Adapted and Directed by Ensemble Member Christine Mary Dunford, Based on the novel by Lisa Genova

at Lookingglass Theatre Company


Another Way Home

by Anna Ziegler

at Magic Theatre

The Explorers Club

by Nell Benjamin

at Manhattan Theatre Club

Vanya and Sonia and Masha and Spike

by Christopher Durang

at McCarter Theatre Center

Stella & Lou

by Bruce Graham

at Northlight Theatre

The Liquid Plain

by Naomi Wallace

at Oregon Shakespeare Festival

The Unfortunates

by Jon Beavers, Casey Hurt, Ian Merrigan & Ramiz Monsef. Additional material by Kristoffer Diaz

at Oregon Shakespeare Festival

Stars of David

by Abigail Pogrebin, Charles Busch

at Philadelphia Theatre Company

The Flick

by Annie Baker

at Playwrights Horizons

The Great God Pan

by Amy Herzog

at Playwrights Horizons

How to Make a Rope Swing

by Shawn Fisher

at Salt Lake Acting Company

Pullman Porter Blues

by Cheryl L. West

at Seattle Repertory Theatre

Warrior Class

by Kenneth Lin

at Second Stage Theatre

Upright Grand

by Laura Schellhardt

at TheatreWorks

BlackTop Sky

by Christina Anderson

at Unicorn Theatre

“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