2022 Season

In the wake of Hurricane Sandy, Pam comes home to rough-and-tumble Red Hook, Brooklyn. When she arrives, having abandoned her attempts to “make it” in LA, she is greeted by an angry sister, a dilapidated house and a past that she can’t escape.  The conversation quickly alternates between unexpected humor and dark secrets, and the two off-beat sisters are forced to deal with all that they have let slip away. A two-person play set in real time, The Violet Sisters is about forgiving when you cannot bring yourself to forget.

Gina Femia’s work has been seen/developed at MCC Theater, Playwrights Horizons, EST, Page 73, New Georges, CTG, Theater of NOTE, Panndora Productions, among others. Selected honors include The Kilroys List, Leah Ryan Prize, Doric Wilson Award, the Otis Guernsey New Voices Award and the Neukom Award in Playwriting. Gina’s work has been nominated for a Drama League Award (my pieced ears with AFO’s Solo Shorts) as well as a New York Innovative Theater Award. Gina is a current Core Writer with the Playwrights Center, and an Alum of EST Youngblood, Page73’s Interstate 73, Pipeline Theatre’s PlayLab, New Georges’ Audrey Residency, the Ingram New Play Lab at Nashville Rep and Parsnip Ship’s Radio Roots Writer’s Group. Gina’s a New Georges Affiliated Artist and has received residencies with Page73, Powerhouse, NTI at the O’Neill, SPACE on Ryder Farm, and Fresh Ground Pepper. MFA, Sarah Lawrence College (Lipkin Prize in Playwriting).

In The Odyssey, Penelope’s long wait is eventually rewarded when Ulysses returns twenty years after leaving to fight the Trojan War. Will the same be true for Jane in Brooklyn, after her husband leaves one September day twenty years ago? A play about longing and hope as well as the myths we tell ourselves in order to get through the day, The Janeiad is a wry contemplation of the power, and slipperiness, of storytelling. Ziegler is a CCTP Alum who previously developed Photograph 51.

Anna Ziegler’s plays include the widely produced Photograph 51 (West End, directed by Michael Grandage and starring Nicole Kidman; named the number one play of 2019 by the Chicago Tribune; winner of London’s WhatsOnStage Award for Best New Play; available on Audible; published in Bloomsbury’s Modern Classics series), The Last Match (Roundabout; Old Globe; Writers Theatre), The Wanderers (Old Globe and upcoming at The Roundabout, winter 2023), Actually (Geffen Playhouse; Williamstown; Manhattan Theatre Club; Trafalgar Studios and many more; L.A. Ovation Award winner for Playwriting for an Original Play). She holds commissions from Roundabout Theatre Company, Second Stage Theatre and The Geffen Playhouse. Bloomsbury/Oberon Books has published a collection of her work entitled Anna Ziegler: Plays One. She is developing TV and film projects at HBO Max, Apple and Scott Free Productions.

In the fast-paced Swinging Sixties, the Chimes is New York’s most elite celebrity answering service. Through fifty years of economic, social, technological upheaval, we meet a dozen spunky operators full of dreams and aspirations. Only one employee, Beatrice, surprisingly stays constant – sticking with the company from switchboards to pagers to iphones and to its inevitable obsolescence. A Sloan Commission, Ball Change examines the human side of technological transformation and the dreams that change along the way.

Brittany K. Allen is a Brooklyn-based playwright, prosewright, and performer. Her plays include Redwood (WORLD PREMIERE: Portland Center Stage, November 2019; Kilroys List 2017, The Mix 2018), The Late Greats (DEVELOPMENT: The Lark, EST/Youngblood), and Happy Happy Joy Joy (DEVELOPMENT: Emerging Writers Group, Public Theatre). Her work has been developed and heard at Manhattan Theatre Club, Ensemble Studio Theatre, Kansas City Repertory Theatre, among others. Britany is a current member of EST/Youngblood and the Emerging Writers Group at the Public Theatre, and was a 2017 Van Lier Playwriting Fellow at the Lark. She received her BFA from NYU’s Tisch School of the Arts, and is a proud member of AEA.

A 40-whatever dental lab technician’s assistant gets fired and moves into St. Agnes Residence, a woman’s rooming house run by nuns. There, she must finally come to terms with the untimely passing of her younger sister, who died while giving birth, and face the consequences of her own untaken path to motherhood. All while fending off the verbal assaults of her unpredictable and sometimes deranged cohabitants. A fictional solo show based on many true things.

Lameece Issaq was the co-screenwriter for the film Abe, which recently completed filming in Brooklyn. Her solo show A Good Day to Me Not To You was included in Theatre Aspen’s Solo Flights Festival in 2021. Her play, Food and Fadwa (co-written with Jacob Kader) received its World Premiere production at New York Theatre Workshop in 2012 (a recipient of a 2011 Edgerton Foundation New American Play Award). Her other plays include: “A” Date, Samia’s Cup, Neighborhood Nightly News (The New York Arab American Comedy Festival) and Nooha’s List. She was a contributing writer to the production Motherhood Outloud (Hartford Stage, The Geffen and Primary Stages).