半岛体育

Hello! Do you want to direct?

Interviews have started for the Full and Audit levels of this class and they are starting to fill.

The class meets online, but directors have the option to cast locally and rehearse in person if desired, and work with their actors online in class鈥攅ither from your rehearsal location or w. actors on zoom. (We can discuss these options in the interview.)

I've been teaching this directing class since 2006. We worked online in 2021-2022-2023 with amazing results (see quotes below). I'm unable to be in NYC for all of the class time this coming summer, and it has also been wonderful to open it up to worldwide actors and directors鈥攚e've had directors and actors collaborating on 3-4 continents :)

If you think you'd like to join us as a full director or active auditor, you can apply by replying to this post. All details are below. Please feel free to write with any questions (just reply to this post).

Karen

KAREN KOHLHAAS is an Atlantic Theater Company founding ensemble member, Off-Broadway director, directing and acting teacher, author of 3 books on monologues and auditioning, and Tennessee Williams scholar. FULL BIO AT THE END OF THIS POST

***ACTORS WILL BE NEEDED FOR THIS CLASS. THERE IS NO CHARGE TO PARTICIPATE AS AN ACTOR AND YOU CAN SIT IN ON CLASS AND THE GUEST CLASSES AS OUR THANK YOU. ONLINE AUDITIONS ARE PART OF THE DIRECTORS' TRAINING AND WILL BE IN MID-JUNE. DATES WILL BE ANNOUNCED IN EARLY JUNE. TO HEAR ABOUT THE ONLINE AUDITIONS, PLEASE REPLY TO THIS POST.***

"It was the best class of any kind I've done. There is a real sense of community in the spaces you create for these classes, that is unlike anything I've taken part in before. There is a real sense of warmth, joy and determination amongst the auditors and directors."鈥擫izzie Huggins, Australian theater and film director, 2022

"I鈥檓 heading into my short film now, fully prepared and armed with the things I need to work with my actors. Watching these changes come to life from your instruction was really helpful to me. You made me feel like I can be confident in a room with my talent. Thank you!"鈥擪atherine Croft, Film Director | Active Auditor 2023

"Taking the class online meant we were able to make great connections with actors and directors all over the world. My favourite thing about taking the class online was seeing how zoom ended up being a real catalyst for creativity in staging. All of the scenes were directed with such inventiveness and specificity, and I was amazed at how effective and immersive these staging choices were. I know that both the staging principles themselves, and that spirit of inquisitiveness and creativity will translate to any work in an in-person space in an exciting way." 鈥擡mma Nelles, Toronto director and actor, 2021

SUMMER DIRECTING CLASS Online | June 2鈥擜ug 5, 2023

Taught by Karen Kohlhaas of the Atlantic Theater Company

IN THIS POST

- Class description

- Levels of participation

- What I'm looking for in participants

- Class Schedule

- Tuition and how to apply

- My bio

"One of the most terrific, informative, and satisfying experiences I've had. Never in my wildest dreams did I imagine that I'd be able to gain so much knowledge and experience in two months." 鈥擭athaniel Aharon, Director

CLASS DESCRIPTION

This is a highly-structured, 50+ hour class in directing designed to be as comprehensive and creatively stimulating as possible. It started in response to the fact that there are very few places to seriously study directing outside of a degree program. The class is for theater and film artists (dancers & choreographers too) who want to learn to direct, or who already direct and want to deepen their foundation and skill sets.

The class includes intensive, hands-on experience with:

鈥� Pre-production and research

鈥� Throughline script analysis and table work

鈥� Developing a specific and inspiring directorial vision

鈥� Auditions and casting

鈥� Staging & blocking: How to use composition, structure, and suspense to create dynamic, alive, cause-and-effect storytelling on stage or film

鈥� Collaborating effectively with actors: a collection of rehearsal techniques to use with actors of any background

鈥� Leadership, time management, and troubleshooting

And, lecture/discussion/guest classes that address: Working with a playwright on a new play; Collaborating with designers; Working effectively with casting directors, artistic directors, producers and stage managers; Directing careers; Goals for and handling of previews/opening/run; Building your vision of the kind of director you want to be and taking steps to realize that vision.

Often, artistic relationships are fostered that continue into the future, and it is wonderful to hear of new collaborations between actors & directors who first met in class.

"I've never taken a better organized or more productive class in any field." 鈥擡lise Marenson, NYC Writer and Director of Film & Theater

"Really insightful techniques. I'm learning more in each class than I have in all my previous classes put together." 鈥擯atty Mulcahy, NYC Screenwriter and Film Director

LEVELS OF PARTICIPATION鈥�

There are 3 ways to take this class: FULL DIRECTOR, ACTIVE AUDIT, and GUEST CLASS ONLY

FULL DIRECTOR LEVEL | Full directors will direct scenes from two different plays for the two assignments of the class:

Assignment 1 | The Event The first scene (2 characters, 4-5 minutes), is worked on to learn "The Event," the most powerful directing tool I've ever learned for developing and articulating your vision, collaborating with actors, and then staging that shared vision into the scene. The Event Scene comes into class only once, and is considered an exercise.

Assignment 2 | Throughline Project The second, 鈥淭hroughline鈥� project (3-4 main characters) is the major project of the Full level and lasts until the end of the class. Directors choose a full length play that they are passionate about (with input from me!) and work on scenes of increasing length (5, 10, then 15-20 minutes) that come into class in 5 rounds (see schedule below). Actors are cast through auditions held by the directors as part of the coursework. Directors learn to analyze the entire play and to clearly and passionately articulate their vision to their collaborators. The Throughline scenework further develops the director's ability to use the Event, and also addresses more complex blocking and storytelling issues, composition, and design. While also using their intuition and experimenting, directors employ the techniques of the class to guarantee that the audience always sees what is engaging, moving, fascinating or humorous about the scene. The throughline scene comes into class a total of 5 times, building toward performance level: all scenes perform for an invited audience at the end of the class session.

Throughout the class we emphasize and practice excellent showmanship and theater etiquette. Because of the amount of class time devoted to each director, full level enrollment is limited to a maximum of 8 directors.

ACTIVE AUDITOR LEVEL鈥� | Auditors are a valuable and vocal part of the directing class; their position as auditors allows them to respond to the work from an audience's perspective, and spark deeper discussion of the directors' work. Active Auditors observe all classes and guest classes, participate in discussions, and, using tools of the class, complete an on-paper Throughline analysis of a play they choose that can be turned in any time for feedback. Why Audit? Auditing the class is ideal for those who want to learn and explore directing techniques, including throughline script analysis, story structure, and working with actors, but who do not have the time to do the Full level of participation. Who takes the audit level? We have had filmmakers, actors, playwrights, documentarians, designers, and others audit the class. Many have gone on to do the Full level the following year.

"I feel like I stumbled upon a pot of gold with your class. I had been really searching for a class or workshop that would help me focus on more technique and really give me some tools to keep fine-tuning my skills. I honestly feel like my head was cracked open and my brain has just grown and grown. I learned so much and am so grateful." 鈥擲teve Hitchcock, Jr., Theater Director | Active Auditor 2023

GUEST CLASS ONLY LEVEL | The class features four 60-minute guest speakers. Guests have included prominent playwrights, directors, actors, producers and designers, as well as alumni of this class and of Atlantic Acting School who are creating their own work. Guests will be announced on this list and you can register to attend one or more of the sessions. Guest classes are included in the Full and Auditor levels.

WHAT I'M LOOKING FOR IN CLASS PARTICIPANTS

I'm looking for artists with previous theater or film experience who want to work with commitment and passion at learning and/or deepening the craft of directing. I teach a specific way of approaching a script, and we go step by step through that approach in the class.

What I teach is not a style, but a collection of techniques to realize any style of production. I want those who take the class to be open to taking feedback, respectful and supportive of others' work; highly professional in all interactions with actors; organized, and able to rehearse their scenes and enjoy the challenges of the process. The director holds the center of a production! Therefore, it's also very important to be willing to observe class guidelines, be prepared and on time to class and rehearsals, and meet class deadlines. If these are things you are willing to be and do, you are welcome to apply for the class.''

"I took this intense Directing Class in the summer. Man, it changed my life! Karen's the real deal. Her methodology has helped me a lot working with actors. If you're serious about your craft consider her master class!"鈥擱olando Sanchez, NYC film, theater, and music video director鈥�

2025 SCHEDULE

Classes are some Mondays and Tuesdays between June 2 and August 5, plus directors hold auditions June 12-13-14. Class skips some weeks during the course to allow for more rehearsal time.

***All Class Times are Eastern Time***

INTRODUCTION, LECTURES, HOW TO AUDITION ACTORS

Monday, June 2 | 6-10pm: Lecture & demo: The Director' Event

Tuesday, June 3 | 6-10pm: Throughline Analysis, Audition Techniques

鈥�EVENT SCENES

Monday, June 9 | 6 鈥�10:15pm Event Scenes

Tuesday, June 10 | 6 鈥�10:15pm Event Scenes

鈥�ACTOR AUDITIONS | Full Directors only | these dates and times may be modified depending on whether each director works online or in person.

Thursday, June 12 | 6-10pm

Friday, June 13 | 6-10pm

Saturday, June 14 | 2-6pm or as needed

鈥�**no class June 16, 17**

鈥�THROUGHLINE SCENES | Round 1

Monday, June 23 | 6-10:15pm Throughline Scenes

Tuesday, June 24 | 6-10:15pm Throughline Scenes

**no class June 30, July 1**

THROUGHLINE SCENES | Round 2

Monday, July 7 | 6-10:15pm Guest class #1, Throughline scenes

Tuesday, July 8 | 6-10:15pm Guest class #2, Throughline scenes #

Monday, July 14| 6-10pm Guest class #3,

Tuesday, July 15 | 6-10pm, Guest class #4,

**no class July 21, 22**

THROUGHLINE SCENES | Round 3

Monday, July 28 | 6鈥�10:30pm Throughline scenes

Tuesday, July 29 | 6鈥�10:30pm Throughline scenes

鈥�THROUGHLINE SCENES | Round 4

Monday, August 4 | 6 鈥�10:? pm Rehearsal and runthrough of all scenes

鈥�THROUGHLINE SCENES | Round 5

Tuesday, August 5 | INVITED PRESENTATIONS performed online and class wrap-up

鈥�***All Class Times are Eastern Time***

"This class created much of my professional life. I doubt I'd be as happy or as successful if I hadn't taken it when I did. Highest recommendation for directors at all levels."鈥擬ark Armstrong, Executive Director, the 24 Hour Plays; director of (The Wire)

TUITION AND HOW TO APPLY

Tuition Full Directors | $725 A deposit of $225 holds your place, and the balance ($500) is due by the first class (or payment plan terms as agreed upon if needed) This tuition includes the guest class series. If directors choose to cast locally and work in person, you are responsible for your own rehearsal space.

Tuition Active Auditors | $375 A deposit of $100 holds your place, and the balance ($275) is due by the first class (or payment plan terms). This tuition includes the guest class series.

Tuition Guest Class Only | $15 per class or $50 for all 4.

How to Apply for Full and Audit levels | Reply to this post with a statement about what you would like to get out of the class, and attach a bio or resume of your theater or film work, or description of your past experience. Full director interviews are on Zoom; Auditors interview by phone (list some good times to reach you and include your number).

How to Apply for Guest Class only levels | Guest Speakers will be announced in early June. To apply, reply to this post if you would like to be on the Guest Class Only list.

Please also feel free to write with questions.

"The insights we learned were practical as well as exalted; the proof came in watching the work grow stronger with each installment. I enjoyed the professional attitude and mutual respect you engendered in the class among classmates. And lastly and especially, I thank you for guiding me through the crises of my first job as director on the New York stage. Your class made that a much richer experience!"鈥� 鈥擲arah Tuft, Writer, Director and Editor of Theater and Film

KAREN KOHLHAAS is a stage director, filmmaker, teacher, author, and Tennessee Williams scholar.

DIRECTOR | Karen is a founding ensemble member of the Atlantic Theater Company. For Atlantic she directed the Lucille Lortel Award and Drama Desk Award nominated by Harold Pinter, which was named as a top-10 theater production by the New York Times, New York Magazine, and the New York Daily News. She revived her production of Pinter鈥檚 A Kind of Alaska for New York Live Arts for Live Ideas in honor of Dr. Oliver Sacks. Other productions include the world premiere of Annie Baker's Body Awareness at Atlantic Stage 2; and the Drama Desk Award nominated 25 Questions for a Jewish Mother by Kate Moira Ryan with Judy Gold at the Montreal Comedy Festival, Ars Nova, St. Luke's Theatre and National Tour, recently revived by Primary Stages. Other Off-Broadway and regional includes Harold Pinter's The Hothouse (Atlantic), Keith Reddin鈥檚 Synergy (Alley Theatre, world premiere) and Frame 312 (Atlantic, NY premiere); David Mamet's Boston Marriage (Public Theater, NY premiere) and The Water Engine (Atlantic); three productions of An Adult Evening of Shel Silverstein in New York and Sydney, Kate Moira Ryan's OTMA (U.S. premiere, Atlantic) and At Sea by Clare Bayley (Menagerie Theatre, U.K.). She has also directed at Naked Angels, New Dramatists, Ensemble Studio Theatre, the Culture Project and other New York theaters.

FILMMAKER | Karen's short films, including two with acclaimed performer/playwright Taylor Mac, and short documentaries, have played at festivals in the US and internationally.

TEACHER | Karen is a senior teacher at the Atlantic Acting School's conservatory acting programs, and teaches her own classes in directing, advanced acting, monologues, and cold reading. She has been a visiting master teacher and lecturer around the US and internationally including Seattle University, Florida International University, Baldwin Wallace University, the University of Southern California, the University of the South at Sewanee, the Texas State University, Theater Educators of Texas Association, Practical Aesthetics Australia, Menagerie Theatre, UK, Ah Um Theater, Vancouver, Austin Shakespeare, Drama Inc. in Atlanta, and the Mississippi Delta Tennessee Williams Festival.

AUTHOR | Karen is the author of , , , and is the director, writer and producer of .

TENNESSEE WILLIAMS SCHOLAR | Karen is editing a feature length documentary film Tennessee Williams in the Mississippi Delta: The Love of Things Irreconcilable, and writing a companion book focusing on Williams' seminal childhood in that region. She has been a panelist for the New Orleans and Misssissippi Delta Tennessee Williams festivals; she is the co-creator and curator of the Tennesseee Williams Rectory Museum in Clarksdale, Mississippi; and in January 2020 presented a residential actor and playwright training in Clarksdale, with playwright Craig Lucas.

"Thank you so much for offering this amazing Directing Workshop. You merge the practical with the creative, making for an insightful, unique and highly effective approach to the craft of directing. The scene work was invaluable. The tools you have given me will serve me far into the future."鈥擩ohn Summerford, Actor and Director

Notice: Audition Call Type: EPA

AUDITION DATE

Saturday, May 3, 2025

10:00 AM - 6:00 PM (E)

BREAK: 1:00PM - 2:00PM

Doors open at 9:30 AM

APPOINTMENTS

No appointments necessary. First come, first served. Doors open at 9:30 am.

CONTRACT

SPT

$482 weekly minimum (SPT 3)

SEEKING

Equity actors for roles in Shadowland Stages 2025 Season (see breakdown).

PREPARATION

For dramatic auditions, please prepare a brief monologue. For musical auditions, please prepare a brief song. An accompanist will be provided. Please bring your headshot and resume stapled together.

LOCATION

Shadowland Theatre

157 Canal St

Ellenville, NY 12428-1503

PERSONNEL

See breakdown for production-specific personnel

EXPECTED TO ATTEND:

Brendan Burke, Artistic Director

Brittany Proia, director of WAITRESS

OTHER DATES

See breakdown for production-specific dates.

OTHER

www.shadowlandstages.org

An Equity Monitor will not be provided. The producer will run all aspects of this audition.

Equity鈥檚 contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.

Always bring your Equity Membership card to auditions.

BREAKDOWN

SHADOWLAND STAGES 2025 SEASON

I鈥橫 NOT RAPPAPORT

by Herb Gardner. Director: Neil Pepe.

1st rehearsal May 6, 2025; Runs May 30 鈥� June 29, 2025

THIS SHOW IS CAST. SEEKING REPLACEMENTS IF NEEDED.

NAT: CAST Male; 80s, a cantankerous Communist storyteller, afraid his daughter Clara will force him into a home or declare him incompetent.

MIDGE: CAST Male; 81, near blind superintendent of a Central Park West apartment building for the past 42 years. Has avoided getting fired by being a 鈥榳ise old invisible man鈥�. Easily annoyed by Nat鈥檚 stories and machinations.

CLARA: CAST Female; 40s, Nat鈥檚 daughter. Has moved on from her activist upbringing to a suburban family life. Is worried about her father鈥檚 well-being and wants to move him to a safer situation.

DANFORTH: CAST Male; 40s. Head of the Tenant鈥檚 Committee in Midge鈥檚 building (which is about to go co-op) and is seeking to fire Midge.

THE COWBOY: CAST Male; 30s, a drug dealer from Jersey, who lives as a 鈥榗owboy鈥�, complete with costume and accent.

GILLEY: CAST Male; late teens, a Irish hoodlum who shakes down Midge for $3 a day in exchange for offering him 鈥榩rotection鈥�.

LAURIE: CAST Female; 20s, a pretty and innocent art student in debt to The Cowboy.

KING JAMES

by Rajiv Joseph. Director: Jammie Patton.

1st rehearsal: June 17, 2025. Runs July 5-20, 2025.

MATT: Male; Ages 21, 27, 31, 33. Emotional and talkative, and bit of a mess, Matt鈥檚 ambition grows throughout the play. He bonds with Shawn over their impassioned fandom for the Cleveland Cavaliers. White.

SHAWN: Male; Ages 21, 27, 31, 33. A writer with a quiet ambition and confidence. Smart and considered. He bonds with Matt over their shared impassioned fandom for the Cleveland Cavaliers. Black.

WAITRESS

Book by Jessie Nelson. Music & Lyrics by Sara Bareilles.

Director: Brittany Proia.

1st rehearsal: July 8, 2025. Runs July 25 鈥� August 24, 2025.

JENNA: Female; 20s-30s. An unhappily married small town waitress. An expert pie maker, she鈥檇 love to get away and start fresh. Vocal range top: F5; bottom: F#3. Any ethnicity.

BECKY: Female; 40s-50s. The oldest of the waitresses, weathered it all with a fantastic and sometimes irreverent sense of humor. Vocal range top: E5; bottom: Eb3. Any ethnicity.

DAWN: Female; 20s. The youngest waitress, slightly awkward and shy. A sweet and optimistic nature. Vocal range top: E5; bottom: G3. Any ethnicity.

DR. POMATTER: Male; 30s-40s. Handsome, with a warm, if clumsy, manner. Jenna鈥檚 gynecologist with whom an unexpected extramarital affair is born. Has a quirky sense of humor and a big heart, despite the fact that he鈥檚 contributing to the affair. Vocal range top: Bb4; bottom: Bb2. Any ethnicity.

EARL: Male; 20s-30s, Jenna鈥檚 destructive husband. Handsome in an ex-jock way, he peaked in high school, and has evolved into a beer-drinking mess, with fits of anger and depression. Guitar playing a plus. Vocal range top: G4; bottom: Eb3.

CAL: Male; 30s-40s. The diner鈥檚 chef. Somehow endearing despite his impatience and brash, irreverent manner. Vocal range top: F4; bottom: D3.

OGIE: Male; 30s, Lovable, and a bit odd and quirky, he becomes enthralled with Dawn. Should have excellent comedic timing and must have an excellent pop/rock tenor voice. Vocal range top: F4; bottom: C3. Any ethnicity.

JOE: Male; 60s-70s, The owner of the diner where Jenna, Dawn, Becky, and Cal work. Seems like an old curmudgeon but has a soft spot for Jenna (and her pie). Vocal range top: G#4; bottom: B2. Any ethnicity.

NURSE/FRANCINE/MINISTER: Female; 20s-40s. Very funny with a small town charm. Pop-Rock Voice. Vocal range top: E5; bottom: G3. Any ethnicity.

LULU: Young girl to play 4鈥�5-year-old. Daughter of Jenna.

DARKER THE SKY, BRIGHTER THE STARS

by John Cariani. Director: John Cariani.

1st rehearsal: August 12, 2025. Runs August 29 鈥� September 14, 2025.

ENSEMBLE: Two identifying as female, two identifying as male, all in their 20s to portray multiple roles (ages 16-late 20s). The play (the sequel to ALMOST MAINE) is a series of short plays, about the inhabitants of a rural town in northern Maine who are still searching for who they are.

BECOMING DR. RUTH

by Mark St. Germain. Director: Stephen Nachamie.

1st rehearsal: September 2, 2025. Runs September 19 鈥� October 5, 2025.

DR. RUTH WESTHEIMER: The famous sex therapist at age 69.

PROOF

by David Auburn. Director: Brendan Burke.

1st rehearsal: September 23, 2025. Runs October 10 鈥� 26, 2025.

ROBERT: Male; 70s, Catherine and Claire鈥檚 father, a retired mathematics professor. In his later years, his genius has bowed to madness. Any ethnicity.

CATHERINE: Female; 25, Any ethnicity. Robert鈥檚 daughter, she鈥檚 spent the last few years taking care of him. Independent and smart, she鈥檚 worried that, in addition to her father鈥檚 genius, she may have also inherited his mental illness. Any ethnicity.

HAL: Male; 28, A protege of Robert鈥檚, and a PhD. candidate in mathematics. Plays in a band. On the nerdy side of cool, he鈥檚 ambitious, but trying to do the right thing. Any ethnicity.

CLAIRE: Female; 29. Claire鈥檚 sister who鈥檚 returned home to Chicago for Robert鈥檚 funeral, and to woo Catherine to join her in NYC because she鈥檚 worried Catherine may have inherited their father鈥檚 mental illness. Any ethnicity.

Notice: Submission

CONTRACT

SPT

$12 per hour minimum - Rehearsals

$35 per Performance (2 for each production)

SEEKING

Equity actors for roles in SparkFest 2025 Play Readings (See breakdown).

SUBMISSION INSTRUCTIONS

Actors, please submit your video submissions using the following link: ; PREPARATION: Please submit a short contemporary monologue, either comic or dramatic. Do not exceed 2 minutes. Video submissions will be accepted through Sunday May 4, 2025 by midnight.

Deadline: 05/04/2025

SUBMIT TO

,

PERSONNEL

All personnel listed below will have access to view the audition submissions:

Producers: Jay Duffer, Artistic Director, Elizabeth Kensek, Managing Director, Ally Varitek, Associate Producer, Alex Voeller, Assistant Producer, Evan Woods, Marketing Director

Playwrights: Madeline Sayet, Joseph D. Valdez, Lee Cataluna

Directors: Rhiana Yazzie, Maddox Pennington, R. R茅al Vargas Alanis

OTHER DATES

Callbacks will begin as early as May 7, 2025.

Callbacks are virtual and by appointment only.

Rehearsals and performances will take place at various times between June 14-June 22. Rehearsals are scheduled during the daytime & evenings. Performed readings will take place in the evenings on weekdays and daytime/evenings on weekends. A full festival schedule can be found on our website:

OTHER

Equity鈥檚 contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit.

BREAKDOWN

SPARKFEST 2025 PLAY READINGS

NOTE: Unless specifically denoted, roles are open to any race

Rotations of the Sky

by Joseph D. Valdez

Directed by Rhiana Yazzie

Synopsis: Johnny, a "rising political star" and single father, is forced to confront his past as he navigates the pressures of his upstart congressional campaign. Amid the cutthroat world of politics, he must also repair a fracturing relationship with his teenage daughter and care for his dying grandfather鈥攁ll while trying to protect his family legacy.

SEEKING:

JOHNNY, Navajo and Chicano male (38). An aspirational single father running for Congress. Charismatic and sharp, he appears poised, confident, and composed on the outside. However, beneath the surface, he is deeply wounded and carries many secrets. You wouldn鈥檛 know it, but he鈥檚 a man who is always running.

GRANDPA, Navajo, male (60+). Johnny鈥檚 elderly grandfather. A World War II veteran who still carries the wounds and weight of war. Gritty, strong-willed, and full of music and memories, he continues to fight, even as he struggles in the final moments of his life.

ANGIE, Navajo and Chicano, female (16). Johnny鈥檚 daughter and Grandpa鈥檚 great-granddaughter. A self-described activist who is at the top of her class. Driven, well-read, and usually the smartest person in the room, yet there is an emptiness inside her that she can鈥檛 quite fill.

KIMIKO, African American, Female (38). A masterful political expert and campaign manager who hasn鈥檛 received the credit she鈥檚 due. Ivy League-educated and looking to make her mark.

JORDAN, Mexican-American, male (16). Ambitious, imaginative, and industrious, he is the son of immigrants determined to bring his deported parents back and create a better life for his family. A dreamer.

Stage Directions - any age, any identity

The Fish

by Madeline Sayet

Synopsis: The water is rising and everything is at stake in this Noah's ark allegory about three Mohegan/Jewish siblings deciding what to hold onto from the past in order to survive. Both a post-apocalyptic reflection on the many generations that have had to go underwater in order to survive, and a creation story for the world to come.

SEEKING:

Emily - Mohegan/Jewish, Female identifying, oldest sibling. Carrying the weight of the world, and belief she is responsible for her siblings.

Jeets - Mohegan/Jewish, Female or Nonbinary, middle sibling, always trying to be the bridge between siblings, cultures, ways of seeing the world.

Aaron - Mohegan/Jewish, Male, youngest sibling, loves books, desperately wants to leave home and meet new people.

Mom - Mohegan/Jewish, 40s-50s, trying to imagine a future for her descendants.

Quahog/Clam - Female. Ancient, powerful. Needs good comic timing.

P么tap (Whale) - Male, left off the ark. Needs good comic timing.

Tooyup谩hs (Turtle) / Puyamaq (Fish) - Any Gender, carries the world on their back. Needs good comic timing.

Cast Also Doubles As: Noah, Jonah, Uncas, Sassacus, John Mason, P么tap 2, 3, and 4, Grandma (Mohegan), Grandpa (Jewish), Auntie Spirits (Mohegan).

Stage Directions - any age, any identity

Stuck in Honolulu

by Lee Cataluna

Synopsis: Daddy, a Polynesian elder, is brought by medical transport plane from his small island to a large hospital in Honolulu. Daddy鈥檚 roommate, Tati, is m膩h奴, (the Hawaiian concept of third gender) and Daddy has a lot of thoughts about that, much to the consternation of his daughter, Lihau, who is very concerned with appearances and performative allyship. Forced to spend long hours together battling their own pain, fear, and boredom, Daddy and Tati begin to heal in unanticipated ways in a story that is steeped in the Native Hawaiian tradition of storytelling as medicine.

SEEKING:

Daddy 鈥� 50s-60s male, Native Hawaiian, in poor health but still thinks he鈥檚 the Big Boss. He/him

Lihau 鈥� 30s female, Native Hawaiian Daddy鈥檚 daughter, people-pleaser, perpetual beauty pageant contestant, overly concerned with appearances. She/her

Tati - 25 m膩h奴 (Hawaiian concept of third gender), Native Hawaiian, assigned male at birth, although femme presenting, not trans female, as Tati does not identify with she/her pronouns, has had a hard life. Think tiktok influencer, Bretman Rock

Stage Directions - any age, any identity