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Sonia Friedman Productions presents
Imelda Staunton and Conleth Hill in
Edward Albee’s
Who’s Afraid of Virginia Woolf?
Directed by James Macdonald
Designed by Tom Pye

• Imelda Staunton and Conleth Hill star in Edward Albee’s landmark play

• James Macdonald directs the first production of this dark comedy since Albee’s recent death. It will play at the Harold Pinter Theatre for 13 weeks only

• Tickets go on sale to the general public on Friday 23rd September at 10am

• Reduced price tickets for preview performances

• Over 100 tickets for every performance priced at £15 (£10 during previews)

Twitter: @WhosAfraidLDN
Facebook: /WhosAfraidOfVirginiaWoolfLDN
# Whosafraidofvirginiawoolf?
Website: www.whosafraidofvirginiawoolf.co.uk

Imelda Staunton and Conleth Hill will star in a new production of multi Tony and Pulitzer prize-winning playwright Edward Albee’s Who’s Afraid of Virginia Woolf? directed by James Macdonald.

Following the sad news of Albee’s passing last week and in anticipation of this revival, Michael Billington recently wrote in The Guardian “With America currently engaged in its own form of post-truth politics, now seems the perfect time to revive Albee’s enduring masterpiece about the danger of living in a world of illusions.”

In the early hours of the morning on the campus of an American college, Martha, much to her husband George’s displeasure, has invited the new professor Nick and his wife Honey to their home for some after-party drinks. As the alcohol flows and dawn approaches, the young couple are drawn into George and Martha’s toxic games until the evening reaches its climax in a moment of devastating truth-telling.

Imelda Staunton (Martha) returns to the West End after her triumphant and Olivier Award-winning performance as Mama Rose in Gypsy. Amongst her many other theatre credits, notable performances include Mrs Lovett in Sweeney Todd, for which she won an Olivier Award, Circle, Mirror, Transformation for the Royal Court and the role of Claire in Edward Albee’s A Delicate Balance at the Almeida Theatre. In total, Staunton has been nominated for eleven Olivier Awards, winning four. On film Staunton is perhaps best known for playing the title role in Vera Drake, for which she received the BAFTA Award for Best Actress in a Leading Role, and for the role of Dolores Umbridge in the Harry Potter films.

Conleth Hill (George) is perhaps best known for his role as Lord Varys in the HBO television production Game of Thrones. A multi award-winning theatre actor, amongst his extensive theatre credits, recent productions include Quartermaine’s Terms at the Wyndham’s Theatre and The Cherry Orchard at the National Theatre. Hill won the Olivier Award for Best Actor forThe Producers, Theatre Royal Drury Lane, and for Stones In His Pockets in the West End. He also received Tony Award nominations for his role in Stones In His Pockets on its transfer to Broadway and The Seafarer, which transferred from the National Theatre to Broadway. Hill’s film credits include Salmon Fishing in the Yemen and Whatever Works, directed by Woody Allen.

James Macdonald is highly regarded for his work with Caryl Churchill and Sarah Kane, recently directing Churchill’s play Escaped Alone at the Royal Court. Other recent work includes the award-winning production of Florian Zeller’s The Father and Roots at the Donmar Warehouse. Macdonald has previously directed Staunton in the Royal Court’s production of Circle, Mirror, Transformation by Annie Baker and in the critically-acclaimed production of Edward Albee’s A Delicate Balance at the Almeida Theatre.

Edward Albee was born on March 12th 1928 and began writing plays 30 years later. His plays include The Zoo Story (1958), The Death of Bessie Smith (1959), The Sandbox (1959), The American Dream (1960), Who’s Afraid of Virginia Woolf? (1961-62, Tony Award), Tiny Alice(1964), A Delicate Balance (1966, Pulitzer Prize; 1996, Tony Award), All Over (1971), Seascape(1974, Pulitzer Prize), Listening (1975), Counting the Ways (1975), The Lady from Dubuque(1977-78), The Man Who Had Three Arms (1981), Finding the Sun (1982), Marriage Play (1986-87), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), The Play about the Baby(1997), The Goat or, Who is Sylvia? (2000, 2002 Tony Award), Occupant (2001), At Home at the Zoo: Act 1, Homelife. Act 2, The Zoo Story. (2004), and Me, Myself & I (2008). Mr. Albee was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and Letters in 1980.  In 1996 he received the Kennedy Center Honors and the National Medal of Arts. In 2005 he was awarded a special Tony Award for Lifetime Achievement.

Beach Comet presents:

Above the Arts Theatre 19 September – 8 October.  Reviewed by Claire Roderick

You don’t need to love Punk to love this play – Leon Fleming has written a superb character study of a troubled young man searching for his place in the world, and finding solace in Punk and his idol, Sid Vicious. Considering what other disenfranchised kids can turn to nowadays, there is an underlying sense of innocence in Craig’s choice and by the end of the play, you just want to give him a big hug.

Craig is in his bedroom getting ready to visit his girlfriend at her university. He lives with his mum but in his room, he is master of all. His worrying about whether a T-shirt or a shirt is appropriate to wear to university between rants about Punk and anarchy (which has much more rules than I thought it would) is a lovely touch, reminding the audience that this lad just wants to be accepted by someone – anyone.

Dario Coates is phenomenal as Craig – when he is haranguing the audience his intensity is terrifying at times. And if he spears you with his eyes, you’ll be squirming. But the intensity is also very, very funny. At times Fleming’s writing is like Punk poetry, and carries you away on a rollercoaster of emotions, all delivered breathlessly by Coates. The few moments of stillness and silence are even more powerful, and Coates body language is captivating.

The trip – obviously – doesn’t go well. Craig’s retelling of the events is poignant and funny. His discomfort and insecurity are portrayed beautifully, with scathing descriptions of students and the student pub. When one of the students gives Craig his analysis of punk – with masterful switches between characters by Coates – Craig’s reactions take the audience from laughter to gasps of horror in seconds. But Craig’s sly self-awareness soon delivers the laughs again, and as the final part of the play begins to unpick Craig’s obsession with Punk – his relationship with his mother and fanciful ideas about his unknown father – cheap laughs and over sentimentality are avoided, leaving you feeling hopeful for Craig’s future.

Intense, moving and funny – Sid is wonderfully written and superbly acted. Whether you’re a fan of the Sex Pistols or S Club 7 – you need to GO AND SEE SID.

Sunderland Empire – 19 to 24 September 2016

Sunderland Empire has been creatively transformed into a great big, beautiful rubbish heap for this faithfully resurrected extravaganza. Based on “Old Possum’s Book of Cats”, the poems of TS Eliot, the story is told entirely in song and dance to the music of Andrew Lloyd Webber. Webber has smartly mined the natural music in Eliot’s jaunty rhythms and clever rhyme schemes, applying them to the specific characters of his cats, who live in the shadows but leap into life when the moon is high.

For those not familiar with the story it revolves around an annual Jellicle Ball, and we learn the stories behind the cats as the evening progresses.

John Napier’s spectacular set extends into the orchestra, side walls plastered with detritus from the alley where these unwanted cats live, and up to a ceiling festooned with the twinkling lights of an unreachable heaven far above their heads. David Hersey’s midnight-blue lighting scheme lends magic to the moonlit setting for Heaviside, while those curious cats’ eyes winking at us from out of the velvety darkness add to the mystery.

Marianne Benedict stole the show with her portrayal of Grizabella, the role made famous by Elaine Page. Her voice is strong, faultless and perfect for Memory. Every nuance gave emotion and portrayed real storytelling in her voice – it was a well deserved round of elongated round of applause when she had finished singing with even a few standing – such was the power of her voice

There are some standout performances from the rest of the cast, notably Kevin Stephen-Jones’ Old Deuteronomy, whose rich baritone was perfectly suited to the stately grandeur of this character. Joe Henry and Emily Langham are a delightfully nimble and well voiced Mungojerrie and Rumpleteazer and Matt Krzan makes a heroic and noble Munkustrap. Equally there are some superb dance performances, most impressively from Shiv Rabheru as the sprightly Mr Mistoffelees, Lee Greenaway’s Skimbleshanks and Javier Cid as the acrobatic villain Macavity. My personal favourite, because it reminded me of my own cat, was Lucinda Shaw’s tap dancing Jennyanydots.

The show’s greatest triumphs are unquestionably to be found during the full ensemble dance routines, with choreography by Gillian Lynne that sweeps the audience up with a blazingly athletic display of leaps, twirls and an almost indecent number of hip thrusts but the real beauty of this production was that there were no passengers; every cat had his or own character and story to tell and this came through strongly. Wherever I looked there was activity and interest without any upstaging of the cat in the spotlight at the time.

A truly magical performance that you’d be mad to miss. At the Empire until Saturday 24 September and on tour around the UK

REVIEW: CATS (Sunderland Empire) ★★★★

September 20, 2016 

For: West End Wilma 

https://www.westendwilma.com/review-cats-sunderland-empire/

Sunderland Empire has been creatively transformed into a great big, beautiful rubbish heap for this faithfully resurrected extravaganza. Based on “Old Possum’s Book of Cats”, the poems of TS Eliot, the story is told entirely in song and dance to the music of Andrew Lloyd Webber. Webber has smartly mined the natural music in Eliot’s jaunty rhythms and clever rhyme schemes, applying them to the specific characters of his cats, who live in the shadows but leap into life when the moon is high.

For those not familiar with the story it revolves around an annual Jellicle Ball, and we learn the stories behind the cats as the evening progresses.

John Napier’s spectacular set extends into the orchestra, side walls plastered with detritus from the alley where these unwanted cats live, and up to a ceiling festooned with the twinkling lights of an unreachable heaven far above their heads. David Hersey’s midnight-blue lighting scheme lends magic to the moonlit setting for Heaviside, while those curious cats’ eyes winking at us from out of the velvety darkness add to the mystery.

Marianne Benedict stole the show with her portrayal of Grizabella, the role made famous by Elaine Page. Her voice is strong, faultless and perfect for Memory. Every nuance gave emotion and portrayed real storytelling in her voice – it was a well deserved round of elongated applause when she had finished singing with even a few standing – such was the power of her voice.

There are some standout performances from the rest of the cast, notably Kevin Stephen-Jones’ Old Deuteronomy, whose rich baritone was perfectly suited to the stately grandeur of this character. Joe Henry and Emily Langham are a delightfully nimble and well voiced Mungojerrie and Rumpleteazer and Matt Krzan makes a heroic and noble Munkustrap. Equally there are some superb dance performances, most impressively from Shiv Rabheru as the sprightly Mr Mistoffelees, Lee Greenaway’s Skimbleshanks and Javier Cid as the acrobatic villain Macavity. My personal favourite, because it reminded me of my own cat, was Lucinda Shaw’s tap dancing Jennyanydots.

The show’s greatest triumphs are unquestionably to be found during the full ensemble dance routines, with choreography by Gillian Lynne that sweeps the audience up with a blazingly athletic display of leaps, twirls and an almost indecent number of hip thrusts but the real beauty of this production was that there were no passengers; every cat had his or own character and story to tell and this came through strongly. Wherever I looked there was activity and interest without any upstaging of the cat in the spotlight at the time.

A truly magical performance that you’d be mad to miss. At the Empire until Saturday 24 September and on tour around the UK.

SHEFFIELD THEATRES ANNOUNCE FULL CASTING FOR IRVING BERLIN’S

ANNIE GET YOUR GUN

Sheffield Theatres today announce full casting for their sharp shootin’ Christmas production, Irving Berlin’s Annie Get Your Gun.  This major new revival of the classic musical takes to the stage at the Crucible Theatre from Thursday 8 December – Saturday 14 January.

Paul Foster (Tell Me On A Sunday, Sweet Charity) directs Anna-Jane Casey, recently seen at the Crucible in Flowers For Mrs Harris, as Annie Oakley and Ben Lewis (Love Me Tender, Forbidden Broadway) as Frank Butler.  Nicolas Colicos (The Bodyguard, Sister Act) plays Buffalo Bill with Mike Denman (The Bodyguard, Matilda) as Pawnee Bill and Lauren Hall (Gypsy, Singin’ in the Rain) as Winnie Tate. Matthew Malthouse returns to Sheffield Theatres (My Fair Lady) as Foster Wilson, Timothy Quinlan(Mack & Mabel, Jersey Boys) plays Charlie Davenport, Cleve September (In The Heights) plays Tommy Keeler with Maggie Service (Red Dwarf, Call The Midwife) plays Dolly Tate and  Karl Seth, last seen on the Crucible stage in Hiawatha plays Chief Sitting Bull.  Completing the ensemble are Josh Andrews, Ronan Burns, Emma Caffrey, Matthew Croke, Omari Douglas, Rosie Fletcher, Melissa James, Jasmine Kerr, Natasha Mould, Jak Skelly, Leah West and Emma Woods (ensemble and Dance Captain).

Sharp shootin’, smart talkin’ Annie Oakley is a force to be reckoned with. But when she’s pitched against the charming, fiercely competitive Frank Butler, has she finally met her match?

Aimed straight at the heart, Irving Berlin’s sensational musical from the Golden Age of Broadway includes such classics as There’s No Business Like Show Business, Anything You Can Do and I Got The Sun In The Morning, as well as whip-cracking choreography from Sheffield favourite, Alistair David.

Tickets for Irving Berlin’s Annie Get Your Gun are on sale now and can be purchased from Sheffield Theatres’ Box Office in-person, by phone on 0114 249 6000 or online at sheffieldtheatres.co.uk and are priced from £20.00 (concessions available).  A transaction fee of £1.50 (£1.00 online) applies to all bookings made at the Box Office (excluding cash).

Secret Studio Lab presents:

FULL LONDON CASTING ANNOUNCED FOR
The New York Theatre Workshop production of

BY David Bowie and Enda Walsh
DIRECTION Ivo van Hove
INSPIRED BY THE NOVEL The Man Who Fell To Earth by Walter Tevis

Ahead of its hugely anticipated European premiere in a brand new 900-seater venue atKings Cross Theatre, London, full casting for David Bowie and Enda Walsh’s Lazarus is announced today.

Gabrielle Brooks, Sydnie Christmas, Richard Hansell, Amy Lennox, Maimuna Memon,Jamie Muscato, Tom Parsons and Julie Yammanee will be joining previously announced cast members Michael C Hall, Michael Esper and Sophia Anne Caruso, who are reprising their roles from the original New York Theatre Workshop production.

Lazarus broke box office records when it played a strictly limited, sold out run in New York from 18 November 2015 to 20 January 2016. Tickets for the London production are on sale now, with preview performances beginning on Tuesday 25 October and an official opening night on Tuesday 8 November. Lazarus is booking until Sunday 22 January 2017.

Inspired by the book, The Man Who Fell To Earth, Lazarus focuses on Thomas Newton as he remains still on Earth – a ‘man’ unable to die, his head soaked in cheap gin and haunted by a past love. We follow Newton during the course of a few days where the arrival of another lost soul might set him finally free. Michael C Hall stars as Newton, the character famously portrayed by David Bowie in the 1976 screen adaptation directed by Nicolas Roeg.

Directed by Ivo van Hove, Lazarus includes songs from Bowie’s iconic catalogue as well as brand new music written for the stage. The Lazarus Cast Album will be released on 21 October on RCA / ISO Records and features performances by the original NYTW company as well as three of Bowie’s final studio recordings.

Michael C Hall plays Newton. Prior to appearing in Lazarus at New York Theatre Workshop, Michael portrayed the title character in the Broadway production of Hedwig And The Angry Inch and starred in Will Eno’s Broadway production of The Realistic Jones(Drama League Award nomination) directed by Sam Gold and co-starring Toni Collette, Tracy Letts, and Marisa Tomei. Michael made his Broadway debut in 1999 as the Master of Ceremonies in Sam Mendes’ revival of Cabaret and portrayed Billy Flynn in 2002 in the revival of Chicago. Off-Broadway, his credits include the Roundabout Theatre Company’sMr. Marmalade, Cymbeline, Macbeth, Timon Of Athens, and Henry V at the Public Theater/New York Shakespeare Festival, The English Teachers for MCC, the Manhattan Theatre Club’s Corpus Christi, Romeo And Juliet at Center Stage, R Shoman at Williamstown and Skylight at the Mark Taper Forum. Michael’s television credits includeDexter (SAG, Golden Globe awards; five Emmy nominations) and Six Feet Under (two SAG ensemble awards, Emmy nomination). On film, Hall co-starred in Jim Mickle’s Cold in July and John Krokidas’ Kill Your Darlings. He will next be seen in Antonio Campos’ Christine(which premiered in Dramatic Competition at the 2016 Sundance Film Festival) with Rebecca Hall. Michael is currently shooting Peter Landesman’s Felt, a political thriller about Watergate, told from the vantage point of Deep Throat. Hall plays White House Counsel John Dean.

Michael Esper plays Valentine. Michael’s previous stage work on Broadway includes Sting’s musical The Last Ship, American Idiot, The Lyons and A Man For All Seasonsopposite Frank Langella. Winner of the Clarence Derwent Award for Most Promising Male, Michael has also appeared in The Intelligent Homosexual’s Guide To Capitalism And Socialism With A Key To The Scriptures (The Guthrie and Public Theaters), Long Day’s Journey Into Night (Druid Theatre Company and Dublin Theatre Festival), Bif Bill (Lincoln Center Theatre) and Tales From Red Vienna (Manhattan Theater Club). Michael’s recent feature film work includes Brad Furman’s Runner, Runner, Frances Ha, and The Drop. Additional film credits include the Andrew Jarecki feature, All Good Things, A Beautiful Mind, and Loggerheads, which competed at the Sundance Film Festival. Lazarus will be Michael’s London stage debut.

Sophia Anne Caruso plays Girl. Sophia recently made her Broadway debut in Joe Mantello’s Blackbird opposite Jeff Daniels and Michelle Williams. Previous stage credits include Runaways (New York City Center), The Nether (MCC Theater, New York) and Little Dancer (Kennedy Center, Washington DC). For her performance in Lazarus at New York Theatre Workshop, Sophia received a 2016 Lucille Lortel Award nomination for Outstanding Lead Actress in a Musical. Her screenwork includes the films 37 and Jack Of The Red Hearts, and on television The Sound Of Music Live and Smash.

Amy Lennox plays Elly. Amy most recently starred as Lauren in the London production ofKinky Boots (Adelphi Theatre), for which she was nominated for an Olivier Award. Other stage work includes Legally Blonde (Savoy Theatre and UK Tour), 9 To 5 (UK Tour), The Sound Of Music (London Palladium), Soho Cinders (Soho Theatre), Decade (Headlong),Tracks (Arcola Theatre), The Secret Garden (Birmingham Rep) The Last Five Years (Lyric Theatre, Belfast) and The Prime Of Miss Jean Brodie (Royal & Derngate/Assembly Rooms). Amy’s film credits include Never Let Me Go alongside Keira Knightley and Andrew Garfield, Wrong Turn 5 and The Cab Ride. 

Gabrielle Brooks plays Teenage Girl. Gabrielle’s previous work on stage includes The Book Of Mormon (Prince of Wales), I Can’t Sing (London Palladium), Chitty Chitty Bang Bang(London Palladium), Redsnapper (Belgrade Theatre), Hairspray (Cork Opera House and UK Tour), Our House 10th Anniversary Concert (Savoy), Whistle Down The Wind (Aldwych) and The Stranger’s Case (Liverpool Everyman). In addition to her work on stage, Gabrielle has also appeared in workshops for Love Me Tender, Perfect Pitch, Big Fish and Becoming Nancy. Gabrielle has appeared on television in The Royal Variety Show, The Paul O’Grady Show, Grange Hill, Coming Down The Mountain and her film credits include Notes On A Scandal.

Sydnie Christmas plays Teenage Girl. Sydnie is a recent graduate from D&B Academy of Performing Arts in Musical Theatre. Her previous credits include the feature film Kick Ass 2 and short film Can You Keep A Secret.

Richard Hansell plays Zach. Richard recently worked with Ivo van Hove in the Young Vic production of A View From The Bridge, in which he appeared both in the West End and on Broadway. Other stage work includes Jamie Lloyd’s Macbeth opposite James McAvoy (Trafalgar Studios), Tonight At 8.30 (Chichester Festival Theatre), The Madness Of King George (Apollo Theatre), Troilus And Cressida (Shakespeare’s Globe) and Sam Mendes’ productions of As You Like It and The Tempest for The Bridge Project (Old Vic/BAM). Richard’s screen credits include roles in Downton Abbey, The Royal, Spooks, And Then There Were None and Shine.

Maimuna Memon plays Teenage Girl. Maimuna recently graduated from The Oxford School of Drama. She made her professional debut in Into The Woods at The Manchester Royal Exchange in December 2015 and recently performed in The Buskers Opera at London’s Park Theatre.  

Jamie Muscato plays Ben. Jamie most recently played Joe in Bend it Like Beckham(Phoenix Theatre). Other stage credits include The Light Princess (National Theatre), Rock Of Ages (Duchess Theatre), Spring Awakening (Lyric Hammersmith and Novello Theatre) and Sweeney Todd (Welsh National Opera). Screen work includes Les Miserables (Working Title), Cilla (ITV) and My Parents Are Aliens (ITV).

Tom Parsons plays Michael. Tom’s recent theatre work includes Guy in Once (Princess Theatre, Melbourne, The Olympia Theatre, Dublin, Charlotte Theatre, Seoul), Peter inJesus Christ Superstar (Arena World Tour, including the UK and Australia), Monkee Business at the Manchester Opera House, Avenue Q  (Noel Coward, Wyndham’s and Gielgud Theatres) and Mamma Mia at (Prince of Wales Theatre).

Julie Yammanee plays Maemi. Julie’s previous theatre credits include Priscilla Queen Of The Desert (UK Tour), Here Lies Love (National Theatre), Avenue Q (UK Tour), The World Goes Round (Yellow Glass Theatre), Aladdin (The Marlowe Theatre, Canterbury) and Peter Pan (Towngate Theatre). In addition to her performances on stage, Julie has also appeared on screen in The Sleepover Club, Streetsmartz, Angriest Video Store Clerk andThe Potato House.

The 2016 International Centre for Women Playwrights 50/50 Applause Awards:

Celebrating Gender Parity on Five Continents for our 5th Anniversary!

The International Centre for Women Playwrights (ICWP) is thrilled to report that a record-breaking number of recipients will receive the 2016 50/50 Applause Awards, which recognizes theatres that produced 50% or more women playwrights in their 2015/16 season of shows. ICWP defines 50/50 by the number of qualifying performances in a theatre’s season. This allows a concrete measurement of the resources being devoted to women playwrights.

For the awards’ 5th anniversary, ICWP recognized 107 recipients in ten countries on five continents. The list includes theatres in Australia, Canada, England, Italy, Kenya, the Philippines, Scotland, Singapore, Switzerland, and the United States. Approximately 32% of the theatres are repeat recipients, demonstrating gender parity in two or more seasons. Recipients range from community and college theatres to internationally renowned theatres. Meet some of the theatres in the ICWPcelebration video. http://www.womenplaywrights.org/50-50-awards-video-2016

For several years, the international performing arts industry has been scrutinized for its underrepresentation of women playwrights as well as women in leadership positions in theatre. According to the League of Professional Theatre Women’s (LPTW) 2015 study “Women Count: Women Hired Off-Broadway 2010-2015”, women playwrights were produced 28%-36% of the time. Among ten Australian theatres, 39% of original and adapted works were by women (The National Voice 2106, Australian Writers Guild). The UK’s Purple Seven study “Gender in Theatre” of 2012-2015 seasons reported 28% of playwrights were female.

Though these numbers are higher than they have been in the past, women playwrights are still not receiving their due, and there are many potential reasons. The LPTW study points out that new works by women are more likely to be produced today than those by women in the past, although there are many classic women playwrights. The AWG cites that commissioned adaptations are where women are making the least amount of headway.

A full list of the qualifying seasons by our 50/50 recipients can be found on our website.http://womenplaywrights.org/50-50-awards-2016
In addition, theatres researching plays by contemporary female playwrights can look at the Kilroys List, the 49 List, the New Play Exchange, and Treepress.com.

ABOUT ICWP

ICWP started in 1988 with a mission to support women playwrights worldwide and bring attention to their work. The ICWP 50/50 Applause Awards were founded in 2012 to increase awareness and applaud theatres that produced a season with an equal or greater number of plays written by female playwrights. More information about the award can be found at:http://www.womenplaywrights.org/award

Congratulations to the Recipients of the 2016 ICWP 50/50 Applause Awards!

16th Street Theater * (Berwyn, IL, USA), Actors for Children Theatre * (Flatwoods, KY, USA), Actors Theater of Charlotte (Charlotte, NC, USA), Althea Theatre (London, England, UK), Aurora Theatre Company (Berkeley, CA, USA), b current (Toronto, Ontario, Canada), Babes with Blades Theatre Company (Chicago, IL, USA), Birds of Paradise Theatre Company (Glasgow, Scotland), Black Theatre Workshop (Montreal, Quebec, Canada), Book-It Repertory Theatre (Seattle, WA, USA), Borderlands Theater (Tucson, AZ, USA), Bread & Roses Theatre * (London, UK), Broken Nose Theatre (Chicago, IL, USA), Brooklyn Repertory Theatre (Brooklyn, NY, USA), Bush Theatre * (London, England, UK), Cadence Theatre (in partnership with Virginia Repertory Theatre, Richmond, VA, USA), Cape May Stage (Cape May, NJ, USA), Capital Repertory Theatre (Albany, NY, USA), Castlereigh Theatre Project (Vancouver, BC, Canada), Centaur Theatre * (Montreal, Quebec, Canada), Centenary Stage Company (Hackettstown, NJ, USA), Center Stage (Baltimore, MD, USA), Checkpoint Theatre (Goodman Road, Singapore), Chicago Dramatists * (Chicago, IL, USA), City Theatre Company (Pittsburgh, PA, USA), Cleveland Public Theatre * (Cleveland, OH, USA), Congo Square Theatre Company (Chicago, IL, USA), Crowded Fire Theater * (San Francisco, CA, USA), Curious Theatre Company (Denver, Colorado, USA), Detroit Public Theatre (Detroit, MI, USA), Drew University Department of Theatre and Dance (Madison, NJ, USA), EgoPo Classic (Philadelphia, PA, USA), Factory Space Theatre Company * (Sydney, NSW, Australia), Farmington Valley Stage Company (Canton, CT, USA), Firehall Arts Centre (Vancouver, BC, Canada), Forward Theater (Madison, WI, USA), Frank Theatre (Minneapolis, MN, USA), Genesis Theatrical Productions * (Chicago, IL, USA), Great Canadian Theatre Company * (Ottawa, ON, Canada), Halcyon Theatre (Chicago, IL, USA), HERE Arts Center * (New York, New York, USA), Horizon Theatre Company * (Atlanta, GA, USA), Hothouse (Albury-Wodonga Australia), Imagination Stage (Bethesda, MD, USA), Inis Nua Theatre (Philadelphia, PA, USA), InnerMission Productions (San Diego, CA, USA), InterAct Theatre Company (Philadelphia, PA, USA), Israeli Stage (Boston, MA, USA), Keen Company (New York, NY, USA), Kitchen Theatre (Ithaca, NY, USA), Know Theatre of Cincinatti (Cincinatti, OH, USA), Larrikin Entertainment (Whitehorse, Yukon Territory, Canada), Latino Theater Company/Los Angeles Theatre Center * (LATC) (Los Angeles, CA, USA), Luna Stage * (West Orange, NJ, USA), Magic Theatre (San Francisco, CA, USA), Manbites Dog Theater * (Durham, NC, USA), McCarter Theatre Center (Princeton, NJ, USA), Milagro (The Miracle Theatre Group, Portland, OR, USA), Mitch and Murray Productions (Vancouver, BC, Canada), National Black Theatre (New York, NY, USA), New Theatre (Miami, FL, USA), New York Theatre Workshop * (New York, NY, USA), NextStop Theatre Company * (Herndon, VA, USA), North Carolina Stage Company (Asheville, NC, USA), Obsidian Theatre Company * (Toronto, Ontario, Canada), Off the Wall Productions * (Carnegie, PA, USA), Orlando Repertory Theatre * (Orlando, FL, USA), Ovalhouse Theatre (London, England, UK), Pacific Theatre (Vancouver, BC, Canada), Pangdemonium Theatre Company (Ubi Road 4, Singapore), Peridot Theatre (Mount Waverley, Victoria, Australia), PETA Philippine Educational Theater Association (Quezon City, Philippines), Plan-B Theatre (Salt Lake City, UT, USA), PlayGround * (San Francisco, CA, USA), Playwrights Realm (New York, NY, USA), Poetic Justice Project * (Santa Maria, CA, USA), Prairie Theatre Exchange * (Winnipeg, Manitoba, Canada), Profile Theatre (Portland, OR, USA), Punctuate! Theatre (Edmonton, Alberta, Canada), Ragged Wing Ensemble * (Oakland, CA, USA), Renaissance Theatreworks (Milwaukee, WI, USA), Rep Stage (Columbia, MD, USA), Riot Act, Inc. (Jackson, WY, USA), Round House Theatre * (Silver Spring, MD, USA), Royal Court Theatre (London, England, UK), Salvage Vanguard Theater * (Austin, TX, USA), Second Stage Theatre (New York, NY, USA), Shameless Hussy Productions * (Vancouver, BC, USA), Shelterbelt Theatre * (Omaha, NE, USA), Ship’s Company Theatre (Parrsboro, NS, Canada), Shotgun Players (Berkeley, CA, USA), Synchronicity Theatre * (Atlanta, GA), Tamasha Theatre Company (London, England, UK), Tantai Teatro (Puerto Rico, USA), Teatro Paraguas * (Santa Fe, NM, USA), Tennessee Women’s Theater Project * (Nashville, TN, USA), The English Theatre of Rome * (Rome, Italy), The Road Theatre Company * (North Hollywood, CA, USA), The Theatre Company of Kenya (Nanyuki/Mombasa/ Nairobi/ Nakuru Kenya), Theatre Alliance of Washington DC (Washington DC, USA), Theatre Conspiracy (Fort Myers, FL, USA), Theatre Passe Muraille * (Toronto, ON, Canada), Timeline Theatre (Chicago, IL, USA), Tita8lou (Geneva, Switzerland), Urban Stages (New York, NY, USA), WhoDunnit Murder Mystery Theater (Louisville, KY, USA), and Windy City Playhouse * (Chicago, IL, USA).

* Denotes repeat recipients