As a society, our lives and the concerns of the world we live in are reflected by the plays written in our time. Some of us - directors, actors, designers, dramaturgs, producers, publishers, awards givers - have been or will be lucky enough to be part of the great adventure that supports the making of important, lasting writing for the stage- theater that enters history as emblematic of life in a particular era. Mother Courage, Uncle Vanya, Waiting for Godot, A Chorus Line, Death of a Salesman/The Crucible, Angels in America, Buried Child, A Raisin in the Sun, The Glass Menagerie, Miss Julie - think of all those plays you read before you went into theater as new play texts. Make up your own list! How did they go from page to stage? Today, we live in an exciting moment of change. The progress of a new playwright's play from page to stage is undergoing much discussion and much change. In the US and the UK, there is an active history of theaters working with playwrights by commissioning, in pre-production and rehearsal - sometimes in good and sometimes in less than optimal ways, as far as the writers are concerned. In some countries, playwrights write their plays and meet their play's interpreters at the opening night. What are the responsibilities, models, lines of communication, and possibilities that can be explored to support and amplify contemporary writing that speaks to us and our world- the larger audience around us and not just the audience of our friends in the theater community? How is a play supported, and explored and realized so that it will catch fire and have an impact on the world? These are the questions the 2013 Directors Lab will explore with a core company of young writers at the center of our work, supported by a team of peer designers, and an army of master artists - veteran playwrights, actors, producers, dramaturgs, who will share what they did to bring the plays they wrote and worked on to glorious life. The Lab this summer will be a practical one, reaching back into time to look at how plays were realized in the past, in the recent past and how they are realized now. We hope to put forth dozens of models, discuss pros and cons of the interaction between the writer and the producing theater in the hopes that the 2013 Lab directors will take the ideas that seem fruitful, change them and make them their own and bring them into being in the theater when they leave the Lab. Why are there strong contemporary playwriting movements in some places and not in others? Why is there often uniformity about how plays are "developed" when there are so many possibilities, some right, some wrong for each particular writer? How do we - should we - keep many avenues, ways of working open? What is most fruitful for the primary artist at the center of our world- the playwright? This summer, surprise guests made special appearances to show their support. These guests included playwrights Lisa D'Amour, Moises Kaufman, Stephen Adly Guirgis, John Guare, Sarah Ruhl, David Rabe, Suzan-Lori Parks, Terrence McNally

Lab Directors

Aaseng, Josh
Alelegn,Daniel Sileshi
Aponte, Tomax
Ashizawa, Izumi
Azeda, Hope
Bani Hani, Mohammad
Becker, Ilana
Bennett, Jenny
Bruce, Regge Allan
Burke, Carolyn
Burrows, Maggie
Calvario, Philippe
Cattoni, Morena
Chakre, Ashwini Kumar
Christopher, Bostin
Drigues, Erez
Emurwon, Angie
Erfani, Melody
Etcheverry, Sofia
Evans, Ross
Fadul, Estefania
Fahmy, Kareem
Foglia, Steve
Francis, Tracy Cameron
Frank, Alexander
Gachechiladze, Irina
Gakis, Kostas
Ghoussaini, Noelle
Gittins, James
Greene, Tiffany Nichole
Green, Morgan
Hunicutt, Eric
Ichikawa, Yojiro
Kamunya, Michael
Khouri, Amahl
Kip, Ira
Leibenluft, Michael
Luciano, Anthony
Martel, Juan Carlos
Mendizábal, David (Dah-veed)
Meyer, Hans
Moller, Marie Kilsgaard
Nava, Lisa
Osterman, Ruthie
Oyetimein, Malika
Parish, Rachel
Pichler, Leonie
Ptakauske, Aiste
Rader, Michael
Reid, T. Oliver
Reigman, Milone
Richards, Peter
Russell, Lana
Russo, Joanna
Savchuk, Aleksander
Schennen, Mathilde
Schneider, Matthew
Siniscalchi, Bruno
Shehata, Seif
Shira, Avital
Snyder, Jenny Beth
Stamatiou, Evi
Sullivan, Colleen
Tangoa Mesia, Claudia
Taymor, Danya
Troup-Jensen, Allison
Ueda, Ikko
van Ginhoven, Kristen
Wang, Chong
Whelan, Emilie
Woodworth, Chris
Yen, Kat

Lab Master Artists

Marshall Mason
John Lee Beatty
William Hoffman
Jonathan Hogan
Lisa Emery
Denise Yaney
John Conklin
Karen Nickeson
Maria Goyanes
Sarah Ruhl
Emily Morse
John Steber
Lear deBessonet
Joel Ruark
Eisa Davis
Keith Randolf Smith
JT Rogers
Stefanie Zadravec
Bart Sher
Graciela Daniele
Ira Weitzman
Ian Calderon
Julie Boyd
Casey Childs
Adam Rapp
Rosalyn Williams Coleman
Edward Albee
David Crespy
John Guare
Robert Hedley
Jerry Patch
Shi-Zheng Chen
Susan Tsu

Lab Actors

Abraham, Jolly
Appelman, Zach
Bonner, Donte
Castillo, Raul
Cummings, Jessica
Harts, Frank
Hewitt, Rachel Spencer
Libii, Kobi
Lucio, Irene Sofia
Martinson, Zoey
Scoggins, Cameron
Sgambati, Brian
Smith, Jaime Lincoln
Sokolovic, Sarah
Steggert, Bobby
Walsh, Karen
Wetherhead, Kate
Wiley, Samira
Benko, Tina
Bergman, Teddy
Draper, Alex
Gill, Brandon
Grace, Jennifer
Grosz, Peter
Huppuch, Birgit
Jelks, John Earl
Keller, Greg
King, Aja Naomi
Krohn, Aaron
Kunkel, Emily
Lim, Jennifer
McClyde, Nedra
McVety, Drew
Peet, Ronald Alexander
Sieh, Kristen
Williams, Stephen Tyrone

Lab Playwrights

Andersen, Lemon
Barrett, Carrie
Borinsky, Alex
Canady, Marjuan
Cramer, Milo
Finley, Cory
Gwon, Adam
Meno, Joe
Hamelin, Lancelot
Jones, Arlitia
LeFranc, Dan
Marks, Laura
Miroshnik, Meg
Nelson-Greenberg, Mara
Peiffer, Ming
Rivers, Harrison David
Sachdeva, Riti
Solis, Octavio
Stevens, Oren

Lab Designers

Bhatia, Anshuman
Brown, Burke
Cisek, Caitlin
de Bruijn, Lara
Eggers, Robert
Fine, Lydia
Floyd, Mike
Kim, Hana
Lawson, Erik
Leuck, Vanessa
Linke, Maya
Reiser, Seth
Rizzotti, Patrick
Rodriguez, Shelly
Sun, Ray
Tate dePoo III, Paul
Van Hare, Mark
Wren, Todd

Lab Staff

Lab Director: Anne Cattaneo
Lab Coordinator: Jane Grey
Lab Assistant: Kate Marvin

Stage Management

Chris Borg
Sara Grady
Karen Evanouskas
Alex Mark
Marianne Pierré
Howard Tilkin

Using Tech to Gather Research
Augusto Boal and Theatre of the Oppressed
It Can't Happen Here
Listening Workshop
Africa's Hope
Milan's Piccolo Teatro and Griogio Strehler
Milk Can Theater Company Writer Feedback & The First Rehearsal Read
Rene Pollesch
Transforming Literature into Theatre in the Book-It Style
The Big Idea Workshop
Jasad Performing Arts
Tadeusz Kantor
Roger Blin/Jean Genet
Making International Theater
The International Language of Bodies in the Text
Approaching New Work: New Orleans
Text & Movement: creating original performance

Callaloo: A Jazz Folktale by Marjuan Canady
The Droll by Meg Miroshnik
The Rug Dealer by Riti Sachdeva
The Boy Detective Fails by Joe Meno, (book), & Adam Gwon, (music & lyrics)
Advance Guard by Ming Peiffer
Venting by Mara Nelson-Greenberg
Bunk by Cory Finley
Gibraltar by Octavio Solis
Little Hearts by Alex Borinsky
Shoot the Freak by Lancelot Hamelin
Lydie, or (S)he who Looks Inside, Awakes by Harrison David Rivers
In the Labyrinth by Dan LeFranc
Bear's Map of the Bottom World by Arlitia Jones
I'm Miserable but Change Scares Me by Milo Cramer
Gather at the River by Laura Marks
Phantomwise by Oren Stevens
Coming into Being by Carrie Barrett
Toast by Lemon Andersen