Tim J. Lord is the inaugural recipient of the Aothetae-Lark Fellowship for a playwright with a disability as well as a 2017-18 Jerome Fellow at the Playwrights Center in Minneapolis. A native of St. Louis who has spent the last ten years in New York—five of them with his wife, the director Nicole A. Watson—his plays are still very much rooted in the Midwest, exploring the relationships between communities and the physical landscapes they inhabit often via our shared mythologies. His plays explore characters in conflict with their world — permanent malcontents, journeyers, people who are resisting or escaping or failing to escape the fates written for them by the places that made them.

In May 2013 he worked on Peloponnesus with his alma mater for the inaugural Knox College New Plays Festival. Neil Blackadder directed, and a play which, in many ways, he began writing twenty years ago finally came home. It received a workshop production with the Cutout Theater in April 2016.

Fault & Fold received workshops at the Barn Arts Collective in Maine and at the Lark in New York City. Down in the face of God premiered in May 2012 with the Vagrancy in LA. In March of 2012, they also workshopped the play. Prior to that it had a Roundtable at the Lark.

In January 2009, We declare you a terrorist… received a reading at the Public Theater. It went on to be developed at the New Harmony Project where it was directed by Richard Hamburger and featured Bruce McKenzie. The play premiered as part of the 2009 Summer Play Festival at the Public in New York directed by Niegel Smith.

His play The Secret History of Caleb Caan was a part of the first ever NNPN/ Kennedy Center’s University Playwrights Workshop, where it was directed by Jasson Minnadakis and dramaturged by Mark Routhier.

He wrote “GEO/LOGIC” for Tiny Rhino. “Bureau of Land Management” was part of Working Theater’s 2012 Directors Salon. “Department of the Interior” was a commission for Chalk Rep’s 2010 Flash Festival and a 2011 Heideman finalist. “Montana Lovesong” was a finalist for the 2007 Heideman Award and was produced as part of their Actors Apprentice Showcase. And “Putin Play #151” was included in 300 Plays about Vladimir Putin at Rude Mechs in Austin.

Tim has collaborated with actor, director, Bedlam company member, and Army veteran Stephan Wolfert on numerous projects. These include acting in and working as a dramaturg on Wolfert’s adaptation of Richard III; and, as a writer, Red, Black & Blue, about the experiences and exploits of African-Americans in the US Military. He is also working on a commission, Over Before We Get There, a play based on the short stories of Vietnam vet and St. Louisan Nick Corea.

He has been a regular volunteer at the 52nd Street Project since 2012, working with the kids of the Hell’s Kitchen neighborhood to introduce them to theater and art in general and just the amazing power of their imaginations. For them he wrote the plays “Headwinds on the Hudson,”  “Uprooted,” “To Mine and Mine Not,” “Men of Science!!,” “Polar Bear Service & Repair,” and “Hell’s Kitchen House of Hellish Horror.”

Tim studied with Paula Vogel while a resident of Providence, RI, and is a graduate of the MFA Playwriting Program at the University of California, San Diego.

Dying to do one of my plays? Have a coffee? Or a beer? Or maybe you want to get crazy and have both coffee and beer? Here’s how to get in touch…


Tim J. Lord
email: timjlord [dot] playwright [at] gmail [dot] com

Unknown   @TimJLord

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Tim’s plays are on the New Play Exchange

3 thoughts on “About

  1. i just saw “we declare you a terrorist”. it was quite an intense play and one of the better things that i have seen in long time.
    i had a discussion with some people and one of thoughts battered around was,
    “was the writer dead or alive in the last scene?”
    not knowing what he had signed i assumed that maybe he admitted to being a terrorist and had been executed followed by the scene with the young girl who is dead.
    this is puzzling to me so i would love to know what the writer meant it to be.
    hoping to hear from you.
    ruth burkhoff

  2. “we declare you a terrorist” is one of the best plays i have seen in a long time. we were commenting after the show about one aspect which brought controversy,
    my take on the ending of the show was that after he signe the paper that he was not allowed to read he was executed because the last scene he was communiicaring with the young girl who was dead. i maintained that he was dead while others thought he was still alive.
    Could you clear this up for us?
    thank you,
    ruth burkhoff

    looking forward to seeing other plays by tim lord.

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