A natural gas flare in North Dakota. A rainbow appears to arc over it. An image of hope, or of despair?

A new play and new collaborators

A natural gas flare in North Dakota. A rainbow appears to arc over it. An image of hope, or of despair?

As it’s most imminent, I’ll start with an upcoming online workshop with Phamaly Theatre. Last year, I started writing The Hard Price at The Orchard Project as their inaugural Reg E. Cathey Writer-in-Residence. Set in North Dakota oil country and spanning the United States’ two wars in Iraq, the play follows the effects of those 2 conflicts on 2 generations of the Erekson Family, using the story of The Oresteia as a jumping off point. (What? Me adapt a classic Greek play? How unexpected…)

In September 2019, I got to hear a very rough draft read at The Lark. (Lords, remember when we could just hop on the bus, get off in New York, walk a few blocks and be welcomed by the loveliest and most talented people? #fuck2020). I’ve been working on the play since then and recently completed a more polished draft that I get to work on for a few days with Phamaly Theater and a few of their core artists. If you don’t know Phamaly, it’s a great time to get acquainted. They’re a Denver-based company that serves as an artistic home for artists with disabilities. Remember how awesome Ali Stroker was when you saw her perform as Ado Annie in Oklahoma/on the Tonys? Cool, now imagine the entire cast is that same kind of awesome. The Artistic Director at Phamaly is the incomparable Regan Linton, and I’m really thrilled to have been invited to collaborate with her and her peeps.

I also get to work with the phenomenal Jessica Kubzansky who, as both a freelance director and as artistic director of Boston Court Theatre in Pasadena, has brought the most exciting plays/productions to the LA Basin.

As if all that wasn’t good enough, this project will be a lovely, cross-generational, UCSD get together as I (class of ’06) get to work with the aforementioned Regan Linton (class of ’13), AND MacGregor Arney (class of ’16).

So, really, what’s not to love?

The workshop will be closed to the public but I’m very excited about this play, so write to your Congressional representatives BECAUSE WE NEED ELECTION SECURITY NOW. And then, hopefully, in some post-45….er, post-Covid-19 world, this play will quickly appear on our stages.

The Lark’s Project on Tyranny, Part 1: Rajiv Joseph

A few weeks ago I had the great honor of being asked to participate in a thrilling conversation at The Lark about how we as artists respond to the world around us. If you couldn’t join us in person, the first part of it is now available to watch online, and you can hear all about how Rajiv Joseph‘s play Guards at the Taj┬ánearly incited a riot in a Russian theater.

And if you’re reading about this here, you’re probably asking, “Cool, cool, but Tim, when do I get to hear you?” Well, I was #5 in the line-up, so, you’re going to have to wait a bit. But seriously, you should watch the entire thing. Lloyd Suh was bloody brilliant in leading this conversation and it was so fascinating and inspiring to hear all these artists talk about their work.