Christine Evans (Playwright) Australian-American Christine Evans’ plays and libretti have been produced or developed at venues including the Royal Shakespeare Company, Playbox Theater, Arts Above, and Questor’s Theatre (UK); the Sydney Opera House, Green Room Music, Opera Queensland, Belvoir Street, and the Adelaide International Festival of the Arts (Australia), Playwrights’ Theater of New Jersey, Centennial Stage, Cutting Ball Theater, Providence Black Rep, HERE Arts, the Women’s Project, Crowded Fire, StreetSigns, Spooky Action Theater, Theater J, Rattlestick Theater, Perishable Theater, the Bay Area Playwrights’ Festival, the Davis Center for Performing Arts (Georgetown), and elsewhere. Christine’s play Trojan Barbie premiered at the American Repertory Theater (ART), received the Jane Chambers Award and the “Plays for the 21st Century Award, is published by Samuel French and has had over thirty productions in the US and internationally. Christine is a 2020-21 Howard Foundation Fellow, a multiple MacDowell Colony Fellow and DC Commission on the Arts and Humanities recipient. A Playwrights Center Core Alumna and Australian Fulbright alumna, she holds an MFA (Playwriting) and PhD (Theater & Performance Studies) from Brown and taught playwriting at Harvard from 2007-12. She serves as Associate Professor in Performing Arts at Georgetown University. Her first novel, Cloudless, was published in 2015. www.christineevanswriter.com
Language: English/With Russian Subtitles
by Christine Evans
Directed by Maya Roth
with Healy Knight, Kimberly Schraf
Virtual Media Design: Taylor Verrett
Sound Design: John Nobori
Director of Virtual Media Design: Jared Mezzocchi
Production Manager: Emily Brown
Maya Roth (Director) serves as Artistic Director of Georgetown’s Davis Performing Arts Center. As director, dramaturge, professor, and scholar, she specializes in feminist plays, cross-cultural adaptations of classics, theater of exile, and new works. These strands converge in her sustained focus on Timberlake Wertenbaker’s plays. Maya’s recent research includes adaptation of Aphra Behn’s The Rover (2020) and developmental dramaturgy for Iraqi-American Playwright Heather Raffo on Noura (Shakespeare Theatre and Playwrights Horizon co-premieres, 2018). For over a decade, she has stewarded the Jane Chambers Prize for Feminist Playwriting—whose recent recipients include Martyna Majok, Natalie Marlena Goodnow, and Christine Evans, among others. Lesbian & Queer Plays from the Jane Chambers Prize (2019) and Cross-Cultural Plays from the Jane Chambers Prize (2020), coedited with Jen-Scott Mobley, furthers that work. For Georgetown, she has stewarded multiple guest artist residencies to bring interdisciplinary students and faculty into collaboration with artists, such as Raffo (Fallujah), L. Feldman (Amanuensis), Moises Kaufman and Tectonic Theatre in partnership with Arena Stage (33 Variations) and LubDub Theatre (On the Lawn). Her critical essays appear in volumes, such as Feminist Theatrical Revisions of Classic Works, Theatre of War and Exile, her coedited International Dramaturgy and the forthcoming Heather Raffo’s Plays: The Things that Can’t Be Said (2021). Maya is honored to have won the College Dean’s Excellence in Teaching Award (2014), in addition to WTP’s Career Achievement Award in Service to the Field (2018). She served as Chair of the Department of Performing Arts at Georgetown from 2012-2016.
Kimberly Schraf (Else) has been a DC-area actor for thirty-plus years and loves this vibrant, resilient theater community. Her work has been seen at Arena, Ford’s, Round House, Studio, Folger, Mosaic, and Woolly Mammoth theaters, among others. She is a Co-Director of the Theatre Lab’s Honors Conservatory and a Founding Steering Committee Member of Actors Arena. A particular pleasure is workshopping new or in-development plays, and she last worked on Christine Evans’ full-length play Torgus and Snow.
Healy Knight (Joy) is a recent graduate of Georgetown University class of 2020 now living in New York City.
John Nobori (Sound Design) is a California-based sound designer and composer. His work has been heard in plays produced by such organizations as Cornerstone Theater Company, The Getty Villa, and Oregon Shakespeare Festival. Other recent credits include Center Theatre Group’s production of Elliot: a Soldier’s Fugue and South Coast Repertory’s production of Orange. He has been nominated for several awards for excellence in sound design and has been honored with an Ovation Award for his work on The Golden Dragon at Boston Court Pasadena. BA University of California, Irvine.