People and Places

Terry Berliner directed “The Player King Musical.”

Michael Butler directed the Juilliard workshop of “The New York Play,” and he’s now Artistic Director of the Center Repertory Company.

Composer Alan Cancelino wrote the wonderful music for “Kansas Faust.”

Rych Curtiss is the best lighting designer I know. He designed the earlier incarnation of “Let Nothing You Dismay,” “Maura and Katinka,” and I interviewed him for “Stage Directions” magazine.

I’ve been a member of the Dramatists Guild of America for many years, the professional association of playwrights, lyricists, and composers.

Dramasource publishes my children’s play, “The White Cat.” You can read it for free on their site.

Marija Djordjevic did the fabulous costumes for the Milk Can Theatre showcase of “Mushroom in Her Hands.”

The Edward F. Albee Foundation’s William Flanagan Memorial Creative Persons Center is the best place to write in the world.

Peter Ellenstein directed a reading of “Geography” at the Inge Festival.

The lovely Tamara Fisch (www.tamarafisch.com) directed the first production of the first version of “The Red Variations, and My Tiger, My Love.”

440 Gallery, where my boyfriend Tom Bovo is an artist member of their collective, featured "Did You Hear the One about the Carp Who Hailed a Taxi?" which Tom produced.

Joel Froomkin won the Fringe Festival Award for Best Direction in ’06, and has done great dramaturgy work on “Let Nothing You Dismay” (and came up with the title, too).

Tom Galati designed the site—check out another of his sites at Decorum Talent.

Gallery Players produced Knock as part of their 14th Annual Black Box New Play Festival.

Meganne George designed sets and costumes for the earlier incarnation of “Let Nothing You Dismay” and “Maura and Katinka.”

My monologue “Robin” is in “Monologues for Women, By Women, Vol. 1” published by Heinemann.

Jacob Grigolia-Rosenbaum is one of my favorite actors and stage violence creators. We have worked on nine plays together, and he created the scary fight for "7 Sins in 60 Minutes."

The Drama Division of The Juilliard School workshopped “The New York Play.”

M.L. Kinney, currently at The Milk Can Theatre Company, and I first worked together at Hampshire College. She directed the earlier incarnation of “Let Nothing You Dismay,” “Maura and Katinka,” “Acquired Deficiency,” and “Strike Two.”

The Lewis Carroll Society was very helpful during the New York showcase run of “Mushroom in Her Hands.” The play and materials from the production are in their archive.

I have worked with Monika Wuhrer at Open Source Gallery on three plays, and hope to do another there soon.

Michel Ostaszewski designed the hats for “Mushroom in Her Hands,” the set for “The Hamlet Plays” and took the photos as well.

My fellow Edward F. Albee Foundation Fellow, Jacob Ouillette, is a wonderful painter. I own one of his Cape Cod watercolors. You can see his work at http://jacobouillette.com. I am particularly fond of his untitled Montauk series, because I watched him paint them.

Fitz Patton wrote original music and sound designed “The New York Play” in its Juilliard incarnation.

The lovely Emily Louise Perkins played Bitsy in "Our Dolls," directed by Mr. Grigolia-Rosenbaum.

My sister Kate Phelan is a wonderful Director of Photography.  Check out her work at: (www.katephelan.com).  We haven't worked together yet, but I know we will.

I was one of the first playwrights-in-residence at The Acting Studio/Chelsea Rep. Artistic Director James Price was my Meisner Technique instructor at the Trinity Rep Conservatory; now I teach playwriting at Chelsea Rep Lab.

James Robinson, who used to work at the NewGate Theatre, Providence, RI, and I were scene partners our first year at the Trinity Rep Conservatory. He directed the one-act version of “It’s Called Development” and “The New World Order.”

Some of my short plays are listed on Lewis W. Heniford’s handy Small-Cast One-Act Guide site.

Smith & Kraus have published three ten-minute plays of mine in two different upcoming anthologies.

Liz Thaler directed the world premiere of "Knock," and I was mighty lucky to have her.

Cotton Wright can sing, act, and Shakespearean verse, and pretty much anything else. I've worked on five plays with her.