"Let's Keep Dancing," a play by John Purugganan, has received a developmental reading produced by The Public Theater in New York City. John is a creative writer, essayist, and life without parole prisoner in California.Read More
Following the successful reading at NNPN’s 20th anniversary benefit, two additional readings are now in the offing: Monday, August 27th, in the Monday Evening Salon Reading Series at the New Jersey Repertory Company, cast TBA; and as part of the Orlando (FL) Shakespeare Festival’s PlayFest 2018, in early November. Both theaters are NNPN partners, and I'm both excited and proud for "Jane Burgoyne" to be developed with these theaters. Find out more soon!Read More
Dear Evan Hansen's Laura Dreyfuss and Tony-nominated actresses Kathleen Chalfant and Geneva Carr join National New Play Network (NNPN) for a 20th Anniversary benefit reading of a new play Jane Burgoyne by Robert Moulthrop, directed by Moritz von Stuelpnagel, at Westside Theatre on April 30th at 7:00 pm. Hosted by Richard Winkler and Jane and JB Harrison, the reading will support NNPN as it continues to revolutionize the new play landscape through its nationally recognized programs and services for artists and organizations. Tickets for the reading can be purchased at TodayTix.Read More
Snow-hats, caps, and ear-muffs off to Northern Stage’s Producing Artistic Director, Carol Dunne, for a terrific three-day new works festival, New Works Now 5.0, the fifth in five years, with an involved and full-house audience.Read More
My short play, 'Breaking Up Is Hard To Do' (read an excerpt here), received a performance with actors Griffin DuBois and Morgan Zipf-Meister, as part of the Boog City Fest in the East Village.Read More
I recently collaborated on the script segment of BUFFER, an expansive performance art and dance piece by artist Xavier Cha. 'Buffer' is schedule to have its world premiere as a part of the 2017 Next Wave Festival at the Brooklyn Academy of Music. Performance dates are Nov 1 – Nov 4 at 7:30pm.
Back in the Sixties (yes, I was there), I had a dissertation to write to satisfy the requirements for my master’s degree in theatre from the Catholic University of America. Through a process of elimination (Eugene O’Neil’s scenic designer Robert Edmond Jones had been taken) I wound up writing about the then-burgeoning British playwright Harold Pinter.Read More