For 20 years, NYTW has honed an inclusive fellowship program for emerging theatre makers with a multiplicity of perspectives. These fellowships have taken many forms, supporting playwrights, directors, designers and administrators.
In its current iteration, the 2050 Fellowship is a yearlong residency for emerging playwrights and directors. The 2050 Fellowship provides a space for experimentation, artistic and administrative support, and mentorship. The 2050 Fellows are emerging artists who, with their unique voices, give us perspective on the world in which we live; and who challenge us all to contend with this changing world.
What is a 2050 Fellow?
The 2050 Fellowship is named in celebration of the U.S. Census Bureau’s projection that by the year 2050, there will be no single racial or ethnic majority in the United States.
This projection provokes thoughts at New York Theatre Workshop about the transformations that will take place in the American landscape – technologically, environmentally, demographically and artistically. They are a catalyst for broader questions about our moral and artistic future.
How do we define diversity? Whose stories aren’t being told? What lies ahead for our world?
In response to these questions, NYTW’s longstanding Fellowship program continually evolves to support the diversity of voices and aesthetics that will make up this new minority majority.
The 2050 Fellows are emerging artists who, with their unique voices, give us perspective on the world in which we live; and who challenge us all to contend with this changing world.
With the 2050 Fellowship, NYTW is re-affirming our responsibility to nurture artists who reflect this multiplicity of perspectives, challenge the dominant paradigm, and give voice to those whose experiences are not often heard.
We are proud to announce the incoming 2050 Fellows for the 2016/17 season!
BETO O’BYRNE is a multi-ethnic artist from the pine forests of East Texas and is the co-founder of Radical Evolution, a multi-ethnic, multi-disciplinary producing collective based in Brooklyn, NY. He has written 14 full length plays and has been produced in San Antonio, Austin, Los Angeles and New York City. His most recent production, The Golden Drum Year, was based on 365 poems he wrote in 2011, and was produced by Radical Evolution in association with the University Settlement in Fall 2015 in New York City. He was a runner up for the National Latino Playwriting Award and a participant in the Texas Black and Latino Playwriting Festival, INTAR’s Maria Irene Fornes Hispanic Playwrights in Residence Laboratory, Lincoln Center Theater’s Director’s Lab, and Tofte Lake Arts Center Emerging Artists Residency. His commissions include works for 52nd St. Project, The Foundry Theatre, The Movement Theatre Company, and Watts Village Theater Company. He is currently the playwright-in-residence at the Stella Adler Studio of Acting.
MING PEIFFER is the Co-Artistic Director and Resident Playwright of Spookfish Theatre Company and a proud member of EST’s Youngblood. Recent work includes: USUAL GIRLS (WORKSHOP: Signature Theater), am i? am i? am i? (The Flea), i wrote on ur wall and now i regret it (Wild Project), Pornography For The People (HERE Arts Center), aokigahara/ don’tlookforme (Staged Reading w/ Yangtze Rep), DESTINATION:OASIS (Columbia University), #cerulean (The Sargent), The ABC’s Guide To Getting Famous (FringeNYC), ADVANCE GUARD (Kraine Theater), RELAX! ALICE (June Havoc Theater), WABI SABI! Not Wasabi (Theater for the New City, described by the New York Times as “Aware.”), among others. Ming was a Guest Artist at The Lincoln Center Director’s Lab and a 2012-13 Member of NPTC’s Women’s Work Project. She has training from both the Stella Adler School of Acting, and the Shanghai Theatre Academy where she lived abroad studying Traditional Peking Opera. She studied poetry at The New School and holds a BA with Honors in both Theater Arts and Mandarin Chinese from Colgate University. Awards include: The Kennedy Center’s Paul Stephen Lim Playwriting Award (i wrote on ur wall and now i regret it). MFA Playwriting: Columbia University (’16). Ming also writes poetry. www.spookfishtheatre.org
FRANCIS WEISS RABKIN’s plays and collaborations have been presented in Philly, Chicago and in New York at HERE Arts, Dixon Place, the Bushwick Starr, the Prelude Festival, and The Brick. They are honored to have received residencies at the Wassaic Project, the Millay Colony, the Drama League of New York and Dixon Place. With Leslie Allison, they are co-founder of Tight Braid Group, an interdisciplinary performance collective which recently premiered Won’t Be a Ghost (The Brick), a play about Chelsea Manning, transparency and queer bodies in resistance to State violence.
DANNY SHARRON is a NYC-based director and producer with a focus on developing new work. He is founding Artistic Director of UglyRhino Productions, a Brooklyn-based company aiming to make theater a social event by integrating live music, dance parties, and curated cocktails into the theatrical experience. He is also deeply invested in creating work about the LGBTQ experience, and providing a platform from which the voices of that community can be heard. Recent directing credits: Ana Gasteyer: Swing With A Handsome Woman, jason&julia by Jenny Rachel Weiner (Williamstown Theatre Festival); The Forest of Without by Bradley Cherna (Drama League); The School Play by Frank Winters (NYU/Strasberg); What It Means To Disappear Here by Jeremy J. Kamps, #nyc by Kyle Warren, and Ionesco’s Rhinoceros (UglyRhino). He has developed work with The Public Theater, Ars Nova, Ma-Yi and The Lark; is an alumnus of the Ars Nova Director’s Troupe; and was a 2013 Drama League Directing Fellow. Upcoming: Taylor Mac’s OKAY at Bushwick’s new Central Arts (with UglyRhino), and a piece about the lives of LGBTQ immigrants in the US that he will develop alongside playwright Jason Kim as part of the Bill Foeller Directing Fellowship at the Williamstown Theatre Festival. www.dannysharron.com
STEVIE WALKER-WEBB is a performing artist, director, playwright, and cultural worker. He currently serves as the Program Manager for the Fulani Fellowship at the All Stars Project in New York City. He is a Co-founder of the non-profit CAST where he served as Executive Director. CAST creates theatre for social change. He has served as the Artistic Director of the Jubilee Theatre and as a Teaching Artist with Mission Waco-Mission World where he devised work with urban youth and the homeless community. He has worked as the Outreach Coordinator for Theatre of the Oppressed-NYC and is currently a resident Joker with the Ali Forney Center Troupe. He holds a B.S. in Sociology from the University of North Texas, and is an Emerge-NYC alumnus (NYU Campus). He is honored to be completing his MFA in Directing at New School for Drama. Stevie has developed work with La Mama Experimental Theatre, Lincoln Center Education, TONYC, Theatre Row, Baby Crow Productions, Wide Eyed Productions, Petit Jean Performance Festival, Jubilee Theatre and Texas Playhouse, New York Fringe Festival, and the American Civil Liberties Union. Stevie was born in Waco, Texas and is the creative love child of James Baldwin and Audre Lorde.
MO ZHOU is a stage director originally from China and based in New York City. She is currently the James Marcus Opera Directing Fellow at the Juilliard School, where she works alongside Stephen Wadsworth. Prior to that, she has worked at the Merola Opera Program with San Francisco Opera Center, Glimmerglass Festival, Oregon Shakespeare Festival, Williamstown Festival, among others. As an assistant director, she has assisted Mary Zimmerman, Robert Longbottom, Peter Kazaras, Nic Muni, to name a few. Mo is the winner of the 2013 Opera America bi-annual Director-Designers Showcase. She graduated from Bowdoin College and received her MFA degree in stage directing from Columbia University, under the tutelage of Anne Bogart. She will join the Wolf Trap Opera as their Directing Fellow in the summer of 2016.
CURRENT 2050 FELLOWS:
NATHAN ALAN DAVIS’ plays include Dontrell, Who Kissed the Sea (NNPN Rolling World Premiere, Steinberg/ATCA New Play Citation), The Art of Bowing (L. Arnold Weissberger Nomination) and The Wind and the Breeze (Lorraine Hansberry Award). He is a currently a Lila Acheson Wallace Playwriting Fellow at Juilliard. His work has been produced or developed at Baltimore Center Stage, Cleveland Public Theatre, Theater Alliance, Phoenix Theatre, Skylight Theatre, the Kennedy Center, New Harmony and the Source Festival. He received his MFA in Playwriting from Indiana University in 2014 and holds a BFA in Acting from the University of Illinois.
NOELLE GHOUSSAINI is a Lebanese-American director, playwright and community artist. Her work is dedicated to using arts to examine and re-imagine our society within a political, social and historical context. She has written/adapted and directed seven original plays, among directing dozens of other works. In 2013, Noelle received the Create Change Fellowship with the Laundromat Project. That same year, she was a participant at the Lincoln Center Director’s lab in NYC and the Bolshoi Drama Theatre’s Director’s lab in St Petersburg, Russia. She has led workshops on community-based theatre at UNESCO in Paris and the Queens Museum in New York City. M.A. Arts Politics, NYU.
HANSOL JUNG is a playwright from South Korea. Her works include No More Sad Things, Wolf Play, Wild Goose Dreams and Cardboard Piano. She translated over thirty American musicals into Korean, including Evita, Dracula and Spamalot, while working on several award winning productions as director, lyricist and translator in Seoul. She was awarded the MacDowell Colony Residency, International Playwrights Residency at Royal Court (London), Ground Floor Summer Residency at Berkeley Rep, and an invitation to the O’Neill Theatre Center New Play Conference. Jung is a proud member of the Ma-Yi Theatre Writers Lab. MFA: Yale School of Drama.
PATRICIA IONE LLOYD is a member of the 2015 Emerging Writers Group at the Public Theater. She was a resident playwright at the University of Mumbai, Brown University (through the Africana Studies Department/Rites and Reasons Theatre) and the International Theatre and Literacy Project in Tanzania. Her work has been developed by Red Bull Theatre, Dixon Place, Classical Theatre of Harlem, Luna Stage, Downtown Urban Theatre Festival, New York LGBTQ Center, Freedom Train Productions, Fire This Time Festival, Bleecker Street Theatre and Rising Circle Theatre. Lloyd is the recipient of New Professional Theatre’s Emerging Playwright Award for her play Black Tale, and the best play award from DUTF for her play This Train is Bound for Glory. She teaches the course Future Dramatic Writers at NYU.
ALEXANDRU MIHAIL is a New York based director, originally from Bucharest, Romania. His work, both in Romania and the US, varied in style and genre, is always fueled by the dialogue with the community and unabashedly challenging its fears. Selected credits include: Aliens with Extraordinary Skills by Saviana Stanescu (Odeon Theatre, Bucharest – European Premiere); The Underpants by Carl Sternheim (National Theatre, Bucharest); The Last Days of Mankind by Karl Kraus (Bard Center for Performing Arts – American Premiere); The Stronger by August Strindberg (TBG Theatre/ Drama League NY); Tlicked by Gabriel Pintilei (Odeon Theatre, Bucharest –Premiere); Chekhov’s The Seagull (Yale School of Drama); the friendship of her thighs by Martyna Majok (Yale School of Drama); The Bachelors by Caroline McGraw (Yale, Carlotta Festival). Alex has won the prestigious UNITER Prize for his direction of Peter Shaffer’s Black Comedy. Drama League Directing Fellow; Fulbright Fellow; MFA, Yale School of Drama.
DANYA TAYMOR is a director and translator, currently in residence at The Flea Theater. Recent work includes Brian Watkins’ Wyoming (Lesser America) and My Daughter Keeps Our Hammer (The Flea), Engagements by Lucy Teitler (Ensemble Studio Theater), I Hate Fucking Mexicans (US premiere, The Flea) and Shakespeare’s The Tempest (NYU/Stella Adler). Translations include Alejandro Ricaño’s We Are Getting Better at Saying Goodbye, Luis Enrique Guitierrez Ortiz Monasterio’s I Hate Fucking Mexicans, and Ettore Scola’s Working on a Special Day. She is a 2014-2016 Time Warner Directing Fellow at Women’s Project, an Artist in Residence at Theatre for a New Audience and a New Georges Affiliated Artist. Other awards and fellowships include: Van Lier Directing Fellowship; Gates Foundation Grant, and Lincoln Center Directors Lab
PAST 2050 FELLOWS:
Reginald L. Douglas
Jade King Carroll
Jackie Sibblies Drury
Simón Adinia Hanukai
Ed Sylvanus Iskandar
Julián J. Mesri
Matthew Paul Olmos
Aravind Enrique Adyanthaya
Kipp Erante Cheng
Jackie Sibblies Drury
Suzanne Hui Sun Kim
Ed Sylvanus Iskandar
Christopher Oscar Peña
Harrison David Rivers
S. Vasanti Saxena
t. tara turk
David Sakverilidze (Georgia)
Milan Govedarica (Serbia-Montenegro)
Olga Perevezentseva (Russia)
Bojan Djordjev (Serbia)
Ahmed El-Attar (Egypt)
Ahmed Eldeeb (Egypt)
Yayoi Shimizu (Japan)
Jorge Ignacio Cortiñas (Artistic)
Rafael Gallegos (Artistic)
Adam Moore (Management)
Gita Reddy (Casting/Company Management)
Geoffrey Scott (Literary)
Niki Spruill (Production)
Liesl Tommy (Casting)
Lenora Pace (Directing)
Rubén Polendo (Directing)
Tracey Scott Wilson (Playwriting)
William Bryant Miles
Keith Josef Adkins
Kipp Erante Cheng
Tracey S. Wilson
Thank you for your interest in the 2050 Fellowship. The application process for the 2016/17 cohort is now closed. Please check back in September 2016 for information about how to apply for the 2017/18 season.
NYTW will accept up to six 2050 Fellows per season. These fellowships will entail a one year commitment from June to June. Playwrights and directors are eligible to apply.
NYTW’s 2050 Fellowships consists of five basic components:
2050 Fellows are awarded a modest stipend and an artistic development fund to support fellowship projects, see work, research and travel.
The 2050 Fellowship supports emerging artists whose voices are underrepresented in the theatre. We encourage applicants with a unique cultural perspective inclusive of race, ethnicity, gender, class, disability and sexual orientation.
You may submit as both a playwright and director–just be sure to indicate clearly in the application that you are interested in being considered for both disciplines, and in your personal statement, please specify which discipline is your first choice. We strive to have a balance of playwrights and directors in the corps but, if selected, there is great latitude in how you choose to work.
We accept applications from artists not currently living in New York City; however, applicants must be available to travel to NYC at their own expense for interviews conducted during the months of February and March, and also must be willing and able to relocate to the NYC metro area for the duration of the fellowship. NYTW is unable to provide housing, relocation or employment assistance. Inability to attend regular meetings and events during the fellowship year may be considered grounds for discontinuation of the fellowship.
Yes; however, international applicants must take full responsibility for arranging their travel, travel documents and housing accommodations. Inquire with the U.S. Embassy or the consulate with jurisdiction over your place of permanent residence about visa application procedures. Receipt of fellowship stipend is dependent upon the type of visa secured. If awarded a 2050 Fellowship, you must provide Employment Eligibility Verification as detailed on Form I-9, Department of Homeland Security, U.S. Citizenship and Immigration Services in order to receive the Fellowship stipend. If you cannot provide appropriate documentation, we will be unable to offer a stipend.
After reviewing preliminary applications, NYTW will make invitations to those we wish to consider more fully for a 2050 Fellowship. Upon notification of invitation to apply, applicants will be asked to submit further materials, due in either mid-December or early January.
In the past, applicants have been notified in November with a request for further materials. At that point, candidates have been required to submit:
For Directors: Up to 6 photos from one or more recent professional or academic production(s) with a brief explanation of three of the moments in these photos including, but not limited to what makes the moment significant, how the moment was built, etc.. With this sample, we are not looking for a description or summary of the photographs but rather are hoping that the images and text will help us understand who you are as a director. These images should be clearly labeled and included in a single PDF.
For Playwrights: a full-length play.
Application requirements may vary year to year. Full application details will be sent to all candidates whom we wish to invite to a second round.
Letters of recommendation will only be requested of those who have been invited to submit a full application. Your recommenders may send their letters by email directly to email@example.com as an attachment or in the body of the message. Alternately, you may submit a scanned PDF of a signed letter on letterhead as an attachment. If we are missing a letter of recommendation, your application will be considered incomplete, so please make sure your recommenders submit your materials before the deadline. Recommendation letters will not be considered if they are sent prior to a candidate being invited to submit a full application.
Candidates will be contacted by early February to schedule an initial interview. If necessary, this first round interview can be completed via phone or video chat. Candidates still in consideration will be contacted to schedule a second interview in early March. If invited to a second interview, candidates must be available for an in-person meeting at NYTW.
Retreats typically take place over a three-day weekend in June, Friday through Sunday. Specific dates will be sent out with fellowship offers. If invited to interview, please inform us of any known conflicts during the month of June.
Meetings and work sharings are scheduled at the start of the fellowship year in conversation with the entire fellowship corps. Cohort meetings occur once or twice per month. Each fellow shares works-in-progress twice during the fellowship, and all fellows are expected to be present at the work-in-progress showings of their peers.
At present, 2050 Fellows are awarded a $1,500 stipend and a $1,500 artistic development fund to use in consultation with the Artistic staff.
Inquiries should be sent to firstname.lastname@example.org.