MEET THE 2017/18 FELLOWS.
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 Artistic 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 expanded 2050 Artistic Fellowship program exists to support the diversity of voices and aesthetics that will make up this new minority majority.
The 2050 Fellows are early career 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 Artistic 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.
CURRENT 2050 FELLOWS
ELEANOR BURGESS‘s plays include The Niceties, Chill, Start Down, and These Dying Generations. Her work has been developed or produced at Manhattan Theatre Club, Ensemble Studio Theatre, Alliance Theatre, Huntington Theatre Company, the Contemporary American Theatre Festival, Merrimack Repertory Theatre, Portland Stage Company, Centenary Stage Company, the Lark Play Development Center, the Kennedy Center/NNPN MFA Playwrights Workshop, Everyday Inferno, Ryder Farm and Luna Stage. She’s been the recipient of the Alliance/Kendeda National Graduate Playwriting Award, an EST/Sloan commission, a Keen Teens Commission, and the Susan Glaspell Award for Women Playwrights. She grew up in Brookline, Massachusetts, studied history at Yale College, and recently completed the MFA in Dramatic Writing at NYU/Tisch.
TEARRANCE ARVELLE CHISHOLM is a current member of the Lila Acheson Wallace American Playwrights Program at Juilliard and a recent MFA Playwriting graduate from the Catholic University of America. His play Hooded: Or Being Black for Dummies received its World Premiere at Mosaic Theatre in Washington, D.C. this year and will be followed by the World Premiere of his play Br’er Cotton at Kitchen Dog Theatre in Dallas, TX. His work has been developed with the Signature Theatre, Theatre J, Theatre Alliance, The Kennedy Center American College Theatre Festival, the Bay Area Playwrights Festival, and the Djerassi Resident Artists Program. He was named a “Person to Watch” by American Theatre Magazine and a “Rising Star” by Variety. He was a finalist for the inaugural Relentless Award and London’s 503 Theatre Award. He was named winner of both the Rosa Parks Playwriting Award and the Lorraine Hansberry Playwriting Award at KCACTF 2016.
SHAYOK MISHA CHOWDHURY is a queer Bengali director and writer based in NYC. Misha is co-founder of The Lonely Painter Project, an interdisciplinary collaborative that looks to performance as the art of embodied inquiry. Favorite projects include a devised adaptation of The Last Leaf (Barn Arts Collective), Inhume: A Genesis Story (Riverside Church), and the song-cycle MAKE (Hemi Encuentro, Santiago, Chile). Recent and upcoming directing credits: Cherrie Moraga’s The Mathematics of Love (Stanford TAPS); Nia Witherspoon’s The Messiah Complex (DUTF); Sarah DeLappe’s The Wolves (’62 Center, Williams). With composer Laura Grill, Misha has written and directed three new musicals, including The Optics of Dying Light (HERE) and Artemis in the Parking Lot (awarded Best of Fest at NYMF’s 2016 Reading Series @ Playwrights Horizons). The duo’s newest piece, How the White Girl Got Her Spots and Other 90s Trivia, will debut at Ars Nova’s ANT Fest in June 2017. A recipient of fellowships from Fulbright, Kundiman, and the Provincetown Fine Arts Work Center, Misha’s writing has been published in The Cincinnati Review, TriQuarterly, Hayden’s Ferry Review, Portland Review, Asian American Literary Review, and elsewhere. He has been a visiting artist at Stanford, Williams, Fordham, and Syracuse Stage. MFA: Columbia University.
TATIANA PANDIANI is an Argentine born, NYC based director and choreographer of new works and musicals. She is currently developing a Spanish language folkloric musical based on Ruben Darío’s fiction works, El Poeta Y El Rey (The Drama League & The Habitat). Selected credits: N*** in Paris & La Lupe (Teatro SEA), 187 & These are the Stairs You Got to Watch (Atlantic Stage 2), 1989 (Connelly Theatre), The Co-operatives (NY Int’l Fringe), Assassins (Princeton Summer Theatre). Upcoming: Brandon Jacob Jenkins Appropriate (Princeton Summer Theatre), Leonardo Gonzales’s NANAS (IATI/La Micro), NORA (Lanesboro Arts, MN). Tatiana has worked as an Assistant/Associate director at Toneelgroep Amsterdam, Repertorio Español and Miami New Drama and is a teaching Artist at the Atlantic Theatre Co. MFA: Columbia. For more information, please visit: www.tatianapandiani.com
WHITNEY WHITE is a director and musician based in Brooklyn, New York. Her original musical Lover I’ll Bring You Back to Life was part of Ars Nova’s 2016 ANT Fest, and her musical adaption of Macbeth: Macbeth in Stride was work-shopped at Chautauqua (2016), Trinity Rep (2017), and Judson Memorial (2017). Her first full-length play Great Hill Mouth was part of the 2016 Drama League’s rough Draft Series. Whitney is the inaugural 2017 Roundabout Directing Fellow and last winter assisted Sam Gold on Othello at New York Theatre Workshop starring Daniel Craig and David Oyelowo, and Dan Sullivan on If I Forget at Roundabout. This spring she will assist Anne Kauffman on Marvin’s Room. MFA Acting: Brown University/Trinity Rep, BA Political Science and Certificate in Musical Theatre from Northwestern University. www.whitney-white.com.
NIA OSTROW WITHERSPOON (Smith BA/Stanford PhD) is a multidisciplinary artist investigating the metaphysics of black liberation, desire, and diaspora. Working primarily in the mediums of playwriting/directing, vocal and sound composition, and creative scholarship, Witherspoon’s work has traveled both nationally and internationally to venues ranging from theatres and universities to activist organizations and non-profits. Described as “especially fascinating” by Backstage Magazine, Witherspoon has been the recipient of multiple awards and residencies, including: BRIC’s Premiere Residency, Astraea Foundation’s Lesbian Writer Award and Global Arts Fund Grant, Downtown Theatre Festival’s “Audience Award,” a Wurlitzer Foundation residency, Lambda Literary’s Emerging Playwriting Fellowship, a CASH Grant from Theatre Bay Area, and a Mellon Dissertation Fellowship. Her staged works have been featured at BRIC, HERE, National Black Theatre, Brooklyn Arts Exchange, Bronx Academy of Arts and Dance, Dixon Place, Movement Research, and the Painted Bride (Philadelphia), among various venues in the Bay Area, including Theatre Artaud, Theatre of Yugen, The Lab, The Garage, La Peña, and Eastside Arts Alliance. As a performer, Witherspoon is co-founder of ceremonial music collective SoliRose, a world-premiere cast member in Sharon Bridgforth’s River See (Links Hall), and a featured vocalist in the work of Cherríe Moraga in La Semilla Caminante/The Traveling Seed (Intersection for the Arts). Witherspoon’s writing is published in an array of journals and anthologies, and she is currently at work on collection of essays, tentatively titled Nation in the Dark, and a play cycle, The Dark Girl Chronicles, which explores the criminalization of black cis- and trans- women via African diaspora sacred stories.
PAST 2050 FELLOWS:
Nathan Alan Davis
Reginald L. Douglas
Patricia Ione Lloyd
Francis Weiss Rabkin
Jade King Carroll
Jackie Sibblies Drury
Simón Adinia Hanukai
Ed Sylvanus Iskandar
Julián J. Mesri
Matthew Paul Olmos
Aravind Enrique Adyanthaya
Kipp Erante Cheng
Jorge Ignacio Cortiñas
Jackie Sibblies Drury
Suzanne Hui Sun Kim
Ed Sylvanus Iskandar
Edward Bok Lee
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 our 2050 Artistic Fellowship. The application period for the 2018/19 Fellowship has passed. Please check back in September 2018 to apply for the 2019/20 season!
NYTW will accept up to six playwright or director 2050 Artistic Fellows per season. These fellowships will entail a one year commitment from June to June.
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, attend performances, research and travel.
The 2050 Fellowship supports early career 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. We strive to have a balance of playwrights and directors in the corps, and recognizing that these labels may not always be entirely representative of an artistic practice, provide great latitude in how fellows 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.
Artists who will be enrolled in a full time educational institution (either undergraduate or graduate studies) for the duration of the fellowship year will not be considered. We encourage you to apply again during your final year of school to partake in the fellowship upon graduation.
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 early December.
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.
Cohort meetings occur once per month and are scheduled prior to the start of the fellowship year. 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 $3,000 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.