MEET THE 2019/20 FELLOWS.
This fall, we’re welcoming six new artistic fellows into our artist community as part of the 2050 Artistic Fellowship Program: directors Miranda Haymon, Kimille Howard and Gabriel Vega Weissman and playwrights Matt Barbot, Jeesun Choi and Kareem Lucas.
MEET THE 2018/19 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.
MATT BARBOT is a writer from Brooklyn, NY. His play El Coquí Espectácular and the Bottle of Doom (Kennedy Center Darrel Ayers Award, Kennedy Center Latinidad Award) received its world premiere at Two River Theater in January of 2018. Matt is currently developing Infallibility (Indie Theater Now Best of FringeNYC 2013 list) as a Sheen Center playwriting fellow. Princess Clara of Loisaida (finalist: Latinx Theatre Commons’ 2018 Carnaval of New Latinx Work, 2018 Columbia@Roundabout New Play Series) and Saints Go Marching (semifinalist: 2018 Eugene O’Neill Theater Center National Playwrights Conference) were selected to feature on Steppenwolf’s The Mix list. Recently, his short play “A List of Some Shit I’ve Killed” was published as part of the Red Bull Theater’s anthology Red Bull Shorts Volume III. Matt’s first play for young audiences, Stoo’s Famous Martian-American Gumbo, was commissioned by Peppercorn Theatre and will be produced in Summer 2019. Additionally, Matt has worked with comic book creator Edgardo Miranda Rodriguez as an editor and co-writer for Darryl Makes Comics’ DMC, as well as Somos Arte’s La Borinqueña. Matt received his MFA from Columbia University.
JEESUN CHOI is a transnational Korean playwright and physical theatre artist. Her plays move through diaspora, (im)migration and transnationalism to reveal the joy and agony of the human condition. Plays include The Seekers (2019 Bay Area Playwrights Festival Winner, 2019 O’Neill Theater Center’s National Playwrights Conference Semifinalist, 2018-19 Bushwick Starr Reading Series, Fresh Ground Pepper Artist Retreat); Dahlia (Lark’s 2018 New Voices Fellowship Finalist) which received a public reading at Dell’Arte International; Cecilies (Red Eye Theater’ New Work 4 Weeks, 2013 Minnesota Fringe Festival). She was a fellow at National Institute for Directing & Ensemble Creation, hosted by Pangea World Theater and Art2Action, and Works-In-Progress Artist at Red Eye Theater in Minneapolis. She is the co-founder of Creative Traffic Flow, a theater collective committed to creating ensemble-driven performances that uphold the power of communities. As Artists-In-Residence at the University Settlement, CTF produced Duets of Difference for Speyer Hall and Women Center Stage Festival. Supported by Clean Valley Council and Works On Water, they presented Voices from the Roanoke River at the Governors Island and Earth Summit 2018. MFA Ensemble-Based Physical Theatre, Dell’Arte International School of Physical Theatre.
MIRANDA HAYMON is a Princess Grace Award/Honoraria-winning director interested in work that dismantles the antiquated ideology of the white, cis, straight, male, able-bodied, middle class individual as the stand in for ‘universal’. The theater she seeks to make is a resistance; it disrupts the status quo of who and what is allowed in the theatre and incites audiences and her community to action. Her approach takes classical, devised, adapted and new texts, incorporating technology, nontraditional casting, mixed media, dance, and more in the pursuit of a unique, interdisciplinary theatre. Miranda is an artist-in-residence at Roundabout Theatre Company, where she was previously the 2017/18 Directing Fellow, Resident Director at The Tank, a New Georges Affiliate Artist, member of the Lincoln Center Theater Directors Lab, the Wingspace Mentorship Program, a Manhattan Theatre Club Directing Fellow, and a former Allen Lee Hughes Directing Fellow at Arena Stage. She is a graduate of Wesleyan University where she double majored in German Studies and Theater and was awarded the Rachel Henderson Theater Prize in Directing. She is an aspiring florist, an avid player of “Settlers of Catan” and pretty good at driving stick shift. mirandahaymon.com
KIMILLE HOWARD is a director from Carmel, Indiana. She recently directed Skeleton Crew by Dominique Morisseau at TheatreSquared. She is a co-program director for the Amoralists’ ‘Wright Club and directed TRIGGERED by Gabriel Jason Dean at the Cherry Lane Theatre for their Ricochet Quadrilogy. As a resident director at The Flea Theater, she directed The Girl With No Hands by Charly Evon Simpson. Kimille is the assistant director to Des McAnuff on Ain’t Too Proud: The Life and Times of the Temptations which opened on Broadway at The Imperial Theatre in spring 2019. Kimille won Best Director at the 2016 Thespis Festival for It’s All About Lorrie by Joseph Krawczyk at the Hudson Theater which received a commercial run at The American Theater of Actors (2017). Her work has also been seen at The Lark, The National Black Theatre, JAGFest, NYU, Atlantic Acting School, and The Fire This Time Festival among others. She has assisted Ruben Santiago Hudson, Emily Mann, Stephen Wadsworth, Jessica Stone, Jade King Carroll, and Niegel Smith. Kimille is a Jonathan Alper Directing Fellow at Manhattan Theatre Club. She will be assisting James Robinson on Porgy and Bess at The Met this fall. BA: Loyola University Chicago
KAREEM M. LUCAS is a Brooklyn born and Harlem based Actor/Writer/Producer/Director. His solo pieces include The Maturation of an Inconvenient Negro (or iNEGRO), From Brooklyn With Love, RATED BLACK: An American Requiem, A Boy & His Bow, and Black Is Beautiful, But It Ain’t Always Pretty. He has performed his solo work at The Greene Space, Aaron Davis Hall at City College, The Town Hall, Fire This Time Festival, IRT Theater, The Slipper Room, Teatro Circulo, Judson Arts Wednesdays, Hi-ARTS, AFO Theater, JACK, New York Theatre Workshop, The Public Theater, among others. He is currently co-collaborating on the immersive theatrical piece The Black History Museum…According to the United States of America, as a writer/performer with the Smoke & Mirrors Collaborative as a part of their Residency at HERE Arts Center, it will premiere in Fall 2019. He most recently was a part of The 2019 Mentor Project at The Cherry Lane Theatre, where his solo show The Maturation of an Inconvenient Negro (or iNEGRO) was mounted. Plus, he’s a teaching artist with The Classical Theatre of Harlem, and The 52nd Street Project. MFA: NYU Graduate Acting Program. For more info you can visit KareemMLucas.com or follow him on Instagram @KareemMLucas
GABRIEL VEGA WEISSMAN is a Brooklyn based director and playwright. His production of Guards at the Taj at the Central Square Theater in Cambridge, MA was named among the top ten best theatre of 2018 in the Boston Globe. Other directing work includes the world premieres of Charles Cissel’s MUST (Theatre at St. Clement’s, produced by Bruce Willis), Aladdin Ullah’s Dishwasher Dreams (Castillo Theatre) as well as collaborations with NYMF, National Black Theatre, Pipeline Theatre Company, New Light Theater Project, Williamstown Theatre Festival, Hangar Theatre, Rutgers University and the Bucks County Playhouse. As a writer, his collection of short plays, Loose Canon, is licensed by Dramatists Play Service, Inc. Other writing includes adaptations of Athol Fugard’s teleplay Mille Miglia (Williamstown Theatre Festival) and Aristophanes’ The Birds (University of Scranton commission). Gabriel’s associate and assistant directing credits include Broadway productions of Long Day’s Journey into Night, China Doll and The Winslow Boy as well as Off-Broadway premieres from writers including Martin McDonagh, Doug Wright, Athol Fugard, Dominique Morisseau and Rajiv Joseph. Gabriel is an alum of the Drama League Directors Project, Lincoln Center Directors Lab, and a finalist for the inaugural Eugene O’Neill Theater Center National Directors Fellowship. gabrielvegaweissman.com
CURRENT 2050 FELLOWS
MELIS AKER is an actor, writer and musician from Turkey. Plays include Field, Awakening (2018 Sundance Theatre Lab finalist, 2018 Berkeley Rep Ground Floor finalist, Lark’s 2018 Van Lier New Voices Fellowship finalist) which will receive a short run at the Signature Theatre and the Corkscrew Festival at Paradise Factory this spring; Manar (2017 Columbia@Roundabout finalist; 2016 Theatre503 Playwriting Award semi-finalist) which was accepted to Golden Thread Productions’ 2017 ReOrient Festival, LPAC’s 2017 Rough Draft Festival, and was part of Silk Road Rising’s featured Middle Eastern playwrights on New Play Exchange; 330 Pegasus: A Love Letter [Part I] (Lark’s 2018 Jerome New York Fellowship Finalist) which received a reading at NYTW via Noor Theatre’s Highlight series; Azul, Otra Vez [Blue, Revisited] which was workshopped at NYTW, directed by Tatiana Pandiani with music by Jacinta Clusellas, and at the BRICLab Residency. Selected acting credits include “The Blacklist: Redemption” (NBC), Love in Afghanistan (Arena Stage/Roundabout), Opium (New Dramatists), Tear A Root From the Earth (Kennedy Center/New Ohio), We Live in Cairo (New World Stages, NAMT). Melis recently gave a TEDx Talk in Ankara and will be performing in Daybreak (Pan Asian Rep). BA in Drama/Philosophy (Tufts), Acting (Royal Academy of Dramatic Art), 2018 MFA Playwriting (Columbia). melisaker.com
MICHAEL ALVAREZ is an international theatre director and is a recipient of the 2017 Drama League Directing Fellowship. His work in London includes a site-specific residency with Punchdrunk, leading new musical workshops with Mercury Musical Developments at the Royal Academy of Music and Royal Central School of Speech and Drama, curating an international theater festival at the Institute of Contemporary Arts, creating performance art pieces at the British Museum, directing at the Arcola Theatre and Westminster Library and directing Susannah York and Edward Petherbridge in a workshop at Her Majesty’s Theatre in the West End. Additionally, he was a guest director in Ljubljana, Slovenia and at the Brighton Theatre Festival. Selected New York directing work includes Pistrix and Falcon and Sparrow both by Annie R. Such; Trouble: A New Rock Musical that he co-wrote with composer Ella Grace at the New York Musical Theatre Festival; andBack by Brett Epstein at Galley Players. Most recently, he directed Chekhov’s The Seagull in Los Angeles.Upcoming: Peter Pan at the Serenbe Playhouse. He is a member of the Lincoln Center Directors Lab, a graduate of the Royal Central School of Speech and Drama in London and California Institute of the Arts. michael-alvarez.com
NANA DAKIN is a Thai-American director of new plays, classics, and devised performance based in New York City. Her work examines the way that culture is constructed and pursues social equity by unsettling dormant biases. Nana is a core member of B-Floor Theatre, Thailand’s vanguard physical theatre company. Her directorial work with B-Floor, Begin Again (2009) and Damage Joy (2011) ranked in the top 5 theatre productions of that year by the Bangkok Post. As an Assistant Director, she has worked with Anne Kauffman on Amy Herzog’s Mary Jane (NYTW), Anne Bogart on the SITI Company’s production of Euripedes’ The Bacchae (Getty Villa, BAM) and Leigh Silverman on Hansol Jung’s Wild Goose Dreams (The Public Theater). Recent projects include an all-female production of Shakespeare’s Richard III, Wonder/Wander: An Interactive Tarot Card Reading, and the development of new plays by Anchuli Felicia King, Gina Stevensen and Nora Sørena Casey. In May 2019, she will direct the world premiere of White Pearl by Anchuli Felicia King at The Royal Court in London. BA: Sarah Lawrence. MFA Theatre Directing: Columbia. nanadakin.com
PHILLIP HOWZE is a playwright whose work has been developed or produced at American AF Festival, Bay Area Playwrights Festival, BRIC-Arts Media, Clubbed Thumb, PRELUDE 2015, The Public Theater, San Francisco Playhouse, SPACE at Ryder Farm, and Yale Cabaret. A graduate of Yale School of Drama, he is a Fellow of the Sundance Institute Theater Lab, a Lucas Artist Fellow at Montalvo Arts Center, a member of the 2016 Emerging Writers Group at the Public Theater, and a Resident Writer at Lincoln Center Theater. His play Frontieres Sans Frontieres premiered at The Bushwick Starr in 2017 in a sold-out, extended engagement.
SEONJAE KIM. Originally from Seoul, South Korea, Seonjae (she/hers) collaboratively creates narrative-driven theater that is maximalist, epic, passionate, sincere and in robust conversation with the zeitgeist. Riot Antigone, her original Riot Grrrl musical adaptation of Sophocles’ tragedy, played at La MaMa in February 2017 and received subsequent productions at Ars Nova’s ANT Fest and Bryn Mawr College. She recently served as Associate Director for the immersive musical KPOP (Ars Nova/Ma-Yi/Woodshed Collective). Her work has been seen at Atlantic Theatre Company, Baryshnikov Arts Center, Dixon Place, Williamstown Theatre Festival, PEN/World Voices Festival, New York Theatre Barn, Prelude Festival, Checkmark Theatre Company and Chicago Fringe. She has assisted Pam MacKinnon, Bill Rauch and Stafford Arima and is an alumna of Directors’ Lab West, SITI Company Summer Workshop, Powerhouse Training, Williamstown Directing Corps and the Director’s Symposium and Playwrights’ Retreat at La MaMa Umbria. Honors include the Van Lier Fellowship for Directing (Asian American Arts Alliance), Mike Ockrent Fellowship (Stage Choreographers and Directors’ Foundation) and Robert Moss Directing Fellowship (Playwrights Horizons). Seonjae is a New Georges Affiliated Artist. This Spring, she is assisting Lee Sunday Evans on Dance Nation at Playwrights Horizons and developing projects about Tila Tequila, artificial intelligence, Southern belle mythology and more. BA: Northwestern.
DIVYA MANGWANI is a playwright from Pune, India, based in New York. She was the founder and Artistic Director of Moonbeam Factory Theatre (MFT), where she wrote and directed plays that were staged all over India, Singapore and Glasgow. MFT used theatre as a tool for education for underprivileged students and conducted workshops in high schools. Her plays include Yes, Uncle (semi-finalist, Page 73 Playwriting Fellowship 2018; finalist, Leah Ryan Fund for Emerging Women Writers 2018), Rise of the River (Pipeline Theatre Company), For Sale (Theatre East; Dramawallah Theatre), Turn off the Lights (Earth Day, Blue Frog), Sometimes, Stillness (a dance drama with djembe music) and One, Two, Three (best script, director, play and audience vote, Short+Sweet Festival; World Theatre Day, Khichidi Theatre). Before theatre, Divya worked as a journalist and editor for media houses like ESPN, Times of India and Crisis Response Journal. Her grandparents are from Sindh and she has grown up listening to stories about the Partition. She is currently working on a three-play cycle about Sindh. MFA: Tisch, NYU.
PAST 2050 FELLOWS:
Tearrance Arvelle Chisholm
Shayok Misha Chowdhury
Nathan Alan Davis
Reginald L. Douglas
Patricia Ione Lloyd
Francis Weiss Rabkin
Nia Ostrow Witherspoon
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
Applications are now closed.
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 who exhibit outstanding artistry and whose voices are underrepresented in the theatre. We encourage applicants with a unique lived experience & point of view inclusive of race, ethnicity, gender, faith, socioeconomic status, 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 firstname.lastname@example.org 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 email@example.com.