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Erin Courtney

Erin Courtney is a playwright living in Brooklyn. She is currently writing a commission for Playwrights Horizons and is in the middle of writing a musical with Max Vernon called The Tattooed Lady. She is the program coordinator for the Brooklyn College MFA Program in Playwriting.

In Conversation

Out of Body Experiments: LISA D’AMOUR AND KATIE PEARL with Erin Courtney

Theatrical doppelgangers, Lisa D’Amour and Katie Pearl would like to invite you inside an out of body experience. They have been crafting site-specific performance together for over a decade and for their latest collaboration, Terrible Things, they have moved back inside a theater, PS 122, from December 4-20.

In Conversation

The Penultimate P: Erin Courtney with Madeleine George

Erin Courtney, the 12th playwright to assume artistic leadership of 13P, the collective of playwrights devoted to producing their own work, talks with Madeleine George about her upcoming production, A Map of Virtue.

In Dialogue

“Holding you up while you are holding up me”: The give and take of working for free

Grand Concourse, Heidi Schreck’s most recent play, will have its world premiere this month at Playwright’s Horizons. Schreck takes on the social dynamic of workers, volunteers, and the homeless clients of a soup kitchen.

For This Moment I Would Give My Whole Life!
Robert Lyons and Kristin Marting’s Idiot

Writer Robert Lyons and writer/director Kristin Marting want to invite you to a party inside a man’s mind. It’s an immersive performance event at HERE, and the other guests include characters from Dostoyevsky’s The Idiot. 

In Dialogue

HEIDI SCHRECK with Erin Courtney

Heidi Schreck’s groundbreaking play What the Constitution Means to Me is a game changer. Weaving together stories from three generations of women in her family, Schreck embarks on an existential conversation with the United States Constitution. While the piece is quite funny, it also delves into the violent, real life consequences of American political ideology and governance. Her other plays—Creature, Grand Concourse, and The Consultant—adhered to the Aristotelian unities of action, time, and place. In Constitution, Schreck chooses to construct a time traveling collage, placing personal stories next to Constitutional law, allowing space for the audience to make their own connections. 

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The Brooklyn Rail

DEC 19-JAN 20

All Issues