After enduring the post-graduate wasteland, Martyna Majok hit the theater scene this year with three major coups: a production of her play Ironbound at Rattlestick (in collaboration with Women’s Project) starring Marin Ireland, a playwriting fellowship at the Juilliard School, and a residency with The Playwrights of New York (PoNY), an organization that provides a year-long apartment in Midtown and a generous monthly stipend.

Sheila Callaghan is one of my favorite living playwrights. I can count these playwrights on one hand. In a theatrical landscape dominated by after-school specials, on-stage television pilots, exposés of rich families, and nonsense musicals, Callaghan’s work eschews any category.

Sam Hunter and I share a lot of things in common. We both graduated from the playwriting program at Juilliard. As recipients of the PONY Fellowship—a program that grants a writer a midtown living space for a year—we have lived in the same exact apartment, albeit in different years.

Lawrence D. Cohen is the screenwriter of Brian De Palma’s legendary adaptation of Stephen King’s debut novel Carrie and book writer to the equally infamous 1988 Broadway musical adaptation. The new version of the musical—staged by Stafford Arima with an entirely new cast and design team—is now playing at the Lucille Lortel Theatre.

A man enters an Amish schoolhouse in rural Pennsylvania. He releases the boys and young teacher, and keeps the girls. After being surrounded by the police, he shoots the girls and then himself.

"The play is about the Angela Davis I knew from growing up with her until I was about 19," says Eisa Davis.

Harold Pinter was an inspiration—if not a model—for many theater artists working today. What follows is just a small sample of the ways Pinter's work has influenced us all.

Having never seen a production of his, I moved from Seattle and signed on to be a “dwarf” (i.e. the Ontological Theatre’s unofficial lingo for non-speaking non-Equity role) in 2004’s King Cowboy Rufus Rules The Universe.

“If we had three cookies in front of us,” Bradshaw motions to the empty table, “I would be polite and say you should have the last cookie. But deep down, I really want the cookie.”