Trish Harnetiaux
TRISH HARNETIAUX is a Brooklyn based playwright. Some plays include Tin Cat Shoes, How To Get Into Buildings, If You Can Get to Buffalo, and Weren't You In My Science Class?.
McCarren Park Pool
By Trish HarnetiauxThe story of Greenpoint’s McCarren Park Pool has the makings of a great saga.
DON'T F#@! WITH the stageFARM
By Trish HarnetiauxTo decide what to produce, the stageFARM’s artistic director Alex Kilgore draws on his hard-earned, hard-living experience as a former punk rocker in Houston, Texas in the 80s to help decide what to produce.
Room for Cream? Always
By Trish HarnetiauxAfter watching Episode Four of Room for Cream, the red-hot lesbian soap opera currently running through June at La Mama, it was clear that the audience didn’t want to leave.
In Dialogue
Felipe Alfau Doesn't Want You to See This
By Trish HarnetiauxThis is all Mac Wellman’s fault. He fully admits that all his favorite writers are fascists. So when talk was starting earlier this spring about the Bring a Weasel and a Pint of Your Own Blood Festival, he pulled out his copy of a little known book by Felipe Alfau titled Locos: A Comedy of Gestures—and I like to think literally threw it at playwrights Scott Adkins, Normandy Sherwood, and Richard Toth.
Why Are We Sitting in the Same Room? CHAUTAUQUA!
By Trish HarnetiauxCollapsible Giraffe…the CUNY Prelude festival…PS 122...the East River Band Shell…Throw in a few out of town performances and this is the path taken, in the last year or so, by the National Theatre of the United States of America’s show Chautauqua!
The Diary Of A Teenage Girl
By Trish HarnetiauxIt’s San Francisco in the 1970s. Fifteen-year-old Minnie has just started an affair with her mother’s boyfriend. Shit.
FOOTBALL: why these chicks are the future of the game
By Trish HarnetiauxIt’s a cruel moment when you realize you’ll never be a professional baseball player. You’ll never play in the World Cup; never hear yourself discussed on SportsCenter.
No Lame Plays Please. Thank you!
By Trish HarnetiauxOnce a month, on a Monday night at Dixon Place, you will find twisted, adventurous, and multi-talented artists spinning their ideas into gold (most of time) in front of an equally ambitious, off-the-mark audience that has shown up to see what in the world will happen this time.
In Dialogue
MAC WELLMAN Explains, Or Doesn’t Explain, What Is Near And What Is Far
By Trish Harnetiaux and Matthew KorahaisMac Wellman drinks Amstel Light because, in his words, it’s “the best light beer.” He’s less choosy about the tequila—neat—that accompanies it, demanding only that it’s present. When we were compiling questions to ask Wellman about his new play opening at Dixon Place in October, there was a certain fear that he would answer none of them.
Nellie Tinder Sets Fire to Evelyn
By Trish HarnetiauxFor one month, when Julia May Jonas was 17 years old, she was sent to a wayward girls institution. The way she tells it, she quickly realized that she was more sane than the others, but like any good teenager, she got swept up in the drama of the place.
Jackie, Blondi, and the Mooncats
Mac Wellman’s The Offending Gesture
By Trish Harnetiaux
One of the many wonderful things about Mac Wellman’s work is that there are no boundaries to where he takes us. Sure, we can be on earth sometimes, but he’d rather not stay anywhere too recognizable for very long, and he would much prefer to be in space or on a different planet (often one of his own creation). Who can blame him? Earth is pretty awful.
Permanent Caterpillar:
Was It a Dream?
By Trish Harnetiaux
One of Normandy Raven Sherwood’s first plays was about a couple of coat-check girls at a fancy restaurant, and even though I can’t exactly remember what happened, it didn’t even matter because her sense of space and place and weird relationships were unique and odd and riveting.
In Dialogue
The Final Frontier of Liza Birkenmeier
By Trish HarnetiauxIf there was only one way of doing things, Liza would be writing the same homecoming-hostage play over and over (not a bad idea) instead of constantly building completely new worlds in her work, showing her unique sense of place and character and conflict, all with the patience of a thoracic surgeon and the humor of Carol Burnett.
In Dialogue
BRING A WEASEL AND A PINT OF YOUR OWN BLOOD
By Trish HarnetiauxI must confess that I find it rather difficult to define the word “adaptation.” It seems conceptually overwhelming—like “technology” or “Africa.”
