Josh Beerman is a playwright/screenwriter and graduate of the New School for Drama in Playwriting. His work has been seen at the FringeAct Festival of New Work at ACT and Theater Schmeater in Seattle.
In the NYC area he has had work produced at Manhattan Rep and was a finalist at the Samuel French Off Off Broadway Festival in 2010 and a winner in 2011. His plays have been developed by Urban Stages, The Management and theNEST.
He has worked on the artistic staff for Seattle Repertory Theatre and in artist services at The Brooklyn Academy of Music. He is published by Samuel French and his screenplay Dark is slated for production by Tandem Pictures in 2015. He is currently one of the resident playwrights at Seattle Repertory Theatre.
You can read some of his plays on The New Play Exchange: https://newplayexchange.org/users/1659/josh-beerman
Trista Baldwin’s plays include Patty Red Pants, Sand, American Sexy, Doe, and Kill Me Don’t Go, produced by companies including The Flea, The Guthrie, Women’s Project, New Georges, BPP, Circle X, Bricolage, Red Eye, Live Girls!, and internationally with Tokyo Theater Festival and the Santiago a Mil festival in Chile. Trista Baldwin is the recipient of a McKnight Advancement Grant, two Jerome Fellowships, a Performing Arts Japan grant from Japan Foundation, and is a Core Writer alum of The Playwrights’ Center. Trista’s work has also been developed with the frequent support of The Lark New Play Development Center in New York, the Bay Area Playwrights’ Foundation, Tofte Lake Center and the Saison Foundation, in residence at Tokyo’s Morishita Studio.
Born in Northern California, and raised in the wetlands of Graham, Washington, Trista is an alum of The Seattle Children’s Theater, holds a BA from The Evergreen State College and an MFA from Arizona State. Trista has just returned to Seattle after many years in New York City and Minneapolis, where she taught dramatic writing at St. Cloud State University and co-founded the Workhaus Collective playwrights’ theater company. Her work is published by Heinemann and Playscripts.
Keiko Green is a playwright and performer based in Seattle. She received her BFA in Experimental Theater from New York University’s Tisch School of the Arts. Most recently, she wrote the book and lyrics for the musical Bunnies for Annex Theatre, which made its world premiere in Seattle in April 2015. Her one-act Operation Hibernation was nominated for Best New Play by Broadway World Seattle, after its premiere in the 2013 Seattle Fringe Festival. Previous full-length works include Acedia (Co-writer; TinLily Productions, NYC; 2011), as well as the independently produced Freak Playground (Seattle; 2012), and Life.Cycle (Seattle; 2013). Her 10-minute play Experience Points has been performed at Annex Theatre, College of Southern Nevada Theatre, and Bainbridge Performing Arts. She has written shorter pieces for Seattle companies: Horse in Motion, Theater Schmeater, Playing in Progress, Wily West Productions, Island Theatre, and the Seattle One-Minute Play Festival. She is currently working with playwright Bret Fetzer on the full-length play Puny Humans, which will be making its world premiere at Annex Theatre spring 2016. She has previously worked with Seattle Repertory Theatre as an actor, in The Comparables in March 2015. Keiko is a company member of Seattle’s new theatre company Red Stage, which focuses on emerging playwrights and new works.
Karen Hartman held the Playwright Center’s 2014-15 McKnight Residency and Commission for a nationally recognized playwright. Current and upcoming work includes Roz and Ray (developed at Playwrights Center, Seattle Rep, Hedgebrook), The Book of Joseph (Chicago Shakespeare Theater), Project Dawn, in workshop at People’s Light & Theater Company, and a Yale Repertory Theater commission about the landmark Supreme Court case Ricci vs. DeStefano. Her new dialogue for Mozart’s The Magic Flute appeared in Pacific Music Works’ production at the Meany Center in Seattle, 2015. Hartman’s Goldie, Max, and Milk premiered at Florida Stage and the Phoenix Theater, and was nominated for the Steinberg and Carbonell Awards. Other works: Goliath (Dorothy Silver New Play Prize), Gum, Leah’s Train, Going Gone (NEA New Play Grant); Girl Under Grain (Best Drama in NY Fringe); Wild Kate, ALICE: Tales of a Curious Girl (Music by Gina Leishman, AT&T Onstage Award); Troy Women; Donna Wants; Sea Change, score by AnnMarie Milazzo; and MotherBone, score by Graham Reynolds (Frederick Loewe Award). New York: Women's Project, National Asian American Theatre Company, P73, the New York Fringe (Best Drama), and Summer Play Festival. Regional: Center Stage, Cincinnati Playhouse, Dallas Theater Center, the Magic, and elsewhere. Publications: Theater Communications Group, Dramatists Play Service, Playscripts, Backstage Books, and NoPassport Press. Awards: Sustainable Arts Foundation, Rockefeller Foundation at Bellagio, the NEA., the Helen Merrill Foundation, Daryl Roth "Creative Spirit" Award, Hodder Fellowship, Jerome Fellowship, Fulbright Scholarship. An alumna of New Dramatists and longtime Brooklynite, Karen is now Senior Artist in Residence at the University of Washington. Her prose is published in The New York Times and The Washington Post.
Courtney Meaker's has lived in Seattle for close to six years and is in her second year with the Seattle Repertory Theatre Writers Group. Her full-length plays have been produced at Macha Monkey Productions and Annex Theatre (Buckshot and Chaos Theory - a play seeking order respectively). One-act works have been seen at Northwest New Works at On the Boards, Portland’s Risk/Reward Festival, Ghost Light Theatricals, Annex Theatre, and Infinity Box Theater Projects. Her play That'swhatshesaid recently premiered in Minneapolis, MN at Open Eye Figure. A smattering of her 10-minute plays have been produced at Spin the Bottle at Annex Theatre, Theater Schmeater, and SnowGlobed with Playing in Progress. Additionally, she’s written multiple times for 14/48 The Worlds Quickest Theater Festival and in Seattle’s first One Minute Play Festival. She was also the co-writer on the second season of the locally produced, award-winning webseries WRECKED. Her essay, “Walking While Fat and Female – Or, Why I Don’t Care Not All Men Are Like That” was republished at xojane.com and TheHuffingtonPost.com in 2014. And her short story Etymology was a finalist for the Naked Girls Reading Literary Award in 2011. She’s currently the Artist Relations and Education Coordinator for UW World Series.
Y York moved to Seattle from New York City in stages between 1987 and 1990. I was unmoored, ill at ease with my profession, and adrift when it came to being an unemployed homeowner. Seattle was a good greeter and quickly righted my floundering person - the Children's Theatre invited me to open The Charlotte Martin with Afternoon of the Elves and continued to commission new work; the Seattle Group Theatre premiered The Snowflake Avalanche to inaugurate their new Center House space; Theatre Under the Influence hosted It Comes Around; Annex Theatre let us do all kinds of mischief, while ACT, SRT and The Empty Space gave us much-needed workshops & readings of early work. House of Dames gave me a regular slot to unearth stories that would keep me writing for decades while Mark led the Dames at Sea Orchestra.
In 1999, we left town to pursue opportunities in Hawai`i, and then Cincinnati, returning regularly to Seattle for work, meals, weddings & funerals, and the weather. SCT continued to give me chances with Mask of the Unicorn Warrior; Nothing is the Same; Getting Near to Baby; Crash; The Garden of Rikki Tikki Tavi. The Northwest Playwrights' Alliance/SRT gave me readings of new work: ...and LA is Burning (Smith Prize for Political Theatre from the National New Play Network): Woof (Houston's Buzzy for best new play); Framed and Late in the Game. When the worm turned again, the choice of the next town was clear: if we could pull it off, we would return to Seattle, home to dear friends, a beloved mountain, and cherished theatre colleagues. Current local projects are The Up Side of Down, a musical with Northwest composer Amanda Jacobs, and for SCT, Thumbelina.