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We were thrilled to welcome Chris Hayes to the theatre this past week and were so pleased to hear he loved the show! Check out his thoughts posted to Twitter:
Got to see Hindsight at @faultline_th today and it was stupendous. A brilliant and sophisticated treament of the topic but also somehow - improbably! - hilarious and entertaining and a joy to watch. Cannot recommend it enough. One week left!
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Photo by Santiago Felipe
We’re excited to announce that we will be making our production of Alix Sobler’s Hindsight available to stream from Tuesday, October 19 through Sunday, October 24.
By Chloe Rabinowitz
Fault Line Theatre has announced that for one week only they will stream the world premiere production of Alix Sobler's play Hindsight directed by Founding Artistic Director Aaron Rossini from the Paradise Factory Theater in the East Village.
In cooperation with Actors' Equity Association, from Tuesday, October 19 through Sunday, October 24, audiences can enjoy Fault Line Theatre's latest production from the comfort of their own home.
Tickets ($20) are now available at: https://www.faultlinetheatre.org/hindsight-tickets/hindsight-digital
Once purchased viewers will receive a private link to watch Hindsight in a pre-recorded performance in front of a live audience.
"We know many of our most loyal supporters are unable to see the production in person," said Rossini. "We are grateful for the opportunity to share this work with a wider audience and it means so much to Fault Line Theater that many others will be able to join us for this show!"
Hindsight began performances Saturday, September 18 and continues Tuesdays through Saturdays at 8:00 PM and Sundays at 2:00 PM through October 23, 2021 at the Paradise Factory (64 East 4th Street, New York, NY 10003). Tickets ($26 - $36) are available for at: FaultLineTheatre.org
In the theater, there has always been a grey area between what is fact and what is fiction. Grey areas can lead to confusion, disaster, and violence - especially when it comes to the news and our politics. Where did it all begin? In Hindsight, an intrepid playwright traces the problem back to 1987 and the abolishment of the Fairness Doctrine. But as she builds her case, the facts, historical characters, and her own memories refuse to cooperate. Is it possible to trace our problems as a nation back to one decision made in the 80s? And if so, is a play really the right place to unpack this conversation? Like an episode of "John Oliver" crashing headfirst into a production of Our Town, Hindsight is a comedy that asks questions about how we communicate when we can't even get our facts straight.
The company of Hindsight features Andrea Abello, Craig Wesley Divino, Lynnette R. Freeman, Daniel Pearce, Alix Sobler, and Luis Vega.
The creative team includes Set Design by Tristan Jeffers, Costume Design by Dina El-Aziz, Lighting Design by Cha See, and Sound Design by Chad Raines. Clyde Voce serves as Associate Director, Shayna O'Neill is the Production Stage Manager, Addison Heeren is the Prop Supervisor, Zack Lobel is the Associate Lighting Designer / Master Electrician, Elis Cesar Jaime Arroyo is the Assistant Stage Manager, and Elizabeth Goodman is the Production Manager.
Photo by Santiago Felipe
We’re so glad Theater Pizzazz enjoyed the show! Check out their glowing review of Alix Sobler’s Hindsight:
By Marcina Zaccaria
When we have an opposing view, where is the possibility for free speech? In Hindsight, Actress and Playwright Alix Sobler asks us to consider a post-World War II America where messages are thrown around so similarly that fairness was almost an impossibility.
The Playwright explains, in depth, that The Fairness Doctrine, publicized first by the Federal Communications Commission in 1949, provides Americans with opposing views or different sides of the truth. Time traveling into 1987, we witness The Fairness Doctrine’s success and failure in the Reagan era.
Ronald Reagan, the Great Communicator, is loved in this throwback. During his administration, charismatic figures run the FCC. In 1987, Cosby was on TV and messages flowed fast and furious through cable into our homes. Speaking past shoulder pads and fancy words like de-regulation, leaders impressed one another. The Playwright reveals that the 80s were a pivotal decade where power lines began to shift. Affluent lifestyles exhibited by Americans of every color were first presented, while Canadians touted that they have something better like universal healthcare.
Both a participant and an observer, the Playwright, bounds in and out of the worlds she creates, involving the live audience in something like a “continuous present”. Looking throughout time, we consider whether there’s something unfathomable about a government that craves a broad, glossy, and dynamic world that re-invents traditional notions of family and home. Meanwhile, moments of levity might occur at every family dinner. So much can happen in sync over a simple meal at Thanksgiving. Director Aaron Rossini builds connections, layering one image on top of another, asking us to appreciate a fine debate even through such grandiosity.
Beyond melodrama and propaganda, the members of Fault Line Theatre believe in inclusion. They appreciate the indisputable fact that we have to look at the inadequacies of the past to find the present. If we don’t look back, we might never discover what kernels of socialistic idealism were sparked when. The earnest Playwright asks that we find magic to light up space. We’ll draw the line at the heavens, so that we’re no longer in the dark. If information can light up our world so that we are not excluded, then perhaps, we can find our true connection to each other after post-Capitalist glory.
If we include Washington, we might feel more like E.T., the Extra-Terrestrial, rather than an average New Yorker, living in Inwood, finding connection in the Village. Socialism may have been a dirty word in the go-go 80s, yet we can’t help to still get that warm feeling when we connect. Here’s to Fault Line Theatre for realizing that through the complexity of communication and information exchange, debate might continue to warm the heart-light.
Hindsight is running through October 23 at the Paradise Factory, 64 East 4th Street, New York, NY 10003. www.faultlinetheatre.org
Photo by Santiago Felipe
Thank you for the shout out Time Out!
By Adam Feldman
In Alix Sobler's metatheatrical comedy, a playwright attempts to trace today's bonkers political divisions back to the 1987 abolishment of the Fairness Doctrine that once regulated the discourse surrounding controversial issues on broadcast media—only to find more confusion the deeper she digs into the question. The cast of six, which includes the writer herself, is directed by Aaron Rossini for Fault Line Theatre.
Photo by Santiago Felipe
We love our Hindsight design team and we’re so happy Lighting & Sound America did to. Check out this lovely review of Hindsight by Alix Sobler.
By David Barbour
In Hindsight, Alix Sobler stakes a claim on some of the most treacherous territory on the dramatic map, doing so with remarkable assurance and skill. It's a rule of thumb that the problems of writing a play are fascinating to audiences in the low single digits. But Sobler is armed with an inquiring mind and a sprightly wit, and her self-referential games are played in pursuit of a nagging question that should concern us all. Indeed, it should be keeping us up nights.
At center stage in Hindsight is Sobler, playing, yes, The Playwright, who is contacted by Aaron Rossini -- artistic director of Fault Line Theatre and the director of Hindsight -- offering her a commission. (Just to guide you in this hall of mirrors, Rossini is played by the actor Luis Vega, who deftly handles several roles.) Because the original production date is just before the election of 2020, Sobler seizes on a theme that couldn't be more of the moment: The fact that "everyone has an Unshakeable Belief."
Soon, she is working on a drama about the Federal Communications Commission's elimination of the Fairness Doctrine, the 1949 rule stating that "broadcast licensees were required to devote a reasonable amount of time to discussion of controversial issues of importance and give reasonable opportunity for the presentation of opposing viewpoints of those issues." Sound a little dry? Even the writer's mind wanders a little, shifting to Thanksgiving dinner with her family, an affair that descends into the now-familiar American holiday horror, with everyone scrapping, acrimoniously, over all matters Trumpian, including taxation, inequality, and immigration. Looking on, aghast, the playwright freezes the scene at its nadir, when a cousin invites Sobler's husband, a Canadian, to go back where he came from.
Nevertheless, Hindsight's then-and-now structure is the foundation on which she -- sometimes playfully, sometimes in deadly earnest -- builds her argument: that the elimination of the Fairness Doctrine in 1987 -- an act of Reagan-era exuberance -- put American society on the path to 2021, when people will believe anything, no matter how absurd or unprovable, if it supports their pre-existing prejudices. For example: that the presidential election was stolen by Chinese spies, the January 6 Capitol riot was a tourist trip, and that Ivermectin is a cure-all. Facts? We don't want no stinkin' facts.
The FCC scenes have plenty of crackle as an apparently minor decision becomes the basis for a furious battle. Committee chairman Dennis Patrick wants the rule dropped, believing as he does in the magical powers of the free market. Patricia Diaz Dennis, a conservative Democrat, is a free-speech absolutist, but she also wants to see advancement for underrepresented minorities on the business side. Mimi Weyforth Dawson, a Republican team player, will vote for elimination if it leads to more women on TV, modeling roles as cops and doctors for future generations. James H. Quello, a Nixon appointee, is alarmed by a certain California-based radio shock jock -- you get one guess -- whose constant fulminations about "feminazis" and other liberals is attracting a growing audience. Legal advisor Richard Bozzelli poses the possibility of a lunatic fringe organization -- say, the Flat Earth Society -- buying up the major media outlets in a market and flooding it with intellectual sludge. That this is even a possibility is because the FCC has relaxed "the cap," the rule limiting the number of radio and TV stations a single entity can own in any given market.
Sobler bats around these arguments nimbly, aided by an articulate cast and Rossini's sharp direction. Things get even livelier when the characters rebel against their creator, accusing her of shading facts and omitting important truths. The FCC panel attacks her argument at its roots, citing other inflection points that have contributed to the dumbing-down of American discourse. Back at that Thanksgiving dinner, a cousin sullenly notes, "Well. I mean. We all saw your last play. It wasn't exactly...I don't know. It just seemed really problematic. I mean, you didn't account for the economic privilege, not to mention the gender dynamics, the implications of race...it was very...focused on making your point. You ignored a lot of other issues." Even around the holiday table, everyone's a critic.
It's good to be back in a theatre again, experiencing a full-throated battle of ideas. It's equally good to make the acquaintance of Sobler, who isn't afraid to allow each character his or her say, even if she clearly disagrees. The arguments sound especially persuasive coming from a cast that includes Andrea Abello, charming yet tough-minded as Diaz; Craig Wesley Divino, oozing self-satisfaction as Patrick; Lynette R. Freeman, a deft intellectual poker player as Dawson; and Daniel Pearceas Quello, the committee's troubled conscience.
The production features a fairly basic design scheme. Tristan Jeffers' scenic design is based around two different table gatherings, with Cha See's lighting using different color approaches to guide the action in and out of different realities. Dina El-Aziz's costumes are marked by a number of '80s-era power-wardrobe elements. Chad Raines' sound design channels a playlist of the decade's pop hits along with authentic-sounding excerpts from Rush Limbaugh broadcasts.
Among other things, Hindsight offers a hard-to-forget lesson in historical irony: As one of the characters notes, the elimination of the Fairness Doctrine was opposed by a united front that ranged from the ACLU to Phyllis Schlafly, proof positive that politics makes strange bedfellows. Clearly, we live in a universe of unintended consequences. Maybe this country isn't sliding into fascism, as Hindsight sometimes worries. And maybe a single comic drama can't explain the mess we're in. But it's good news that writers with Sobler's talent are willing to take on the challenge.
Photo by Santiago Felipe
Vulture wrote about seeing a double bill of The Nosebleed is at the Japan Society along side our production of Alix Sobler’s Hindsight. Here’s an excerpt of the piece:
By Helen Shaw
… Something similar is happening in Hindsight, though its aesthetic couldn’t be less like the spacious, quiet-filled Nosebleed. In a crowded little theater, jammed tight with props, a woman works at a messy desk. When the lights go down, she looks up. “Oh, hey, I’m the playwright,” she says. A little ripple of laughter moves through the tiny audience. “Weren’t expecting that, were you?” she laughs back. In fact, the flustered-seeming woman with the laptop will try to destabilize us repeatedly as we make our way through Alix Sobler’s autofictional attempt to grapple with the cause of our polarized politics. Even after an hour of explaining why she wrote the play we’re watching, the woman idly wonders if she might not actually be Sobler. Has she been fibbing all along? When a person promises you she’s telling the truth, every warning light on your instrument panel should glow red. If the last 30,000 years of human development have taught you nothing else, it’s taught you that.
Sobler (it’s really her) doesn’t go so far back, though — she’s pretty sure the crucial breaking point in public trust came about 30 years ago. Sobler’s convinced that the 1987 repeal of the Fairness Doctrine, a 1949 FCC regulation about “equitable” presentation of controversial issues on broadcast news, holds the key to our present troubles. Her actors compete, hammily, to define the Doctrine for us; Sobler manages to shut them up only by reading directly from the FCC rulebook. She introduces the four Reagan-appointed commissioners (including the touching Daniel Pearce as James H. Quello) who will vote on the rule, and they bicker spiritedly. Sobler keeps telling us that if she can adequately dramatize the meeting when the government opened the gate to alternative facts, she’ll have — what? As the show proceeds, Sobler deliberately reveals the weakness of her own project. At one point, forced by an actor (Craig Wesley Divino) to actually state the counterargument to her lefty position, she becomes suddenly persuasive.
Sobler is writing about the failure of good intentions, most compellingly her own. Whenever something goes wrong in a scene, she pops in from the side with her hand up to take the blame. The self-flagellation starts to affect the show’s structure, which keeps being interrupted by a repeated 2016 Thanksgiving dinner scene with Sobler’s quarreling, politically divided family. She would rather not see that awful Thanksgiving dinner again, but clearly the fight haunts her and thus the play. She admits to doing a bad job of imagining the commissioners’ discussions, which include facts they couldn’t possibly know and 21st-century retrospective reasoning. That failure she and director Aaron Rossini handle lightly, with cheesy ’80s needle-drops and behavioral exaggerations, abetted by a cast that gets up to velocity even with a tiny runway. Those 2016 scenes, though, ratchet tight that loose mood. The arguments are on a loop: The words don’t change, but as they repeat, the mood turns bitter, then violent.
The overall rhythm of the comedy sometimes falters — the recursive structure seems to travel the same ground too often; there are diversions (a discussion of equal opportunity employment) that distract rather than enrich. And, of course, there’s the fact that the play keeps persuading you of its own inability to find certainty or even a way forward. Still, is that really so bad? After a double bill of Hindsight and The Nosebleed, it’s increasingly difficult to see this mired-in-the-old-news quality as a flaw. In both plays, writer-performers demonstrate how to stretch out a hand to a father who will not ever understand, who is past hearing. Who cares if we don’t find the answers in the past? Isn’t it still worth looking backward? We have to learn somewhere how to reach out to things that aren’t capable of reaching back. That particular failure will be relevant, eventually, to us all.
Photo by Santiago Felipe
Don’t miss this glowing review of Hindsight in this week’s New Yorker magazine.
By Vinson Cunningham
How to write a political play? This show, presented by Fault Line Theatre, at the Paradise Factory, and written by Alix Sobler—who also stars, anxiously, as the Playwright—reveals just how fraught and difficult the job is, especially if you think politics depends on truth. The Playwright, laptop always in tow, frets through the composition of a play about the Fairness Doctrine, whose abolition, in 1987, may or may not have landed us in the hot epistemic water we’re wading through today. That “may or may not” is the uncertain axis on which Sobler brilliantly makes the audience swing. Those clichéd and much derided “both sides” multiply deviously. Under the direction of Aaron Rossini, a wonderfully versatile and antic ensemble—Andrea Abello, Craig Wesley Divino, Lynnette R. Freeman, Daniel Pearce, and Luis Vega—alternates roles impressively, playing the top brass of the F.C.C. as well as the Playwright’s news-poisoned family. See “Hindsight” to watch that pit in your stomach be turned into art.
Check out this incredible review fromTheater Scene!
By Darryl Reilly
The pop music classics of the 1980’s intermixed with audio clips of President Ronald Reagan telling jokes is an apt pre-show soundtrack to playwright Alix Sobler’s Hindsight. With Stoppardian flair, Ms. Sobler manages to make an exploration of the 1987 elimination of the U.S. Federal Communications Commission’s Fairness Doctrine into a cleverly informative non-linear 90-minute entertainment.
Wearing a plaid shirt, a masked woman enters and takes a seat at a desk. She eventually takes the mask off, “Should we start? We should probably start right?” She announces that she is the playwright, and she really is as this role is played by Sobler. She has a deadpan yet passionate presence as she engagingly interjects her observations during the presentation while occasionally interacting with the audience.
The backstory of the production is imparted. Sobler was commissioned by the Fault Line Theatre which “creates and produces socially relevant, character-driven plays for today’s audiences” to write a political work in time for the 2020 presidential election, but the production was delayed by the pandemic. She came across the 1987 case of the Fairness Doctrine and decided that was a suitable topic for dramatization.
For the sharply written play’s first 20 minutes we get cute and self-conscious “metatheatricality” as the difficulties of tackling such subject matter are stated. Then there’s representatives battling during Washington, D.C. office scenes, a contentious Thanksgiving family dinner where political issues are argued, and a dance sequence accompanied by a Whitney Houston song. These are often interrupted by Sobler proclaiming, “No, let’s go back…” It all ultimately coheres, concluding with a moving mini coup de theatre.
The dynamic ensemble of Andrea Abello, Craig Wesley Divino, Lynnette R. Freeman, Daniel Pearce, and Luis Vega all exhibit tremendous comedic and dramatic skills in their multiple roles wearing costume designer Dina El-Aziz’s smart everyday outfits.
Director Aaron Rossini’s energetic, brisk and precise staging is a great asset to the production as the cast rapidly moves through time and space on scenic designer Tristan Jeffers’ fine configuration of basic furniture. Cha See’s lighting design and Chad Raines’s sound design both add neat flourishes.
According to Wikipedia, the Fairness Doctrine:
…required broadcasters to devote some of their airtime to discussing controversial matters of public interest, and to air contrasting views regarding those matters. Stations were given wide latitude as to how to provide contrasting views: It could be done through news segments, public affairs shows, or editorials. The doctrine did not require equal time for opposing views but required that contrasting viewpoints be presented. The demise of this FCC rule has been considered by some to be a contributing factor for the rising level of party polarization in the United States.
The emergence of Rush Limbaugh, the rise of right-wing talk radio, the dominance of Fox News and the legality of tycoons buying multiple media outlets in the same region are soberly traced by Sobler to the 1987 vote by the five FCC commissioners to gut the Fairness Doctrine.
Hindsight is a highly theatrical rendered blend of facts, opinion and imaginative dramatic writing.
Photo by Santiago Felipe
Thank you to TheaterMania for the very kind words about Alix Sobler’s Hindsight.
By Zachary Stewart
Storytelling requires a certain amount of dishonestly. No story — certainly not a 90-minute play — can even fully convey the complexity of its subject, much less the vastness of the human experience. So sins of omission are committed, as are embellishments, rebranded as "poetic truth." Playwright Alix Sobler is acutely (and occasionally too cutely) aware of this in Hindsight, her metatheatrical romp through the deregulation of broadcast media, now making its world premiere at the Paradise Factory under the banner of Fault Line Theatre.
The play is ostensibly about the Reagan-era abolition of the Fairness Doctrine, the 1949 FCC rule that instructed holders of broadcast licenses to present controversial issues of public importance in a manner that is honest, equitable, and balanced. Looking back at this quaint attempt to mandate postwar media integrity from the perspective of 2021, we understand that those three adjectives can mean vastly different things to different people. Sobler is certain that when it comes to our present era of disinformation and discord, where even basic facts are the subject of vehement disagreement, all roads lead back to 1987 — when the FCC voted to scrap the rule, paving the way for hours of partisan talk radio and launching the national career of Rush Limbaugh.
We know because she tells us as much. "Hi, I'm the playwright," Sobler says at the top of the play to a woman in the front row. Sobler plays herself, or at least a version of herself called "The Playwright." She remains our constant companion throughout, interjecting asides and explainers, like Clippy in grad student drag (simple and effective costumes by Dina El-Aziz).
This metatheatrical conceit is at times helpful (when she explains who is playing whom), baffling (when she instructs the ensemble to tell the story of the 7-7-7 rule in the style of melodrama), and irritating (when she rings a bell every time one of her characters says something that is "true").
It is never dull, though, thanks to a zippy production directed by Aaron Rossini. Tristan Jeffers's open scenic design allows us to leap across time and place, with Chad Raines's evocative sound design filling in the gaps. All of these elements undergird excellent performances from a highly committed cast.
While they slip in and out of roles as needed, they primarily portray the folks in the room where it happened: There's 37-year-old FCC Chairman Dennis Patrick (Craig Wesley Divino, armed with a weaselly smile). He takes his orders straight from the Gipper, and he wants the Fairness Doctrine gone. He'll have to win over Commissioner James H. Quello (a passionate Daniel Pearce), who is worried about waning competition in the market. Commissioner Patricia Diaz (a no-nonsense Andrea Abello) thinks it is a free speech issue, and the government has no right to dictate content. Commissioner Mimi Weyforth Dawson (a very funny Lynnette R. Freeman) is inclined to agree, but she's still bitter about losing the chair to a younger man.
And then there's attorney Richard Bozzelli (Luis Vega, playing your favorite high school social studies teacher), who delivers a convincing presentation on how a broadcaster with a vested interest in creating controversy where there is none might use the Fairness Doctrine to present "both sides" of a settled debate. When one considers the reporting on climate change by media behemoths like News Corp. and Sinclair Broadcast Group, it's hard not to see his point.
Like a lower-stakes spin on Twelve Angry Men, they debate in the leadup to the fateful vote. But this scene is repeatedly overtaken by another: a boozy Thanksgiving sometime after the election of Donald Trump, where the playwright's family almost comes to blows over politics. The implication is clear: The decision taken in 1987 has had dire consequences for the state of political discourse in our republic.
Of course, the Fairness Doctrine only ever applied to broadcast radio and TV. It never regulated print media (itself the subject of corporate consolidation). Nor could it account for the way Americans increasingly see political affiliation as a marker of tribal identity, creating a market for both conservative blowhards like Rush Limbaugh and liberal scolds like Don Lemon. And how could a rule that was already obsolete in the late '80s, with the advent of cable, ever stop the tidal wave of bullshit that is the Internet?
To her credit, Sobler recognizes this, questioning her own certainty that the Fairness Doctrine was the Jenga piece that caused the whole tower of American civility to come tumbling down (if such a thing ever existed). Perhaps this is just a story good liberals tell themselves, a meme that explains away the cultural rift in one's own family in the few seconds it takes to flash by on one's news feed. The truth is a lot more complicated than that. But if more people were willing to probe their own seemingly unshakable beliefs, maybe we could start rebuilding that civility, block by block.
Alix Sobler, playwright of our upcoming production of Hindsight, was recently featured online by her alma mater, the Columbia School of the Arts.
By Angeline Dimambro
Alumna Alix Sobler ’17 will have her new play, Hindsight, premiere at the Paradise Factory later this month.
Fault Line Theatre will present the world premiere production of Sobler’s latest original play, with their very own founding Artistic Director Aaron Rossini directing. The mission of Fault Line Theatre is to create and produce socially relevant, character-driven plays for today’s audiences—striving both to challenge veteran theatergoers and welcome those new to the art form.
“In the theater, there has always been a grey area between what is fact and what is fiction,” reads the official show description. “As we've seen lately, grey areas can lead to confusion, disaster, and violence when it comes to the news and our politics. Where did it all begin? In Hindsight, an intrepid Playwright traces the problem back to 1987 and the abolishment of the Fairness Doctrine. But as she builds her case, the facts, historical characters, and her own memories refuse to cooperate. Is it possible to trace our problems as a nation back to one decision made in the ’80s? And if so, is a play really the right place to unpack this conversation? Like an episode of John Oliver crashing headfirst into a production of Our Town, Hindsight is a comedy that asks questions about how we communicate when we can't even get our facts straight.”
In addition to being the author of the play, Sobler will also star alongside Andrea Abello, Craig Wesley Divino, Lynnette R. Freeman, Daniel Pearce, and Luis Vega in the production. The show will have its world premiere performance on September 18, 2021. Ticket information for all upcoming performances can be found on Fault Line Theatre’s website.
Alix Sobler is a writer of theater, podcasts, television, and film based in New York City. Her plays have been read or produced at theaters around the world, including the The Alliance Theater (Atlanta, GA), Theater J (Washington D.C.), Theatre Lab at FAU (Boca Raton, FL), Roundabout Theatre Company (New York, NY), The Kennedy Center (Washington, D.C.), South Coast Repertory (Costa Mesa, CA), The Finborough Theatre (London, UK), Segal Centre (Montreal QC), Fiasco Theater Company (New York, NY), The Stratford Shakespeare Festival (Stratford, ON), Royal Manitoba Theatre Centre (Winnipeg, MB), Gulfshore Playhouse (Naples, FL), and others. Her plays have won and been finalists for multiple awards including the 2018 Alliance/Kendeda National Graduate Playwriting Competition, the Canadian Jewish Playwriting Competition, The Gulfshore Playhouse New Play Series, the Columbia@Roundabout New Play Contest, the National Playwrights Conference at the Eugene O’Neill Theater Center (finalist), the Henley Rose Playwriting Competition (finalist), and the Jane Chambers Award (runner-up), among others. She is currently developing new plays with Theatre J (Washington, DC), and Fault Line Theatre (New York), and she is writing the book for a new musical. She is a graduate of Brown University and received her MFA in playwriting from Columbia University, where she was honored to study with Associate Professor David Henry Hwang, Associate Professor Lynn Nottage, and Special Lecturer Charles L. Mee, among others. She is also passionate about teaching playwriting and theater to up-and-coming artists, hobbyists, children, and anyone interested in expressing themselves.
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