We’re Not Playing: a play by Barbara Blumenthal-Ehrlich

When Barbara sent me her short play, Sacred Space, I had to read it twice because the first time my eyes were too blurry to make out every word.  There is power in tradition.  There is power in grief.  There is power in words.  Barbara’s piece tackles something a lot of us wrestle with when tragedy strikes outside our own circles, yet leaves us with grief just the same – and she does it with grace.  This is a beautiful play, inspired by an ugly event, and I encourage you share in its strength.

Barbara on Sacred Space:

barbara-blumenthal-ehrlichWhen my father died last May, I was introduced to the world of Jewish rituals for the dead. First, as the soul can’t be alone until burial, someone called a “Shomere” sat with my dad 24/7, reciting psalms. Second, an ancient cleansing ritual, known as “Tahara” was performed. In this sacred prayerful ceremony, his body was washed and dressed in simple white garments, emphasizing the spiritual and sublime over the physical and material.

The morning of my dad’s funeral, I braced for full-on dread. Instead I was comforted by the care he received. At the cemetery, I made eye contact with the Shomere. With her long skirt and cloth bag of prayer books, she looked like she’d just stepped out of Fiddler on the Roof. She nodded but didn’t speak. So much dignity there. I haven’t been able to get her image out of my head.

After Orlando, there was another image I couldn’t get out of my head, something I’d seen on the news — a text thread between a victim and his mother, Eddie and Mina Justice. “In the club,” he wrote. “They’re shooting.” “I’m gonna die.” Her belated response came too late. As a mother myself, the pain of that missed connection was unbearable. I wanted Mina Justice to know the peace I knew, and Eddie Justice to have the dignity in death that my dad had. Of course neither of these things could ever be.

From there I conceived SACRED SPACE, a surreal piece in which the verbatim text conversation between Eddie and Mina Justice intrudes on the peace and quiet of the Tahara. Ultimately I hope the play addresses the escalating horrors of gun violence and the need to honor the sanctity of all lives.

More about Barbara:

Full lengths have been produced at Northern Light, Overtime, Trustus, Trinity Rep, the New York International Fringe Festival, the off-Broadway Summer Play Festival, and more. Her plays have been developed in NYC at Playwrights Horizons, Second Stage, ARACAworks, Stella Adler, and Rattlestick, and regionally at Actors Theatre of Louisville, Geva, Victory Gardens, Elephant Theatre, among others. She won the 2016 Beverly Hills Theatre Guild Julie Harris Award, the Capital Stage Playwrights Revolution, Six Women Playwrights Festival, and was a runner up in contests that include the Sundance Playwriting Lab, O’Neill Playwrights Conference, Bay Area Playwrights Festival, the Heideman Award and Princess Grace Fellowship. Her play STILL LIFE was named to the Kilroy List and was nominated for the Susan Smith Blackburn Award. Published by Smith & Kraus, Applause, and Indie Theatre Now. barbarablumenthalehrlich.com





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Curves Ahead is heading to Prescott Center for the Arts!

curves-ahead_pca_webLittle Black Dress INK and the Prescott Center for the Arts are partnering once again to produce the 5th annual Female Playwrights ONSTAGE Festival, Curves Ahead, Oct. 6-8 with shows at 7:30 p.m nightly and a 2 pm matinee on Oct. 8. Little Black Dress INK, a female playwright producing organization created by Prescott native Tiffany Antone, is bringing these 12 new short plays by female playwrights from across the country to the PCA for one weekend only!

The Curves Ahead festival is the fifth installment of the Female Playwrights ONSTAGE Project, with past festivals including last year’s Outside the Lines, along with Planting the Seed, From the Mouths of Babes, and Dirty Laundry.

The festival features plays written by playwrights from around the country, but Prescott remains an important part of LBDI’s ONSTAGE Project.

“Even though I’m working in Arkansas now, Prescott always will be ‘home,’” said Antone. “Not to mention the community of artists here is so supportive and welcoming.”

Prescott is well-represented in this year’s line-up, with plays by both Antone and local playwright Amber Bosworth in the festival. Not to mention, over 25 Quad-City area artists will work together to bring the plays to life through a partnership with the PCA. Directors include Don Langford, Frank Malle, Karen Murphy, Layla Tenney, Julie Chavez Harrington, and Mary Timpany.

In the past, each festival has included semi-finalist readings across the nation before the final staged performance in Prescott. This year’s festival featured readings of 41 plays in 6 different cities before the winning line up was selected.

“By partnering with artists in multiple US cities, we are able to bring these plays to more audiences than we would ever be able to do on our own,” notes Antone. “This year we were actually able to add an additional production with our partners, Acadiana Repertory Theatre, in Lafayette, LA.”

A reading of the 12 winning plays will also take place in New York City on October 26th at Standard ToyKraft in Williamsburg, Brooklyn.

Inspired by how few female playwrights actually get produced, Little Black Dress INK strives to create more production opportunities for female playwrights while also strengthening the female playwright network.

“Little Black Dress INK wants to bring new work by female playwrights to expanded audiences, and the ONSTAGE Project allows us to do just that,” said Antone.

And as for this year’s theme, Curves Ahead, Antone notes that, “being both a woman and a very visual playwright, I really liked the multiple meanings of ‘curves ahead.’ There were a few plays that took place in cars, which I expected, but there also were many writers that took the theme to really wild, surprising places.”

“The thing that’s most exciting about our ONSTAGE festivals is the broad range of genres on display,” said Antone. “Each play is under ten minutes, so you are able to experience an eclectic range of work. A lot of the plays this year are really funny. Even the plays exploring big issues are doing so with a lot of laughs, so there is poignancy there but we’re getting it with a healthy dose of the giggles. This year’s festival really has something for everyone!”

An added bonus to the fest is that there will be an opening night post-show reception at El Gato Azul, this year’s sponsor. Audiences will be able to mix and mingle with the cast and a few of this year’s playwrights while enjoying light snacks at the restaurant!

Be advised: Some plays do contain mature subject matter and language.

Get your tickets HERE

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We’re Not Playing: A play by Karli Shields

Not PlayingKarli Shields’ play The Fall of Autumn Summers was a finalist in this year’s ONSTAGE Fest: Curves Ahead.  I love this play.  It tickled me from the very start of this year’s competition – not only did it feel incredibly timely (we do have a reality star and fabulist not only running for President of the good ‘ol US-of-A, but actually standing a good chance of taking the vote…) but it was also just so much fun to read (and I imagine to act in!)  It was a very tough call not to include it in our final line-up, and I’ve kept it in mind ever since. 

Once I knew I was going to launch We’re Not Playing, I knew I had to get in touch with Karli to see if she’d be willing to let us share the play here – and talk about how much we love it.  I am so happy she said “Yes!”, and I’d like to share what Karli said about her inspiration for the play:

Karli SheildsThe character of Autumn came to me before any talk of giant walls or banning an entire religion, so it is funny how perfectly she fits into the 2016 election cycle–funny how easily a person with zero political experience can assume power on the basis of empty, futile, and unrealistic promises to constituents. Of course, the ramifications of Autumn’s presidency are not quite as extreme, but her promise to make Andrew Jackson High School great again unsurprisingly fell short.

Although 2016 has made it difficult to believe at times, I wholeheartedly believe that democracy in America works… when we make it work. To protest by not voting–or even, in this particular election cycle, by voting third party–is a vote for an America that no one can–or, quite frankly, should–deliver. America’s political system should be a world standard, not a joke, and it is up to us to make sure our democracy stays in tact and respected throughout the world.

More about this fabulous playwright:

Karli Shields graduated this spring with a BA in Creative Writing from Knox College in Galesburg, IL. She is currently interning for Disney in Anaheim, CA, and hopes to go on to write for television and be able to afford both LA rent and a vegetable once or twice a week.

Learn more about We’re Not Playing here.


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We’re Not Playing: a play by Jen Huszcza

Not PlayingOne of the things I love most about Jen Huszcza is her ability to write so succinctly, and so vibrantly.  Every year Jen sends me a trio of plays written on the festival’s theme, and every year they are uniquely powerful.  Jen’s worlds feel like they’re birthed at an intersection where Sam Shephard collided with a dystopian Sarah Ruhl.

When I floated our new initiative to Jen, she wrote back “I have an image. I’m working on the words to go with it.” I knew whatever she sent would be compelling, and I wasn’t disappointed.  Once again, she’s delivered an almost out-of-body story in such a way as to leave my heart pounding with the story’s implications.  I invite you to experience her words below.

Jen on On a Wire in the Air:

Jen2“I was originally going to call it Social Media, but that title sounded too obvious and pretentious. Then one night, I saw an interview with Glen Hansard on the television, and he talked about his mother singing Leonard Cohen’s “Bird on a Wire” to him as a boy. That’s one of my favorite songs too. Like a bird on a wire, like a drunk in an old midnight choir, I have tried in my way to be free. I thought of Glen Hansard accepting the Oscar for Once and saying Make art, make art, make art. And I thought of a wire, not a wire in a wall, a wire in the air.”

Learn more about We’re Not Playing here.



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We’re Not Playing: Two Plays by Jaisey Bates

Not PlayingJaisey Bates is a beautiful writer, and her words (even in correspondence) feel as though they are floating on the page. 

That’s saying something in a time where many, many people have allowed their language to become crudely shaped weapons, hurtled carelessly at ‘opponents’, without a care as to how destructive such puss-filled vitriol clogging our air truly is.

So instead, I share with you a writer whose language is offered with a hope for healing.  And I encourage you to visit the-peoplehood.com to learn more about Jaisey and her inspiring theatre collective.

Jaisey BatesJaisey on Before the ‘Worst Shooting Ever’ They Were Dancing & I Had a Dream But Now I’m Woke

“Why these words.

This summer’s waking horror dreams led to the following gathering of words as one playwright’s quest to find a way to encourage mutual healing and hope and contribute toward our working together.  That we may build with our words together a shelter from such storms.  That we may write together a new story worthy of our children and our children’s children.  That we may learn in the precious few moments we are gifted to walk together in beauty this beloved ground.

Why these words in this way.

Each of us is composed of many voices, inside, outside.  We read our world and each other through the ever-changing, ever-evolving synapses and interstitial spaces of all these voices.  So nontraditionally multicasting words and voices is a way this writer tries to bring into play variable perspectives and the resultant textures, dimensions, tensions and interplay dialogue of differences that write who we are and our world.

Join the journey.”

summer storms, 2016

Learn more about We’re Not Playing here.








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I’m supposed to be at ATHE – OR – Inside the mind of a female theatre artist who is also a new mom…

IMG_4263When Charissa Menefee (Our ONSTAGE Partner Producer in Ames) invited me to speak on a panel at this year’s ATHE conference, I was like “Hell yeah!” Not only do I fervently believe in our mission at LBDI and love talking about what we do here, but I could not wait to hang with all the other awesome female theatre artists that would be speaking on the same panel, as well as the other awesome theatre artists and educators that would be assembled at ATHE.  So what if I was pregnant?  I’d be able to pack up that baby like a super mom and make all kinds of magic happen, right?

Then I had the baby, and everything I “thought” I would be able to do kind of changed.

At first it was just, “Oh, haha, how am I supposed to organize this festival and teach my class, much less travel anywhere, now that I have a miniature human needing me every second?”


Turns out, being a woman and becoming a parent – at least if you’re breastfeeding (which, heaven help us, everyone under the sun seems to think is the ONLY way to nourish a baby) – means giving up a lot more than a man who becomes a parent.  And this, I think, is relevant because I was supposed to be on a panel of female theatre artists, and becoming a mom is a huge transformation for some of us female artists.

ATHE turned out to be one of those things this new mom has had to “give up” this year.

But it didn’t go down without a fight.

I had initially thought “I can still do it!  I just need my husband to come with me.  We’ll pack up the baby, drive to Chicago, maybe swing by Nashville on the way… It will be a fun family trip with a great theatre stop at the finish line!  Nooooo problem!”

I had managed to bring our ONSTAGE Fest to fruition despite feeling like a crazy person, after all!  And I taught my class with only two weeks off (no thanks to the lack of paid maternity leave) without going off the rails.  And I co-taught a movie workshop with my crazy husband, baby in tow (with the help of an absolutely incredible mother in law).

And I was still breathing… so why not ATHE too?

But we drove home to AZ (from TX) for the summer and for three days I tried not to lose my mind as we endeavored to drive more than 100 miles without having to stop three times to change the baby’s diaper, feed the baby, or just let the baby out of his apparently hellaciously miserable (but totally cush) car seat so he could collect himself…

Still, I kept my eyes trained on ATHE, because surely – at 6 months old – Little Man would be able to travel with us!  We’d just change the plan to “We’ll fly up to Chicago, because (as we learned) car trips with an infant are THE worst!”

But flying upped the cost by a considerable amount…  Did I mention my husband just finished grad school and that I didn’t get to teach a full adjunct load in the Spring, and that being adjunct means no paid maternity leave?

So then I thought, “Train!  We can take the Amtrak!  It will be fun!”  And Amtrak was a considerably less expensive option, but it would have taken 13 hours to get there.

Thirteen.  Hours.

With an infant.

Which is maybe fine if you’re in a sleeper car and it’s at night… but the trip is only a night ride on the way up there.  It’s a day time haul on the way back.


So I though, “I’ll just go by myself.  I can fly up in the am, maybe fly back at night… That’s not crazy right?  Two and half hour drive to the airport, two and half hour flight, then transport to the hotel, then the conference itself (well, part of it), then the reverse travel/flight/drive back… Ummm, that sounds freaking miserable!  What if I fly up in the afternoon, spend the night and then fly back in the am the next day?”

And every way I looked at it, I’d be away from the baby for just long enough to make him and my very patient husband go crazy, because this baby cannot be away from my boobs for longer than a few hours without having a total meltdown, much less an entire 24 -36 hours.  Not to mention the fact that I’d be charging a hefty expense on what would amount to only a few short hours mingling and speaking and barely-soaking up the awesomenes of ATHE.

I am a female theatre artist.  I am also a new mom.  These two things are not mutually exclusive.  And sometimes, they will work against one another.  This is one of those times.

So, that’s the long story about why I won’t be able to bring Little Black Dress INK to ATHE this year, but I am excited for the panel that Charissa put together, and I’m excited to share LBDI with ATHE in the future!

If you’re here because you saw my name on the panel and wanted to know more about LBDI and our ONSTAGE Project, please look around the site and check out our other programs – the ONSTAGE: ON-AIR podcast as well as our newly announced We’re Not Playing initiative are almost as exciting as our ONSTAGE Festival!

And if you’re here because you’re already a LBDI friend, welcome to just another little peak into the mind of the wacky woman who started it all ;-P






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Announcing: We’re Not Playing!

We're Not Playing announce

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ONSTAGE Playwrights 2016: Meet Rhea MacCallum

Rhea is a fabulous Los Angeles playwright who sent us such a kick-ass piece that I kind of can’t handle it.  The thing is, the play is so freakin’ timely that it hurts.  Asking For It focuses on a woman who, after being the victim of a hit and run, tries like hell to report the crime only to be faced with a litany of victim blaming/shaming nonsense from the less-than-impressed (and seriously nu-empathetic) officer who shows up.  It’s a comedy, but it chews at your sense of indignation in all the right ways.

We hope you enjoy getting to know a little more about Rhea and her work!

 What is the title of your play?
Asking For It

Why did you decide to submit your work to the ONSTAGE Project?
The ONSTAGE Project is unique in that there is a peer review process, meaning every playwright submitting to the project agrees to read blind copies of a selection of plays. I thoroughly enjoy discovering new voices and finding out how other playwrights choose to address the selected theme. One of the plays I reviewed this year and loved was Model Behavior, which has also advanced to production. Seeing it among the winners was exciting because having read it, I was already a fan.

Describe your writing space…
If the weather is agreeable, I like to write by hand in my sunroom. It’s quiet, green, void of distractions and I love the natural light. I also have a habit of writing in bed.

If you could have lunch with any playwright alive or dead, who would it be and what would you have for lunch?
What a great question! Makes me think of so many wonderful playwrights, but if I have to single one out, I’d love the chance to chat with Mae West. She was such a pioneering badass, writing her own rules and one-liners, and she was a smart, savvy business woman. We’d dine on crab legs and fresh fruit.

Why do you write for theatre? (as opposed to other written mediums…)
I do write in other formats, but what keeps me coming back to theater is that it offers a communal experience and requires the engagement of the imagination.

Who is your favorite fictional character of all time and why?
Gordie Lachance and Chris Chambers (they are just too intertwined in my mind to only name one) from Stephen King’s novella The Body, better known cinematically as Stand By Me. I read Different Seasons (which includes The Body and the stories for which The Shawshank Redemption and Apt Pupil were based) right before seeing the movie, which starred actors about my age. I identified with the relationship between Gordie and Chris.

Do you have any upcoming productions elsewhere that our readers should know about?
We Work Out premieres in TCT’s Playwright’s Festival at the Beekay Theatre in Tehachapi, CA. Show dates are July 8th – July 17th. Tickets can be purchased at:
Mowing Down the Junipers premieres in City Theatre of Independence Playwrights Festival. The festival runs July 28th-31st in Independence, MO.
Ashes to Ashes premieres with Onion Man Productions’ August – Summer Harvest 2016, The Lakeside Plays, August 11th to 28th in Norcross, GA. For more information:

Please share the synopsis for a full-length of yours that our readers should know about!
Direct Rescue is about a mentally unstable woman who joins an activist group seeking solace and understanding, but devolves into domestic terrorism.

More about Rhea:

Rhea MacCallum is an award-winning playwright, screenwriter and script consultant, whose plays have been produced across the United States and six continents.  She was honored to participate in the Lincoln Center Directors Lab and was named a finalist by the Actors Theatre of Louisville for the Heideman Award for her play, YESTERDAY ONCE MORE.  Her work has been published by Smith & Kraus, Heuer Publishing, Original Works Publishing, JAC Publishing and themonologueshop.com.  She is a member of the Dramatists Guild, ICWP and ALAP.  Rhea earned her BA from USC and her MFA from the Actors Studio Drama School, New School University.

Website: rheamaccallum.com
Twitter: @rheaplaywright

Don’t miss Rhea’s play, July 14-16, at Acadiana Repertory Theatre’s production of this year’s ONSTAGE Festival: Curves Ahead.

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ONSTAGE Playwrights 2016: Meet Tiffany Antone

It’s weird to write about oneself in a promotional sense – but as a playwright, it’s a good skill to develop.  Unfotunately, I can’t say I’ve gotten very good at it – I have a hard time talking about my work with the same enthusiasm I can apply to others’.  But I am very excited to have a play in this year’s fest, and I can’t wait to see it in performance.

So with that, let me answer some questions:

Antone headshotWhat is the title of your play?
The Egg

Why did you decide to submit your work to the ONSTAGE Project?
Strangely, this is really an important question because – as the producer – it would be really easy for me to slide my work in, but I don’t do that.  The peer review process vets my work the same as everyone else’s, and if I submit something that gets stinky reviews, I don’t advance it.  It’s a really healthy ego check, and a great way to prevent the fest from becoming a vanity project for me.  I was really happy when The Egg received high scores at the peer review level, and nominated by our partner producers at Acadiana.

Describe your writing space…
Ugh, it’s pretty much anywhere and everywhere these days.  Our apartment is overrun with baby stuff, and I never know when I’m going to get a spare moment to write.  More often than not, I’ve been using my spare moments to sleep, eat, or wash my face… but as the tot gets closer to toddling, I’m finding I have a little more time to catch up on sleep, face-washing, and even writing.  So basically my writing space is anywhere I can balance my laptop and a sandwhich on my lap at the same time.

If you could have lunch with any playwright alive or dead, who would it be and what would you have for lunch?
I’d really like to have lunch with Sarah Ruhl, and without knowing if she’s a fan of sweets or not, I’d suggest we go to one of those chocolate cafes for a really decadent lunch.  There is just something so delicious about her writing that I feel to be in her company for an afternoon would require a similarly delicious ambiance.

Why do you write for theatre?
I actually really enjoy screenwriting, and have a few film projects in the creative crock-pot, but I’m not a fan of the Hollywood hustle. SO, I continue to labor in theatre because it is my first love and because it feels so much more actionable and achievable than screenwriting does.  On the other hand, that doesn’t stop me from writing for screen, and – as a struggling playwright – I’d be totally down if one day Hollywood takes notice.

Who is your favorite fictional character of all time and why?
Ugh, I hate “pick your favorite” questions (and I wrote this one).  I’ll say Dwight Schrute from The Office.  Everyone on that show was AMAZING, but Dwight always got me laughing.  My husband and I play this game where we try to decide which television show would be the best to live in, and The Office is always on our list.  Not because we crave a career in paper sales, but because the characters are so damn enjoyable.

Do you have any upcoming productions elsewhere that our readers should know about?
I don’t, but hopefully that will change soon!

Please share the synopsis for a full-length of yours that our readers should know about!

The Low Tide Gang, Full Length –  4 M, 1 W, and 1 Chicken

Four odd gentleman, one sandy room, two shovels, a curious board game, and a couple of unexpected guests make this absurdist play quite an unusual ride. The Low Tide Gang is a delightfully unique romp examining the contradictions that crop up when nothing at all changes the way you think it should.  *Brand New Work*

More about Tiffany:

Tiffany Antone is a playwright, producer, and director, whose plays have been read and/or performed in Los Angeles, New York, D.C., Lafayette, and Minneapolis: Cricket Woman Mother Earth (or) A Nasty Comeuppance was a 2011 O’Neil finalist. Ana and the Closet and Twigs and Bone were both Jerome Finalists and O’Neil semi-finalists for 2009 & 2010. In the Company of Jane Doe was produced in NY this spring with CAKE Productions. Her play, The Good Book, is available through Samuel French.  Tiffany holds her MFA in Playwriting from UCLA, lives/teaches in Texas, and blogs for the Los Angeles Female Playwrights Initiative.  She is the co-founder of The@trics Theatre, and runs Little Black Dress INK.  You can read more about Tiffany at www.TiffanyAntone.com.

Don’t miss Tiffany’s play, July 14-16, at Acadiana Repertory Theatre’s production of this year’s ONSTAGE Festival: Curves Ahead.

Curves Ahead -ART

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ONSTAGE Playwrights 2016: Meet Nancy Cooper Frank

I had the great pleasure of meeting Nancy at the Great Plains Theatre Conference 2 years ago, and let me tell you, if you’re a playwright and you’ve never submitted your work to GPTC, you need to pull a 180 and send them a play! Not only is the conference a total blast, but the playwright mingling makes you feel all warm and fuzzy and connected.  Right away I knew I needed to get to know more about Nancy, because her absurdist play, Daniil Kharms: A Life in One Act and Several Dozen Eggs, was just soooooo fantastic.  Imagine then what a thrill it has been then to see her work make our final cut two years in a row!

I highly recommend you take a moment to get to know a little more about this adventurous playwright and her highly imaginative worlds!

Nancy Cooper FrankTitle of Play: 
In the Loop

Why did you decide to submit your work to the ONSTAGE Project? 
I did it last year and it was fun and inspiring.
Describe your writing space:
Sporadically spotless and organized, generally a holy mess.
If you could have lunch with any playwright alive or dead, who would it be and what would you have for lunch?
I travel back in time to meet Olympe de Gouges. (She is most known for her Declaration of the Rights of Woman and the Female Citizen, but, before the French revolution started, she also wrote an anti-slavery play.) I bring baguettes, paté, chocolate, a little Champagne. I schedule the lunch in a secret hideaway so that she escapes arrest and the guillotine.

Why do you write for theatre?
Because of collaborators: actors, directors, designers, tech folks, stage managers… But above all, actors.

Who is your favorite fictional character of all time and why?
Meg in a Wrinkle in Time. One tough kid.

Do you have any upcoming productions elsewhere that our readers should know about?
At the 2016 San Francisco Fringe Festival in Sept., the show “Abracadabra” will feature my 10-minute “The Suitcase.”

Please share the synopsis for a full-length of yours that our readers should know about!
The Trouble with Catherine
Loosely based on the memoirs and letters of Catherine the Great and the younger friend who helped her gain power, “The Trouble with Catherine” traces the life and death of a friendship between formidable women. The Princess Catherine Dashkova joins the conspiracy to dethrone the future Empress’s universally hated husband. Side by side, on horseback and in military uniform, the two women lead troops in a palace coup. Triumph is followed by disappointment when the friends clash over court politics and Dashkova’s role. Eventually, Dashkova wins a post worthy of her talents and intellect, as the director of the Imperial Academy of Sciences (a first for a woman in any country). But Dashkova’s loyalty to her powerful friend will be severely tested when it clashes with her broader sense of duty.
Fun fact: both Catherine the Great and Catherine Dashkova found the time to write plays!

More about Nancy:

Nancy Cooper Frank.  Nancy’s The Trouble with Catherine is a full-length play on the bumpy friendship between Catherine the Great and her friend Catherine Dashkova, who helped her seize the throne (written as part of the 365 Women a Year project). Other credits include: Anna and the Blackbird (The Blank Theatre’s Living Room Series, 2015); Dramaphobia (SF Fringe 2015); The Plumber (in 2014 San Francisco Best-of-Fringe winning show); Daniiel KharmsA Life in One Act and Several Dozen Eggs (Great Plains Theatre Conference PlayLab). Nancy’s The Announcement made the final line-up in the 2015  Onstage Female Playwrights Project. More at www.nancycooperfrank.com

You can follow Nancy on Twitter @NCooperF

Don’t miss Nancy’s play, July 14-16, at Acadiana Repertory Theatre’s production of this year’s ONSTAGE Festival: Curves Ahead.

Curves Ahead -ART

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