Guest Artists: Fall 2020

Check out the local and national artistic leaders who joined us in November 2020 for the first Field Work convening.

Artists are listed in the order of their Field Work sessions except for the Case Study artists, who are grouped together at the end.

Viviana Vargas

Thurs Nov 12 — Self Care = Self Love

Viviana Vargas, “Yura Sapi” (they/them), is an artist, activist, arts manager, educator, facilitator, and entrepreneur. After finishing two degrees in the performing arts and spending time in the “diversity and inclusion” field of the U.S. American Theatre, Viviana founded Advancing Arts Forward, a movement to advance equity, inclusion, and justice through the arts by creating liberated spaces that uplift, heal, and encourage us to explore our vast potential to change the world. Advancing Arts Forward hosts and consults for in person and online workshops, university classes, gatherings, discussions, and resource sharings across the country and worldwide. Viviana is also the founder of Balistikal, a healing and arts space that centers LGBTIQ+ community in Latin America. Yura Sapi actively considers their role in the fight for liberation beyond the U.S. borders thinking specifically about anti-racism, decolonization, and collective liberation. They are also a member of the Latinx Theatre Commons steering committee and are co-championing a 2023 summit on celebrating Blackness and combating colorism within the Latinx community. Viviana is currently developing restorative/transformative justice based processes to repair relations affected by racism and white supremacy with various arts & activist initiatives and collectives.

Diana Oh

Friday Nov 13 — Keynote Speaker

Diana Oh (they/she) is a Truth Teller and Truth Seeker in all forms of the Art. Oh is the creator and performer of {my lingerie play} with national underground installations and concert staged in an effort to provide a safer, more courageous world for women, queer, trans, and non-binary humans to live in, Clairvoyance (her year-long installation, concert series, and tree planting in Harvard Yard, the Boston Public Library, Institute of Contemporary Art, Harvard Arboretum and A.R.T), The Infinite Love Party: an intentional barefoot potluck dinner, dance party, and sleepover for QTPOC and their allies (Bushwick Starr), Asian People Are Not Magicians ( and My H8 Letter 2 The Gr8 American Theatre (The Public Theater). TV/Film: Queering, How To Be Single (with Dakota Johnson), New York is Dead (Tribeca Film Fest with Ana Gasteyer), Hey Yun (feat. on Janet Mock), Unicornland (feat. Medium). As a Refinery29 top LGBTQ influencer, the first queer Korean-American interviewed on Korean broadcast radio, a Tow Fellow (Rattlestick Playwrights Theatre), Van Lier Fellow in Acting (Asian American Arts Alliance) Venturous Capital Fellow, Sundance Institute Fellow, writer with the Public Theater’s mobile unit and EWG, Oh tours with their art in unexpected spaces and enjoys not fitting into boxes. The New York Times calls Oh “Irreverent,” you can call her “friend.”

Kara Elliott-Ortega

Chief of Arts and Culture, City of Boston
Friday Nov 13 — The Artists’ Civic Practice

Kara Elliott-Ortega is an urban planner in the arts focusing on the role of arts and creativity in the built environment and community development. Prior to becoming the Chief of Arts and Culture, she served as the Director of Policy and Planning for the Mayor’s Office of Arts and Culture. Kara’s work to implement Boston Creates, Boston’s 10-year cultural plan, includes creating new resources for local artists, developing a public art program, and supporting the development of cultural facilities. Originally from Providence, Rhode Island, Kara received her bachelor’s from the University of Chicago and her Master in City Planning from MIT. Prior to the City of Boston, she worked with MIT’s Community Innovators Lab in a community ownership plan for Project Row Houses in Houston, and served as the Media and Communications Editor for the Society of Architectural Historians. Some of her past research includes an analysis of the local impact of artists and art production in Detroit following the 2008 recession, and the role of urban designers in complex problem solving in the Rebuild by Design Hurricane Sandy Design Competition. A resident of Roxbury with an affinity for music, Kara spends much of her free time attending local shows, reading, and drawing.

Pascale Danice Florestal

Friday Nov 13 — The Artists’ Civic Practice

Pascale Florestal is a Director, Educator, Writer and Collaborator based in Boston, MA. Her recent directing credits include; Back the Night by Melinda Lopez at Boston College, We Are Proud To Present… by Jackie Sibblies Drury at Brandeis University, Marie & Rosetta by George Brant at Greater Boston Stage Company, Code Listen by Shaw Pong Liu at The Millennium Stage of The John F. Kennedy Performing Arts Center, Shrek the Musical! (Greater Boston Stage Company), and An Education in Prudence (Open Theatre Project). Pascale is a lover of new play development working as the Boston Project Coordinator with SpeakEasy Stage 2018-2019. She has also directed several staged readings of new plays by Michael Hisamoto, Marcus Gardley, Obehi Janice, Phaedra Michelle Scott, Greg Lam and others. As an Assistant to the Director she has worked with Kimberly Senior, Liesl Tommy, Billy Porter, Paul Daigneault and M. Bevin O’Gara. Pascale is also a dramaturg, recently working on Pass Over by Aniontte Nwandu with SpeakEasy Stage co-produced with The Front Porch Arts Collective. She also serves as the Education Director for Front Porch Arts Collective where she created the Summer Reading Series and The Young Critics Program. Her ten minute play Blended premiered at the Open Theater Project Slam December 2019. She currently works as the Massachusetts Municipal Arts Response Coordinator with the Barr Foundation and Mayor’s Office of Arts and Culture with the City of Boston. She is an Assistant Professor of Theater at Boston Conservatory where she teaches Devised Theatre.

Rehana Lew Mirza

Saturday Nov 14 — Open Write

Rehana Lew Mirza’s plays include: Hatefuck (Colt Coeur/WP; upcoming at Round House Theatre); A People’s Guide To History in the Time of Here and Now (Primary Stages Virginia B. Toulmin Foundation’s Women Playwrights Commission; AADA workshop production); Soldier X (Ma-Yi; Brooklyn College; NYSCA/Lark commission); Tomorrow, Inshallah (Living Room Theater, Kansas City; Storyworks/HuffPost commission); Neighborhood Watch (NNPN/InterAct commission) and Barriers (Desipina, Asian American Theater Company). With her husband Mike Lew, she was awarded the 2020 Kleban for most promising librettist. They also share a Mellon Foundation National Playwright residency administered in partnership with Howlround at Ma-Yi Theater, as well as a commission at La Jolla Playhouse for The Colonialism Project after previously being their 2018 artists-in-residence. They’ve co-written the book, in partnership with Sam Willmott, to the musical Bhangin’ It (2019 Richard Rodgers Award; upcoming productions at La Jolla Playhouse and McCarter Theater). She founded the award-winning South Asian theater and film company, Desipina & Co, alongside her sister Rohi Mirza Pandya in 2001, where together they produced the popular Seven.11 series (seven, 11-minute plays all set in a convenience store.) Her short film Modern Day Arranged Marriage won the NBC ShortCuts audience award, and screened at “Just for Laughs” in Montreal before being acquired by LOGO/MTV. Her feature film, Hiding Divya, had a limited North American release and toured to colleges through a grant from the Asian Women’s Giving Circle. MFA: Columbia University; BFA: NYU Tisch. 

Mike Lew

Saturday Nov 14 — Open Write

Mike Lew’s plays include Teenage Dick (Donmar Warehouse, Wooly Mammoth, Ma-Yi at the Public, and Artists Rep productions; Public Studio, O’Neill, OSF workshops), Tiger Style! (Olney, Huntington, La Jolla Playhouse, and Alliance productions; O’Neill and CTG workshops), Bike America (Ma-Yi and Alliance productions), Microsis (Ma-Yi, InterAct, and Next Act productions), Moustache Guys, and the book to the musical Bhangin’ It (Richard Rodgers Award; La Jolla Playhouse, Jerome Robbins Project Springboard and Rhinebeck Writers Retreat “Triple R” workshops).  He is a Tony voter, Dramatists Guild Council member, and resident of New Dramatists. He is a Mellon Foundation Playwright in Residence at Ma-Yi and former La Jolla Playhouse Artist-in-Residence (both with Rehana Lew Mirza). Honors include Lark Venturous and NYFA fellowships and the Kleban, PEN Emerging Playwright, Lanford Wilson, Helen Merrill, Heideman, and Kendeda awards. He is former co-director of Ma-Yi Writers Lab, the largest collective of Asian-American playwrights in the country. He is married to fellow playwright Rehana Lew Mirza, who he met in Ma-Yi Lab. Training: Juilliard (2013), Yale (2003).

Shanaé Burch

Sunday Nov 15 — Story Circle Workshop

Shanaé Burch is a theatre-maker pursuing a doctorate in public health education at Teachers College, Columbia University. She previously attended Emerson College and Harvard Graduate School of Education where she received her B.F.A in Acting and Ed.M in Arts in Education respectively. Shanaé proudly joined Actors Equity Association in January 2016. Her regional credits include Lyric Stage Company: The Treasurer (Female Actor), Bridge Rep: Mrs. Packard (Mrs.Tenney), Central Square Theatre: Journey to the West (Pig/Mrs.Gao), and Huntington Theatre Company: Milk Like Sugar (Keera) as well as performances with African American Policy Forum, Israeli Stage, Bad Habit Productions, Fresh Ink Theatre, and Hibernian Hall. She believes in the power of storytelling to revive health and reconcile hearts, so she’s working to leverage arts and culture for wellbeing. She’s run 3 of the 6 World Major Marathons, and hopes to run in Tokyo, London, and Berlin one day.

Madeline Sayet

Pre-Recorded Session — Story as Cultural Crisis Response

Raised on traditional Mohegan stories and Shakespeare, Madeline Sayet is a director whose work is shaped by the idea of Story Medicine – the belief that every story we put into this world has the power to do real world harm or healing. What story do you wish you had heard growing up? How can theatre be used to transcend the world we are in and build a better future? For her work as a stage director of new plays, classics, and opera – Madeline has been named a Forbes 30 Under 30 in Hollywood & Entertainment, a TED Fellow, a MIT Media Lab Directors Fellow, NCAIED Native American 40 Under 40, a recipient of The White House Champion Of Change Award from President Obama, the National Directors  Fellowship, and a National Arts Strategies’ Creative Community Fellow. Madeline is the Executive Director of the Yale Indigenous Performing Arts Program (YIPAP) and a member of Long Wharf Theatre’s artistic ensemble. Her directing work has been praised by the Wall Street Journal as “enchanting,” and the New York Times admired the “transparent and almost weightless” fluidity of the worlds she builds. Her work promoting Native voices onstage has been featured in National Geographic, Good Magazine, and Mental Floss.  Her solo performance piece Where We Belong recently premiered at Shakespeare’s Globe and RichMix in London. In addition to her work as an artist, she is widely sought after as a public speaker and educator, having spoken at the TED conference, Yale, the MIT Media Lab, NYU, SHPO, The International Festival of Arts and Ideas, etc.

Claudia Alick

Pre-Recorded Session — Story as Cultural Crisis Response

Claudia Alick is performer, producer, and inclusion expert. Named by American Theatre Magazine as one of 25 theater artists who will shape American Theatre in the next 25 years, Alick has served as the founding Artistic Director of Smokin’ Word Productions, is a NY Neofuturist alum, published playwright, recipient of NYC Fresh Fruit directing award, TedxFargo
speaker, the Lilla Jewel Award for Women Artists, featured on HBO’s Def Poetry Jam and former Community Producer at the Oregon Shakespeare Festival. At OSF for ten years she produced events such as “The Green Show”, The Daedalus Project, OSF Open Mics as well as producing/directing audio-plays with OSF such as the Grammy nominated “Hamlet.” Her personal projects include her podcast “Hold On…Wait for it,” vlog “This Week in Cultural Appropriation,” StreetPoetry, and one-person Show “Fill in the Blank” exploring disability and the medical industry. Claudia served on Oregon Arts Leaders in Inclusion, the steering committee of The Ghostlight Project, the steering committee for Black Theater Commons.  She is currently managing content with The Crew Revolution black female leadership, serves as Co-
president of the board of Network of Ensemble Theater, and the board of NW Arts Streaming Hub, collaborates with the Unsettling Dramaturgy (crip and indigenous international digital colloquium) and is on the advisory councils for the National Disability Theater and Howlround. Claudia Alick serves as founding executive producer of the transmedia social justice company CALLING UP whose projects include Producing in Pandemic, The Every 28 Hours Play, We Charge Genocide TV, The Justice Producers Collaborative, The Justice Quilt, Co-artistic direction of The BUILD Convening, Digital Design of The Festival of Masks, in addition to consulting and advising funders and companies around the country. She is producing performances of justice on stage, online, and in real life.

Tim Hall

Monday Nov 16 — Writing Towards Resiliency

Tim Hall is an Assistant Professor in the Professional Music Department at Berkelee College of Music. He is an educator, saxophonist, spoken word artist, and creative entrepreneur with 15+ years of professional music and performance experience. Hailing from Detroit, MI Tim Hall uses poetry as a form of creative expression to draw inspiration from charting the nuances of blackness, masculinity, and the beauties of life. As a musician, Hall has shared stages with world-renowned recording artists such as The Nappy Roots, Carolyn Malachi, Bilal, Chris Turner, and Aloe Blacc. With a Masters of Education from Iowa State University in Higher Education & Student Affairs with a focus in classroom teaching his experience is rooted in multicultural affairs, diversity & equity, fraternity & sorority life, residential education, business & leadership development, and career services. As a creative entrepreneur Tim Hall has helped in the scaling of organizations such as music/entertainment companies, social entrepreneurship initiatives, and education technology startups. He is the co-owner of HipStory — a digital media production company dedicated to creating and showcasing the work of marginalized identities within media. Additionally he works with the Boston Art, Music and Soul Festival as artist relations manager and event coordinator uplifting the voices of artists and businesses of color. He was nominated for “Session Musician of the Year” by the Boston Music Awards (2018 & 2019), honored by WBUR’s Artery 25 as 1 of 25 millennials of color impacting Arts and Culture in Boston, and a Greater Boston Arts & Business Council 2020 Creative Entrepreneur Fellow. Ultimately, his work in this world is that of a Resilience Builder — someone who enhances the environment around them, and thrives in the supportive role. Collaboration can be found at the root of creativity, and he gives of himself for those who need his work the most.

Idris Goodwin

Pre-Recorded Session — Surge Lab Writers

Idris Goodwin is a multidisciplinary arts leader and creative community builder with a multi-faceted career as an award-winning writer for stage and screen, Break Beat poet, director, educator, and organizer. He is the new Director of The Colorado Springs Fine Arts Center at Colorado College. The author of Free Plays: open source scripts for an antiracist tomorrow, Goodwin is committed to using the arts to spark meaningful conversation. His critically acclaimed plays like And In This Corner Cassius Clay, How We Got On, and Hype Man: A Break Beat Play are widely produced across the country. He’s been honored to receive developmental support from institutions like The Kennedy Center, The Eugene O’Neill Conference, Oregon Shakespeare Festival, Actors Theatre of Louisville, Arena Stage, and The Playwrights’ Center. In addition to the recently released poetry collection Can I Kick It?, he’s had several publications from Haymarket Books including Inauguration, co-written with nico wilkinson, Human Highlight: Ode To Dominique Wilkins, and the play This Is Modern Art co-written with Kevin Coval. He’s appeared on HBO Def Poetry, Sesame Street, NPR, BBC Radio, and the Discovery Channel. For six years, Idris taught in the department of Theatre and Dance at Colorado College and was voted Teacher of the Year in 2015. Most recently, Idris served two seasons as Producing Artistic Director at StageOne Family Theatre in Louisville, Kentucky. Passionate about cultivating new audiences in the arts, Goodwin actively serves on both the advisory boards of Theatre for Young Audiences USA and Children’s Theatre Foundation Association, as well as New Mexico’s 516Arts.

Francisca da Silveira

Pre-Recorded Session — Surge Lab Writers

Francisca is a Cape Verdean-American playwright and Boston native who holds a BFA in Dramatic Writing from New York University’s Tisch School of the Arts and an MSc in Playwriting from the University of Edinburgh. In 2018, she made ArtsBoston’s list of 10 Contemporary Black Playwrights You Should Know. Her plays have been developed with Theatre503 (London), The Traverse Theatre (Edinburgh), TC Squared Theatre Company (Boston), Company One Theatre (Boston), Flat Earth Theatre (Boston), Fresh Ink Theatre (Boston), The Fire This Time Festival (New York), and Horse Trade Theater Group (New York). She has been a finalist for SpeakEasy Stage’s 2018 and 2019 Boston Project Residency, Space of Ryder Farm’s 2020 Creative Residency and has been a semi-finalist for the Dennis & Victoria Ross Playwrights Program, the 2019 Papatango New Play Prize and the 2019 Theatre503 International Playwriting Award. Fran’s full length play Heritage Hill Naturals received a world premiere with Fresh Ink Theatre (Boston) in May 2018. Her play Can I Touch It? will feature in the National New Play Network’s 2020 National Showcase of New Plays in November 2020. Fran identifies as a playwright dramaturg and from 2016-2018 was a company dramaturg and Literary Manager at Company One Theatre, co-running their emerging writers PlayLab program with Kirsten Greenidge. Fran serves as an At-Large Ambassador and Affiliated Artist with the National New Play Network and has dramaturged for the NNPN/Kennedy Center’s MFA Playwrights’ Workshop in 2018 and 2020. She is the Assistant Literary Director at Geva Theatre Centre in Rochester, NY, a 2020-2021 Playwrights Realm Writing Fellow and a member of The Public Theater’s 2020-2022 Emerging Writers Group.

Inda Craig-Galván

Pre-Recorded Session — Surge Lab Writers

Inda Craig-Galván writes stuff – mostly plays and TV.  Her work often explores intra-racial conflicts and politics within the African-American community. Grounded in reality with a touch of magical realism that fucks with time & memories. Inda’s currently developing new works of theatre with Primary Stages (commission), Greenway Court Theatre (commission), Company One (commission), East West Players (Writers Group), and Golden Tongues/Diversifying the Classics with A Noise Within and Playwrights’ Arena. Produced plays include Black Super Hero Magic Mama (Geffen Playhouse, Los Angeles) and I Go Somewhere Else (Playwrights’ Arena, Los Angeles). Inda is the recipient of the Kesselring Prize, Jeffry Melnick New Playwright Award, Blue Ink Playwriting Prize, Jane Chambers Student Award for Feminist Playwriting, and Stage Raw Best Playwright Award. Inda’s plays have been included on the Kilroys List and Steppenwolf Theatre’s The Mix. Inda has developed & presented work at Ojai Playwrights Conference, Eugene O’Neill National Playwrights Conference, Oregon Shakespeare Festival’s Black Swan Lab, The Old Globe Powers New Voices Festival, Kitchen Dog Theatre New Works Festival, Black & Latino Playwrights Conference, WomenWorks, Humanitas, Chalk Repertory Theatre, Skylight Theatre, San Francisco Playhouse, Trustus Theatre Playwrights Festival, Lorraine Hansberry Theatre, Intiman, and others. Inda is a writer on the new series Happy Face (CBS All Access), and previously was a writer for How to Get Away with Murder and The Rookie (both ABC). MFA in Dramatic Writing, University of Southern California.

Hannah Pryfogle

Pre-recorded session — Producing in the Pandemic Case Study #1 Sparkhaven Theatre

Hannah Pryfogle (she/her) is a Boston based director, producer, and a founding member of Sparkhaven Theatre. Having called Boston home since 2012, she is committed to the theatre community and focuses on uplifting the voices of new playwrights and other artists in the city. Her goal is to create space for all artists to tell stories. She has held staff positions at American Repertory Theater, Commonwealth Shakespeare Company, SpeakEasy Stage, Lyric Stage Company of Boston, and Fresh Ink Theatre Company. She has served as the Artistic Director for Sparkhaven’s Camp Strangewood, as well as the director for Nosferatu, The Vampyr (both live and virtual). Additional directing work includes performances at Boston Center for the Arts, Boston Playwrights’ Theatre, She Said…Festival, and Emerson College. Hannah holds a BFA from Emerson College.

Geena M. Forristall

Pre-recorded session — Producing in the Pandemic Case Study #1 Sparkhaven Theatre

Geena M. Forristall (they/them/theirs) is a producer, AEA stage manager, and artist whose work centers on queerness, inclusive storytelling, and community building. In their work, Geena is interested in collaborative interdisciplinary art, with a focus on building relationships, connecting Boston’s theatre and larger arts communities, and finding ways to uplift the voices of lgbtq+ artists. In addition to producing with Sparkhaven Theatre, Geena is the Membership Manager at StageSource, has previously produced with Brown Box Theatre Project, and has worked as a stage manager with Central Square Theatre, Lyric Stage Company, Commonwealth Shakespeare Company, Off The Grid, Company One, Theater for the New City, Punchdrunk NYC/Emursive’s Sleep No More, and the international tour of Kultar’s Mime, among others.  Geena holds a BFA in Theatre Production from Hofstra University. 

M Sloth Levine

Pre-recorded session — Producing in the Pandemic Case Study #1 Sparkhaven Theatre

M Sloth Levine (they/them/theirs) is a trans theatremaker who directs and writes work that often explores the fantastic, spooky, and queer. Recent work has been seen at Sparkhaven Theatre, UMass Amherst, The Art Garage, Company One, SpeakEasy Stage Company, Fresh Ink Theatre, Brown Box Theatre Project, and their own collective Milky Way Coffee Roasters. They are involved with the Gender Explosion Initiative with StageSource, advocating for gender diversity in New England theatre. They are a proud alumn of the Company One PlayLab Unit. In 2016 they received a BA in Theatre Studies: Directing & Playwriting from Emerson College.

John Meredith

Pre-recorded session — Producing in the Pandemic Case Study #1 Sparkhaven Theatre

John Meredith (they/them/theirs) is an arts administrator, producer, and AEA stage manager.  Stage Management credits include 1776, SIX (American Repertory Theater); Pass Over, Fun Home, Small Mouth Sounds, Men on Boats (SpeakEasy); Wig Out!, Shockheaded Peter, We Are Proud to Present… (Company One); A Guide for the Homesick, after all the terrible things I do, 2017 Summer Workshops (Huntington Theatre Company); The Hotel Nepenthe (Brown Box); Fiorello! (Berkshire Theatre Group & Off-Broadway Transfer); as well as Associate Producer of the MTA Playwrights Labs.  They are the Communications Associate at StageSource, where they help lead the Gender Explosion Initiative for trans and non-binary inclusion and Line Drawn Initiative for harassment prevention in the performing arts. They hold a BFA in Stage & Production Management from Emerson College.

Sarah Shin

Pre-recorded session — Producing in the Pandemic Case Study #2 AATAB

Sarah Shin (she/her/hers) is a 1.5 generation Korean American theatre artist originating from the small town of Schwenksville, Pennsylvania and has a BFA in Theatre Arts from Boston University. Sarah recently directed The First Pineapple And Other Folktales by Micah Rosegrant presented by Central Square Theater at Starlight Square. She also took part in other projects such as Endlings by Celine Song at New York Theatre Workshop, Amputees by Quentin Nguyen-Duy, and Something Else: A Love Cycle. She also worked on Dave Malloy’s Moby Dick at American Repertory Theater, and supported Diana Oh during their residency at ART, Clairvoyance, their staged reading of MY H8 Letter 2 The Gr8 American Theatre at the Public Theater, and the virtual reading version with Ma-Yi Theater & AYE DEFY. She studied physical theatre at the Accademia dell’arte in Italy, backpacked through Europe for a month, and worked in the Education & Outreach Department at Off-Broadway’s MCC Theater. She’s worked with institutions such as the award-winning Boston Playwrights’ Theatre, Huntington Theatre Co., Front Porch Arts Collective, Company One Theatre, Greater Boston Stage Co., Nora Theatre Company, Fresh Ink Theatre, MIT Theatre Arts, Brandeis University, Musical Theatre Factory, Pao Arts Center, and Asian American Playwrights Collective. She co-founded Asian American Theatre Artists of Boston (AATAB) to empower and connect Asian American students and working artists in Boston, is on the steering committee of API Arts Network, and serves as a Board Member for StageSource. She’s passionate about more diverse representation, community and family, music, and spreading love in all ways possible.

Christina R. Chan

Pre-recorded session — Producing in the Pandemic Case Study #2 AATAB

Christina R Chan (she/her/hers) is a playwright, actor and producer. She was a Company One Theater 2016 PlayLab Fellow, The Boston Foundation’s 2017 and 2018 LAB Grantee. In addition, she was the lead artist of the 2019 LAB Grant for the Asian American Playwright Collective (AAPC), of which Christina is a founding member. She co-produced AAPC’s Zoom livestream of 10 Minute Food Play Festival, produced AAPC’s 2019 New Play Series and two playwrights in residences. Christina writes about the Asian American immigration experience. Her plays include Stir Frying Mahjong (Eugene O’Neill Theater Playwrights Conference 2017 SemiFinalist, staged readings- Pao Arts Center and Boston Theater Marathon Warm Up Laps), “Nutazacrackin, Immigration & Naturalization, full production-ArtsEmerson (commission by the Chinese Historical Society of New England), “Bobby Pins Up Your Nose (full production, Museum of Fine Arts), and Behind Closed Doors -Docudrama on Immigration” (full production, Cambridge Multi Cultural Arts Center). Her short plays can found in AAPC Anthology, Vol I, II & III published by in vivo Ink Christina’s favorite roles include Eleanor – Downtown Crossing (Company One Theater), An Mei – Joy Luck Club (Umbrella Theater) and Comrade Chin/Suzuki – M Butterfly (Vineyard Haven). She received her theater training at Trinity Rep Conservatory under Oscar Eustis and the Royal National Theater, UK. She is a member of the API Arts Network.

Erin Lerch

Pre-recorded session — Producing in the Pandemic Case Study #3 The Legion Tapes

Erin Lerch (they/them) is a Boston-area playwright and stage manager who can’t/won’t stop writing deeply queer sci-fi. They recently appeared on ArtsBoston’s July 2020 list of 10 Boston Playwrights You Should Know. Their most recent play, Shrike, was written and developed through Company One Theatre’s PlayLab Fellows program, and will be developed further with Fresh Ink Theatre in Fall 2020. Their play Crossing Flight (first in the Legion Cycle) had its world premiere in Boston at TC Squared Theatre Company in January 2018. Their short play World Line had a full staged reading with Blunt Objects Theatre Company in New Orleans, and was presented online as part of TC Squared’s Volume Up Virtual Reading series in summer 2020. Erin’s ten minute plays (which include Random Access Memory and Don’t Look Back) have been read and produced in Texas, West Virginia, Florida, Washington, and throughout Massachusetts.

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