PLAYWRIGHTS’ GROUP

New voices. New plays.

Boston Court has a passion for new play development and 2022 is the second year of the B/C Playwrights’ Group!

The three playwrights were selected from our annual play submission window. Each play will be presented with a public workshop in late 2022 and we’ll be sharing their development process on social media! #BCPlaywrights


MEET THE PLAYWRIGHTS

AUSTIN OWENS KELLY (they/them) (OBSCURA) is a multi-hyphenate performer and creator from Palos Verdes, CA. This is their LA playwriting debut. In May of 2021, they received their BFA in Musical Theatre from Texas State University, under the direction of Kaitlin Hopkins. As a performer, Austin has studied and performed at the Royal Academy of Dramatic Art, the Royal Shakespeare Company, The Globe, and The Edinburgh Fringe. They are a current member of the Wallis Studio Ensemble at the Wallis Annenberg Center for the Performing Arts. In addition to performing and writing, they are also a choreographer/movement director and songwriter. To see more of their work, visit www.austinowenskelly.com

TIRA PALMQUIST (she/her) (THE BODY’S MIDNIGHT) Is known for plays that merge the personal, the political and the poetic. Her most produced play, Two Degrees, premiered at the Denver Center, and was subsequently produced by Tesseract Theater in St. Louis and Prime Productions at the Guthrie (among others). Tira’s current projects include The Body’s Midnight, a play she worked on as the Featured Playwright at the 2021 Seven Devils New Play Conference and as the Travis Bogard Artist in Residence at the Tao House (Eugene O’Neill Foundation), and King Margaret, an adaptation of the Henry VI, which was featured in the 5 Directors, 5 Plays reading series produced by Oregon Shakespeare Festival in July 2021. Her play The Way North, an Honorable Mention for the 2019 Kilroys List, and was developed at the 2019 Ashland New Plays Festival and at the 2018 Seven Devils Playwrights Conference. It was also featured in the following festivals: The Festival of New American Plays (Phoenix Theater), the Human Rights New Works Festival (Red Mountain Theater), the Page-by-Page Festival (Pioneer Theater) and the Road Theater’s Summer New Works Festival. The Way North was a finalist for the 2018 O’Neill National Playwrights Conference, the 2018 Bay Area Playwrights Festival and the 2019 Blue Ink Playwriting Award. Among Tira’s commission projects are The Worth of Water (Clutch Productions’ equity showcase production in NYC in October, directed by Mélisa Annis) and Lower Depth Theater Ensemble’s commission Safe Harbor, a play about sex trafficking, which premiered in November in LA. Tira has also been commissioned to write new work for the UCI graduate acting students. Her play Hold Steady was workshopped at UCI in February 2019, All We Ever Wanted Was Everything was workshopped in February 2020, and in February 2021, The Last Time We Saw Madison was performed online with the more recent first-year grad actors. Her other plays include Ten Mile Lake (Serenbe Playhouse), Age of Bees (Theatre at Monmouth, NYU Stella Adler Studio, MadLab Theater, Tesseract), And Then They Fell (MadLab, Brimmer Street, New York Film Academy) and This Floating World.

VASANTI SAXENA (she/her) (HERE IS WHERE) is a writer whose work explores the fissures of family and relationships, memory, and historical legacy. Her plays have been produced/developed at Ensemble Studio Theatre, New York Theatre Workshop, Chicago Dramatists, Silk Road Rising, Chalk Rep, Company of Angels, East West Players, The Road Theatre Company, and Santa Monica Rep. Her play Sun Sisters was the winner of East West Players Pacific Century Playwriting Competition, a finalist for Chicago Dramatists Many Voices Project, and a semi-finalist for both the O’Neill National Playwrights Conference and the Princess Grace Award. It is published in Contemporary Plays by Women of Color (London, UK: Routledge 2017). Fellowships and commissions include: 2017 Outfest Screenwriting Lab (with the screen adaptation of Sun Sisters), NYTW Emerging Artist of Color Fellowship, and an EST/Sloan commission.


AMRITA RAMANAN (she/her) (Dramaturg) is a dramaturg, creative producer, cultural consultant, and artistic leader who holds the values of anti-racism, anti-colonialism, equity, access, and inclusion at the core of her practice. She is the Senior Cultural Strategist and Dramaturg for Play On Shakespeare, an organization dedicated to creating contemporary modern-verse translations of Shakespeare’s plays, and the Core Apprentice Dramaturg for the Playwrights’ Center in Minneapolis, MN. 

In her five seasons as Director of Literary Development and Dramaturgy at the Oregon Shakespeare Festival, Amrita holistically supported new play commissioning and development for the Festival. She served as the production dramaturg for OSF’s productions of Cambodian Rock Band, Snow in Midsummer, Oklahoma!, As You Like It, Macbeth, Henry V, and Henry IV Parts 1 & 2; produced and curated the Black Swan Lab for New Play Development; and created the first-ever OSF Writer’s Group. She supported the development of original commissions by Chay Yew, Luis Alfaro, Qui Nguyen, Cheryl West, and Kevin Douglas. Prior to OSF, Amrita was the Literary Manager and Artistic Associate at Arena Stage, where she dramaturged Arena’s productions of Mary T. & Lizzy K., Trouble in Mind, Ruined, and Duke Ellington’s Sophisticated Ladies; served as the line producer for Lisa Kron and Charles Randolph-Wright’s playwright residencies; and produced Arena Stage’s New Play Reading Series. 

As a project-based dramaturg, Amrita’s credits include The Sitayana by Lavina Jadhwani (East West Players, EnActe Arts, and Hypokrit Productions), BULL: a love story by Nancy García Loza (Paramount Theatre), and Baby Camp by Nandita Shenoy (Zoetic Stage’s 2021 Finstrom Festival). 

Amrita is a board member for the Network of Ensemble Theaters and a National Theater Project Advisor for the New England Foundation for the Arts. She considers herself a professional advocate for storytellers across all mediums. 

Intrigued by the play development process? Follow #BCPlaywrights on all of our social media channels!

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This program would not be possible without the generosity and support of The Fishman Family Foundation.