2024 Approved Playwrights

Anamaria Guerzon (She/They) is a mixed race Filipino-American Theatre Artist based in Seattle. Their work seeks to explore humanness, with an emphasis on marginalization within hierarchy, and the legacy of ongoing colonization. Within this, they center Brown folks, particularly Filipino people, as this reflects their heritage and identity. They believe in the power of specificity. They also believe in the inherent magic of the human experience, and seek to represent this lived reality through the fantastic and strange. They blur the lines between this magic and the mundane, with the understanding that both exist, and life is full of inherent contradictions.

Their work has most recently been developed in a workshop/reading with The Playwright Realm’s Scratchpad Series (dir. May Adrales). They were an Artist in Residence for Village Theater’s Northwest Creator’s Program (2022 Cohort), where they worked on developing an original musical. They have also workshopped pieces at Centerstage Theatre and Tacoma Little Theatre. They received a Bachelor of Arts degree in Theatre, from Pacific Lutheran University (2021).

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Bret Adams

Ozzy Wagner is an emerging playwright and librettist from Seattle, now based in NYC. They received a BA in Playwriting from Emory University, where they produced the student playwriting festival and received the Lucius Lamar McMullan award for extraordinary promise. Ozzy’s work, often experimental, has been invited to festivals such as KCACTF (2020, 2021), Essential Theater’s Bare Essentials readings, Barter Theater CPF, Horizon Theater’s NSYPF, Theater Emory’s Viral Plays, etc.; and has been developed through Seattle Opera's Jane Lang Davis Creation Lab (performances June 21st & 23rd), The Workshop Theater, and Silver Glass Productions’ Experimental Playwriting Workshop. Check out their short play DON’T FEED DEAD ROSES YOUR DRINKING WATER in the upcoming edition of Rain City Project’s MANIFESTO series. @ozzy.writes

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Tess Berger is a Seattle-based playwright, dramaturg, and multidisciplinary artist. Her plays examine the mythicality of humanity through peeks into the intimate and sometimes mundane moments that occur both in conversation and during those quiet alone moments. Tess is passionate about new play development and theatre education. She graduated in 2020 with a Theatre Arts degree from University of Puget Sound, and is also a practicing visual artist and musician.

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A Black writer with a passion for horror/thriller, experimental, cultural and representational work. A lover of words and the music we find within them. I’m passionate about telling stories that are unique, out of the box and overall thrilling. But most importantly, I do my best to keep my work honest, without losing the sense of larger than life concepts. I strive to inspire and entertain, while showing other BIPOC people that our voices and stories matter and have a place.

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Celeste Mari Williams is a Seattle playwright and television animation professional with an MA in biology. With humor and wit, Celeste's multidisciplinary projects and plays interweave relationships, science, history, and sociocultural perspectives. GILLS! GILLS! GILLS!, her whimsical play about sea creatures and mating, was co-produced by ReAct Theatre and Parley Productions. As a Parley associate playwright, Celeste had workshop performances of AMELIA’S WALL, A FINE LINE, and BEST FRIEND. Inspired by her 16th C Japanese ancestor, her play, MY SAMURAI was showcased for Pork Filled Productions' Unleashed. Celeste's short pieces for SIS Productions' play festivals (Revealed, Insatiable, Represent, and Lotsa Asian American Fractured Folktales) were informed by her multicultural background and love of fairytales. She examined social justice through the lens of animal migration in her one-act, BEAVER TOWN, for Mirror Stage’s Expand Upon series on Immigration. During her graduate program, Celeste wrote and produced short plays to promote theater as a tool of inquiry to foster empathy for human and wildlife communities. Her science-based shorts, RESISTANT and BRAIN BARRIERS were part of Infinity Box Theatre Project's Centrifuge. In 2023, Celeste made her 14/48 Projects debut with ONCE IN A FULL MOON and CUTTLEFISH GAMES. She is slated to write for 14/48 and Centrifuge again in 2024.

(Note: I just signed up for New Play Exchange and will add my plays soon…)

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Mariah Lee Squires and S.W. Jones met at Cornish College of the Arts while both enrolled in the theatre
department. They kicked off their playwriting partnership with an adaptation of Shakespeare’s Measure for
Measure, titled A Pond as Deep as Hell. A Scythe and a Sandglass the Skeleton Bore is their second play and first
original work. From there, they wrote a play based on Sheridan Le Fanu’s novella, Carmilla, the original vampire
tale the predated Dracula by 25 years. They have a keen interest in storytelling that explores theatre of questions
and use their writing to, as Cesar A. Cruz said, “comfort the disturbed and disturb the comfortable.”

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Gwendolyn Rice is a professional writer and playwright based in Seattle, Washington. She and her family recently relocated here from Madison, Wisconsin.

She holds a BA in English and Theater from the University of Iowa and an MA in Literature, History and Criticism of Theatre from the University of Wisconsin, Madison.

Gwen has had readings and productions of her award-winning work — including monologues, short plays, one acts and full-length dramas — all over the country. In addition to writing her own plays, she has reviewed theater for many print and online publications. (Check out my reviews and other writing at gwendolynrice.com.) She has also taught playwriting classes for UW-Madison, Children’s Theater of Madison, The Greater Madison Writing Project, Renaissance Theaterworks, and the Milwaukee Rep. When not writing, she enjoys grammar jokes and making pie.

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Julieta Vitullo is a Seattle-based bilingual writer, playwright and dramaturge born and raised in Argentina. She holds an MA in English and a PhD in Spanish from Rutgers. She’s the protagonist and co-script writer of the award-winning documentary La forma exacta de las islas.

Vitullo is a resident playwright and dramaturge at eSeTeatro in Seattle. Eight of her plays have been presented in Seattle, including the most recent Fermín’s Great Book of Dreams, a fantasy for all ages, and Two Big Black Bags — which marked her directorial debut — about a veteran of the Malvinas/Falklands war who undertakes a magical journey across the Americas.

Vitullo’s plays have a strong sense of place, and often explore the blessings and pitfalls of being rooted in a language and culture. More than just a means to tell a story, language becomes an end in itself that shapes what happens on stage. Vitullo’s plays also merge realism with magical elements, pushing the boundaries of what we perceive as real and disrupting that notion by means of the characters’ dreams and imaginations.

Her literary work was twice nominated for a Pushcart Prize and has appeared in Into the Void, The Normal School, The Fabulist, Hawaii Pacific Review, The Massachusetts Review and elsewhere.

In 2022, Vitullo launched www.PoemasEternos.com, a typewriter poetry and art project that she hopes will continue to enrich the world of her prose and theatre.

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Steve Lyons moved to Bellingham, Washington from Berkeley California in 2011. He puts his degree in electrical engineering from UC Berkeley to good use by writing plays and being a homemaker to wife Bree and son Riley. He founded Playwrights Cafe in Berkeley in 1998 and was executive director of for 13 years. In 2012 he initiated the AACT NewPlayFest, one of the largest new play festivals in the nation. In 2014 he co-founded Bellingham TheatreWorks and serves as producing director.

His plays have won multiple awards and have been produced in Edinburgh, London, New York City, Philadelphia, Boulder, Los Angeles, San Diego, San Francisco, Sacramento, Portland, Seattle, Bellingham and elsewhere.

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Kate Danley is an award-winning playwright, Maryland Distinguished Scholar in the Arts, and USA TODAY Best-Selling novelist. She ranked among Amazon’s Top 20 Authors and her books have sold more than 1.5 million copies worldwide. A prolific dramatist, Kate’s plays have been produced around the world. She currently sits on the board of Rain City Projects.

Her 1930’s screwball comedy, Building Madness, was awarded Best Play of the Year in the Panowski Playwriting Competition and was nominated for 13 BroadwayWorld Seattle Awards. Kate’s modern workplace farce, Working for Crumbs, was a semi-finalist in the O'Neill Theater Center National Playwrights Conference; was nominated for two OFFIE Awards and three BroadwayWorld London Awards for its Off-West End debut; and ranked in the Top 20 (of 1,200) entries in the Moss Hart & Kitty Carlisle New Play Initiative. Her adaptation of The Mysterious Affair at Styles was a Critics’ Pick by the Minneapolis Star Tribune; a Highlight of 2022 by Play Off the Page, one of Minneapolis’s most respected theatre review sites; and was nominated for 16 BroadwayWorld Minneapolis/St. Paul Awards. Power, an exploration of ambiguous dialogue, won the Renegade N.O.W. Theatre Festival and Kings of the World was voted an audience favorite in the 10x10x10 Festival. Her screenplay, Fairy Blood, won 1st Place in the Breckenridge Festival of Film Screenwriting Competition in the Action/Adventure Category and Stay Outta Sight won silver in the London Movie Awards. Kate wrote sketch comedy for a weekly show in Hollywood and performed her original standup at The Comedy Store, The Ice House, Flappers, and other clubs.

For her work as a novelist, Kate was honored with the Garcia Award for Best Fiction Book of the Year (The Woodcutter, 47North). She is a Barnes & Noble Top 100 author for her book Queen Mab, which won the McDougall Previews Award for Best Fantasy Book of the Year and which Kate has adapted into a stage play. Her acclaimed series Maggie MacKay: Magical Tracker is currently in development for film and television.

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BRIAN T. SHERMAN | IPEX ARTISTS AGENCY P: 646.355.8050 | E: BTS@IPEXARTISTS.COM WWW.IPEXARTISTS.COM

Molly Olis Krost (they/she) is a Filipina Jewish playwright splitting their time between the Bay Area and Seattle. Their plays explore the constant collisions of the human experience: collisions with others, with our society, and within ourselves. They incorporate ritual and faith, in a variety of forms, to manifest the emotions that often exist beyond words. They love to blur the line between reality and the fantastical and all the creative possibilities that can create for the artists they collaborate with. Their play NANAY was a semi-finalist for the National Playwrights Conference and finalist for the Bay Area Playwrights Festival. Their play WHAT WE FOUND was a finalist for the National Jewish Play Contest and the Bay Area Playwrights Festival. They were a 2022 Finalist for Theater J's Expanding the Canon.

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Rebecca Tourino Collinsworth is a Seattle-based playwright and director, the creator and managing artistic director of Parley (https://www.parleyproductions.com) and co-editor the lit mag Parley Lit (https://www.parleylit.com). At twenty, Tourino Collinsworth made her professional acting debut at the rebuilt Globe Theatre in London and spent fifteen years performing in regional theaters across the United States. As a teaching theater artist, she’s worked with the Claire Trevor School of the Arts; the Alliance Theater in Atlanta; the New York Film Academy in Soho; Seattle University; Meadows School of the Arts at SMU; and Freehold’s Ensemble Training Intensive, among others. For three consecutive years, she also made weekly trips to Gig Harbor to work with incarcerated people at the Washington Correctional Center for Women as part of the Engaged Theater Residency. Her plays have been produced in New York, Los Angeles, Seattle, and elsewhere. She is also the co-book writer (with Evynne Hollens) of Mija: A New Musical (2023 NAMT Festival of New Musicals, Kleban Prize finalist, Eugene O'Neill National Musical Theater Conference semi-finalist, Latiné Musical Theatre Lab Reading selection,); and the co-screenwriter/director of the feature-length Psyche and Cupid: A Puppet Film.

In Parley, Tourino Colllinsworth has established the most robust new work developmental program in the Pacific Northwest, offering unprecedented support to its playwriting associates. Through Parley, she has developed, directed, and produced more than 80 world premieres of important new plays by underrepresented writers in the last decade.

MFA (Acting), U.C. Irvine; BA (English), U.C. Berkeley; Pacific Conservatory Theater

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Angela Gyurko graduated from Columbia University in 1990, and like any good Tool of the Patriarchy, her love of dance and choreography gave way to a more responsible career path, including corporate consulting and teaching college. In February 2019, she completed her MFA in creative writing from Goddard College. While she’d planned to write novels, plays kept waking her in the middle of the night demanding that she write them. Earlier drafts of her first full-length play, A Tale of Two, won staged readings in blind contests in Seattle (2020) and Salem, Oregon (2023). Her second full-length play, Proper, was a semi-finalist at the Gary Marshall Theater’s Festival of New Works in 2021 and in 2022, it made the top twelve for the Dayton Playhouse’s FutureFest. Three of her one-act plays have been staged: Triangles in 2018, Adults in 2020, and For You, Anything in 2023. In addition, a zoom adaptation of Adults was staged by Boston Conservatory Students in 2021.

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Marcus Gorman is a playwright and member of the Dramatists Guild of America. His original plays include the Gregory Award-winning Deers, Natural, Peggy: The Plumber Who Saved the Galaxy, Space Race 5000, How to Leave, and the upcoming GUNKED! In devised theatre, he has worked with The Libertinis (Gone Wild!, Atomic Falls USA, The Fantastic Misadventures of Twisty Shakes) and DangerSwitch! (Mad Scientist Cabaret, Big Bad). His one-acts have been produced by the 14/48 Projects, Askew Theatre Company, the Talking It Out Festival, Play On Words, the Funhouse Family, As If Theatre Company, Unnatural Redhead Productions, the Seattle Play Series, and the Del Rey Players.

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I am a scientist and physician, who minored in musical theater dance as an undergraduate. That has lent to being a trained observer with a lyrical lens. I write to foster my life, and to affect others so that they may foster their own in a positive way.

In 2011, I had just finished a postdoctoral fellowship, and as a single mother, was raising two fabulous daughters. That year, I was 'let go' from a job that I had been at for two months. I was overqualified, they said. It was unexpected and traumatic. My blood pressure elevated and my heart would not stop racing. I turned to creating a world that I could control, dressed in my concerns, plus all the elements I love, including the natural world, order, deep relationships, magic, food and family.

My overall goal as a writer is focused on the deconstruction of calamities as well as joy, through examination of the paths which lead to them. In this way, the stories can be used as tools, as we discover ways of interjecting means to enhance joy, or interrupting dysfunction before calamities happen.

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Daniel Repp understands artist bios are tricky–they’re like dating profiles without sexy Halloween costumes or pictures of fish you caught. Daniel doesn't fish, nor does he want to set the expectation that he’ll show up to rehearsal in the green tights from his homemade Robin costume. But he does write plays that explore the intersection of science, society, and spirituality through a playful lens. His plays have been recognized by the Kennedy Center for both comedic playwriting and theatre for young audiences. When writing about the future, Daniel focuses on how new technologies strengthen and challenge our capacity for lifelong relationships (see his play "Lifted Up"). When writing about the past, Daniel celebrates historical accomplishments while interrogating the power structures behind who shapes the stories we tell (see "Good Heavens!") Daniel also loves to work with artists of all ages and backgrounds to put their untold experiences onstage (see "The Wall and the Woods", commissioned by Youth Theatre Northwest). He is half the duo Hanner & Repp, connecting northwest artists to produce lively, community-focused theatre. Find his website at danielrepp.com. And if you really need him to, Daniel can wear the tights, but the fish is your responsibility.

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Rebecca Tourino Collinsworth is a Seattle-based playwright and director, the creator and managing artistic director of Parley (https://www.parleyproductions.com) and co-editor the lit mag Parley Lit (https://www.parleylit.com). At twenty, Tourino Collinsworth made her professional acting debut at the rebuilt Globe Theatre in London and spent fifteen years performing in regional theaters across the United States. As a teaching theater artist, she’s worked with the Claire Trevor School of the Arts; the Alliance Theater in Atlanta; the New York Film Academy in Soho; Seattle University; Meadows School of the Arts at SMU; and Freehold’s Ensemble Training Intensive, among others. For three consecutive years, she also made weekly trips to Gig Harbor to work with incarcerated people at the Washington Correctional Center for Women as part of the Engaged Theater Residency. Her plays have been produced in New York, Los Angeles, Seattle, and elsewhere. She is also the co-book writer (with Evynne Hollens) of Mija: A New Musical (2023 NAMT Festival of New Musicals, Kleban Prize finalist, Eugene O'Neill National Musical Theater Conference semi-finalist, Latiné Musical Theatre Lab Reading selection,); and the co-screenwriter/director of the feature-length Psyche and Cupid: A Puppet Film.

In Parley, Tourino Colllinsworth has established the most robust new work developmental program in the Pacific Northwest, offering unprecedented support to its playwriting associates. Through Parley, she has developed, directed, and produced more than 80 world premieres of important new plays by underrepresented writers in the last decade.

MFA (Acting), U.C. Irvine; BA (English), U.C. Berkeley; Pacific Conservatory Theater

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Nelle Tankus (she/her) is a playwright & performer whose work explores queerness, the absurd, and metamorphosis. Her full-length work has been seen most recently in Seattle at Annex Theatre (Tenderness, dir. Grace Carmack and E. Pike), Copious Love Productions, (The Untitled Play About Art School, dir. L. Nicol Cabe), and Parley Productions (Yom Kippur, dir. Rebecca Tourino Collinsworth). Her shorter works have been seen at 12 Minutes Max, Parley, Parley Lit, and MirrorStage. She was a semi-finalist for the Jerome Fellowship (2021-2022), Playwrights Realm Scratchpad Series (2019), and the Eugene O'Neil National Playwright's Conference (2018). She is a two-time Lambda Literary fellow (2015 & 2017), and was was a 2021 María Irene Fornés Playwriting Workshop fellow. She holds a BFA from Cornish College of the Arts. She is based on Duwamish Land [aka Seattle], and is a proud member of Parley Playwrights Group.

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I consider myself an emerging playwright with a fun first play. When I was in my MFA program at Goddard College in 2014, playwright and screenwriter Darrah Cloud was my mentor, as I had declared the genre of playwrighting/screenwriting my focus. This changed, and my thesis turned into a full-length manuscript that would later become the memoir I published with Red Hen Press in 2018, The Shame of Losing. I learned a great deal through that writing and rewriting process, and since then have returned to some of my original script pages that never had full sets of legs. A year or so ago I signed up for a facilitated The Artists Way class, and my play emerged from those creative sessions. My work tends to be autofiction with a play on the absurd. This means that while yes, my gravitation toward themes around single motherhood are indeed personal, I am often amused by my female friendships and work towards integrating humor into the work to diffuse the societal message about "traditional families" that might otherwise might feel overwrought. I like movement and jokes and melancholy and am excited by the collaborative aspect of creating work for the stage.

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Hello, my name is Coco Justino. I am a multidisciplinary theatre artist based in Seattle with a great passion for telling stories that play with the intersections of its character's identities (mainly in race, sexuality, and physical appearance) in new and exciting ways. I strive to create work that is "so personal, it is universal" by pulling from my experiences as a multiracial (Filipino/Lebanese/White) queer girl growing up in America at the turn of and throughout the 21st century.

A few things that especially excite me in writing are funky genres (horror and absurdism come to mind– as I experimented with them in my play Rat Cage), engaging with that specific early – mid 21st century pop culture and media as a way of examining its interplay with the identities of the people surrounded by it, and poetry.

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Miriam BC Tobin (she|her) is a Seattle-based playwright, theatre artist, and arts leader. She has performed on stages and taught drama across the US and Europe. Honors & awards include a Hedgebrook residency, PEN Writing Scholarship, and London Dramatic Academy Fellowship. She is a resident writer with the Seattle Public Library and an associate artist with Parley Productions and The Shattered Glass Project. Miriam also runs SCRiB LAB, a writing organization aimed at community and connection. MA Directing & Adaptation, NYU; MFA Creative Writing (Playwriting), Goddard College

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Alina Rios is founding editor of Bracken magazine and a published poet and fiction writer. She now writes for stage and film with her plays being produced on both sides of the Atlantic by Slackline Productions, Nylon Fusion, Kibo Productions, and others. Her short film pressed/bluebells premiered in Cannes in 2022 and another short film Soot Darlings is currently in consideration with film festivals. She’s a Dramatist Guild Foundation National Fellowship Finalist (2023-2024) and a quarterfinalist in the ScreenCraft Stage Play Competition 2023. She’s been mentored by Kevin Dyer (winner of Best Play, Writers’ Guild of Great Britain) and Stella Duffy. In 2023, after training with Frantic Assembly in London, she started her own physical theatre company Verbooom. In 2024, she was the playwright for Dragonslayer, an immersive experience produced by AnA Collaborations, and which premiered in Seattle. Find out more at alinarios.com.

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A recent honors graduate from Emory University, Maggie Higginbotham (she/her) is enjoying pursuing her career as a playwriting, novelist, and director. Maggie enjoys creating art in a variety of genres and themes, but her work most recently seen on stage as a staged reading was "The Game Show", a one act commentary on the patriarchy and oppressive systems at large as seen through two women trapped in an absurd, never-ending game show. Her play "Peggy", an exploration on love, loyalty, and the women history has put in the shadows, will be seen in Copious Love's Plays on Tap series in July. Outside of theater, Maggie enjoys boardgames and getting to explore her new home in the pacific northwest.

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Anna Tatelman (she/her) holds an MFA in Creative Writing from the University of New Orleans. Her plays have been previously produced or developed by organizations such as the Detroit Repertory Theatre, Centerstage, As If Theatre, Drunken Owl Theatre, and Pacific Play Company. Recent accolades include receiving the Seattle One-Act Play commission from Baker Theatre Workshop (in partnership with ACT and Hugo House), being a finalist for the Judith Royer Excellence in Playwriting award, and having a monologue published in Smith & Kraus’s Best Male Monologues of 2023 anthology. When not posing as the female reincarnation of Tennessee Williams, Anna can usually be found drinking too much caffeine, befriending feral cats, and/or eating ice cream.

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