NEW SONGS NOWnsn Brochure Graphic

July 27, 28 & August 2, 3, & 4 at 8PM
We invite our audience to join the process of making great music. During this 5 night concert series, each night two “on the rise” theater artists will be trying out new material and then engaging YOU, the audience, in the process. RAW & RISKY, we are workshopping music for theater Rattlestick-style, and we invite our Rattlestick Community to JOIN THE CONVERSATION. Talkback, Drinkback, and help SHAPE new material with your feedback. Presented by The Araca Group & Rattlestick.
Featuring: Michael R. Jackson, Niko Tsakalakos, Paul Scott Goodman, Celisse Henderson, Eisa Davis, Zoe Sarnak, Grace McLean, Max Vernon, Ryan Kattner, and Diana Oh.


September 10 – September 17, 2016

These seven plays are provocative, courageous, complex, and very very new. Most of these playwrights have yet to have a world premiere in NYC so you are privy to cutting-edge and not yet discovered voices that have been carefully curated by Rattlestick’s Literary Team of leading artists. The Festival will also include a special Alumni Jam night on September 14th where Rattlestick alumni playwrights, will share excerpts of new plays.

Sept 10 Mashuq Mushtaq Deen’s Draw the Circle

Directed by Chay Yew
The funny and deeply moving sotry of a Muslim immigrant family who must come to terms with a child who defies their most basic expectation of what it means to have a daughter as their child transitions from one gender to the other. Directed by Chay Yew, Draw The Circle is presented in partnership with Playmakers Repertory Theatre in North Carolina where Deen will have just completed a full run of the show.
Sept 11 Stephen Belber’s We are Among Us
Written & Directed by Stephen Belber
The story is about one woman, played by Edie Falco, who is grappling with her culpability in Afghanistan eight years earlier and the friendship thar arises between her son and the daughter of the Afghan man she betrayed. Presented in partnership with New York Stage and Film, where the play was workshopped this summer.
Sept 12 Meg Miroshnik’s Lady Tattoo, commissioned by South Coast Rep
A bloody thriller inspired by the early twentieth century craze for tattoos amongst well-to-do women. Lady Tattoo wrestles with questions about women’s agency over their bodies and their art that still resonates today.
Sept 13 James Anthony Tyler’s Talkin’ to This Chick Sippin’ Magic Potion
Directed by Sandra Daley
This is the tale of Jornay, a recent divorcee who decides to save enough money to purchase a fabulous high school graduation gift for her daughter, Tiffany. She then loses her job. Determined to make good on her promise, Jornay becomes a cuddle buddy who soon has a regular client that needs more than her touch.
Sept 14


ALUMNI JAM Landscape

Emceed by Zach Quinto
Selections from plays by RATTLESTICK ALUMS
Martyna Majok (Ironbound)
Laith Nakli (Shesh Yak)
Dael Orlandersmith (Horsedreams)
Adam Rapp (Through the Yellow Hour, The Hallway Triology)
Lucy Thurber (Hilltown Plays)
Jonathan Tolins (Buyer and Cellar, Last Sunday in June)
Sept 15 – Liza Birkenmeier’s Radio Island
Directed by Claudia Weill
This is the story of Ellen, a professional crisis negotiator who returns home to take care of her injured mother. While there, an international hostage situation blends and blurs with her rural reality. A finalist for the Relentless Award, Radio Island is directed by Claudia Weill, and presented in partnership with New Georges.
Sept 16 – Christina Anderson’s How to Catch Creation
Directed by Daniella Topol
This story centers on a wrongly convicted man, played by Keith Randolph Smith, who is released from prison after 25 years. As he settles into his new life he begins the quest to become a father in the system that denies him. Directed by Danielle Topol, and presented in partnership with American Conservatory Theatre.
Sept 17 – David Zheng’s Ghetto Baptism
Directed by David Mendizabal
A dual love story for the ghetto. Stacks tries to fight his way out while Chino fights to stay and survive. Zheng is an active member in Middle Voice, Rattlestick’s Apprentice Company. Directed by David Mendizabal.
Catya McMullen

Catya McMullen


by Catya McMullen

September 22 -September 25, 2016
Workshop Production from MIDDLE VOICE, Rattlestick’s Apprentice Company, AGNES! explores Aspergers, the nature of vulnerability and how we strive for human connection, even when it seems impossible.

Come Together NOWwest village
–– Story-traveling through the West Village

November 2 & 3 2016
Come Together NOW is an interactive, multi-media performance piece in the form of a walking tour of the historic West Village. The tour will be comprised of seven key stops that will depict the racial, age, and gender diversity and complexity of West Village’s culture and notable history as current residents of the neighborhood unveil and elaborate their personal histories of discrimination and acts of courage.
Basil Kreimendahl

Basil Kreimendahl

Orange Julius – Main Stage

by Basil Kreimendahl

Directed by Dustin Wills
A Co-Production with Page 73
Previews January 11 for an opening January 22 and runs through February 13
In Orange Julius, Nut grew up the youngest child of Julius, a Vietnam vet, in the 1980s and 90s working-class America. As Julius suffers the toxic effects of Agent Orange, Nut worries their time together may run out before they can embrace something essential about their relationship. Paging through forgotten photo albums and acting out old war movies about brothers-in-arms, Nut leaps through time and memory, tracing the complex intimacy between father and child when the child is transgender, fighting for a mutual recognition before it’s too late. This will be Kreimendahl’s first NY production.
“…a rich and thoughtful study of family, love, and the bonds brought about by war. Orange Julius is not just a promising play by a young writer. It’s an assured, mature, work that challenges and moves well beyond expectations.” —-Bill Eadie, The San Diego Story

Orange Julius received its world premiere on September 26, 2015 by Moxie Theatre Company, Delicia Sonnenberg, Executive Artistic Director.

It was developed during a residency at the Eugene O’Neill Theater Center’s National Playwrights Conference in 2012. Preston Whiteway, Executive Director; Wendy C. Goldberg, Artistic Director.”

BASIL KREIMENDAHL’s play Sidewinders won the Rella Lossy Playwright’s Award and had its world premiere at The Cutting Ball Theater in San Francisco. Orange Julius was developed at the 2012 O’Neill National Playwrights Conference and was included in La Jolla Playhouse’s DNA new work series. Basil was commissioned by Actors Theatre of Louisville for Remix 38 at the 2014 Humana Festival of New Plays. Basil’s plays have also been developed by New York Theatre Workshop, About Face Theatre, Inkwell, Rattlestick, WordBRIDGE, The LARK, and The Oregon Shakespeare Festival. Basil has been a Jerome Fellow and is a current McKnight fellow. A recipient of an Arts Meets Activism grant from the Kentucky Foundation for Women for theatre work with the trans community in Louisville, Basil has taught playwriting to elementary, high school, and college students, founded and ran a playwrights group for queer youth in Louisville called Out On The Edge, and was the Provost’s Visiting Writer at the University of Iowa 2013/2014. Basil’s work has been published by Dramatic Publishing and was included in Xlibria’s Becoming: Young Ideas on Gender and Identity. The Cost of a Goat won a National Science Award at KCACTF in 2012. MFA University of Iowa, 2013.

DUSTIN WILLS is a NYC-based theatre director originally from Texas. Recent projects include O, Earth with The Foundry Theatre and AWFUL EVENT! with support from New York Theatre Workshop and Ars Nova. Dustin has developed and directed work with Williamstown Theatre Festival, Yale Rep, the Ground Floor residency at Berkeley Rep, Berkshire Theatre Group, Paper Chairs, and Salvage Vanguard Theatre, and has devised new work for The English Theatre of Rome and Teatro L’Arciliuto in Rome, Italy. He is a two-time recipient of the Princess Grace Award and is a Drama League and Boris Sagal directing fellow. Upcoming projects include Blueberry Toast by Mary Laws at Echo Theatre in Los Angeles and Frontieres Sans Frontieres by Phillip Howze at the Bushwick Starr. MFA: Yale School of Drama.


PAGE 73‘s 2015-16 season included the world premieres of Leah Nanako Winkler’s Kentucky, directed by Morgan Gould and co-produced with Ensemble Studio Theatre; and Max Posner’s Judy, directed by two-time Obie Award winner Ken Rus Schmoll. Prior seasons included Clare Barron’s critically-acclaimed You Got Older, which was recognized at the 2015 Obies with awards for Playwright, Performance (Brooke Bloom), and Direction (Anne Kauffman) – each artist was also nominated for a Drama Desk Award, along with co-star and Tony Award winner Reed Birney; George Brant’s critically acclaimed Grounded, directed by Ken Rus Schmoll and starring Drama Desk nominee Hannah Cabell; and Cori Thomas’ When January Feels Like Summer, directed by Daniella Topol, co-produced with Ensemble Studio Theatre. Founded in 1997, PAGE 73 is the premiere home for the development and production of new work by early-career playwrights who have yet to receive a professional New York production, offering a crucial steppingstone at a critical, early point in their careers. Each year, PAGE 73 produces New York City or world premieres by early-career playwrights and offers a slate of new play development programs: the P73 Playwriting Fellowship, Interstate 73 writers group, and a week-long Summer Residency.

Today, PAGE 73 annually serves twelve to fifteen early career playwrights through its productions and development programs. Close to two-thirds of the nearly 100 playwrights they’ve supported have enjoyed New York or regional theatre productions after receiving a PAGE 73 premiere or development support. These include, among others, writers whose professional debuts in New York City were produced by Page 73, such as Samuel D. Hunter (2015 MacArthur “Genius” Grant), Quiara Alegría Hudes (2012 Pulitzer Prize), Dan LeFranc (2010 New York Times Outstanding Playwright Award), Heidi Schreck (2014 Tow Playwright in Residence at Playwrights Horizons), and Clare Barron (2015 Obie Award).

The Nibbler

Ken Urban

Ken Urban

by Ken Urban

A Co-Production with The Amoralists
February 23- March 19

In the summer of 1992 in Medford, New Jersey, Adam and his gang of friends face life after high school. But when the fivesome encounter a mysterious visitor from another world, their lives are forever changed. A dark comedy about that time when everything and nothing seems possible.

KEN URBAN’s plays include Sense of an Ending, The Correspondent, A Future Perfect, The Awake, and The Happy Sad. His plays have been produced in New York at Rattlestick Playwrights Theater, 59E59 Theatres, The Summer Play Festival at The Public, and Studio 42. His work has also been produced at Theatre503 in London, First Floor Theater in Chicago, and SpeakEasy Stage Company in Boston. He has developed new plays at Playwrights Horizons, Huntington Theatre Company, Theatre @ Boston Court, Williamstown Theatre Festival, Donmar Warehouse (London) and The Civilians R&D Group. Awards include the Weissberger Playwriting Award, New York Foundation for the Arts Fellowship, Huntington Theater Playwriting Fellowship, MacDowell Colony Fellowships, Headlands Artist Residency, Djerassi Artist Residency, Dramatist Guild Fellowship, and Virginia Center for the Creative Arts Fellowship. Ken is a Resident Playwright at New Dramatists and a Core Writer at the Playwrights’ Center. He wrote the screenplay for feature-film adaptation of The Happy Sad, which screened internationally at over 25 film festivals, and is now available on iTunes, Hulu and Amazon. His plays are published by Dramatists Play Service in the United States and Methuen in the United Kingdom and Europe, and they have been featured in numerous monologue anthologies. His band Occurrence will release their new album The Past Will Last Forever in October 2016. He lives in New York City.


Emily Zemba & Lauren Annunziata

Next Workshop: A Middle Voice Spring Development Series

March 20- March 26

New Work from Rattlestick’s Apprentice Company. After a week-long workshop, these Middle Voice artists will present works-in-progress.

Martin Zimmeman

Martin Zimmeman

Seven Spots on the Sun – Main Stage

by Martin Zimmerman

Directed by Weyni Mengesha (New York Directorial Debut)

In partnership with The Sol Project
Previews April 26 for an opening May 10 and runs through June 4
The village of San Isidro has been without its doctor for eighteen months. Moisés has remained a recluse, refusing to even look at a patient, since the day the army took his wife away during the country’s civil war.  But when a mysterious plague begins to ravage the countryside around San Isidro, the local parish priest convinces Moisés to take action. And when Moisés examines his first patient, he discovers he has the miraculous power to heal this plague with the touch of his hand. But among the thousands of pilgrims who flock to San Isidro, Moisés is forced to confront his past, and San Isidro the violence that tore it apart. A meditation on mourning, redemption, and revenge, Seven Spots On The Sun follows each character’s attempt to come to terms with the extraordinary loss they have suffered and the miracles they have witnessed
“…dark and powerful SEVEN SPOTS ON THE SUN feels more like a Grimm fairy tale than a fable. Overall, powerful stuff and damn good theater.”—-Behind the Curtain Cincinnati

MARTIN ZIMMERMAN is a multi-ethnic, bilingual playwright and screenwriter whose plays include Seven Spots On The Sun, White Tie Ball, The Making Of A Modern Folk Hero, The Solid Sand Below, and Let Me Count The Ways, and have been produced or developed at The Kennedy Center, Goodman Theatre, Cincinnati Playhouse In The Park, Oregon Shakespeare Festival, La Jolla Playhouse, Roundabout Underground, LCT3, New York Theatre Workshop, Victory Gardens Theater, The Eugene O’Neill Theater Center’s National Playwrights Conference, Philadelphia Theatre Company, Marin Theatre Company, The Playwrights’ Center, Alliance Theatre, A.C.T. (Seattle), PlayPenn, Icicle Creek Theatre Festival, American Theater Company, The Theatre @ Boston Court, Chicago Dramatists, Primary Stages, Teatro Vista, Playwrights Foundation, Cara Mía Theatre Co, Ojai Playwrights Conference, Seven Devils Playwrights Conference, The City of Chicago’s Department of Cultural Affairs, Theatre Row, Illinois Shakespeare Festival, Borderlands Theater, Source Festival, The Gift, Collaboraction, Red Tape, The University of Texas at Austin, and Duke University.

A recipient of the Terrence McNally New Play Award, Steinberg/ATCA New Play Award Citation, Humanitas Prize New Voices Award, Sky Cooper New American Play Prize, McKnight Advancement Grant, Jerome Fellowship, Carl Djerassi Playwriting Fellowship, and the National New Play Network’s Smith Prize, Martín was a Staff Writer on Netflix’s Narcos, has been the Alliance for Latino Theater Artists (ALTA) Artist of the Month, was a member of the 2011-2012 Playwrights’ Unit at Goodman Theatre, is a Playwright in Residence at Teatro Vista, a Resident Playwright at Chicago Dramatists, and has been a finalist for the Kendeda Competition and Heideman Award.
MFA in Playwriting: The University of Texas at Austin. BA in Theater Studies, BS in Economics: Duke University.

THE SOL PROJECT is a New York City-based initiative catalyzing change via a national movement to provide productions by Latina/o playwrights, bringing the stories and culture of their community to the fore of the American Theater.

Founded by Artistic Director Jacob Padrón with a collective of producers, actors and directors, Claudia Acosta, Elena Araoz, Adriana Gaviria, David Mendizábal and Laurie Woolery, The Sol Project builds visibility by activating a synergistic network of off-Broadway companies and regional theaters, all committed to producing Latina/o stories and artists. By placing Latina/o plays in conversation with other works in the seasons of major theater companies, the project is slated to not only make a difference in the lives of gifted Latina/o playwrights but also to contribute a bold, kaleidoscopic body of work to what will become the new American canon.



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