Playwrights Horizons

It didn't, in that particular moment, place in time it didn't land as powerfully as it had I mean I used to do the songs the front of the very first songs I would do an open mic nights and they always killed like because other people are doing their sets which are like kind of I might just like kind of concise stories I think it's amazing yeah But no, it's interesting how people of different ages really react differently.

And even doing it at Playwrights Horizons, where there's this theater subscription audience, responded quite well to the piece.

You know, and I thought of the piece as like a capital A artwork.

You know, I was trying to like win little awards and stuff, which is so different from this vibe of the Cherry Lane.

From an artistic perspective, yeah, I think the longer it sits with you.

Like I saw, I can't, why am I plugging somebody else's show? I saw Degenerates at Playwrights Horizon.

And by the time this comes out, it'll have been completely sold out and closed.

So you won't be able to see it.

What is the main thing that appeals to you in writing for horror or thriller genre? And we'll start with John.

One of the most exciting plays that I've seen was Neil Bell's Splatter Pattern at Playwrights Horizon.

And it's a thriller, but it's a horror thriller, kind of a mystery.

We know somebody's dead.

Cause you maybe speak to, to, you know, keeping the creative fire going during the pandemic and what that time looked like for you.

Um, yeah, we, um, we, we, Well, you know, I had the sort of dream come true of my musical Unknown Soldier that I wrote with Michael Friedman opening at Playwrights Horizons.

And we opened in March of 2020.

Lucky us.

Her first play, All Souls Day, was produced with Looking Glass in 1992, followed by Dreaming Lucia in 1994.

She wrote the book and lyrics for the musical The Shags, Philosophy of the World, produced with Looking Glass in 2004, and later off-Broadway at Playwrights Horizons, where it was nominated for a 2011 Drama Critics Circle Award and a Lucille Lowertal Award.

She co-adapted Studs Terkel's race, How Blacks and Whites Think and Feel About the American Obsession, with ensemble member David Swimmer for Looking Glass's 2003 season.

The world premiere of her play, St. Megan, winner of the 2026 Los Angeles New Play Project Award, opened at the Rogue Machine in Los Angeles on October 10th and runs through November 22nd.

This episode is with the creators of Hole, the musical, which sold out Joe's Pub.

It sold out at the Edinburgh Fringe, and right now it's at Playwrights Horizons in New York.

If you happen to be in New York, you have to go see this musical.

It's gay.

Run, run.

Get your tickets.

Playwrights Horizons.

Google Playwrights Horizons.

Two more Americans I wanted to briefly flag.

Claire Barron's Pulitzer finalist play, Dance Nation, opened Playwrights Horizons in New York.

That came over to the Almeida.

It actually lost the Pulitzer to Fairview, which probably feels like the right decision.

So here you are.

As so many actors, you have your day job working at Playwrights Horizon in the box office.

I mean, were you torturing yourself just trying to put yourself in a position where you see all of

these other people succeed before it's happening to you? I don't know if I was torturing myself.

So it's very, very cool.

I know I'm

going to veer off for just a second, but you were working at Playwrights Horizons with Maurice Emmanuel Parent, who is a big star here in Boston.

He's a big Boston star.