Introducing the Project Resilence Playwrights
THE BOSTON PROJECT: PROJECT RESILIENCE
JUNE 4 – 10
Fabiola R. Decius’ plays include Final Verdict, Consent, Black Jesus, RX 3162020, The Test, Man of the House, and Fighting Forgiveness, which have been produced and/or developed within the Greater Boston area and beyond. Fabiola is the founder of Teens WRITE (Writing, Reading, and Investigating Theater Everywhere), which is a program for teenagers to write, revise, cast, direct, and produce original plays. She also teaches high school theater. Fabiola graduated from Bryn Mawr College with a Bachelor of Arts and received a Master of Fine Arts in Creative Writing at Lesley University in Stage and Screen Writing. (she/her)
ABOUT FABIOLA’S PLAY:
Claire, a recent widow, reflects on her and her husband’s marriage and the family they created by revisiting the place where they met, the Hyde Park branch of the Boston Public Library.
Dr. Hortense Gerardo is a playwright and serves as Director of the Anthropology, Performance, and Technology (APT) program at the University of California, San Diego. Her works have been performed nationally and internationally, including: LaMama Experimental Theatre, the Institute of Contemporary Art (ICA) in Boston, the International Performance Art Festival, and the Nuit Blanche Festival in Toronto. Dr. Gerardo is a co-founder of the Asian American Playwright Collective (AAPC) and serves on the Board of Directors of the Woods Hole Film Festival leading the Screenwriting Competition. For more information go to: www.hortensegerardo.com and follow her on Twitter: @hfgerardo. (she/her)
ABOUT HORTENSE’S PLAY:
“I propose to write an original, 10-minute play set in the present or near future, ideally in the post Covid-19 vaccinated world, set at the Ether Monument, also known as The Good Samaritan, in Boston’s Public Garden at the corner of Arlington and Marlborough Streets: the monologue proposes to explore the similar anesthetic qualities induced by exposure to ether and the ‘Ethernet,’ and how both have caused a form of insensitivity to pain for better and for worse.”
Paige Monopoli is a New England-based playwright and was a Boston resident for ten years. She earned her Bachelor’s Degree in Theater from Suffolk University in 2015. Paige’s plays include Dear Tony, Re-Evaluationland, The Throne, Silver Spoons, Bookcases, Fire and Rain, and Yesterday. Her piece STRONG: The Boston Marathon celebrated the lives of survivors and first responders from the 2013 bombings, and received an Artistic Excellence Award. Paige is also a freelance illustrator and painter. (she/her)
ABOUT PAIGE’S PLAY:
A reflection on the rapidly changing city of Boston and its people’s resilience through the lens of a dog walker.
Nico Pang is a queer and trans Asian American writer, facilitator, and emerging playwright based in Boston (Wampanoag, Nipmuc, and Massachusett land) by way of New Jersey and the Chinese diaspora. With a background in spoken word poetry and queer/trans organizing, Nico blends art forms to explore and interrogate ancestry, queerness, belonging, and the ways we make and unmake family. Nico is a member of the Asian American Playwright Collective and was part of Company One Theatre’s PlayLab Unit in 2020. Nico is committed to honoring and celebrating their communities through writing, theatremaking, and organizing. (they/them)
ABOUT NICO’S PLAY:
After top surgery gets indefinitely postponed, Cam must grapple with the uncertainty of waiting during a global pandemic. Through a series of strange and beautiful dreams, Cam rediscovers what it means to come home to one’s body.
Adriana RoCale is a Boston-based actor and writer who attended Boston Arts Academy for four years, where she received most of her training. In her senior year she made the decision to switch from an acting major to a film major, committing to pursuing a career in filmmaking and playwriting. When she was 16, her play American Dream won the Massachusetts Young Playwrights’ Project: New Voices in collaboration with Boston Playwrights’ Theatre and The Center for the Humanities at Boston University, and was performed to an audience. It was then she realized how passionate she was about telling her own stories. She went on to enter the Scholastic Art and Writing Awards, and on behalf of the Museum of Fine Arts at Tufts University, the Boston Globe Foundation, and the Scholastic Team, won nine writing awards: two Regional Gold Keys in the category: Dramatic Script, three Regional Silver Keys in the categories: Dramatic Script and Poetry, and four honorable mentions. Since graduating from high school in 2020, she has spent her time working on bringing to life her new ideas in both film and stage plays, planning to start college soon to further pursue her career. (she/her)
ABOUT ADRIANA’S PLAY: Nindiría Perez is forced to move from the town she’s lived in for 3 decades due to ongoing gentrification. She’s raised her three children there, and sold tamales on all the street corners, a way to make money after she illegally immigrated from Nicaragua to East Boston due to the war. On the last day of her lease, she recalls all the time she’s spent in East Boston and her past in Nicaragua, coming to terms with leaving the town she’s learned to call home.
Magda Romanska is a writer, and theatre and media scholar. A graduate of Stanford and Cornell’s doctoral program, she was a founding editor of Palimpsest: Yale Literary and Arts Magazine. Her op-eds and articles appeared in Reed Magazine, The LA Review of Books, The Boston Globe, The Conversation, Salon, PBS, and The Cosmopolitan Review. She has taught theatre, performance and transmedia at Harvard University, Yale School of Drama, Cornell University, and Emerson College. She has also worked on over 30 theatre and opera productions. Her play, Opheliamachine, premiered in Los Angeles, and The Life and Times of Stephen Hawking was workshopped at the Lark Theatre and forthcoming Roundabout Theatre Reverb Festival. (she/her)
ABOUT MAGDA’S PLAY:
Life is Elsewhere narrates the changes that pandemic inflicted on those of us for whom our homes became both places of confinement and places of freedom. Will the changes in how we communicate create a permanent society-wide mental capacity for reimagining access to work, knowledge, and resources?