About They/Them/Theirs

Join us for a compilation of scenes of an early draft of Nick’s new play They/Them/Theirs and be a part of the emergent new play process.

Sam is homeless. Sam needs to be housed. Who will do it? Who can do it? What will it look like? When you’re under-represented, marginalized and canceled by the dominant culture, how do you house your body? They/Them/Theirs is an exploration of exactly that…

Nick Hadikwa Mwaluko (playwright, pronoun agnostic; gender atheist) is a third-culture, non-binary, trans queer Tanzanian-American raised in East and central Africa currently living in the SF Bay Area. Nick is an alum of Playwright Foundations’ Resident Playwrights Program (2019-2022) and was recently awarded the New Visions Fellowship for Black Gender Non-Conforming and Trans Playwrights by the Dramatist Guild of America and National Queer Theater. Nick was a member of The Public Theater’s (New York City) Emerging Writers’ Group (EWG), Crowded Fire Writers’ Lab (San Francisco), and countless other residencies. Nick’s plays include: Silence Is A Sound; Cock Tales for Christmas; 37; S.T.A.R: Marsha P. Johnson; WAAFRIKA 123—A Tragic Rise to Queer African Fantasia; Home is the AfterLife; Blueprint for an African Lesbian; SH/Ero; Asymmetrical We; Brotherly Love; Trailer Park Tundra; Once A Man Always A Man; Mama Afrika; Queering MacBeth; Life Is About the Kill; That Day God Visits You; Ata; To Dyke Trans; Gayze; Good Grief; Pence At The Border and many more. Both B.A. (Magna Cum Laude) and M.F.A. from Columbia University while also a Point Scholar.

Gabby G. Momah (they/them/theirs, Sam) is a performance artist, writer and director based on the unceded lands of the Ohlone people in Oakland. They are thrilled to be working on THEY/THEM/THEIRS for a second time, six years later! Regional theater credits include Wolf Play (Shotgun Players), Top Girls (ACT), Schoolgirls (Berkeley Rep), Watch Me (Berkeley Rep: The Ground Floor), Cardboard Piano (New Conservatory Theater), Sprint (National Queer Arts Festival), A Letter to My Ex (Spectrum Queer Media), She Persisted (Bay Area Childrens Theater), FLEX (Bay Area Playwrights Festival) and more. G is a Crowded Fire Resident Artist and has a B.A. in Reproductive Justice from Stanford University. G has trained at the MFA in Acting program at Brown University, SF Mime Troupe, and The Actors Space. Gabby dedicates this performance to their mother, Arinola Omorinsola Lawson.

Troy Rockett (he/they, Sam 2) is an interdisciplinary artist and theatremaker based in Oakland, California focusing on dramaturgy, playwriting, and stage acting. Rockett collaborates with queer and trans storytellers to produce empowering storytelling experiences. He has a Master’s in English Literature and Creative Writing, and is a LAMBDA Literary Fellow, VONA Voices Fellow, Astraea Lesbian Writer’s Fund recipient, and the 2021 Titan Award winner with Theatre Bay Area.

Cathleen Riddley (she/her, Mother) is a multiple award-winning Bay Area (and beyond) actor and has been seen at most local theaters at one time or another. Favorite roles include Nina in The Incrementalist (The Aurora Theatre), Mrs. Price in Tree (San Francisco Playhouse), Paulina in The Winter’s Tale and Kent in Marcus Gardley’s Lear (Cal Shakes), Rose in Fences (Sacramento Theatre Company), Cynthia in Sweat (Center Rep), Lena in brownsville song (b side for tray) and every role in Hamlet, seriously (Shotgun Players). She loves loves loves new work and is honored to be a part of this reading. Riddley is an emerging director, as well as a certified ASL Interpreter. Cathleen is a company member at PlayGround and Shotgun Players, as well as a Marin Shakespeare Company Associate Artist. She has an MA from UPenn and is a member of the first cohort of Making Good Trouble.

Jeunée Simon (she/her, Helen) is bicoastal actor, director, and consent educator. Recent acting credits include: The Ripple, The Wave That Carried Me Home u/s (World Premiere, Berkeley Repertory Theatre), Intimate Apparel (Lorraine Hansberry Theatre), La Ronde (Cutting Ball Theater), Men On Boats u/s, performed (American Conservatory Theater)—as well as the one person shows: Tasha (3Girls Theatre) and Stoop Stories (Aurora Theatre Company). She can be seen onstage next at Magic Theatre in “Garuda’s Wing” (June 5-23) and “Richard II” (Aug. 22-Sept. 8). Simon is a proud recipient of the 2017 RHE Artistic Fellowship and was a 2019 Directing Apprentice with PlayGround. www.jeuneesimon.com

AeJay Marquis Mitchell (they/them, Director) is a multi-hyphenated performance artist, scholar, educator, and activist whose work centers the decolonization of the theatrical canon, the black avant-garde, and queer political performance practice. They were recently witnessed in the critically acclaimed Ni¿¿er Lovers at The Magic Theatre and served as the co-director, choreographer, and vocal arranger for the world premiere of Ryan M. Luevano’s Dance Plague. Some of their favorite creative projects include Antigonick and Marisol with The Black Box @ SPA, Priscilla Queen of the Desert and Sister Act with Theatre Rhinoceros, as well as Robert O’Hara’s Booty Candy and American Ma(ul) at the Brava Theatre with BACCE. They are a member of the Black Artists Contemporary Cultural Experience collective, Literary Manager and Dramaturgs of the Americas, and Actor’s Equity.

Troy Rockett (he/they, Dramaturg) is an interdisciplinary artist and theatremaker based in Oakland, California focusing on dramaturgy, playwriting, and stage acting. Rockett collaborates with queer and trans storytellers to produce empowering storytelling experiences. He has a Master’s in English Literature and Creative Writing, and is a LAMBDA Literary Fellow, VONA Voices Fellow, Astraea Lesbian Writer’s Fund recipient, and the 2021 Titan Award winner with Theatre Bay Area.

Monique Crawford (she/her, Production Assistant & Stage Directions) is a multiracial African-Caribbean actor from Fairfield, CA. She graduated from California State University Sacramento with her B.A. in Theatre Arts. Previous works include EDIT ANNIE (Crowded Fire Theater), Mondragola (Central Works), Cinderella (African-American Shakespeare Company), Spell #7, Bulrusher, Eclipsed (Celebration Arts), Romeo & Mother Juliet (The MacBeth Project), The White Room (B Street Theatre), Peter and the Starcatcher, In The Heights, The Present, Annie, A Doll’s House, Stories to be Told (CSUS). Monique has also taught the Pre-Professional Ensemble Company Acting Class at Sacramento Theatre Company. Monique has a passion for social justice and founded BE FREE (Black Engaged Fundamental Racial Equity Everyday), calling for radical change within CSUS, where she also led affinity and Racial Healing Circles through The Center for Spiritual Awareness. Follow Monique on social media to stay updated with her next shows!

About Harlem Canary / Tokyo Crow

Harlem Canary / Tokyo Crow is a comedic exploration a little-known Japanese propaganda program during WWII, “Negro Propaganda Operations,” in which captured African American Prisoners of War (POWs) recorded radio plays that contrasted the supposed joys the POWs experienced living in Japan with the horrors of racism in the US. These recordings were intended for broadcast in black communities in the US, to foment civil unrest within Japan’s enemy’s borders. In this play, Bizmark Whittico and Chuancey Bliss, two African American soldiers, record said radio plays, while trying to hide their contempt and desire to escape from program director Yasuichi Hikida and prison guard Kazumaro Uno. This play has been commissioned by Montalvo Arts Center (Saratoga, CA) and Asian Arts Initiative (Philadelphia, PA) through the National Performance Network’s Creation Fund.

About Andrew Saito

Andrew Saito (playwright, he/him)
Andrew Saito writes stories that focus on intersectionality, hybridity, and characters caught in foreign lands. MFA: Iowa Playwrights Workshop. Fulbright Scholar: Papua New Guinea. Andrew W. Mellon Resident Playwright at Cutting Ball Theater. He is an alumnus of PF’s RPI and BAPF programs, The Civilians’ R&D Group, and AlterTheater and Just Theater’s playwright labs. He is currently in the Orchard Project’s Greenhouse Lab. TV: ViacomCBS Writers Mentoring Program, The Lost Symbol, WGA. http://www.andrewsaito.com/

James Mercer (all pronouns, Chauncey) James is a theatre and visual artist originally from Philadelphia, now residing in The Bay. They are a company member with African-American Shakespeare Company, and has worked with A.C.T., Berkeley Rep, Aurora, Irish Rep, and more. MFA American Conservatory Theater. IG @jmercer_ii

Ron Munekawa (he/him, Yasuichi) Ron is grateful to appear in this production of Harlem Canary/Tokyo Crow, as he has been part of the work’s development since 2021. Ron got his start in theatre through dance and has appeared throughout the Bay Area in shows such as 42nd Street, Crazy for You, Damn Yankees, White Christmas and Anything Goes. Most recent roles include Ghost, Never Mind (Kunoicihi Productions); Sam Kimura/Ojii-chan, Allegiance (Palo Alto Players); Gold Monk, Lucia Fuentes (Playground Productions); Ojiichan, Braided (In The Margin/Theatre of Yugen); Isamu, You’ll Never Look At Mt. Fuji The Same Again (Playwrights’ Center of San Francisco); and The MC, Swingposium (San Jose Taiko). Ron will be seen as Mr. Ito in the upcoming film Kintsukuroi (in production) and will also be returning to his song and dance roots this holiday season in Los Altos Stage Company’s production of Elf The Musical.

Terrence Smith (he/him, Bizmark) Terrance Austin Smith is thrilled to collaborate with Andrew Saito again on this piece. Terrance won a Shellie Award for Best Supporting Actor for his performance in Town Hall Theatre’s production of “Brooklyn Bridge.” He was also the runner up for The San Francisco Broadway World Regional Award for Best Featured Actor for his performance in the African- American Shakes’ production of “Richard III.” He’s performed with the Center Rep Theatre Company in Walnut Creek, the Marin Shakespeare Company, Contra Costa County Theatre, 6th Street Playhouse in Santa Rosa, The Lorraine Hansberry Theatre Company in SF, SF Playhouse and many others. He’s also toured nationally and performed overseas in New Ross, Ireland. If you’re a fan of the hit Netflix cartoon series “Go Go Cory Carson” Terrance provides the voice for the coolest locomotive alive, DJ Train Trax.

Ogie Zulueta (he/his/him, Kazumaro) SF/Bay Area Theatres: Magic Theatre – The Travelers, Dogeaters; Oakland Theatre Project – Rashomon, Streetcar Named Desire, Hamlet; A.C.T. – Monstress, After The War; Crowded Fire Theater – 100 Flowers Project, The Late Wedding; Ferocious Lotus – Lu Shen, the Mad; Center REP – Sisters Matsumoto; Playwrights Foundation – Bay Area Playwrights Festival; Altertheatre – Circular; Live Oak Theatre – Red Winged Blackbird. Other Regional Theatre: Los Angeles Theatre Center – The Travelers; La Jolla Playhouse – Bay and the Spectacles of Doom; South Coast Rep. – Caucasian Chalk Circle, Dogeaters (Pacific Playwrights Festival); Mark Taper Forum – Architecture of Loss, L.A. Stories – 900 miles from Iraq; Antaeus Theatre Company/Boston Court – Pera Palas; Singapore Rep. – Hamlet; East West Players – The Tempest; Cornerstone Theatre Company/East West Players – As Vishnu Dreams; Playwrights’ Arena – Sleepwalk, Gumsimao; Nevada Shakespeare in The Park – Othello; Deaf West – Romeo and Juliet; East L.A. Classic Theatre – Midsummer Night’s Dream; Sledgehammer Theatre – Three Sisters; Theatre Nada – The Battles of Coxinga, SoHo Rep. – Malibu. Film & T.V.: You’ll Lose a Good Thing, The Truer History of the Chan Family, A Day Without A Mexican, Pink as the Day She was Born, How to Make your First Billion & Save the World, My Bad Dad, One West Waikiki, First Years, 2 Guys and a Girl, L.A. Heat, Models Inc. Member of Ferocious Lotus Theatre Company and Oakland Theatre Project.

Rotimi Agbabiaka (all pronouns, Director) Rotimi Agbabiaka is an actor, writer, director, and teacher. Most recently, Rotimi played Oberon and Theseus in A Midsummer Night’s Dream (Folger Theatre, Washington D.C.) and originated the roles of William Craft in The N****r Lovers (Magic Theatre), James Baldwin in In the Evening By The Moonlight (Lorraine Hansberry Theatre), and Cellphone/Narrator in If Pretty Hurts Ugly Must Be a Muhfucka (Playwrights Horizons, Off-Broadway). 

Scott Horstein (he/him, Dramaturg) Freelance dramaturgy credits include Marin Theatre Company, Greenway Court, Denver Center, Oregon Shakespeare Festival, Berkeley Rep, South Coast Rep, San Diego Rep, Playwrights Foundation, Native Voices at the Autry, Watts Village Theater Company, Alter Theater, and the Old Globe, where he dramaturged for Arthur Miller on his penultimate play Resurrection Blues. New York credits include Port Out, Starboard Home with foolsFURY at La Mama, and Good Bobby with Greenway Court at 59E59 (Off-Broadway). Scott was formerly staff dramaturg for Cornerstone Theater Company and for the Black Dahlia Theater. He has dramaturged or produced productions for leading playwrights including Nathan Alan Davis, Larissa FastHorse, Sheila Callaghan, Sarah Ruhl, Octavio Solis, David Edgar, Austin Pendleton, and James Still, and for leading directors, including Nataki Garrett, Bill Rauch, Mark Lamos, and Kyle Donnelly. Professor of Theatre Arts, Sonoma State University; LMDA’s Elliott Hayes Award for Outstanding Achievement in Dramaturgy; MFA in Dramaturgy, UCSD.

Kaitlin Weinstein (she/her, Production Assistant) Kaitlin Weinstein is an East Bay-based stage manager, costumer, and arts administrator passionate about new play development. With Playwrights Foundation, she served as the Producing Intern for the 2021 Bay Area Playwrights Festival, and she was on the National Committee reviewing script submissions for the 2022 and 2024 festivals. Around the Bay Area, she’s worked with theater companies including American Conservatory Theater, Berkeley Playhouse, California Shakespeare Theater, and Shotgun Players, as well as Broadway at Music Circus and Capital Stage in Sacramento. She holds a B.A. in Theater & Performance Studies and English from UC Berkeley, where she received the Eisner Prize for Stage Management and Costume Design. She is currently the Producing Manager at The Marsh, a theater that specializes in developing one-person shows.

About The Last Tram

Nostalgia devolves into nightmare for the five strangers aboard the final Canery Studios Tram Tour. Amidst unruly animatronics and a sense of impending doom, one rider in particular keeps having troubling hallucinations of his estranged-now-dead father. Unearth the sinister secret behind the theme park in this dark comedy about commercialized memories and the price we pay to create our own happiness.

About Min Kahng

Min Kahng (playwright, he/him)
Min Kahng is an award-winning playwright, composer, lyricist and creative coach whose works include The Adventures of Honey & Leon, The Four Immigrants: An American Musical Manga (Bay Area Theatre Critics Circle Award, Theatre Bay Area Award, Edgerton New Play Award, NAMT Production Grant), GOLD: The Midas Musical (Theatre Bay Area Award), Iris Lee’s Audio Odyssey (published by Playscripts), Inside Out & Back Again, Where the Mountain Meets the Moon: A Musical Adaptation, Bad Kitty On Stage!, The Song of the Nightingale and Tales of Olympus. Kahng is a MacDowell Fellow, a Travis Bogard Fellow, and an alumnus of the Playwrights Foundation Resident Initiative, Berkeley Rep’s Ground Floor, Djerassi, Willapa Bay AiR, and the TheatreWorks New Works Festival. He has been invited as a Guest Lecturer/Artist at Harvard University, Stanford University, UC Berkeley, San Jose State University and The San Francisco Conservatory of Music. Kahng is an NEA Grant Recipient, a Jonathan Larson Grant Finalist, a Richard Rodgers Award Finalist, and a Dramatists Guild committee member. www.minkahng.com 

Benjamin Nguyen (He/Him, Brian) is a bay area native and has performed in theaters all over the Bay. He’s excited to be joining the team in Developmental Reading of The Last Tram! Previous credits include Gypsy (Georgie), Hunchback of Notre Dame, and Hair (Woof) with Bay Area Musicals, Song of the Nightingale at Town Hall Theatre, The Music Man (Tommy Djilas) at Berkeley Playhouse, and Inside Out and Back Again (Brothers, Theatre Bay Area Award nominee for best actor) with Bay Area Children’s Theatre.

Zoe Chien (She/Hers, Rosalie) earned a BFA in Theatre from NYU’s Tisch School of the Arts. Her work includes theater, film, television, commercial, voiceover, and print. Past theater collaborations include SF Playhouse, Theatre of Yugen, Left Coast Theatre Company, SF Youth Theatre, and 3Girls Theatre Company. She feels lucky to be an actor in a time when so much art is being made in response to our social and political climate. As a woman of mixed race (Taiwanese and Italian-American), Zoe is especially inspired by projects that celebrate women and diversity. She loves being Program Coordinator at 3Girls Theatre. @thezoechien zoechien.com

Renee Rogoff (She/Hers, Anna) is an alumnus of The Lee Strasberg Studio, Stella Adler, Repertory Philippines, and American Academy of the Dramatic Arts. Her appearances include Mrs. White in “Clue” (San Francisco Playhouse), Ellen/Mrs. Saunders/Lin in “Cloud 9” (CMTC), The Voice in “Ways To Leave a Body” (Cutting Ball Theater), Alice Paul in “Strange Ladies” (Central Works), Josie in Eugene O’Neil’s “A Moon for the Misbegotten” (Roustabout Theater Co.), and Hannah in “When We Were Young and Unafraid” (CMTC) for which she won the Bay Area Critics Circle Award for Best Featured Performance in a play. She has performed with Upright Citizens Brigade in NYC and is a standup comedian at Gotham Comedy Club and Broadway Comedy Club.

Eiko Yamamoto (She/They, Sunny) is an issei, ilchom ose, multi-hyphenate artist, and hails from Tokyo/ Seoul/ Honolulu. Favorite credits: world premiere of Downtown Crossing (Company One), Meiko in Eureka Day, Elizabeth Condell in The Book of Will. Recent credits: originating role of Pacifica in the world premiere of Sleeping Beauty: Panto (Presidio Theatre); Clue, Follies (San Francisco Playhouse); M’Lynn Eatenton in Steel Magnolias (SierraRep). Eiko is invested in developing new works and favorites include Shoshanna in December (ZSpace) and Baked! The Musical (FaultLine Theater). PlayGround, Marin Shakespeare Company, African American Shakespeare Company, Kunoichi Productions and AlterTheater are some of the companies they’ve worked with. Upcoming: Into the Woods (Mountain Play), Cruel Intentions (Ray of Light Theatre), Panto in the Presidio (Presidio Theatre), The Truer History of the Chan Family, an independent film by Eugenie Chan, 2024. Eiko is a graduate of UCLA and member of SAG-AFTRA. eikoyamamoto.com | IG @eikoyh

Aus De Los Santos (They/Them, Chee) Austine, affectionately called “Aus”, is a Bay Area raised, Philipinx artist. Aus is thankful to have worked with The Peripatetics Players, Plethos Productions, and Berkeley Playhouse. Outside of acting, they love to dance, cook something new, sleep, and eat a sweet treat. You can find them on instagram: @yo_austine. They give their deepest love and gratitude to their family and friends. Mahal kita!

Wayne Dexter Wong (He/Him, Canery Consciousness Trust ) An experienced character actor and singer, Wayne has played roles in over ninety productions, mostly operas. Company credits include Pocket Opera, West Edge Opera, Opera Parallele, Island City Opera and Teatro Bocchino (in the world premiere of David Morris’ Il Bobo Sferrato). He was last seen as Dimas in Shotgun Players’ production of The Triumph of Love; He appears this summer as the Bonze in West Edge Opera’s production of Stravinsky’s Le Rossignol. He is a graduate of U.C. Berkeley and Brown University. His parents and brother migrated to the U.S. from Hong Kong in 1956.

Monique Crawford (She/Her, Production Assistant) is a multiracial African-Caribbean actor from Fairfield, CA. She graduated from California State University Sacramento with her B.A. in Theatre Arts. Previous works include Mondragola (Central Works), Cinderella (African-American Shakespeare Company), Spell #7, Bulrusher, Eclipsed (Celebration Arts), Romeo & Mother Juliet (The MacBeth Project), The White Room (B Street Theatre), Peter and the Starcatcher, In The Heights, The Present, Annie, A Doll’s House, Stories to be Told (CSUS). Monique has also taught the Pre-Professional Ensemble Company Acting Class at Sacramento Theatre Company. Monique has a passion for social justice and founded BE FREE (Black Engaged Fundamental Racial Equity Everyday), calling for radical change within CSUS, where she also led affinity and Racial Healing Circles through The Center for Spiritual Awareness. Follow Monique on social media to stay updated with her next shows!

Nikki Meñez (Director, they/she/siya)
Nikki Meñez is a director, movement artist, and arts administrator born and raised in the San Francisco Bay Area. When not directing, Nikki works in casting and artist outreach, theater education, and arts advocacy for a more equitable, sustainable, and humane creative ecosystem. Nikki is the Curatorial Director at Z Space where they curate the bookings and rental partnerships that populate the venue side of the organization and strive for creative cross-pollination and community building between different performing arts communities. They are a graduate of Environmental Studies and Theater Arts from The University of California at Santa Cruz. Local creative affiliations include Awesome Theatre, Queer Cat Productions, Killing My Lobster, Custom Made Theater Company, Faultline Theatre, & PianoFight.

May Liang (Dramaturg, she/her)
May Liang is a Stage Director/Theater Artist of Color based in the San Francisco Bay Area. She has worked with American Conservatory Theater, Berkeley Repertory Theater’s Ground Floor Lab, California Shakespeare Theater, Crowded Fire Theater Company (Resident Artist), Ferocious Lotus Theater Company, Bay Area Children’s Theatre, Bindlestiff Studios, Contra Costa Civic Theater, Just Theater, PlayGround Center for New Plays (Directing Fellow 2017), San Francisco Playhouse, TheaterFirst, TheaterWorks and Oakland Theater Project. May was a member of the 2017 Lincoln Center Theater Directors Lab in New York City and a member of the Director’s cohort for the 2019 Directors Lab Chicago.

About MAHĀBHĀRATA

The Mahābhārata is the great Indian epic. Dating from around 800 BCE, with 100,000 verses and a cast of thousands, it is retold in each new generation throughout South Asia and the Indian diaspora.

Often in the retelling, tales of triumphant warriors emerge as central. But what of the tantalizing histories woven among the battles? What of the boundaries broken, the pathways blazed? And what can hearing this ancient epic possibly mean  to modern Americans of South Asian descent?

Playwright Geetha Reddy offers a bold new retelling of the ancient text, featuring J Jha in a one-person excavation that explores the epic for a new generation. It examines the nature of conflict, betrayal, and agency through a contemporary lens. What will the Aunties say? 

After a world premiere at Oakland Theatre Project in 2019, directed by Michael Moran, the team is back together to further develop their concept of this historic sprawling text in preparation for an August production at Z Space.

About Geetha Reddy

Geetha Reddy (playwright, she/her)
Her plays include Mahābhārata (Oakland Theatre Project) Far, Far Better Things (Shotgun Players/ TheatreFirst), Hela (with Lauren Gunderson, TheatreFirst), Safe House (SF Playhouse), Blastosphere (with Aaron Loeb, CentralWorks). Geetha’s plays Me Given You, Girl in a Box, and On a Wonderverse were part of the Playwright’s Foundation’s ‘In the Rough’ reading series. Safe House and On a Wonderverse were featured in the Bay Area Playwrights Festival. Commissions include: TheatreWorks, SFPlayhouse, Ubuntu Theatre Project, Shotgun Players, Crowded Fire, the Gerbode Foundation, and PlayGround (3). Her short film Obit appeared at LA Shorts, NY Indie Fest, Bend Film Festival, the GI Film Festival and many others. Geetha is a member of the Dramatist’s Guild, and an alumni Resident Playwright at the Playwright’s Foundation.

J Jha (performer/all pronouns) is an actor and performer with an MFA from the University of Washington. In November 2019, they presented the world premiere of Mahâbhârata, a solo-telling of the great Indian epic, adapted by Geetha Reddy, a South Asian-American playwright, where the re-telling intentionally presents the non-cis gendered male perspective that continues to and has otherwise dominated this conversation for thousands of Hindu years. Coming up in August 2023, Mahâbhârata at Z -Space San Francisco! J, along with Circo Zero, performed Queer Migrants, a collaborative self-created/curated piece of street-story-telling on the steps of the US Customs and immigration Office, Sansom Street, San Francisco,CA in 2017 and 2018.

Michael Socrates Moran (Director, he/him) is an actor, director and co-founder of the Oakland Theater Project where he serves as Co-Artistic Director and Executive Director. In the last ten years, Michael has led the Oakland Theater Project to critical acclaim where he has directed over 30 productions and produced an average of 6 shows a year. Michael is thrilled to have the opportunity to workshop and this play with Geetha and J at Playwrights Foundation and produce it in OTP’s 2023 Season.

Nakissa Etemad (Dramaturg, she/her) is the Associate Artistic Director of Marin Theatre Company and an Iranian American Dramaturg, Producer, and French Translator, specializing in new BIPOC plays and musicals for 30 years. Recent Dramaturg credits: Justice A New Musical (Marin Theatre Co.) and Hotter Than Egypt (Denver Center for the Performing Arts; world premiere co-production: Marin Theatre Co. & ACT in Seattle); and Dramaturg for nine Bay Area Playwrights Festivals plus readings, workshops, and Resident Playwright showcases. Resident Artist of Golden Thread, Regional VP of LMDA, and former Dramaturg & Literary Manager of The Wilma Theater, San Jose Rep, and San Diego Rep. MFA in Dramaturgy, UCSD. Elliott Hayes Award winner 2015 for the road weeps.