Celebrating
Jewish Plays

Pronouns she / her
Kate is an award-winning director and multi-hyphenate theater maker. Some favorite directing/devising credits include: Shakespeare & Company: Henry VI, Pt. II (Associate to Tina Packer), This Is It: Plays in Process; Midsummer Nights - Dream Love Escape, The Birds, Romeo and Juliet: A Space Oddity (The Ridiculous Project Boston); D.arc Water, Dog Act, Mr. Burns: A Post-Electric Play, The Mermaid Hour: Remixed, Midsummer Night’s Dream (Boston Conservatory Berklee); Macbeth, Big Love, Ghosts of Troy, The Wolves, Comedy of Errors (Salem State University) and Hamlet (Brandeis University, co-directed). Founding Artistic Director of The Ridiculous Project, Professor of Movement and Acting for Boston Conservatory Berklee. MFA Naropa University, MA RADA/ Kings College, BFA Goldsmiths College London. Teacher of Acrobat of the Heart psychophysical actor training, Trish Arnold Pure Movement, DE-SMTT: Somatic Movement Educator and CYT.

Amanda Gronich is an Emmy-nominated documentary scriptwriter who has devoted her career to bringing true stories to the stage and screen.

Born and raised in New York City, Amanda received a BA in Drama from Tisch School of the Arts at New York University. Soon after, she joined Tectonic Theater Project as a charter member and became captivated by interview-based storytelling. Amanda was one of the group of artists who traveled to Laramie, Wyoming to co-create (based on 200+ interviews) The Laramie Project, later made into an HBO film. She directed the company's Toronto production of Gross Indecency: The Three Trials of Oscar Wilde. Most recently at Tectonic, Amanda co-authored Here There Are Blueberries (La Jolla Playhouse, Shakespeare Theatre Company DC, New York Theatre Workshop 2024).

In addition to her work in theater, Amanda pursued a prolific, decade-long career in documentary television. She joined the award-winning production team at National Geographic Television as a lead series writer. Prior to that, Amanda was the Supervising Senior Writer at Hoff Productions, where for many seasons she oversaw the company’s entire staff of writers and all scripting. In this role, Amanda created, wrote and story-consulted on top-rated series and specials for diverse national broadcast networks, including National Geographic, Animal Planet, WeTV, Travel Channel and TLC. Her work has also been seen internationally, with her programs receiving some of the highest ratings in their timeslots overseas.

Throughout, Amanda committed herself to inspiring new generations of playwrights to create groundbreaking documentary storytelling, bringing unheard voices to the stage. While teaching as an Adjunct Lecturer in the Graduate Program in Educational Theatre at the City College of New York, Amanda developed a unique method for generating interview- and research-based dramas. She is at work founding a documentary theater development institute to expand these techniques. In addition, a book about her original play-devising methods will be released by Southern Illinois University Press.

Amanda currently works as a playwright and script consultant. She is developing a new documentary musical about a family coping with a rare genetic condition. She plans to continue working in the under-explored field of interview-based musicals.

Karen Hartman is a finalist for the 2023 international Susan Smith Blackburn prize. In 2022, her work launched VOLT at 59e59 Theaters, an unprecedented festival of three simultaneous off-Broadway premieres by a single author: New Golden Age (Primary Stages); The Lucky Star (The Directors Company); and Goldie, Max & Milk (MBL Productions). Also in 2022, Rattlesnake Kate, book by Hartman, score by Neyla Pekarek, won eight Henry Awards, including Best New Work, in its world premiere at Denver Theater Center. Some of Hartman’s many plays include: Good Faith: Four Chats about Race and the New Haven Fire Department (Yale Repertory Theater), Roz and Ray (McKnight Fellowship, Edgerton New Play Prize, Kilroy’s List), Project Dawn (NEA Art Works Grant, NNPN Rolling World Premiere, currently in development for television), Leah’s Train (National Asian American Theater Company, Weissberger Award Finalist), Girl Under Grain (Best Drama in NY Fringe) and Gum. Her plays are published by Theater Communications Group, Dramatists Play Service, Concord Theatricals and more.

Her prose has appeared in the New York Times and the Washington Post. A recent Guggenheim Fellow and former Fulbright Scholar, Hodder Fellow, and New Dramatist, Hartman served as Senior Artist-in-Residence at University of Washington School of Drama for five years, and lives in Brooklyn with her family. She wrote the book for Alice Bliss (music: Jenny Giering, lyrics: Adam Gwon, based on Laura Harrington's novel), which won the 2019 Weston-Ghostlight New Musical Award and will premiere at TheatreWorks in 2023.

Pronouns she / her
S&Co: The Contention (Henry VI, Part II), Much Ado About Nothing, Time Stands Still, Heisenberg, Cymbeline, The Tempest, Merchant of Venice, Two Gentlemen of Verona; Regional: Appropriate, God’s Ear (Elliot Norton Award Best Actress & Best Production), Henry VIII, Pericles, Living In Exile, Cabaret; Film/TV: Sheepdog, Mother/Android, John And The Hole, The Equalizer 2, The Judge; Defending Jacob; Bull; The Secret Life Of Marilyn Monroe; Olive Kitteridge; Chasing Life” Canadian TV: Blue Murder (Series Lead), The Associates (Series Lead); MFA American Repertory Theatre. Tamara is part of MetaGirl Productions with Kate Kohler Amory. Their solo play This Is It has been performed in Boston and New York. They are currently adapting the novel The Weight of Ink to the stage. Alumni: January Month-long Intensive 2003.

Rachel Kadish is the award-winning author of the novels The Weight of Ink, From a Sealed Room, and Tolstoy Lied: a Love Story, as well as the novella I Was Here. Her work has appeared on NPR and in The New York Times, Ploughshares, Paris Review, Slate, and Tin House, and has been anthologized in the Pushcart Prize Anthology and elsewhere. Her novels have won the National Jewish Book Award, the John Gardner Fiction Award, the Boston Authors Club’s Julia Ward Howe Fiction Award, and the American Jewish Libraries Fiction Award. She was the Koret writer-in-residence at Stanford University, and has been a fellow of the National Endowment for the Arts, the Massachusetts Cultural Council, Harvard/Radcliffe’s Bunting Institute, and the New York Public Library / Fordham University. She has been granted residencies at the Yaddo and MacDowell colonies, the Bogliasco Foundation, and the Bellagio Center (Rockefeller Foundation). She lives outside Boston.

Tony- and Emmy-nominated director and playwright, and recipient of the National Medal of Arts from President Obama, Moisés Kaufman has led Tectonic Theater Project since its founding in 1991. Broadway credits include Paradise Square (10 Tony Award nominations), the revival of Harvey Fierstein’s Torch Song, Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo with Robin Williams, the revival of The Heiress starring Jessica Chastain, 33 Variations starring Jane Fonda (Tony Award nomination for Best Play), and Doug Wright’s I Am My Own Wife (Obie Award and Tony, Drama Desk Award, Outer Critics Circle Award and Lucille Lortel Award nominations). West End: Gross Indecency, I Am My Own Wife, This Is How It Goes. Off-Broadway / Regional: Here There Are Blueberries (Tectonic Theater Project/La Jolla Playhouse), Seven Deadly Sins (Drama Desk Award for Unique Theatrical Experience, Tectonic Theater Project/Madison Wells Live), One Arm by Tennessee Williams (Tectonic Theater Project/The New Group); The Laramie Project (writer/director; Theater in the Square, Drama Desk nomination); The Laramie Project: Ten Years Later (writer/director; Alice Tully Hall); Gross Indecency: The Three Trials of Oscar Wilde (writer/director; Lucille Lortel Award for Best Play, Outer Critics Circle Award for Best Off-Broadway Play and the Joe A. Callaway Award for Direction); Macbeth with Liev Schreiber (Delacorte Theater); Master Class with Rita Moreno (Berkeley Repertory Theatre). Opera: El Gato Con Botas (New Victory Theater). Film/TV: The Laramie Project (HBO; two Emmy nominations for writing and directing, Opening Night Selection at the 2002 Sundance Film Festival, National Board of Review Award, the Humanitas Prize); The L Word. Kaufman is the Artistic Director of Tectonic Theater Project, a Guggenheim Fellow in Playwriting, and an Obie Award and Lucille Lortel Award winner.

Arthur Miller (1915-2005) was born in New York City and studied at the University of Michigan. His plays include The Man Who had All the Luck (1944), All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop's Ceiling (1977), The American Clock (1980) And Playing for Time. Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters’ Connections (1998), Resurrection Blues (2002), and Finishing the Picture (2004). Other works include Focus, a novel (1945), The Misfits, a screenplay (1960), and the texts for In Russia (1969), In the Country (1977), and Chinese Encounters (1979), three books in collaboration with his wife, photographer Inge Morath. Memoirs include Salesman in Beijing (1984) and Timebends, an autobiography (1988). Short fiction includes the collection I Don’t Need You Anymore (1967), the novella Homely Girl, a Life (1995) and Presence: Stories (2007). He was awarded the Avery Hopwood Award for Playwriting at University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement. He also won an Obie award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama from the National Institute of Arts and Letters, the Literary Lion Award from the New York Public Library, the John F. Kennedy Lifetime Achievement Award, and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. He was awarded the 2002 Prince of Asturias Award for Letters and the 2003 Jerusalem Prize. He received honorary degrees from Oxford University and Harvard University and was awarded the Prix Moliere of the French theatre, the Dorothy and Lillian Gish Lifetime Achievement Award, and the Pulitzer Prize.

Wendy Wasserstein’s play The Heidi Chronicles won the 1989 Pulitzer Prize, Tony Award, and Susan Smith Blackburn Prize; the New York Drama Critics Circle, Drama Desk, and Outer Critics Circle Awards; and earned her a grant from the Kennedy Center Fund for New American Plays. For The Sisters Rosensweig she received the 1993 Outer Critics Circle Award, a Tony Award nomination, and the William Inge Award for Distinguished Achievement in American Theatre. Other plays include Old Money and An American Daughter and Third (Lincoln Center); Uncommon Women and Others (Phoenix Theater); Isn’t it Romantic (Playwrights Horizons); a musical, Miami (with Jack Feldman and Bruce Sussman); Waiting for Philip Glass, included in Love’s Fire (The Acting Company). Wasserstein’s screenplays include The Object of My Affection, produced as a major motion picture starring Jennifer Aniston and Paul Rudd. For PBS Great Performances she wrote Kiss, Kiss Darling; Drive, She Said; and adaptations of John Cheever’s The Sorrows of Gin and her own Uncommon Women and Others. She adapted The Heidi Chronicles for TNT (1996 Emmy Award nomination for Best Television Movie) and An American Daughter for Lifetime Television. Her adaptation of The Nutcracker was performed at The American Ballet Theatre at The Met, and her adaptation of The Merry Widow premiered at San Francisco Opera. She was the librettist for the original opera Festival of Regrets: Central Park, which had runs at Glimmerglass Opera and New York City Opera. She wrote Pamela’s First Musical, a children’s book, which adapted with Cy Coleman into a musical which premiered in Spring 2006. Her other books include the essay collections Shiksa Goddess and Bachelor Girls. She contributed to The New Yorker, The New York Times, New York Woman, and Harper’s Bazaar, among many other publications. She was the recipient of an NEA Grant, Guggenheim Fellowship, and a Fellowship at the American Academy in Rome. She served on the Council of the Dramatists Guild, on the Board of the British American Arts Association, School of American Ballet, WNET/Thirteen, and The Educational Foundation of America. She taught at Columbia University, New York University, Juilliard School, and Princeton University, and held an Honorary Doctorate from Mount Holyoke College. Wasserstein was born in Brooklyn and raised in Manhattan. She was a graduate of Mount Holyoke College and the Yale School of Drama.

Judy Braha has been a director, teacher and arts activist for over four decades. Long-time Head of the M.F.A. Directing Program at Boston University College of Fine Arts, her credits include theaters and universities throughout New England. She proudly works with the BU Prison Arts Project and Race Prison Justice Arts. Judy is currently Associate Artistic Director at Great Barrington Public Theater in the beautiful Berkshires. Recent Directing: Things I Know To Be True, Mr. Fullerton, Dog People (GBPT), Representation and How To Get It (Revolutionary Spaces), The Exonerated, Our Class (BU), Mr. Fullerton, Between the Sheets (Gloucester Stage), Golda’s Balcony (New Rep), Flight of the Monarch (Shake&Co). Upcoming: Madame Mozart, The Lacrimosa at GBPT.

Pronouns she / her
S&Co: Director, Coriolanus, Intimate Apparel, Ugly Lies The Bone, Red Velvet, Shakespeare’s Will, Romeo and Juliet, Sea Marks, Martha Mitchell Calling, The Taming of the Shrew, Much Ado About Nothing, Love Letters, Collected Stories, The Winter’s Tale, Wit, A Room of One’s Own, The Turn of the Screw. New York: Abingdon; Culture Project; EST; HERE; Joe’s Pub; Lincoln Center Theater Directors’ Lab; Mud/Bone; New Dramatists; the Public; Shakespeare Society; Symphony Space; 78th St. Theater Lab; Upstart Creatures; Vineyard Theatre. Regional: Boston Playwrights’; Connecticut Repertory; LA Women’s Shakespeare; the Modern; Northern Stage; Sun Valley Shakespeare; Tygre’s Heart Shakespeare; Vineyard Playhouse; VoxFest; Wharton Salon. Co–founder, The Company of Women; co–creator, Conversations with Shakespeare; Drama League Fellow; NYTW Usual Suspect. Faculty/Guest Artist: The Linklater Center, Barnard, Bennington, Columbia, Dartmouth, David Geffen School of Drama, Emerson, NYU, Purchase, Smith, U. Conn., Yale University. International theater exchange projects: Sfumato Theatre Laboratory, Sofia, Bulgaria; Pro Rodopi Art Centre, Bostina, Bulgaria. Artistic Research Fellow, The Folger Institute, 2025-2026. CAT alumna: January Month-long Intensive 1988,1990; SSI (formerly STI) 1988.

Annette Miller has performed on Broadway, Off-Broadway, in Boston, in Regional Theaters, and in Film and Television. She has been a leading actor at Shakespeare & Company in Lenox, Mass. for 25 seasons. Annette was awarded a Special Citation at the 2024 Elliott Norton awards ceremony, for her body of work and her recent sold-out reprisal of Golda’s Balcony at Shakespeare & Company and at Boston’s Emerson Paramount Theater, February and March 2024. She was acclaimed by The Wall Street Journal as the best actor of the 2020 season in regional theater for her performance as Gladys Green in The Waverly Gallery. She received the 2018 Berkshire Theater Critics Association Award for Outstanding Actor in a Leading Role for her portrayal of Katherine in Mothers and Sons. Annette originated the role of Golda Meir in Golda’s Balcony before it went to Broadway for which she received both Boston’s Elliot Norton Best Actor Award and the Independent Reviewers of New England Best Actor Award. In Florida, she received the Carbonell Best Actor Award nomination for her portrayal of Vi in August Osage County and the Elliot Norton Best Actor Nomination for her role as Martha Mitchell in Martha Mitchell Calling. Other favorite roles include Maria Callas in Master Class, Madam Ranevskaya in The Cherry Orchard, Vera in 4,000 Miles, Diana Vreeland in Full Gallop, Duchess of York in Richard III, and Maria in Twelfth Night. Film role credits include: Mrs. Tanken in Don’t Look Up with Leonardo DiCaprio, You Will Not Play Wagner (featuring Annette, which has been successfully seen at the New Plaza Cinema in NY and the Miami, Sarasota, Boca, Chicago, and Vancouver Jewish film Festivals and this June at the prestigious Berkshire International Film Festival.), Company Men, Autumn Heart, The Imported Bride Groom, The Next Karate Kid, The Eye Has to Travel (documentary on Diana Vreeland), and See How She Runs. On TV, Annette had recurring roles on As The World Turns and Ryan’s Hope. Other awards include the Boston Jewish Film Festival Award and the Zev Cohen Leadership Award. Annette studied with Stella Adler and holds a BA and MFA from Brandeis University. She is currently an Alumni Scholar at Brandeis University Women’s Studies Research Center where she wrote and continues to perform for organizations and colleges. Now is Our Time: for a Theatrical Collage on the Pleasures and Perils of our Third Chapter.

BROADWAY: Act One. OFF-BROADWAY: Mrs. Miller Does Her Thing, Nocturne NYTW Drama Desk Nomination. REGIONAL: Ma Rainey's Black Bottom, Sonia Flew, The Rivals, The Cherry Orchard, The Corn is Green, Love's Labour's Lost (Huntington); The Merchant of Venice, The Birthday Party, Full Circle, We Won't Pay We Won't Pay, Picasso At The Lapin Agile, Ubu Rock, The Tempest, Romeo and Juliet, Uncle Vanya, Animals and Plants, Romance, Duck Variations, Marvelous Party, (ART); Once in a Lifetime (ACT); Glengarry Glen Ross, Twelfth Night (MRT); Abduction From the Seraglio, Ariadne Aux Naxos, (Boston Lyric Opera); Porgy and Bess, (BSO); Polar Express, How the Grinch Stole Christmas, (Boston Pops); Film/TV: What Doesn't Kill You, Next Stop Wonderland, Home Movies, Dr. Katz: Professional Therapist.

Abigail Rose Solomon recently shot the indie films Pointing Fingers (dir. Michael Bergmann) and Mouse opposite CBE Sophie Okonedo (dirs. Alex Thompson & Kelly O’Sullivan). She appeared as “Senator Lisa Murkowski” in Lilly opposite Patricia Clarkson, which played in movie theaters nationally this past spring. Her other feature film and TV credits include: Mr. and Mrs. Smith, Mercy, Childless, Three Women, Odd Mom Out, Sex & the City, Law & Order, NYPD Blue and Days of Our Lives. On stage, she has worked with Manhattan Theatre Club, Berkeley Repertory Theatre, Williamstown Theatre Festival, California Shakespeare Festival, Dorset Theatre Festival, Wellfleet Harbor Actors Theater, Shadowland Stages, Martha’s Vineyard Playhouse, Los Angeles Women’s Shakespeare Company, Rattlestick Playwrights Theater, WP Theater and New Georges. She toured nationally with a one-woman show for eight years. Abigail has her B.A. in Theater from Williams College and her M.F.A. from the N.Y.U. Graduate Acting Program. She lives in N.Y.C. and Egremont.

John Douglas Thompson Broadway credits: Jitney (Tony Award nomination), King Lear, Carousel, A Time to Kill, Cyrano de Bergerac, International: Othello at RSC, The Merchant of Venice at Royal Lyceum Theater. Off-Broadway: Irish Rep: Endgame (Obie Award), Public Theatre : Hamlet (Audelco Award) Julius Caesar, Troilus & Cressida, King Lear; BAM: The Iceman Cometh (Obie Award, Drama Desk Award), TFNA: The Merchant of Venice, A Doll’s House, The Father, Macbeth, Othello (Obie, Lucille Lortel Award), Tamburlaine the Great (Obie, Drama Desk); Westside Theatre: Satchmo at the Waldorf (Drama Desk, Outer Critics Circle Award, NAACP Theatre Award); NYTW: Hedda Gabler; Irish Rep: Regional: Huntington Theatre: Man in The Ring (Elliott Norton Award), Commonwealth Shakespeare Company: The Tempest (Elliott Norton Award), ART: Othello, Richard II, Antigone, Henry V, Mother Courage, ACT: Hamlet; Mark Taper: Joe Turner’s Come and Gone (Ovation Award); Shakespeare & Company: Red Velvet, Othello, King Lear, Richard III; Wilma Theater: Jesus Hopped the ‘A’ Train (Barrymore Award); Film: Highest 2 Lowest, Till, The Bourne Legacy, Glass Chin, Michael Clayton, and Wolves. Television: The Gilded Age, Bull, The Immortal Life of Henrietta Lacks, Law & Order: SVU, Madam Secretary, Person of Interest. Additional Awards: Matador Award, Robert Brustein Award, Samuel H. Scripps Award, Eugene O’Neill Award, AAFCA Distinguished Achievement Award, Elliott Norton Sustained Excellence, and the Earle Hyman Award. John is an alumnus of Shakespeare & Company's Center for Actor Training.

Mark Zeisler has been working as an actor in theatre, film, television, recorded books and voiceover since 1983. Shakespeare & Company credits include The Tempest, Macbeth, As You Like It, and Time Stands Still. His Broadway credits include A View from the Bridge (Tony winner for Best Revival), Brooklyn Boy and The Big Knife. Off Broadway he has been seen in Rancho Viejo, Measure for Measure, the original production of eurydice, The Accomplices, and Piece of My Heart. He has performed at many resident theatres around the country including The Wilma, The Goodman Theatre, Berkeley Rep, Long Wharf, The Folger, Baltimore Center Stage, The Asolo, Actors Theatre of Louisville and American Repertory Theatre where he was a company member for three seasons. His television credits include The First Lady, Bull, House of Cards, Rescue Me, The Blacklist, FBI: Most Wanted and The Americans. On film he was a part of the award winning The Cathedral, as well as Random Hearts, Two Week Notice, The Thomas Crown Affair and Irrational Man. Mark is a native New Yorker and a graduate of SUNY Purchase.