Year in review

For the first half of 2021, I focused on my research at the Cullman Center (below, see the plaque outside the office I occupied, to which my name was added at the end of my fellowship term). In the second half of the year, I focused on various writing projects. 2022 looks to be a busy year, God willing — watch this space!

Year in review

It was a quiet year for me as the pandemic brought theatre to a halt. Still, there were a few bright spots: Methuen published Now or Later in their Modern Classics series, featuring an insightful introduction by Dominic Cooke. I began a fellowship at the Cullman Center, giving me an extraordinary opportunity to further my work on disability and culture. And just before the election, The Guardian ran an excerpt of The Narcissist, which I hope will not be the last word for the play. While next year remains a mystery in many ways, I am hopeful that at the least there will be more to report than there is this year.

my office at the Cullman Center

my office at the Cullman Center

Lockdown reading

I’ve been asked by a few folks to write about or comment on what’s happening right now and have declined because my thoughts are still forming. But some things I’ve written and talked about in the past may have some resonance with this moment, for any who are interested:

Year in review

2019 was a busy year: I directed my own production of Dying City at Second Stage in the late spring, and in the late autumn my adaptation of Ödön von Horváth’s Judgment Day premiered at Park Avenue Armory. Along the way I had wonderful conversations with Tommy O’Malley, Jeremy O. Harris, Adam Unze, and Trevor Oswalt. I began work on a commission for National Disability Theatre, La Jolla Playhouse, and the Goodman, while on a Radcliffe Fellowship at Harvard. Finally, I launched a Patreon to try to create a more meaningful, intimate way of communicating online.

Colin Woodell and Mary Elizabeth Winstead

Colin Woodell and Mary Elizabeth Winstead