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Emily Morse

Emily Morse, artistic director of New Dramatists, an artistic home and laboratory for playwrights, is a theater artist whose twenty-five year-career encompasses performing, directing, playwriting, dramaturgy, devising, producing, arts administration, curating, and artistic consulting at theaters and companies of all sizes, including Philadelphia Theatre Company, Actors Theatre of Louisville, New York Theatre Workshop, LMDA, Ping Chong and Co, NADA, HERE, the Wilma, Clubbed Thumb, New Georges, JAW/West Festival – Portland Center Stage, Creative Time, Ripe Time, Cincinnati Playhouse, Culture Project/Women Center Stage, PlayPenn, 13P, Drama League New Directors/New Works, Links Hall, and Re/Union Company at LaMaMa. A veteran theater artist with a specialty in the development of new work/new ways, Emily is a Lincoln Center Theatre Directors Lab alumna and NYTW Usual Suspect. She has participated in, and benefitted from, a variety of workshops, including Choreography for Directors (Annie-B Parson); Butoh (Dawn Akemi Saito); Viewpoints (J. Ed Araiza); Critical Response and Movement/Stage Composition (Liz Lerman); Playwriting (Eduardo Machado, Suzan-Lori Parks, Karen Hartman); BIG Artist (Chris Wells/Karen Hartman); and Third Bohemia (Todd London and Z Space). An avid dance fan, she has practiced various forms, including Swing, Argentine Tango, and Flamenco.

She collaborated with Carol Gilligan and Jonathan Gilligan on an adaptation of The Scarlet Letter, and she was also the dramaturg/co-adapter of Innocents, Ripe Time's iteration of The House of Mirth, produced at the Ohio in 2005. Other Ripe Time collaborations: The Secret of Steep Ravines, and The Holy Mother of Hadley New York by Barbara Wiechmann. The latter was commissioned and co-produced with New Georges. With Dickstein, Emily co-curated ShapeShifting, a salon series exploring adaptation. 

A graduate of Temple University (B.A. in Theater and Communications, Outstanding Student Award), she has been a guest respondent at the Baldwin Festival of New Work (UCSD), Sewanee Writers’ Conference, Writing is Live Festival (Brown), and New Works Festival (UT-Austin). Emily serves on the Advisory Board for PlayPenn and New Georges' Kitchen Cabinet; has served on numerous new play development panels, including her Playwright Leadership panel presented during the 2012 Humana Festival, a peer panelist for TCG’s inaugural Leadership U[niversity] Program, and a two time judge for the Samuel French Off Off Broadyway Short Play Festival. Other field contributions include her introduction to America Dreaming and Other Plays, a collection of plays by Chiori Miyagawa, published by NoPassport Press, and the HowlRound-published Reunion: Why Do They Keep Coming Back? In May 2010, in recognition of her stature as playwright advocate and significant contributions as a dramaturg, Emily received an inaugural Lilly Award for Advocacy. Emily’s love affair with New Dramatists began in 2000 when she was one of four directors-in-residence. She joined the staff full-time in July 2001. For more information, visit newdramatists.org.

 

Reflections on Full Stage USA
Essay

Reflections on Full Stage USA

5 November 2014

Emily Morse and Srila Nayak share insight on Full Stage USA's dedication to exploring new models of play creation and production. 

Poster for I Came To Look For You On Tuesday.
Reunion
Essay

Reunion

Why Do They Keep Coming Back?

7 August 2013

Jens Rasmussen, Rachael Holmes, Meg MacCary, and Emily Morse discuss long-term engagement with their project, their unique perspectives, and the significance of reunion.