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Rachel Bykowski

Playwright. Feminist. Chicagoan.

Rachel Bykowski, a Chicago native, writes plays to explore the many facets of womanhood. Her full-length plays have been featured with The National New Play Network (NNPN) in a workshop at the Kennedy Center for the MFA Playwrights’ Festival in 2016. She was a top 20 finalist for CulturalDC’s Source Theatre Festival in 2017, received Honorable Mention for the Jane Chambers 2017 Student Playwriting Award, and was the runner-up for the 2018 Todd McNerney Playwriting Award. Her play, Tight End received its world premiere with 20% Theatre Company Chicago and will receive its regional premiere with Majestic Rep Theatre in Las Vegas. Rachel’s other full-length plays have been workshopped with Chicago companies like Cock and Bull Theatre, the Women’s Theatre Alliance, and the Chicago Dramatists. Her play The Big Fuckin’ Giant was featured in a workshop with Relative Theatrics in Laramie, Wyoming for their Playwrights’ Voiced Festival. Rachel’s ten-minute plays have been produced in the Midwest and West Coast including Renaissance Theaterworks, Fury Theatre, Arc Theatre, Commedia Beauregard, San Diego Theatre Lab, and Actors’ Theatre of Louisville Apprentice Company. She is also published in RiverSedge Arts and Literary Journal. Rachel is a playwriting affiliate with NNPN and a member of the Dramatists Guild. She received her BFA in playwriting from the Theatre School at DePaul University and her MFA from Ohio University. www.rachelbykowskiplays.com

Body-Shaming
Essay

Body-Shaming

The Epidemic Plaguing Collegiate Theatre Programs

7 May 2018

Rachel Bykowski speaks up about body-shaming in the theatre industry, and its effect on students in collegiate programs.

Yes, All Men (Need to Listen)
Essay

Yes, All Men (Need to Listen)

Making Room for Womanhood in the American Theatre

13 November 2016

Rachel Bykowski looks at Dana Lynn Formby’s American Beauty Shop and Kristiana Rae Colón’s good friday and asks: is it possible for women playwrights to tell truthful stories of the female experience and male oppression when men hold the majority of leadership positions in the American theatre?