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Sarah Katherine Bowden

Sarah Bowden is a playwright and teaching artist in Chicago.

Sarah Bowden is a teaching artist, whose plays have been produced in Chicago, New York, Philadelphia, Toronto, and Stockholm. Her work has been developed and presented by the Greenhouse Theatre Center, MPAACT, The Arc Theatre, the Pittsburgh Irish & Classical Theatre, the Nylon Fusion Theatre, Monkeyman Productions, Southern Illinois University, and Ohio University. Her full-length Lively Stones was produced as part of 20% Theatre Chicago's ReFocus 20/20 season. Her full-length The Magnificent Masked Hearing Aid has been listed as a semi-finalist in several theatre festivals, including the Capital Repertory Next Act! New Play Summit, the Actor’s Theatre of Charlotte’s nuVoices Festival, the Activate Midwest New Play Festival and the Elgin Cultural Commission Page to Stage Program. The script received Honorable Mention in the American Blues Theater Blue Ink Playwriting Award. Her full-length Tin Noses was a finalist in the Route 66 Theatre Test Drive Workshop, a semi-finalist for the Stage Left Theatre Playwright Residency, and was featured in the 2017 Chicago Theatre Marathon. Sarah has won the White-Howells English Prize for Drama and the Margaret W. Baker Prize for Fiction. She has developed her work as a finalist in the International Thespian Festival’s Playworks program. She completed internships with Chicago Dramatists, Northlight Theatre, Arden Theatre Company, the Wilma Theater, the Eugene O’Neill Theater Center, and the Adirondack Theatre Festival. Sarah holds an M.F.A. in Playwriting from Ohio University and B.A. in directing and creative writing from Beloit College, and teaches theatre and composition at Benedictine University and Prairie State College. More information can be found at www.sarahbowden.weebly.com.

A Place in the Conversation

A Place in the Conversation

Portraying Disability Onstage

22 January 2014

So I ask, is there a way to make disability a part of the world of a play, without reducing it to stereotype or "triumph-over-adversity" tales? Is there a way to make disability business as usual while sharing it with someone unaware of the daily accommodations involved? Is it possible for disability to serve as a metaphor for the emotional and social deficiencies we all carry around? Can it be the driving examination of a play without seeming wholly negative?