Tow Foundation Playwright Residencies

Chisa Hutchinson writes about her residency at Second Stage.

Jenny Rachel Weiner writes about her residency at Roundabout Theatre Company.

Caroline V. McGraw writes about her residency at Page 73.

Jaclyn Backhaus writes about her residency at Clubbed Thumb.

Rachel Bonds writes about her residency at Ars Nova.

Paola Lázaro writes about her residency at The Atlantic.

Jeff Augustin talks about the luxury of time, how he gets to learn and grow through his residency, how an artistic home shapes both artist and art, and his desire for an artist exchange with Haiti.

Playwright Heidi Shreck comments on the importance of people who have faith in your work and want to watch your plays evolve, and how wonderful it is to have the resources for those to be possible.

Emily Schwend talks about how her residency can support her art, the strange experience of knowing in what space her play will eventually come to life, and her view on artistic home as an antiquated notion.

A. Zell Williams talks about how a resident playwright and a theater can affect dialogue together, and how the trouble when residencies happen without enough commitment.

Frances Ya-Chu Cowhig answers questions in about her residency at Manhattan Theatre Club through the Tow Foundation. She talks of her artistic home as collaborators, as well as her hopes for the future.

What are two essential elements to creating a transformational experience for an up-and-coming playwright? 1) A full time salary and health insurance. 2) The guarantee of having a work produced by a major off-Broadway non-profit theater.