New Dramatists Shapes Generations Of Playwrights

When Michaela O’Harra founded New Dramatists in 1949, her dream was to create a space where young writers could develop their work, share ideas, and grow as artists.  “She envisioned a place that would buoy talented writers by giving them encouragement, resources, experiences, and a community of peers to help them reach their full artistic potential and make lasting contributions to the American theater,” says New Dramatists executive director Christie Brown.

Working with theater legends including Howard Lindsay, Richard Rodgers, Russell Crouse, Oscar Hammerstein II, John Golden, Moss Hart, Maxwell Anderson, John Wharton, Robert E. Sherwood and Elmer Rice, O’Harra fulfilled that mission and then some.
76 years later, New Dramatists remains dedicated to its mission. The organization has helped launch the careers of countless playwrights whose unique voices have transformed the theater. Since its beginnings, over 700 playwrights have been nurtured by New Dramatists. “For our playwrights, New Dramatists is at the heart of the voice of America,” says director Diane Paulus. “Without New Dramatists, we wouldn’t have American theater.”

At this year’s recent New Dramatists Spring Luncheon hundreds of artists filled the Marriott Marquis Ballroom sharing why the organization is so special and necessary. “We have nothing if we don’t have plays. And they are all about fostering that. I love that we have these institutions to support the voices of tomorrow,” said Tony-nominated Dead Outlaw actor, Andrew Durand.

“This is a place that gives new writers a home to develop their work,” shared Kara Young who just won a Tony for her role in Purpose. “It’s where the writers and actors get to flourish and vibe.” Marjan Neshat, who was nominated for a Tony for her performance in English and participated in a New Dramatists reading. “They support us in a way that is so meaningful,” she said.

The luncheon, which occurs in the midst of Tony season, draws performers and creatives from nearly every show on Broadway. “Everyone is here. It’s always good to be in community,” said LaTanya Richardson Jackson who was nominated for a Tony for her role in Purpose. “It’s wonderful to celebrate artists and lift all the shows,” offered Gypsy Tony nominee Camille A. Brown. “Any opportunity to get everyone in the same room from all these different shows is epic,” added Dead Outlaw Tony nominee Julia Knitel. “You get to see your friends.”

New Dramatists honored two great artists and collaborators: playwright, lyricist and director Tina Landau (Redwood, Floyd Collins, SpongeBob SquarePants) and Idina Menzel (Redwood, Wicked, Rent). Most recently they joined forces to conceive and birth the musical Redwood, about a woman who, in the midst of grief, embarks on a journey to the Northern California redwood forests to find healing and reconnect with herself.

Emily Morse, artistic director of New Dramatists described how the duo are “two galvanizing artists who have created some of the most memorable productions/performances in theater history.” Phylicia Rashad, Tarell McCraney and Tom Kitt talked about Landau’s exceptional gifts. While Jonathan Groff and David Stone, spoke about Menzel’s great artistry and generosity. Daphne Rubin-Vega, who starred with Menzel in Rent, read a speech from the show’s director Michael Greif.

Stephen Schwartz movingly sang his song “For Good” from Wicked. And as a tribute to Menzel and Landau, Zachary Noah Piser, who starred in Redwood, performed “Still” from the production, with the show’s musical director, Julie McBride on the piano.

Jonathan Groff shared how he first fell in love with Menzel after listening to the cast recordings of Rent and the Wild Party. “But it wasn’t until I saw her in her Tony-winning performance as Elphaba in Wicked that I experienced the full force of Idina’s powers,” he said. “And subsequently solidified my identity as a homosexual.”

Groff can picture sitting in the mezzanine at the Gershwin theater. “I can still remember the feeling of chills going all over my body as Idina let loose on that stage,” said Groff. “It wasn’t just the high notes she was belting. There was a whole unique perspective, personality and soul in her voice. Her body, every fiber of her being—she was miraculously strong and vulnerable in the exact same moment.”

Groff experienced those same chills after seeing Menzel in Redwood. “I watched her grapple with grief, guilt and loss as she transcended to staggering new heights. Her singular ability to be powerful and human simultaneously was on full display as she made us laugh and cry in the same breath,” said Groff. “My jaw was on the floor when she literally scaled a tree and hung upside down while belting her face off.”

Menzel expressed deep gratitude for being honored alongside Landau, who she called her “dear friend, mentor and creative partner.” Menzel went on to say, “This makes it more special than ever.”

Both Menzel and Landau offered their complex feelings about Redwood prematurely closing after birthing its creation for so many years. Menzel said that she would head home and eventually a new idea would reveal itself. “I’ll call up Tina or perhaps one of the extraordinary writers here today and say, okay, what’s next?,” said Menzel.

For Landau, Redwood’s closing was a reminder of what was really important. She explained that she initially learned about the New Dramatists honor in January, when Redwood was going into tech. And it seemed the perfect way to celebrate the show’s opening. But in May, when she knew the play was closing prematurely, Landau, half jokingly, asked Christie Brown and Emily Morse at New Dramatists if they would prefer to honor someone whose show would still be running.

“But I knew in my heart, and as they quickly reminded me, this honor has nothing to do with the length of a run or box office receipts,” said Landau. “It was celebrating the work itself. And even more so, the act of creating the work in the first place.” And in her email to Brown and Morse she recognized an alternate way to view what was happening. “It’s even more reason to acknowledge what we are trying to do,” said Landau. “Because it is clearly that hard.”

With Redwood closing, the recognition became even more profoundly meaningful. “I feel I know what it’s really about for me today,” she shared. “In a deeper way, it’s about how hard it is to make things and how important it is to keep doing so. And how important it is to have support.”

Landau went on to share how the urge to make things is primal and universal. It represents the desire to bring more life to life.”We are all makers of things: whether it’s writing a play or an online post. Gardening, cooking, decorating your apartment or tying your shoelace into a bow,” she said. “You make things. And when we make things, we say, ‘yes’ to life and ‘no’ to apathy or destruction. ‘No’ to our own self-doubt or despair.”