<![CDATA[THE SKELETON REP

<![CDATA[THE SKELETON REP - News]]>Wed, 11 Mar 2026 18:25:57 -0400Weebly<![CDATA[Apply for our Artists in Residency - Uptown NYC - Playwriting Program!]]>Mon, 05 May 2025 21:09:49 GMThttp://www.skeletonrep.org/news/apply-for-our-artists-in-residency-uptown-nyc-playwriting-programApply for our Artists in Residency Playwriting Program!
- Uptown NYC -

What is this residency?

The Skeleton Rep(resents) Artists in Residency program is for 3 individuals who want to spend at least three months meeting regularly as a group to dive into playwriting structure as inspired by Bernard Grebanier and reimagined by Ria T. DiLullo for the 21st century.

With TSR’s mission to develop new works that explore modern myth, we encounter many great ideas that lack the structure the idea needs to support its potential as a play. The goal of teaching Grebanier is to provide a flexible armature that plays can stretch their characters and action over, to give it movement that keeps the audience engaged and comprehending throughout the duration of the performance.

To participate, you can be an experienced playwright or new to the craft. However, if you are currently pursuing any degree, you are not eligible for this residency. Additionally, this year’s residency is solely for uptown Manhattan/southern Bronx residents.

Want more information?

Click Here

The submission window is open until 8pm EST on 5/16.

APPLY

Cohort II

Cohort I

]]><![CDATA[GEORGIA AND THE BUTCH - Production Announcement!]]>Wed, 20 Nov 2024 16:25:27 GMThttp://www.skeletonrep.org/news/georgia-and-the-butch-production-announcement

BroadwayWorld Press Release

Tickets

The Skeleton Rep(resents) the World Premiere of
Georgia and the Butch:
Adapted from Maria Chabot & Georgia O'Keeffe Correspondence, 1941-1949

Georgia and the Butch is a new play adapted from the letters between famous artist Georgia O’Keeffe and advocate for Native American arts and rancher Maria Chabot during their nine-year intimate relationship, from 1941 to 1949.

Adapted by Carolyn Gage and directed by Andrew Coopman at The Tank (312 W 36th St., New York, NY 10018), February 25-March 12.

This production is intended to highlight an intense and controversial intimacy that has been minimized, mischaracterized, or written out of Georgia’s history. It is a relationship between an older, gender-non-conforming, fiercely independent artist and a young lesbian butch. Whatever imbalances and dysfunction there may have been between these incredibly strong-willed and visionary women, one cannot dispute that the camping trips with Maria resulted in some of Georgia’s most iconic landscapes, and that the house and garden at Abiquiu, designed and built by Maria, stand as a stunning testament to a young lesbian’s all-consuming devotion to her muse.

The cast will feature Ria T. DiLullo as Maria Chabot, Gael Schaefer* as Georgia O’Keeffe, and Haneen Arafat Murphy* as Mary Cabot Wheelwright. The creative team will include Sound Design by Robert Gonyo, Lighting Design by Jonathan Cottle, and Costume Design by Hope Salvan with Production Stage Manager Daniel Scarantino and Production Assistant Raina Lawrence. *Actor appears courtesy of the Actors’ Equity Association.

Performances are scheduled on Tuesday, February 25 at 7pm (opening night), Wednesday, February 26 at 7pm, Saturday, March 1 at 3pm, Monday, March 3 at 7pm, Wednesday, March 5 at 7pm, Saturday, March 8 at 3pm, Sunday, March 9 at 7pm, and Wednesday, March 12 at 7pm. Tickets ($20-$30) are available for advance purchase at https://thetanknyc.org/calendar-1/2025/2/25/georgia-and-the-butch. The performance will run approximately 75 minutes, with no intermission.

Carolyn Gage (Playwright) is a playwright, performer, director, and activist. The author of nine collections of lesbian and feminist themed plays and eighty-three plays, musicals, and one-woman shows, she specializes in non-traditional roles for women, especially those reclaiming famous lesbians whose stories have been distorted or erased from history. In 2024, Gage won the national Alice B Award, given annually to living writers who have careers distinguished by consistently well-written stories about lesbians. In 2022, her play In McClintock’s Corn was National Runner-up for the Jane Chambers Award for Excellence in Feminist Playwriting, sponsored by the Women and Theatre Program of the Association for Theatre in Higher Education. Her catalog is online at www.carolyngage.com

Andrew Coopman (Director) (they/he) is a director, choreographer, and playwright of Middle Eastern descent and was a 2022 - 2023 Drama League FutureNow Fellowship recipient. Director-Choreographer credits include: The Apollo of Bellac (Hangar Theatre), Head Over Heels (Lakewood Playhouse), Henrik Ibsen's Rosmersholm (Jones Playhouse), Bryony Lavery’s Frozen: A Play (Cabaret Theater), Mary Zimmerman's The Odyssey (Studio East), Little Women the Musical (Seattle Musical Theater), Wilde Tales and The Very Last Green Thing (Seattle Opera), The Little Mermaid (Kitsap Forest Theater), Once Upon a Mattress (Snoqualmie Falls Forest Theater), The Wizard of Oz (Tacoma Little Theater), and multiple touring remounts of The Magic School Bus: Lost in the Solar System (TheaterWorksUSA). They will also be directing and choreographing the world premier of Alan Turing and the Queen of the Night at The Players Theater in August 2025. Associate Directing credits include: Orfeo y Euridice (Seattle Opera), Rogers and Hammersteins' Cinderella (Village Theater), and the upcoming workshop of The Right Girl. Andrew was a 2024 Artist in Residence playwright with Skeleton Rep(resents). Their original work,TAROT, will premiere at Strawdog Theatre Company in Chicago in 2025. Other new work includes …and then the lightning struck and TREESON: A New Eco-Musical. MFA Directing, University of Washington and MA, Educational Theatre, New York University – Steinhardt. Proud SDC member, and Artistic Associate at The Drama League. @arcoopman | www.AndrewCoopman.com

The Skeleton Rep(resents) is celebrating its tenth year as a new works development company with a mission to Explore Modern Myth.

]]><![CDATA[THE GREAT VANISHING IV - Trailer & Festival Screening]]>Tue, 18 Jun 2024 18:23:18 GMThttp://www.skeletonrep.org/news/the-great-vanishing-iv-trailer-festival-screening

Ancient monuments are vanishing, one by one. Individually attempting to uncover the mystery is news reporter Nigel Anderson Cole and a 20-something spiritualist named Abby. “The Great Vanishing: Part IV” is a pandemic-era mystery noir that follows the lives of individuals experiencing strange events, from body takeovers to phone calls from the dead.

Skeleton Rep's first film is on the festival circuit!
If you're in NYC, join us for our screening of TGV IV with the Manhattan Film Festival on June 27th at 6pm.

tickets for 6/27

Created, Directed & Produced by Ria T. DiLullo
DP, Editor, and Sound Designer Nora DeBroder
Written by Emily Claire Schmitt, Art Kopsichke,
& Joshua Young
Production Assistants Daniel Scarantino & Callie Considine

Cast
Nigel Anderson Cole - Barron B. Bass
Abby - Evelyn Carvera
Claudio - Ariel Estrada
Jacob Daniels - Daniel Hughes
K - Sarah Jack
YouTuber - Art Kopischke
Anuj - Anuj Parikh
Annaliese - Isabella Jane Schiller
Mina - AhDream Smith
Marie Von Bratten - Miranda Noelle Wilson

]]><![CDATA[(Re)Commitment to Indie Theater: Remarks from the Artistic Director]]>Sun, 05 May 2024 18:00:03 GMThttp://www.skeletonrep.org/news/recommitment-to-indie-theater-remarks-from-the-artistic-director

At two creative persons mixers hosted by Ria T. DiLullo and Sam Given last month, Ria took a moment to offer some remarks on the importance of the indie theater scene and bringing it closer together. We would now like to share those remarks with you. You can either view the footage from the event (above) or give it a read (below).

Greetings Folks!

Ria T. DiLullo here - the founder, artistic director, and human behind The Skeleton Rep(resents), an indie theater company with a mission to explore modern myth through the development of new plays and a sincere practice of craft.

Skeleton Rep turns 9 years old this year and I have been reflecting on where Skeleton Rep, and therefore myself both as the company’s leader and as an artist outside of Skeleton Rep, have fit into the theatrical landscape of NYC, and where we are headed. This reflection began through conversations with TSR participants, the seemingly unending upheaval in leadership in the NYC theater scene, the loss of spaces at zero cost to artists, and attending copious amounts of theater at all production levels the last few years.

Gothamist published an article in March titled “Where did NYC’s indie theater scene go? Backyards, basements, and rooftops.” Reading this article, I shouted out loud at my screen, “I’ve done all of those things - and more! Backyards, basements, rooftops, living rooms, bars, parks, and of course - The Tank.”

Now I am ambitious - I personally would love the opportunity to direct on bigger stages with bigger budgets. (And if those opportunities were also with scripts I’ve had a hand in developing, all the better!) However, I recently realized that this is something I want for myself - but not for Skeleton Rep.

Skeleton Rep is special precisely because of the type of space it holds for artists, collaborators, and supporters. I created TSR out of necessity, and that demand still exists in full force.

For example, while attempting to find community and opportunity in the downtown scene in the early 2010s, my thinking coalesced into something like this: I needed space to practice my craft of directing, which means I needed plays and actors. Most of us can’t really truly practice theater-making without an audience, and it needed to cost almost nothing.

At the time, I had a big enough living room. I had access to print scripts for free. I knew dozens of playwrights and actors and I was confident that I could secure an audience, even if it was other playwrights and actors. The ingredients were set for what became Skeleton Rep’s Salon Series, a one-day event that ended with a party. I set up my living room in the morning, we rehearsed in the afternoon, we then did the reading, which followed with a party for the audience and artists alike, and provided a comfortable environment for people to meet and exchange ideas. Each salon was free to attend and attendees all brought refreshments to share with the larger group.

It worked: To date, we have hosted 59 salon performances in living rooms, backyards, bar spaces, and of course zoom. The success of the Salon Series proved to be a building block of Skeleton Rep, and has evolved over the years to become more robust. The Salon Series is now a submissions-based development process for the playwright culminating in three rehearsals with actors and then the presentation itself. While the core of the intention remains the same, the Salon Series program now offers a higher quality experience for all.

As we enter, reflect, and celebrate 10 years of salons, they continue to be the highlights of our year for participants and audiences alike. This growth now provides our salons with funding that prioritizes paying performers and playwrights, while keeping the ticket price free for attendees, although as a small, indie theater group, we always accept donations. Actors and playwrights at many stages of life and career participate. Our salons grew into a diverse mix of people; you might catch a seasoned veteran and someone just discovering their craft in the same, promising new play. The vibe of the night will carry you through your week, reminding you of what you love about NYC in the first place.

Over these years, many plays that got their start at the Salon Series have gone on for further development opportunities or have world premiers, demonstrating the importance of this program as a launchpad for the arts.
In professing my love for the indie theater space and committing Skeleton Rep to maintaining its position in that landscape, I am reminded of Cord Jefferson’s Oscar’s comment, “Instead of making one $200 million movie, make 20 $10 million dollar movies or 50 $4 million dollar movies.” I agree. Also, indie theater is way cheaper than that.

Indie Theater is the incubator for the thing that you don’t know is coming, for the artist who will create something that makes it big even after they’ve moved on. It is an influential space that can change an artist’s life, who may in turn change yours - even if just for one night. I’d say that is a high reward, low risk investment.

If that is something you can get behind, let’s (re)commit to indie theater together. There are many ways to (re)commit to indie theater: Attend that show or reading. If you have a space, even a non-traditional one, be a host. If you have access to low-cost or free printing, offer to print a company’s scripts. Consider giving a monthly donation of any size. Donate. These actions all support the indie space. It never disappears, it is always necessary, and when it is thriving, so do our communities.

]]><![CDATA[2024 is All About Writing!]]>Tue, 12 Mar 2024 13:59:15 GMThttp://www.skeletonrep.org/news/2024-is-all-about-writingThis year, TSR is focusing on developing new work through the Artists in Residency program, which began last year. This 1-2 year residency focuses on theater artists who want to better understand the crafting and structuring of plays to better write their stories. After all, it isn't enough to see ourselves on stage. We need to see ourselves in well-made plays.

We will be doing salons of the plays developed by the artists in residence as they become ready for an audience. Therefore, we will not be taking submissions for the Salon Series for 2024.

Cohort 2 is continuing their work and Cohort 1 is about to begin.
To learn more about the incoming crop of AiRs, read on!

Introducing Cohort 2 of TSR's Artists in Residency Program

Andrew, Raina, and Jarrett have accepted the mission of this residency - to write a new play exploring modern myth featuring a character written for them.

Just as Cohort 1 did, we will spend the first few months taking in Bernard Grebanier's "Playwriting," reading plays and doing exercises, including writing 1-Acts, before diving into the process of creating a brand new full length play.

Meet the Artists

Andrew Coopman (they/he+) is a director-choreographer and playwright of Middle Eastern descent and currently works at The Drama League as their Artistic Associate. A Drama League FutureNow Directing Fellowship Recipient, Andrew’s work as a director and choreographer has been seen on stages in Chicago, Dallas, Milwaukee, Ithaca, New York City, and more. Highlight Director-Choreigrapher Credits include: The Magic School Bus: Lost in the Solar System (TWUSA), The Apollo of Bellac (Hangar Theatre), Head Over Heels (Lakewood Playhouse), Bryony Lavery’s Frozen: A Play (Cabaret Theater), Little Women (Seattle Musical Theater), Body Awareness (The Jones Playhouse), and their devised work RE:Social/Divide (Cooperative Performance). Their original immersive experimental piece, TAROT, is currently in development with Strawdog Theatre Company in Chicago. Playwright-Director Credits include "…and then the lightning struck," a play about Bayard Rustin and his partner partner Walter Naegle, and TREESON: A New Eco-Musical. MFA Directing, University of Washington and MA, Educational Theatre, New York University – Steinhardt. Proud SDC member. www.AndrewCoopman.com

Raina Lawrence is a director/playwright who seeks to produce art and an inventive way of storytelling that moves her audience deeply enough to improve the love and gratefulness for one’s self. Credits Include: Internship at Rattlestick Theatre for Dael Orlandersmith’s Spiritus Virgil’s Dance (Off Broadway); Shadow Puppeteer in Taste The Cloud (with Hit The Lights Company); Director for New Works at The New School "Monica, Richie and Angel"; Actor/Dramaturg/Playwright for Devised piece "Playing The Other" curated with The New School and guest artists, Dael Orlandersmith and Jim Nicola; Scenic Designer/ Actor for Devised Work "No Place" directed by Irina Kruzhilina.

Jarrett Key (b. 1990, Seale, AL) lives and works in Brooklyn, NY. Jarrett grew up in rural Alabama and pursued their fine art practice in NYC after graduating from Brown University (2013). They received their MFA in painting at the RISD (2020). Jarrett is represented by 1969 Gallery in New York, where they had their first solo exhibition, From the Ground, Up in March 2022. In 2023, Key completed a 40ft mural commission for HMTX Industries in Norwalk, CT. One of their hair performance paintings was also the NYC Pride Grandstand Backdrop at the 2023 Pride Parade. Jarrett has had the pleasure to work with actors, production teams, and institutions throughout NYC and New England, including The Public Theater, The Juilliard School, Brown University, and The Fruitlands Museum. Recent fine art exhibitions include Full and Pure: Body, Materiality, Gender, curated by Mara Hassan, Green Family Art Foundation, Dallas, TX; Wade, Friends Indeed Gallery, San Francisco, CA; Freedom Dreams, Dorsky Museum of Art, New Paltz, NY; New England Triennial, deCordova Museum, Lincoln, MA; out, co-curated by Jarrett Key and Jon Key, 1969 Gallery, New York, NY; Young, Gifted and Black, The Lumpkin-Boccuzzi Family Collection of Contemporary Art, Chicago, IL; and This is America, Kunstraum Potsdam, Berlin, Germany. Their work was also included in Untitled Miami Beach in 2021, 2022. They were one of Forbes 30 under 30 for Art and Style 2020. Key’s work is in the collections of the the Green Family Art Foundation, HMTX Industries, New York Historical Society, The Lumpkin-Boccuzzi Family Collection, the Columbus Museum, Brown University, RISD Special Collection, the Schomburg Center, the Museum of Modern Art Library, and the Metropolitan Museum of Art Library, among other institutions. www.jarrettkey.com

Cohort 1 is Still Going Strong

Ben Freeman's first residency play had its salon in November, "The Shape of the Entire."

Sam Given's first residency play was featured in Naked Angels 1st Mondays in December, "Flinch."

Michelle Cage is well on her way to her second full draft of "Revelation Play" (working title), which we will salon later this year.

Ben and Sam are currently embarking on brand new scripts.

Ben, Sam, and Michelle pictured to the left on their Winter 2024 retreat to the Catskills in upstate New York.

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