Parity Productions Announces 2022 Commission Winners

Parity Productions, the New York-based theater company dedicated to producing new work by female, trans and gender playwrights and filling at least 80% of creative positions (playwrights, directors and designers) with women, trans and gender -expansive artists, awarded two commissions to SAM MUELLER for 70.3 and JORDAN RAMIREZ PUCKETT for En Las Sombras. The ceremony took place on Thursday, October 6 as a hybrid zoom and in-person event at the Manny Cantor Center.

The awards were presented by 2021 Kelley Commission winners Nicole Girod and M Sloth Levine.

Each year, Parity awards two commissions to female, transgender or transgender playwrights who have demonstrated a singular talent for storytelling. Selected playwrights receive $2,500 each, extended development support from Parity, including at least one public reading, with an option for Parity to produce their work.

“We are thrilled with the latest two additions to our family of plays by women, trans and expansive playwrights,” said Parity Founder and Artistic Director, Ludovica Villar Hauser. “We look forward to developing these two extraordinary works that work so well in harmony with our mission.”

Interested individuals can support this year’s Commission winners and other Parity artists by donating to Parity at http://www.parityproductions.org or by bidding on Parity Productions auction items on CharityBuzz until Tuesday, October 18 at 11:59 p.m. All funds raised through Parity’s auction support their work with female, transgender, and transgender theater artists.

Parity Productions identifies, develops and produces new works exclusively by female, transgender and transgender playwrights. Throughout all phases of development and production, our creative teams are comprised of 80-100% women, transgender artists, and transgender artists. Our work relentlessly centers the experiences of women, transgender and gender-wide individuals on and off stage to provide urgent perspective to our audiences and the industry, and to create greater momentum in achieving parity. gender in American theatre.

Sam Mueller (they/them, she/she) is a Chicago-born, Florida-raised, New York-based playwright. Their work primarily explores queer bodies, public spaces and the search for security in living as oneself. Their plays include Laced (2022 Princess Grace Halffinalist, 2020 Kilroys List, 2019 O’Neill Finalist), 70.3 (2020 Hearth Theater Commission) and LYS (2021 WMU Commission). They find deep joy in working with students; their work has been read at Northwestern University, Columbia College Chicago, University of Central Florida, Western Michigan University, and University of Dayton. Sam is a proud member of Youngblood at Studio Theater Ensemble. The parts (and Sam) are all very strange. BS: Northwestern University.

Jordan Ramirez Puckett (they/them) is a Latin writer from the San Francisco Bay Area. Their pieces include En Las Sombras, To Saints and Stars, A Driving Beat, Las Pajaritas, Restore and Inevitable. These works were produced and/or developed by Abingdon Theater Company (New York, NY), Creede Repertory Theatre, Goodman Theater (Chicago, IL), Harold Clurman Laboratory Theater Company (New York, NY), Kennedy Center American College Theater Festival, Playwrights Foundation (San Francisco, CA), Playwrights Realm (New York, NY), San Diego Repertory Theater, San Francisco Playhouse, among others. Jordan is currently attending the Lila Acheson Wallace American playwrights Program at Juilliard.

Ludovica Villar Hauser is the founder, artistic director and general manager of Parity Productions. At Parity, his achievements include the world premieres of Charlie’s Waiting by 2017 commission winner Mêlisa Annis, Mirrors by 2018 commission winner Azure D. Osborne-LeeStop-Motion by Liz Kerin, winner of the 2018 commission, and She Calls Me Firefly, winner of an award, from Therese Lotz. Prior to founding Parity Productions, Ludovica made many critically acclaimed plays in the US and UK, including Final Analysis by Otho Eskin (Signature Theater); The Countess by Gregory Murphy (Lamb’s Theatre) and in London’s West End (The Criterion Theatre); Leaves of Glass by Phillip Ridley (Peter Jay Sharpe Theatre); Like it’s in heaven by Arlene Hutton (The way of the cherries); The Brightness of Heaven, (The Cherry Lane) and This Will All Be Yours (The Wheelbarrow Group Theatre) by Laura Pedersen; and Eugene O’Neill’s Long Day’s Journey Into Night in London’s West End (The Arts Theatre). The 2021 filmed stage production of Liz Kerin’s Stop-Motion marks Ludovica’s film debut. In 1984, at the age of 23, with her production of O’Neill’s Long Day’s Journey into Night, Ludovica became the youngest woman to produce and direct simultaneously in London’s West End. In the New York theater industry, she was also one of the few women to own and operate her own theater – the Greenwich Street Theater – which she ran for 17 years. Ludovica served on the League of Professional Theater Women’s Board of Directors from 2009 to 2018, is currently the Producer of the League’s Oral History Project at the NYPL for the Performing Arts at Lincoln Center, and is Co-Chair of the League.

Marjorie N. McClure