Goodman Theatre’s Playwrights Unit is an exciting program designed to support and develop new work by Chicago playwrights. Over the course of a season, a group of four commissioned writers meet bimonthly with members of the Goodman’s literary staff to develop and workshop their plays-in-progress. The experience culminates with concert readings of each of the new plays. The Playwrights Unit is a collaboration with 
Chicago Dramatists. Plays developed in the Unit have gone on to receive readings and workshop productions in the New Stages series, as well as full productions at the Goodman

Press Releases

June 11, 2019: 2018/2019 Playwrights Unit Culminates in Free Readings July 5-7

Playwrights Unit

  • Georgette Kelly
    Georgette Kelly

    Georgette Kelly’s work has been produced across the country and she has participated in numerous artistic residencies. Her play I Carry Your Heart received the inaugural Hope on Stage Playwriting Award, accompanied by a rolling world premiere, and Ballast was featured on The Kilroys List and received the Craig Noel Award for Outstanding New Play. Other plays include: North Star, Faith in a Fallen World, In the Belly of the Whale, F*ck la vie d’artiste, How to Hero and an adaptation of Jeanette Winterson’s Lighthousekeeping. Kelly’s work has been developed with Goodman Theatre, the Kennedy Center, the National New Play Network, the DC Source Festival, Alliance Theatre, Diversionary Theatre, Something Marvelous and Chicago’s DCASE. She is a resident playwright at Chicago Dramatists, a member of the Dramatists Guild of America, and she has participated in residencies at the Tofte Lake Center, the National Winter Playwrights Retreat and terraNOVA Groundbreakers Playwrights Group. She has been chosen as a finalist for the O’Neill Playwrights Conference, the Lark Playwrights Week, the Playwrights’ Center CORE Writer Program, the BPP Woodward/Newman Drama Award, the Stage Left Playwright Residency and the Alliance/Kendeda National Graduate Playwriting Competition. Kelly holds a BA in performance studies from Northwestern University and an MFA in playwriting from Hunter College, where she studied with Tina Howe, Arthur Kopit and Mark Bly.

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  • Dianne Nora
    Dianne Nora

    Dianne Nora is a playwright, dramaturg, theater scholar and comedy writer who works in Chicago, Brooklyn, and Dublin, Ireland. Her full-length plays include Julie (25F), Western Country, In Rooms Such as These, Everybody’s Legs, Wasps, Ye That Dwell in Dust, Prodigal and Monica: This Play Is Not About Monica Lewinsky. She recently assisted her mentor Tracy Letts in rehearsals for the world premiere of his play The Minutes, a finalist for the 2018 Pulitzer Prize in Drama. She is currently co-writing a parody of the Bible with Scott Dikkers, founding editor of The Onion.

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  • Marisela Treviño Orta
    Marisela Treviño Orta

    Marisela Treviño Orta is an award-winning playwright, a graduate of the Iowa Playwrights Workshop, and a Playwrights’ Center Core Writer. A poet for many years, Orta found her way to the playwriting in 2004 while completing an MFA in writing at the University of San Francisco, where she studied poetry. This season, Orta’s play Wolf at the Door will receive a National New Play Network Rolling World Premiere at New Jersey Repertory Company, Kitchen Dog Theater, Milagro Theatre, and Halcyon Theatre. Her other plays include Alcira; American Triage; Braided Sorrow (Su Teatro); Ghost Limb (Brava Theatre); Heart Shaped Nebula (Shotgun Players); Shoe; The River Bride (Oregon Shakespeare Festival); and Woman on Fire (Camino Real Productions). Orta is an alumna of the Playwrights Foundation’s Resident Playwright Initiative, a founding member of the Bay Area Latino Theatre Artists Network and a member of the Latinx Theatre Commons’ national steering committee. Currently she is working on an adaptation of Charles Dickens’ Little Dorrit and has also begun a new cycle of worst-case scenario plays—sci-fi thriller plays including WMB (pronounced “womb”) and Nightfall. Her work has been commissioned by American Conservatory Theater, Latino Playwrights Initiative, Marin Theatre Company, Nashville Children’s Theatre and San Francisco Grants for the Arts. She has been awarded the 2006 Chicano/Latino Literary Prize in Drama, 2009 Pen Center USA Literary Award in Drama, 2012 Nuestras Voces Finalist (Repertorio Español), 2012 O’Neill National Playwrights Conference Semifinalist, 2013 National Latino Playwriting Award co-winner (Arizona Theatre Company), 2013 Global Age Project Finalist (Aurora Theatre Company), 2016 Kilroys List, 2016 Kennedy Center American College Theater Festival Latinidad Playwriting Award Runner Up, 50 Playwrights Project’s Best Unproduced Latin@ Plays of 2017, 2018 O’Neill National Playwrights Conference Semifinalist and 2019 Kendeda Finalist (Alliance Theatre).

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  • Stacey Rose
    Stacey Rose

    Stacey Rose hails from Elizabeth, New Jersey and Charlotte, North Carolina respectively, where she earned a BA in theatre at University of North Carolina at Charlotte and is an alum of the MFA program in dramatic writing at New York University Tisch School of the Arts. While at Tisch she was the recipient of an AAUW Career Development Grant, was a Future Screenwriting Fellow and honored with The Goldberg Prize for her play The Danger: A Homage to Strange Fruit. Her work has been presented at UNC Charlotte, On Q Productions, NYU Tisch School of the Arts, The Fire This Time Festival (Slavesperience, America v. 2.1), The Brooklyn Generator (As Is: Conversations with Big Black Women in Confined Spaces), The Bushwick Starr Reading Series (Igniting The Alabaster You!), Mosaic Theatre (The Black Jew Thing co-written with Alexis Spiegel), The Amoralists Theatre Compay (Bones, Bonez, Bone$), Rattlestick Playwrights Theatre (Muva Death), National Black Theatre (The Ballad O’ Nigg-O-Lee) and Pillsbury House Theater (Sven, Ole & The Armageddon Myth). She is a two time semi-finalist for The Princess Grace Fellowship (The Danger), a semi-finalist at Premiere Stages Play Festival (As Is), and a finalist at the Fusion Film Festival (Up-And-Coming). Stacey was a 2015-16 Dramatist Guild Fellow, a 2017-18 Playwrights’ Center Many Voices Fellow, a 2018 Sundance Theatre Lab Fellow and is a 2018-2021 Playwrights’ Center Core Writer. She served as writer’s assistant and script coordinator for season one of She’s Gotta Have It, the Series. Rose’s work celebrates and explores Blackness, Black identity, Black history, body politics and the dilemma of life as the “other.”

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