Jonathan Kalb is Professor of Theater at Hunter College of the City University of New York and a member of the Theater Ph.D. faculty at the CUNY Graduate Center. He is also Literary Advisor for Theater for a New Audience where he works frequently as a dramaturg. He served for six years as Chair of Hunter’s Theatre Department and has twice received the George Jean Nathan Award for Dramatic Criticism, the country’s richest and most prestigious prize for a theater critic. He first won it in 1991 for his book Beckett in Performance and his articles and reviews in The Village Voice. And he won it again in 2012 for his book Great Lengths: Seven Works of Marathon Theater, which also won the George Freedley Memorial Award, given by the Theatre Library Association for the year’s outstanding theater book. Kalb was a regular theater critic for The Village Voice from 1987-1997 and the chief theater critic for New York Press from 1997-2001. He has published hundreds of essays, articles, interviews, and other writings in such publications as The New York Times, The Nation, Salmagundi, Modern Drama, Theater Journal, Theater, Performing Arts Journal, TDR, Theater Heute, The Threepenny Review, Salon.com, The Michigan Quarterly Review, New German Critique, TheatreForum, American Theatre, as well as in numerous books. Two book collections of Kalb's critical writing have been published: Free Admissions: Collected Theater Writings and Play By Play: Theater Essays and Reviews, 1993-2002. In the late 1980s, Kalb lived for two years on a Fulbright Grant in West Berlin, where he learned the German language and began to write about German theater. His book The Theater of Heiner Muller was the first general study in English about the most important German playwright after Brecht.

Johnna Adams is currently pursuing an MFA in Playwriting at Hunter College. Her trilogy of full length plays, The Angel Eaters Trilogy, was produced in November of 2008 by Flux Theatre Ensemble and nominated for seven 2009 New York Innovative Theater awards, including Best Original Full Length Play. She was the 2008-2009 Reva Shiner Award winner and has been a finalist for the Princess Grace Award, the Abingdon Theater Company’s Christopher Brian Wolk Award and the National Arts Club’s Playwrights First Award. Johnna’s plays Angel Eaters, Rattlers, 8 Little Antichrists, Sans Merci, Cockfighters and The Sacred Geometry of S&M Porn are published by Original Works Publishing (www.originalworksonline.com).

Minou Arjomand is a doctoral student in the Theatre Program at Columbia University, and works as a dramaturg and director in the US and Germany.

Arnold Aronson is a professor of theatre in the School of the Arts at Columbia University and writes frequently about design and theatre production. His books include The History and Theory of Environmental Scenography; American Set Design; American Avant-Garde Theatre: A History; Looking into the Abyss: Essays on Scenography; and The Disappearing Stage: Reflections on the 2011 Prague Quadrennial. His newest book, Ming Cho Lee: A Life in Design, will be published in August 2014 by Theatre Communications Group.

Karin Badt is Associate Professor of Theater at University of Paris VIII. She has written about film for Tikkun, Boston Globe, Cineaste, Film Criticism, etc. She is also the author of a series of children's books.

Balwant Bhaneja co-authored as translator with Vijay Tendulkar, Two Plays by Vijay Tendulkar– The Cyclist and His Fifth Woman, Oxford University Press (India), 2006. Currently playwright-in-residence at the Odyssey Theatre, Ottawa, he is working on a stage adaptation of Mark Frutkin’s Trillium Award-winning novel, Fabrizio’s Return. His English translation of Vijay Tendulkar’s The Cyclist/ Safar was broadcast by BBC World Service in December 1998, and published in HotReview.org. His radio adaptation of Ajit Dalvi’s Mahatma versus Gandhi was produced on BBC World Service in November 2001.

Neil Blackadder is Professor of Theatre at Knox College, and the author of Performing Opposition: Modern Theater and the Scandalized Audience. His translations of contemporary German-language drama include Lukas Bärfuss' The Sexual Neuroses of Our Parents--produced in London and New York--and Igor Bauersima and Réjane Desvignes' Tattoo--published in TheatreForum.

Henning Bochert works as a playwright, dramaturg, and translator in Berlin. He studied acting at the University of Arts and with Eric Morris in Los Angeles. He is a certified translator for English as well as a member of raum4–netzwerk für künstlerische alltagsbewältigung e. V., a producing organization, and of Drama Panorama: Forum for Translation and Theater, an international platform for theater translators. Also a member of the German Translators Association (BDÜ) and the Association of German Language Translators of Literary and Scientific Works (VdÜ). He translated U. S. playwrights like George Brant, Carlos Murillo, Dan O’Brien, Adam Rapp, or Andrea Stolowitz into German. His translations of Martin Heckmanns, Ingrid Lausund, Wolfram Lotz, and others into English have been produced by CalRep of CSULB, the Green Card in Hollywood, the Pittsburgh Playhouse, and in New York City.
www.henningbochert.de/?lang=en

Robert Brustein is the Founding Director of the Yale Repertory and American Repertory Theaters and longtime drama critic for The New Republic. He is also a member of Theater Hall of Fame.

Marla Carlson is an independent scholar in New York with a Ph.D. in Theater from the CUNY Graduate Center. Her current book project asks what cultural work performances of physical pain do in post-9/11 America and how similar performances in the late Middle Ages might help us understand present configurations of suffering.

Marvin Carlson is the Sidney E. Cohn Distinguished Professor of Theater and Comparative Literature at the CUNY Graduate Center. He is the author of many books and articles on theater history and theory and dramatic literature. In 1994 he received the George Jean Nathan Award for dramatic reviewing, in 1995 the ATHE Career Achievement Award, in 2000 the ASTR Distinguished Scholarship Award, and his most recent book, The Haunted Stage, received the Joseph A. Calloway prize for 2002.

Gordon Carver is a graduate student in the Yale School of Drama's Department of Dramaturgy and Dramatic Criticism. He is also the founder and director of Spankin' Yanks, a company which promotes new American writing abroad, which won a Fringe First award at the Edinburgh Fringe Festival 2004.

Jennifer Cayer is a Senior Lecturer and Writing Consultant at New York University. She received her Ph.D. in comparative literature and has taught courses on modern and contemporary drama, literature, performance and cultural theory. Her work has been published in Theater Journal, The Journal of American Drama and Theatre, Brújula, E-Misférica and TDR: The Drama Review.

Adam Casdin teaches in and is in-coming Head of the Department of English at Horace Mann School in Riverdale, New York. He received his B.A. in English from Columbia University and his Ph.D. in English from Stanford University. Trained as a scholar in British eighteenth-century and Romantic literature, his other interests include memoirs and autobiographies, modern literary experiments in prose and poetry, and film studies. In his dissertation, Before Imagination: Literary Reverie's Opening to the Present (2004), he demonstrates that attention to proto-Romantic and Romantic literary reverie should radically revise our longstanding accounts of the romantic-modern imagination. During his years at Stanford, he helped found the literary journal Mantis and organized a university-wide poetry reading series that included the late Nobel Prize-winning poet Czeslaw Milosz, Nathaniel Mackey, Bei Dao, and former U.S. Poet Laureate Robert Hass.

Claudia Wilsch Case is an Assistant Professor of Theatre at Lehman College/CUNY. Her articles have appeared in Theater magazine, the Tennessee Williams Annual Review, Theatre Symposium and TheatreForum. She is currently working on a book about the Theatre Guild.

Joseph P. Cermatori is a dramaturg and MFA candidate at the Yale University School of Drama. He is also a translator, a director, a teaching fellow in the Yale College Department of Theater Studies, and a managing editor of Theater magazine.

Una Chaudhuri is Professor of English and Drama at New York University. She is the author of numerous essays and articles and two books: Staging Place: The Geography of Modern Drama (Univ. of Michigan Press, 1995) and No Man's Stage: A Semiotic Study of Jean Genet's Major Plays (UMI Research Press, 1986). She also co-edited (with Elinor Fuchs) the essay collection Land/Scape/Theater (Univ. of Michigan Press, 2002).

Royd Climenhaga teaches at Eugene Lang College/The New School University in New York City. His essays on intersections between dance and theater have appeared in several journals and magazines and he has published a book on Pina Bausch through the Routledge Performance Practitioner series. He also develops and produces new physical performance as Co-Artistic Director of Human Company. www.humancompany.org

Elin Diamond is Professor of English at Rutgers University and the author of Unmaking Mimesis: Essays on Feminism and Theater and Pinter's Comic Play, editor of Performance & Cultural Politics, and co-editor of The Cambridge Campanion to Caryl Churchill.

Kathleen Dimmick lives in New York City and works as a director, dramaturg, and teacher. She currrently teaches theater at Bennington College in Vermont.

Gwynn Dujardin is completing her doctorate at Northwestern University in
Evanston, IL, where she specializes in the history of English and early
English education and has taught courses in Shakespeare, early modern
English drama, and theater history. A "Preamble Scholar" at the Chicago
Shakespeare Theater, she delivers lectures to theater audiences on the
Shakespeare plays in production.

Ava K. Dweck is a theater student at Hunter College. She devotes her life to the art of theater both as an actor and a creator. In addition to her studies Ava is currently developing a new theater company whose first production will premier in January.

Babak A. Ebrahimian is a theater and film director and scholar. He holds a Ph.D. in Theatre Studies and a Masters in Directing from Stanford University. He was the director of The Experimental Theatre Laboratory (ETL) at Stanford University with which he explored and staged productions for the cinematic theater, integrating film aesthetics into the theater. His book, The Cinematic Theater, was published in 2004 by Scarecrow Press. He has taught at Stanford and is currently a lecturer at Columbia University where he teaches Middle Eastern cinema. He also serves as the Artistic Director of La Strada Theatre Company, which is dedicated to staging productions through the cinematic theater and with a focus on social and political issues. He has directed over twenty productions since 1989. Recent New York credits include Marivaux’s The Island of the Slaves and Ripples [The Night Before], an original cinematic theater piece reflecting on events in America and abroad since 9/11. Currently, he is working on a production of Bertolt Brecht’s In the Jungle of the Cities.

Loren Edelson is a teacher and writer based in New York City. Her book Danjuro's Girls: Women on the Kabuki Stage is forthcoming from Palgrave Macmillan.

Miriam Felton-Dansky is a former editor of New Voices, a national Jewish students' magazine, and her work has appeared in New Voices, Moment Magazine, The Brooklynite, and CurtainUp.com. She is also the associate artistic director of Polybe + Seats, a Brooklyn-based theater company.

David Finkle is the chief drama critic for Theatermania.com, the online theater magazine, and a regular contributor to The Village Voice and other publications that cover the arts.

Jason Fitzgerald is an MFA Candidate in Dramaturgy and Dramatic Criticism at the Yale School of Drama. He is also a teaching assistant at the Department of Theater Studies at Yale College and a managing editor of Theater magazine, where his review of David Román's book Performance in America will be published in an upcoming issue.

Richard Foreman has received a MacArthur Fellowship and been awarded the PEN Master Dramatist Award, plus nine Obies and many other prizes. He has designed and directed over seventy-five productions at major theaters around the world, including over forty of his own plays. His Ontological-Hysteric Theater performs annually in St. Marks Church in Manhattan. Six collections of his plays have been published, and many articles and books discuss his work.

J. Ellen Gainor is Professor of Theatre and Associate Dean of the Graduate School at Cornell University. She is the author of Susan Glaspell in Context: American Theater, Culture and Politics, 1915-48 and Shaw's Daughters: Dramatic and Narrative Constructions of Gender. She has written widely on British, American, and Feminist theatre, and is also an editor of the forthcoming Norton Anthology of Drama.

Shawn-Marie Garrett is an Assistant Professor in the Theatre Department at Barnard College, Columbia University, a dramaturg and critic, and a Contributing Editor of Theater. She has recently published articles on the controversy surrounding the play My Name Is Rachel Corrie, on Kafka adaptations for the New York stage, and on the uncanny revival of minstrelsy in contemporary American performance. She has also recently worked as a dramaturg with the director Andre Gregory on his play Bone Songs (published in 2006 by Theatre Communications Group). She is currently revising her monographSuzan-Lori Parks’ History Plays for publication.

Cyrielle Garson is an English tutor and a PhD student working on Contemporary British Political Theatre at the University of Avignon, France. She is a member of the research group Théâtre(s) Politique(s) in France and belongs to the interdisciplinary research laboratory ICTT “Cultural Identity, Texts and Theatricality” at the University of Avignon.

Alexis Greene is an author, theater critic and teacher who lives in New York City. Her most recent book is The Story of 42nd Street, written with Mary C. Henderson, to be published in Fall 2008 by Watson-Guptill.

Barbara Hammond is a member of New Dramatists, a 2010 Edward Albee Fellow, a Yale Playwright’s Festival mentor playwright, and was recently named one of 2011's Influential Women by the Irish Voice. Her plays and film have been seen and won awards from the far-flung -- Berlin, Dublin, London, Paris, Big Sur and Queensland, Australia -- to New York City, where she is a long-time resident of the Lower East Side. Her play Eva the Chaste opens off-Broadway on Theatre Row in July, 2011. She received the Special Jury Award at the 1st Irish 2009 Theatre Festival, the Directors’ Special Recognition Award at the 2007 San Francisco International Short Film Festival, and was a finalist at the Tennessee Williams One-Act Play Festival and the Kerouac Project. Please visit www.barbarahammond.com for full bio as well as clips and photos from previous work and tours. Eva the Chaste is the first play in The Eva Trilogy. Enter the Roar and A Country called Eva to follow in 2012.

Martin Harries is Associate Professor of English at New York University. He is the author of Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment (Stanford University Press, 2000), and has published in New German Critique, The Yale Journal of Criticism, The Chronicle of Higher Education, and The Brooklyn Rail. He is at work on a second book, Lot's Wife: Looking Back at Disaster in the Twentieth Century.

Debra Hilborn is a graduate student in the Hunter College Theatre Department.

Gitta Honegger is the author of Thomas Bernhard: The Making of an Austrian. She is currently working on a book on Elfriede Jelinek and a biography of Helene Weigel, both to be published by Yale University Press. She is a Professor of Theater at Arizona State University. Her translations of Elfriede Jelinek's short plays Jackie, Snow White and Sleeping Beauty were published in Theater 36:2.

Susan Kattwinkel is an Associate Professor of Theatre History at the College of Charleston in Charleston, South Carolina, where she has also served as Director of the First-Year Experience program. She has published primarily on vaudeville, and her reviews of previous Spoleto performances appeared in Theatre Journal.

Stanley Kauffmann is internationally recognized as a film critic, theater critic, and writer. Among his many honors are the George Jean Nathan Award for Dramatic Criticism, the Edwin Booth Award, and the Telluride Film Festival Award for Criticism. He has taught at the Yale School of Drama, Adelphi University, and Hunter College. His numerous books include the theater collections Persons of the Drama and Theater Criticisms, as well as novels, plays, memoirs, and seven volumes of film criticism.

Tony Kushner is the Pulitzer Prize-winning author of Angels in America: A Gay Fantasia on National Themes, Homebody/Kabul, Caroline, or Change, A Bright Room Called Day, Slavs! and many other plays. His work has been produced in more than 30 countries.

Bill Marx reviews theater and books for WBUR, Boston's NPR News station.

Robert Marx is a New York foundation director, essayist and theatre producer who has collaborated with Anne Bogart, Robert Woodruff, Peter Hall and Richard Nelson. A past director of the Theatre Program at the National Endowment for the Arts in Washington, D.C., as well as executive director of Lincoln Center's New York Public Library for the Performing Arts, he is heard regularly on the intermission programs of the Metropolitan Opera's weekly live radio broadcasts.

Erika Munk is a writer living in New York. For many years, she was the editor of Theater while professor of dramaturgy at the Yale Drama School, and before that theater editor of the Village Voice, writing there and in other publications on theater, culture, and politics. She hopes everyone will donate theater books to the Occupy Wall Street library.

Robert Simpson McLean, Professor Emeritus at Queensborough Community College, CUNY, has written on Charles Dickens, John Ruskin, and nineteenth-century theater. He has reviewed plays of Shaw, Ibsen, and other playwrights for academic journals, and is Theater Review Editor for The Eugene O'Neill Review.

NoPassport: The core members of this collective, founded by Caridad Svich, are Carolyn Baemler, Sheila Callaghan, Jorge Ignacio Cortiñas, Lisa D’Amour, Dan Dietz, Erik Ehn, Christine Evans, Hayley Finn, Kristen Gandrow, Michael Gladis, Gretchen Krich, Sophocles Papavasilopoulos, Sarah Ruhl, Colin Denby Swanson, Deb Stein, Debbie Saivetz, Katie Pearl, Svich, and Gary Winter. The collective exists as a virtual entity and as a real-live word-music band. It is dedicated to discovering new ways of listening to and writing language for performance, crossing artistic disciplines and making music. The members have presented their work at Tonic in New York City, and BRIC in Brooklyn, and their essay “Dirty Thoughts About Money” is published on HotReview.org.

Claudia Orenstein is Associate Professor of Theatre at Hunter College, CUNY. She is the author of Festive Revolutions: The Politics of Popular Theatre and the San Francisco Mime Troupe and co-author of The World of Theatre: Tradition and Innovation. Her current projects include co- editing a volume of scholarly essays on puppetry and making a documentary film on women puppeteers in India.

Shari Perkins is a student in the doctoral program in theatre at the CUNY Graduate Center, where she served as the managing editor of Slavic and East European Performance. She has worked as a dramaturg and stage manager on and off Broadway and in regional theaters, and writes reviews for several online publications.

Martin Puchner is an Assistant Professor of English and Comparative Literature at Columbia University and Co-chair of the Theater Ph.D. Program. He is author of Stage Fright: Modernism, Anti-Theatricality and Drama (Johns Hopkins University Press, 2002). He has published in or has work forthcoming in such journals as New Literary History, Theatre Journal, Modern Drama, Theatre Research International, and Criticism and has contributed chapters to edited collections. He recently published an introduction and notes to Six Plays of Ibsen (Barnes and Noble, 2003) as well as an introduction to Lionel Abel's Tragedy and Metatheatre (Holmes and Meier, 2003).

Anita Rákóczy is a Fulbright Visiting Student Researcher at CUNY Graduate Center. She is a Hungarian dramaturg and theater critic, working for the Hungarian Theater Museum and Institute, International Theater Institute Hungarian Center, and for Színház theater journal. Since 2009, she has attended and reviewed a great number of European theater events such as Edinburgh International Festival, Theatertreffen Berlin, Ulster Bank Dublin Theater Festival, Spielart Munich and Plzen Divadlo Festival. She is currently working on her Ph.D. dissertation about Samuel Beckett’s stage directions of Endgame.

Gordon Rogoff is a professor dramaturgy and dramatic literature at the Yale School of Drama. A collection of his critical essays, Vanishing Acts: Theater Since the Sixties, was published in 2000 by Yale University Press.

Magda Romanska is is an associate professor of theatre and dramaturgy at Emerson College in Boston, and a research associate at Harvard University’s Minda de Gunzburg Center for European Studies. Her forthcoming books include The Post-traumatic Theatre of Grotowski and Kantor: History and Holocaust in 'Akropolis' and 'Dead Class' (Anthem Press, 2012), Boguslaw Schaeffer: An Anthology (Oberon Books, 2012), Comedy: Theory and Criticism (Palgrave Macmillan, 2013), and The Routledge Companion to Dramaturgy (Routledge, 2014).

Joel Schechter is Professor of Theatre Arts at San Francisco State University, and author of several books on satire, most recently Messiahs of 1933.

Jenny Schmidt is an MFA candidate in Dramaturgy and Dramatic Criticism at the Yale School of Drama.

Don Shewey is a journalist, editor, and critic in New York City. He has
published three books about theater: the biography Sam Shepard; Caught
in the Act: New York Actors Face to Face, a collection of his interviews
with actors and photographs by Susan Shacter; and Out Front, an anthology
of gay and lesbian plays published by Grove Press. His articles have
appeared in the Village Voice, Esquire, Rolling Stone, American Theater,
and other publications. He currently writes theater reviews for The
Advocate, and he has been a contributor to the Arts and Leisure section of
the New York Times since 1982. An archive of his writings is available
online at www.donshewey.com.

Alexis Soloski is a doctoral candidate at Columbia University, where she teaches literature and writing. Her dissertation discusses representations of illness in theater and performance art. Her theater criticism appears regularly in the Village Voice, as well as in the New York Times, Time Out New York, and Modern Painters.

Terry Stoller recently completed her doctorate at the CUNY Graduate Center. An actress, singer, performance artist, and teacher, she also does freelance writing about theater.

Andrea Stolowitz’s plays have been presented and developed at The Cherry Lane (NYC), The Old Globe (SD), The Long Wharf (CT), New York Stage and Film (NY), and Portland Center Stage (OR).  The LA Times calls her work “heartbreaking” and the Orange County Register characterizes her approach as a “brave refusal to sugarcoat…issues and tough decisions.” Andrea is a founding member of the playwrights collective Playwrights West and works as a collaborating writer with the award-winning devised theater company hand2mouth theater. She is a resident artist at Artists Repertory Theater. A Walter E. Dakin Fellow at The Sewanee Writers Conference, Andrea has also been awarded residencies at Ledig House, Soapstone, and Hedgebrook, and Arts Grants from North Carolina, Oregon, and private foundations. She is a 2013 Oregon Arts Commission Fellowship winner. She was the recipient of a 2014 DAAD grant to support her residency with English Theatre Berlin and her research for a new play in Berlin, Germany. In October 2014, her play ITHAKA was presented at a Drama Panorama event at Kunstquartier Bethanien in German translation (Henning Bochert) and a staged reading. An MFA playwriting alumna of UC-San Diego, Andrea has served on the faculties at Willamette University, The University of Portland, Duke University and UC-San Diego. www.andreastolowitz.com

Laura Strausfeld is a writer and theater director based in New York. She recently completed a screenplay for a feature film based on the life of Anton Chekhov.

Lydia Stryk is a writer living somewhere between Berlin and New York. www.lydiastryk.com

Caridad Svich received the 2012 OBIE for Lifetime Achievement. She is the author of over forty plays and translations, and editor of several books on theater, including Innovation in Five Acts published by Theatre Communication Group in 2015. Some of her plays are collected in Instructions for Breathing and Other Plays (Seagull Books) and Blasted Heavens (Eyecorner Press). A forthcoming collection will be published by Intellect UK in the spring of 2016.

Mimi Torchin was the founding editor-in-chief of the groundbreaking magazine Soap Opera Weekly, helming it for 11 years, and was a columnist for SoapNet.com for five years. A former actress, she interviewed celebrities on SoapNet’s televised magazine show Soap Center; co-hosted E! Entertainment Network’s live Daytime Emmy pre show for ten years; and was a guest on dozens of TV news and talk shows. Before starting Soap Opera Weekly in 1989, she was a successful entertainment writer in New York, beginning her career with Cue magazine, the leading NY entertainment guide for 40 years, as theatre editor and weekly columnist. As a freelancer she wrote theater reviews, celebrity profiles, and articles for a number of leading publications including the New York Times Arts and Leisure section. She is a professional photographer whose photos can be viewed or purchased at mimitorchinphotography.com or Kennedy Studios/Island Art Gallery in Vineyard Haven, MA (Martha’s Vineyard).

Jeff Turner teaches theater at Hamline University in St. Paul, Minnesota.

Robert Vorlicky is Associate Professor of Drama at Tisch School of the Arts, New York University. He is also Affiliate Faculty of the Department of English and the Department of Social and Cultural Analysis. He is the author of numerous essays and articles, of Act Like a Man: Challenging Masculinities in American Drama (Univ. of Michigan Press, 1995) and the editor of Tony Kushner in Conversation (Univ. of Michigan Press, 1998) and From Inner Lives to Outer Space: The Multimedia Performances of Dan Kwong (Univ. of Michigan Press, 2004). He is co-editor (with Una Chaudhuri) of the Critical Performances series (U of Michigan Press).

Rebecca Fried Weisberg is currently a communications consultant for arts and media projects, including the Downtown NYC River to River Festival and National Geographic Television and Film. Over the past several years, she has also worked with the New York Foundation for the Arts and the Cultural Services of the French Embassy.

Andrzej Wirth was a theater critic in Poland, theater professor in Stanford and New York, and is founder of the renowned theater School of Giessen in
Germany.

Paul David Young is a graduate of Yale College and Columbia Law School and was a Fulbright Scholar in Germany.  His theater commentary includes “Advanced Forms of Emptiness: Handke and Jelinek in Berlin,” and “Performing the Novel: Elevator Repair Service Reads The Sound and the Fury by William Faulkner,” both in PAJ: A Journal of Performance and Art (MIT Press).  He was co-curator of “Perverted by Theater” at Apexart, Oct. 22 to Dec. 6, 2008.  His play Times and Places was performed in Icelandic in Reykjavik and in English in the La Mama E.T.C. “Experiments” series.  Primary Stages held a reading of his play No One But You in 2007, and his play Aporia was presented in a December 2008 reading at The Living Theatre.  Both Aporia and No One But You will be part of the Kennedy Center KCACTF Northeast regional festival in Philadelphia in January 2009.  On December 16 and 17, 2008, the New York Gallery LMAK Projects will stage his Balcony Scene.  His play David & Ira will be produced in New York in 2009.

Hersh Zeifman is Professor of English and Drama at York University, Toronto. Formerly a script reader for London's National Theatre, co-editor of Modern Drama and president of the Samuel Beckett Society, he has published widely on contemporary British and American drama.