Michael Cotey

Michael is a freelance director, producer, and theater maker based in Chicago. He is the Joaquin Oliver Artistic Producer of ENOUGH! Plays to End Gun Violence (enoughplays.com), which calls on teens to confront gun violence by creating new works of theatre that will spark critical conversations and inspire meaningful action in communities across the country. Since its founding in 2019, ENOUGH! has received nearly 600 short plays and created an unprecedented new work pipeline to publication and production for teen playwrights. Twenty-one ENOUGH! plays, selected by some of the country's most prolific playwrights including David Henry Hwang, Tarell Alvin McCraney, Lauren Gunderson, Idris Goodwin, Samuel D. Hunter, and Karen Zacarías, among others, have been published across three volumes by...

Michael is a freelance director, producer, and theater maker based in Chicago. He is the Joaquin Oliver Artistic Producer of ENOUGH! Plays to End Gun Violence (enoughplays.com), which calls on teens to confront gun violence by creating new works of theatre that will spark critical conversations and inspire meaningful action in communities across the country. Since its founding in 2019, ENOUGH! has received nearly 600 short plays and created an unprecedented new work pipeline to publication and production for teen playwrights. Twenty-one ENOUGH! plays, selected by some of the country's most prolific playwrights including David Henry Hwang, Tarell Alvin McCraney, Lauren Gunderson, Idris Goodwin, Samuel D. Hunter, and Karen Zacarías, among others, have been published across three volumes by Playscripts. More than 140 organizations have participated in ENOUGH!’s three previous Nationwide Readings (2020, 2022, and 2023) to bring these plays to their community, involving nearly 3,000 artists and reaching more than 14,000 people. These readings have raised thousands of dollars for local gun violence prevention organizations, fostered meaningful and long lasting partnerships, and created opportunities for bold community engagement. ENOUGH! is the recipient of the 2023 Goldin Foundation Exemplary Project Award and 2024 TYA Community Impact Award.

Adjacent to his work with ENOUGH!, Michael has collaborated with gun violence prevention activist Manuel Oliver to develop his solo theater piece GUAC: THE ONE MAN SHOW, about his relationship with his son Joaquin, one of the victims of the Marjory Stoneman Douglas mass shooting. He has also collaborated with Carthage College to develop TERMINAL EXHALE, which examines gun violence epidemic through gripping interviews and firsthand accounts of frontline healthcare workers.

As a director, Michael has worked at American Blues Theater, Goodman Theatre, Gift Theatre, Cabinet of Curiosities, The New Colony, Illinois Shakespeare Festival, Milwaukee Chamber Theatre, Next Act, Nebraska Repertory Theater, and First Stage, among others. In 2023 he served as the Festival Producer for World Premiere Wisconsin, an inaugural and first-of-its-kind statewide new play festival. From 2009-2013 he was the Founding Artistic Director of Youngblood Theatre, regularly celebrated by the theater community and the press as one of the most exciting new Milwaukee theater ventures in decades. As an educator, Michael has taught at UW-Madison, Roosevelt University, Northwestern, and UW-Milwaukee. In 2020, he authored "Audit MKE," a survey of the race & gender representation of the playwrights of 799 productions produced by Milwaukee's six Equity theaters over a 20 year period. Michael graduated from UW-Milwaukee with a BFA in Acting and from Northwestern University with an MFA in Directing. In 2014 he was named UWM’s “Graduate of the Last Decade.”

Recommended by
  • There is an abundance of energy and style in the piece. Weingarten fully captures a superficial and irreverent tone that at its best is a successful satire of a millennial “live your best self” / “you be you” culture. The play gains extra resonance in our current moment amid the COVID-19 crisis and the cavalier point of view some young people populating Florida beaches have shown toward world events. The play does not skimp on its critique of gender roles and issues of class. The playwright has a DISTINCT, refreshing voice, full of chaotic, anarchist energy.

    There is an abundance of energy and style in the piece. Weingarten fully captures a superficial and irreverent tone that at its best is a successful satire of a millennial “live your best self” / “you be you” culture. The play gains extra resonance in our current moment amid the COVID-19 crisis and the cavalier point of view some young people populating Florida beaches have shown toward world events. The play does not skimp on its critique of gender roles and issues of class. The playwright has a DISTINCT, refreshing voice, full of chaotic, anarchist energy.

  • Dawes masterfully sets up an eclectic group of unique characters whom you get to know well enough without it feeling like exposition is being laid out at any point to give the audience a full picture of the individuals. The characters are great antitheses of each other, but like any good character pairings, they are also more a like than they care to acknowledge, and that
    acknowledgement is part of the journey. The results are hilarious and full of heart!

    Dawes masterfully sets up an eclectic group of unique characters whom you get to know well enough without it feeling like exposition is being laid out at any point to give the audience a full picture of the individuals. The characters are great antitheses of each other, but like any good character pairings, they are also more a like than they care to acknowledge, and that
    acknowledgement is part of the journey. The results are hilarious and full of heart!

  • I was moved by the kindness that flowed through this play. The opioid epidemic IS something that theatre ought to be tackling more. Full stop. Fazio's play does that with heart and empathy. I was rooting for her characters – three strong, flawed, human, women. Her play is hopeful, a celebration of our better angels - it's a play craves a world where human connection and a recognition of human worth is part of our first line of defense against the opioid epidemic. It's hopeful and refreshing in an otherwise bleak world. It's rehearsal for a better world.

    I was moved by the kindness that flowed through this play. The opioid epidemic IS something that theatre ought to be tackling more. Full stop. Fazio's play does that with heart and empathy. I was rooting for her characters – three strong, flawed, human, women. Her play is hopeful, a celebration of our better angels - it's a play craves a world where human connection and a recognition of human worth is part of our first line of defense against the opioid epidemic. It's hopeful and refreshing in an otherwise bleak world. It's rehearsal for a better world.

  • JQA

    by Aaron Posner

    A highly theatrical, necessary interrogation of our country. Themes of legacy, loss as a result of ambitious pursuit, and what makes us Americans resonated strongly with me, as well as compelling debates over what exactly makes America great, and how this democracy should be governed. JQA investigates how we got from the Founding Fathers to Trump, how the pitfalls and trials we are encountering now as a country are the same ones JQA encountered in his long life. This is the perfect play to engage with at a time when our country feels to be teetering on a precipice.

    A highly theatrical, necessary interrogation of our country. Themes of legacy, loss as a result of ambitious pursuit, and what makes us Americans resonated strongly with me, as well as compelling debates over what exactly makes America great, and how this democracy should be governed. JQA investigates how we got from the Founding Fathers to Trump, how the pitfalls and trials we are encountering now as a country are the same ones JQA encountered in his long life. This is the perfect play to engage with at a time when our country feels to be teetering on a precipice.

  • ABCD

    by May Treuhaft-Ali

    This play is devastating and vital. To show the stresses of public education on either end of the spectrum – either the stresses on teachers in under-resourced schools or the stresses on students in highly-competitive schools – would, and has, been enough for plays in the past. This tremendous play is SO unique (and bold) in tackling both and, together, shows how utterly broke the American education system is: where good people are pushed to act immorally to keep up with a fundamentally unfair system that privileges the privileged.

    This play is devastating and vital. To show the stresses of public education on either end of the spectrum – either the stresses on teachers in under-resourced schools or the stresses on students in highly-competitive schools – would, and has, been enough for plays in the past. This tremendous play is SO unique (and bold) in tackling both and, together, shows how utterly broke the American education system is: where good people are pushed to act immorally to keep up with a fundamentally unfair system that privileges the privileged.

View all 6 recommendations