Maddie Gaw

Maddie Gaw is the former Literary Manager at Playwrights Foundation, where she led the literary department for two seasons and provided dramaturgical support for HOW THE BABY DIED by Tori Keenan-Zelt (Bay Area Playwrights Festiavl 2019) THE DAUGHTERS by Patricia Cotter (BAPF 2018) and BASTIANO, OR THE TRANSFIGURATION OF RAFFI by Carey Perloff (Rough Reading, 2019). Her dramaturgy credits include development with 3Girls Theatre Company (METH, EVEN WHAT LITTLE SHE HAS, THE BODY PLAY, TOUCHED), productions at Marin Theatre Company (ANNE BOLEYN, SWIMMERS, MY MAÑANA COMES), Crowded Fire Theater (REVOLT. SHE SAID. REVOLT AGAIN.), and Custom Made (BELLEVILLE). Producing projects include 3Girls Theatre Company’s 2018-19 Salon Reading Series, LMDA’s 2017 National Conference, and THAT IT ALL MAKES...

Maddie Gaw is the former Literary Manager at Playwrights Foundation, where she led the literary department for two seasons and provided dramaturgical support for HOW THE BABY DIED by Tori Keenan-Zelt (Bay Area Playwrights Festiavl 2019) THE DAUGHTERS by Patricia Cotter (BAPF 2018) and BASTIANO, OR THE TRANSFIGURATION OF RAFFI by Carey Perloff (Rough Reading, 2019). Her dramaturgy credits include development with 3Girls Theatre Company (METH, EVEN WHAT LITTLE SHE HAS, THE BODY PLAY, TOUCHED), productions at Marin Theatre Company (ANNE BOLEYN, SWIMMERS, MY MAÑANA COMES), Crowded Fire Theater (REVOLT. SHE SAID. REVOLT AGAIN.), and Custom Made (BELLEVILLE). Producing projects include 3Girls Theatre Company’s 2018-19 Salon Reading Series, LMDA’s 2017 National Conference, and THAT IT ALL MAKES PERFECT by Erin Bregman (6NewPlays). Maddie’s writing has been published by HowlRound, the Berkeley Rep Magazine, Samuel French's Breaking Character Magazine, The Toast, and NewMusicalTheatre.com. She currently writes the newsletter BILDUNGSROMAN BLITZ on Substack.

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    This dazzling new play from Emily Breeze is a lot of things. But it's most importantly these two things. 1) It's an adaptation of Pride and Prejudice that shifts perspective away from the will-they-won't-they of Lizzie and Darcy, towards the hilarity and heartbreak of female familial relationships, mothers and daughters, sisters and sisters. 2) It's an outstanding farce, complete with rapid-fire entrances and exits and one performer constantly changing costumes. I hope this is widely produced.

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    by elizabeth flanagan

    This play is one of the most tender explorations of coming of age in a rural town, and how struggles - from addiction, to mental health, to friendships poisoned by gossip and rumors - are amplified when you're a member of the working poor. The four young people in this play are full of life and contradictions. They share the banter of a John Hughes cast, but not the wealth. As a result, the tendrils of tragedy keep them from that Simple Minds montage.

    This play is one of the most tender explorations of coming of age in a rural town, and how struggles - from addiction, to mental health, to friendships poisoned by gossip and rumors - are amplified when you're a member of the working poor. The four young people in this play are full of life and contradictions. They share the banter of a John Hughes cast, but not the wealth. As a result, the tendrils of tragedy keep them from that Simple Minds montage.

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    This is a story about America and about youth in America--queer youth, nonbinary youth, young men of color--grappling with the legacy of the country and the fact that co-existing with the heartless heartland is a survival mechanism. Elevated language, unique voices, plethora of perspectives--what more could you want?

    This is a story about America and about youth in America--queer youth, nonbinary youth, young men of color--grappling with the legacy of the country and the fact that co-existing with the heartless heartland is a survival mechanism. Elevated language, unique voices, plethora of perspectives--what more could you want?