Haley Nelson

Haley Nelson

Haley is a Northern California-native and new play enthusiast who is interested in making theatre you can feel with your whole body. She is now based in Dallas, Texas, where she works as a playwright, dramaturg and producer in theaters of all shapes and sizes.

Haley has had several of her short and one-act plays, and a short opera, produced at venues including the Dallas Museum of Art, and at a...
Haley is a Northern California-native and new play enthusiast who is interested in making theatre you can feel with your whole body. She is now based in Dallas, Texas, where she works as a playwright, dramaturg and producer in theaters of all shapes and sizes.

Haley has had several of her short and one-act plays, and a short opera, produced at venues including the Dallas Museum of Art, and at a wide variety of local festivals. She received the John and Claire Rosenfield Award for Playwriting in 2017, is a member of the Dallas Theater Center Playwrights Workshop, and teaches playwriting at local public high schools.

Haley also works as a freelance new work dramaturg. Her dramaturgical home is at Kitchen Dog Theater where she serves as Manager of Literary and Community Initiatives, and in 2017 she received the LMDA Bly Creative Capacity Grant in cooperation with the theater. She also served as the Literary Associate for the Dallas Theater Center's inaugural New Play Week, dramaturging new musicals and plays by playwrights including Kate Hamill, Janielle Kastner, and Kenny Finkle, whom she continues to assist on his commissioned work. She also has experience working with devising ensembles, both at the 25th Anniversary Ko Festival, and as dramaturg on Artstillery's "Dirty Turk," a multimedia, devised, site-specific performance about the life of an immigrant family. She was an inaugural Actors Theatre of Louisville Emerging Leaders Grant recipient, a Deputy Dramaturg to Mark Bly at the 2018 Kennedy Center New Play Dramaturgy Intensive, and is the Third Coast (Texas/Oklahoma/Arkansas) Regional Vice President, of the Literary Managers and Dramaturgs of the Americas.

Haley graduated from Southern Methodist University with a BFA in Theatre (emphases in playwriting and directing). Outside of the rehearsal hall, Haley enjoys teaching, gardening, and endlessly re-watching "Documentary Now!" episodes.

Plays

  • PERAMBULATORY: preambleastory
    JP, 6, is scared. Samantha Louise, 8, writes stories that are “inappropriate.” The same could be said of teachers Miss Charlene and Mr. Boris making out at lunch, or of Samantha Louise’s always-gone Mother, or of JP’s Dad scaring his son with talk of taxes and disease. Nothing's working, but everyone’s trying their best; maybe there’s love in there somewhere.
  • On Staying Indoors
    The sky has turned orange, and it's probably the end of the world, but a married couple sits comfortably on their front porch talking about the weather, carrying on as usual. MR. has a mysterious box his wife can't touch. MRS. is reading the subtext of the newspaper. It's all a little unsettling. What is bravery, and how do we express love, in the face of (probable) doom?

    Run...
    The sky has turned orange, and it's probably the end of the world, but a married couple sits comfortably on their front porch talking about the weather, carrying on as usual. MR. has a mysterious box his wife can't touch. MRS. is reading the subtext of the newspaper. It's all a little unsettling. What is bravery, and how do we express love, in the face of (probable) doom?

    Run time approximately twenty minutes.
  • MEET CUTE
    Mary's getting married and Teryn is unlucky in love. As they spend their night talking and drinking, Teryn reveals her fantasies about what it would be like if she was the type of girl that could have a "meet cute." The duo gets carried away acting out the ridiculous possibilities and have as much "fun as the female romantic narrative is toxic" before the truth of it all is revealed, and two people lose an eye.

Recommended by Haley Nelson

  • Narrated: Saved
    11 Jul. 2017
    I had the pleasure of producing this piece at an independent theatre festival. Not only was it relatively easy to produce (and a FUN challenge for our production team) but, each night, audiences clung to every word and were visibly moved by the story. This play is relatable, challenging, uncomfortably vulnerable, and a total breath of fresh air.