Alice Eve Cohen

Alice Eve Cohen

Alice Eve Cohen is a playwright, solo theatre artist, and author. Winner of the 2019 Jane Chambers Playwriting Award for her play, IN THE CERVIX OF OTHERS. Her plays and solo works have been produced at theatres and festivals around the country, and she has toured her solo shows on four continents. Cohen has written television for Nickelodeon, CBS and CTW. She received a BA in Anthropology and Theatre from...
Alice Eve Cohen is a playwright, solo theatre artist, and author. Winner of the 2019 Jane Chambers Playwriting Award for her play, IN THE CERVIX OF OTHERS. Her plays and solo works have been produced at theatres and festivals around the country, and she has toured her solo shows on four continents. Cohen has written television for Nickelodeon, CBS and CTW. She received a BA in Anthropology and Theatre from Princeton and an MFA from The New School. She teaches playwriting and creative writing in the Creative Writing Program of The New School in NYC.

Her play, WHAT I THOUGHT I KNEW, adapted from her award-winning memoir, (Winner of the Elle Literary Grand Prix for Nonfiction, Oprah magazine’s 25 Best Books of Summer, Salon's Best Books of the Year), is a darkly comic story about her unexpected pregnancy and the terrifying odyssey that ensued. The play has been produced by Minnesota Jewish Theatre Company (2018), The Kitchen Theatre Company, and the All for One festival at the Cherry Lane Theatre. The Jane Chambers Playwriting Award awarded What I Thought I Knew Honorable Mention, calling it “challenging, beautiful, and defiantly funny." It was an O’Neill finalist and was nominated for two Broadway World Awards. “Hilarious, heartbreaking, hopeful and devastating all at once.”—Minnesota Post, THE PICKS

Cohen is a member of the EST Playwrights Unit and a New York Theatre Workshop Usual Suspect. WHAT I THOUGHT I KNEW and OTHER PLAYS, a collection of four of Cohen’s solo plays, was published by NoPassport Press. Her second memoir, The Year My Mother Came Back, was published by Algonquin; the audiobook, read by the author, was published by Highbridge.

Selected quotes:
“So vivid, so immediate, so complex, so full of compassion… This is what theater can be.”—Tompkins Weekly, Ithaca

“This play takes us on a gripping ride."—Minnesota Star Tribune, BEST OF THE WEEK

"While filled with Cohen’s characteristic warmth and humor, What I Thought I Knew indicts the health care system."—Jewish Week

“Joyful, heart-breaking, moving”—Cherry and Spoon, Minneapolis

“Throws the insanity of the American health care system into sharp relief…sobering and thought-provoking.”—City Pages, Minneapolis/​St. Paul

"Profound… [a] darkly comedic reframing of iconic feminist questions around choice, parenting, and women's health… Challenging, beautiful, and defiantly funny "—Jane Chambers Award, Honorable Mention for new feminist plays

THIN WALLS, produced by The Kitchen Theatre, The New Georges, and the Women’s Project, has toured internationally: “A little show, but with such a big, embracing heart,” The Guardian (London). "Gripping..." The New York Times

Her time-traveling, political one-act, MRS. SATAN & THE NASTY WOMAN, commissioned and produced by The Kitchen Theatre Company, was written in response to the 2016 presidential election.

Cohen’s plays and solo works include:
Mrs. Satan & The Nasty Woman, What I Thought I Knew, Thin Walls, Oklahoma Samovar, Hannah and the Hollow Challah, Without Heroes, Jessica’s Cervix, The Play that Knows What You Want, In the Cervix of Others, Philomela’s Tapestry, The Parrot, The Balinese Frog Prince, Book of Truth, Book of Lies, Goliath on 74th Street vs. the Woman Who Loved Vegetables, The Owl Was a Baker’s Daughter, The Animator.

Her work has been presented at:
National
Dance Theatre Workshop, Cherry Lane Theatre, New York Theatre Workshop’s “Just Add Water” and “O Solo Mio” Festivals, The New Georges, The Kitchen Theatre, HERE Arts Center, 78th Street Theatre Lab, The Women’s Project & Productions, Theatre for the New City, La Mama, Franklin Furnace, Bayview Women’s Prison, Albuquerque’s KiMo Theatre, Tampa Bay Performing Arts Center, Hudson Opera House, Manhattan Punch Line, Proctors Theatre, National Foundation for Jewish Culture, Syracuse Civic Center, Artscape, Philadelphia Women’s Theatre Festival, LA Women’s Theatre Festival, Barnard College, Princeton University, Dartmouth College, University of Michigan, University of Baltimore, Fordham, Purchase College, Smithsonian Institution’s Discovery Theatre, Annenberg Center, Rochester Museum, American Museum of Natural History

International
Edinburgh Fringe Festival, Galway Theatre Festival, Jerusalem’s Theatre Bama, Trinidad’s Astor Theatre, and Oslo Theatre Festival, among others.

Awards include two fellowships in playwriting and in literature from the New York State Council on the Arts; 4 fellowships from VCCA, production grants for her plays from NEA, NYSCA, ASCAP, Ms. Foundation, Meet the Composer, and Poets and Writers; Jane Chambers Award Winner and Jane Chambers Award Honorable Mention; Dance Theatre Workshop First Night Award; two Broadway World nominations; 2-time O’Neill finalist; Kennedy Center's American Opera Initiative Program librettist finalist; VoiceOver Screenwriting award of the School of Media Studies; and a special Emmy Award citation for her original musical score. She has enjoyed arts residencies at the Virginia Center for the Creative Arts and the Voice & Vision's Envision Retreat for women theatre artists.

Ms. Cohen is a part-time Associate Teaching Professor at The New School, where she teaches playwriting and creative writing. She has taught at University of Michigan, University of Arizona, and Columbia Teachers College. As a teaching artist, she has led performance and writing workshops for children and adults in schools nationwide. Her writing about arts in education has been published in nine languages, and she was the writer-in-residence at the Frank McCourt High School for Writing and Journalism.

As an undergrad, Cohen co-founded a Jewish theatre company with fellow students. After graduating, she joined The Talking Band theatre company, and she performed in and music directed Joseph Chaikin’s production of The Dybbuk at The Public Theatre. She co-founded Practical Cats Theatre, which produced and toured thirty experimental performance works combining theatre, dance, music, and film. She has composed music for plays and films and was a member of the band, Music for Homemade Instruments.

Cohen received her undergraduate degree in Cultural Anthropology and Theatre from Princeton University, an MFA in Creative Writing from The New School, and a screenwriting certificate from the School of Media Studies. She teaches creative writing and playwriting at The New School and lives with her family in NYC.

www.AliceEveCohen.com

Plays

  • In the Cervix of Others
    Jessica is at her gynecological exam in 2018, during the Kavanaugh/Ford hearing, and simultaneously in 1991, during the Clarence Thomas/Anita Hill hearing. Woven into this time-traveling dark comedy is a mother-daughter tale of recrimination and forgiveness, an older woman reconciling with her younger self, a true story of pharmaceutical corruption, and the journey of a woman urgently trying to find her voice....
    Jessica is at her gynecological exam in 2018, during the Kavanaugh/Ford hearing, and simultaneously in 1991, during the Clarence Thomas/Anita Hill hearing. Woven into this time-traveling dark comedy is a mother-daughter tale of recrimination and forgiveness, an older woman reconciling with her younger self, a true story of pharmaceutical corruption, and the journey of a woman urgently trying to find her voice. Jessica’s cervix is being filmed for a training video. While Dr. Cooperman narrates her cervix’s perilous prenatal history, Jessica floats off the examining table and performs a stand-up routine on the ceiling. Her out-of-body storytelling launches her on an odyssey, during which she befriends the mythological Philomela from Ovid’s Metamorphoses, whose ancient story has powerful contemporary resonance. Against the backdrop of the Kavanaugh and Thomas hearings, which play out on screens throughout the action of the play, Jessica finds a window into her past and reunites with her late mother. Their relationship is a stormy mix of ambivalence and love, filled with recriminations for events of the past over which they had no control. With emotional force and hilarious wit, the play explores the many ways women are silenced, the misogyny that taints women’s healthcare, and the transcendent power of mother-daughter love. IN THE CERVIX OF OTHERS is a riveting journey, funny, painful and absurd.
    To inquire about reading or producing the play, contact the playwright or literary agent, Elaine Devlin.
  • What I Thought I Knew
    Everything 44-year-old Alice thought she knew is turned upside-down when an emergency CAT scan reveals that she’s six months pregnant. A dark comedy performed by one actress playing forty roles, Alice faces the most wrenching decision a woman can make, in her odyssey through doubt, a broken health-care system, the complexities of reproductive rights, and the infinite unpredictability of parenthood. An O’Neill...
    Everything 44-year-old Alice thought she knew is turned upside-down when an emergency CAT scan reveals that she’s six months pregnant. A dark comedy performed by one actress playing forty roles, Alice faces the most wrenching decision a woman can make, in her odyssey through doubt, a broken health-care system, the complexities of reproductive rights, and the infinite unpredictability of parenthood. An O’Neill finalist and Jane Chambers Award Honorable Mention, What I Thought I Knew is adapted from Cohen's acclaimed memoir—winner of Oprah magazine’s 25 Best Books of Summer and Elle Literary Grand Prize for Nonfiction.
    Selected quotes, What I Thought I Knew:
    “Hilarious, heartbreaking, hopeful and devastating all at once.”
    —Minnesota Post, THE PICKS
    “So vivid, so immediate, so complex, so full of compassion… This is what theater can be.”—Tompkins Weekly, Ithaca

    “This play takes us on a gripping ride."—Minnesota Star Tribune, BEST OF THE WEEK
    "While filled with Cohen’s characteristic warmth and humor, What I Thought I Knew indicts the health care system."—Jewish Week

    “Joyful, heart-breaking, moving”—Cherry and Spoon, Minneapolis

    “Throws the insanity of the American health care system into sharp relief…sobering and thought-provoking.”—City Pages, Minneapolis/​St. Paul

    "Profound… [a] darkly comedic reframing of iconic feminist questions around choice, parenting, and women's health… Challenging, beautiful, and defiantly funny "—Jane Chambers Award, Honorable Mention for new feminist plays
  • Oklahoma Samovar
    In 1887, two Latvian teenagers, Jake and Hattie, flee the Russian Army and become the only Jews in the Oklahoma Land Rush. One hundred years later, their ninety-year-old daughter Sylvia reinvents their story, aided by ghosts, blintzes and strong Russian tea. Traveling through time, five generations in a Jewish pioneer family travel East to West and then West to East, staking their claims in Kansas, Oklahoma,...
    In 1887, two Latvian teenagers, Jake and Hattie, flee the Russian Army and become the only Jews in the Oklahoma Land Rush. One hundred years later, their ninety-year-old daughter Sylvia reinvents their story, aided by ghosts, blintzes and strong Russian tea. Traveling through time, five generations in a Jewish pioneer family travel East to West and then West to East, staking their claims in Kansas, Oklahoma, and Coney Island. Along the way, they put down roots and dig graves, embodying their own Jewish variations on the mythologized and turbulent American Dream. Based on real events, Oklahoma Samovar is an utterly human and absolutely unique American story.

  • Mrs. Satan and the Nasty Woman
    Victoria Woodhull, the very first woman to run for president, is arrested and jailed right before the election of 1872. On the eve of the 2016 election, Hillary Clinton is having a hard time sleeping. Her mind is racing. Insomnia rules. Every time she thinks she has awakened, she finds herself in the Ludlow Street Jail in NYC, sharing a cell with Victoria Woodhull. Almost erased from the history books, Victoria...
    Victoria Woodhull, the very first woman to run for president, is arrested and jailed right before the election of 1872. On the eve of the 2016 election, Hillary Clinton is having a hard time sleeping. Her mind is racing. Insomnia rules. Every time she thinks she has awakened, she finds herself in the Ludlow Street Jail in NYC, sharing a cell with Victoria Woodhull. Almost erased from the history books, Victoria was a clairvoyant, free-thinker, radical activist, stockbroker, and suffrage fighter. Will Hillary be radicalized by Victoria’s foresight and revolutionary politics? Will she finally have a night’s rest? Playwright Alice Eve Cohen examines two women's roles in the long path to a woman President in MRS. SATAN AND THE NASTY WOMAN.

    Commissioned by the Kitchen Theatre Company, Ithaca, NY