Patty Kim Hamilton

Patty Kim Hamilton

Patty Kim Hamilton is a playwright, dramaturg and performance choreographer, currently in her masters in Playwriting at the University of the Arts in Berlin. She received her Bachelors in Theater and Performance Studies with Honors from Stanford University, and is the recipient of the Sherifa Omade Edoga Prize for Work Addressing Social Issues. She has worked with theaters and collectives in New York, San...
Patty Kim Hamilton is a playwright, dramaturg and performance choreographer, currently in her masters in Playwriting at the University of the Arts in Berlin. She received her Bachelors in Theater and Performance Studies with Honors from Stanford University, and is the recipient of the Sherifa Omade Edoga Prize for Work Addressing Social Issues. She has worked with theaters and collectives in New York, San Francisco, and Berlin such as Playwrights Horizons, Crowded Fire, HAU, the English Theater Berlin, Ars Nova and Gob Squad. She also practices (solo) performance. In 2018 she produced and choreographed her immersive performance installation 'the crane wives', which premiered at SOMOS Art House. In 2019 she was the Playwright-in-Residence at the Shakespeare Academy in Stratford, CT, where she developed her new play 'Peeling Oranges' (Special Mention: Autorentheatertage 2021 at Deutsches Theater Berlin, published in Bella Triste magazine, finalist Kleist Preis for Emerging Playwrights 2021, online reading The Bechdel Group February 2021). Her play ICH HÄTTE GERN ZU MEINER LEBZEIT KEIN KRIEG (I don't wanna experience war) was invited as part of the DEUTSCHLAND festival at Stadttheater Bremerhaven. Her play 'Sex Play' was invited by the European Theatre Commission to the 2021 ENGAGE festival, and received staged readings at the HfMT in October 2020 and Theater Diskounter Berlin February 2021. Her play 'when it hurts // this body is just a house' was a semi-finalist for the Eugene O'Neill Playwrights Conference in 2020 and is part of Cimientos 2021 (virtual reading June 2021). She has worked with Netflix as part of the Writing Assistant program.

Plays

  • Peeling Oranges
    Jae returns home to the small town of Sisters, Oregon, to find her Mother (Umma) and sister (Luna), each preoccupied with their own emotional worlds. As relationships and mental health begin to unravel, the family is forced to confront their memories and ghosts in an attempt to reconstruct their past. Truth and fiction become blurred as it becomes clear that no one’s memory is fully trustworthy. When a new...
    Jae returns home to the small town of Sisters, Oregon, to find her Mother (Umma) and sister (Luna), each preoccupied with their own emotional worlds. As relationships and mental health begin to unravel, the family is forced to confront their memories and ghosts in an attempt to reconstruct their past. Truth and fiction become blurred as it becomes clear that no one’s memory is fully trustworthy. When a new resident of the town enters Jae’s life, assumptions and fears become uncovered. A reflection on memory, daughter-sister-motherhood and Korean-American women, this play questions the blurriness between culture, love, abuse, and madness.
  • when it hurts // this body is just a house
    when it hurts // this body is just a house is about two children in an adult relationship. It is about falling in and out of love, the childlike experience that is intimacy, and the pain that can accompany this sort of experience. It is a reflection on gender queerness, loneliness, mental illness and drug abuse. It is a meditation on dependence, distance and care. Throughout the course of the play we see the...
    when it hurts // this body is just a house is about two children in an adult relationship. It is about falling in and out of love, the childlike experience that is intimacy, and the pain that can accompany this sort of experience. It is a reflection on gender queerness, loneliness, mental illness and drug abuse. It is a meditation on dependence, distance and care. Throughout the course of the play we see the fragmented memories of the growth and unraveling of Shoelace and K's relationship, playing in and around the tree that is their home and their world.

Recommended by Patty Kim Hamilton

  • Allond(R)a
    21 Jan. 2021
    I've been reflecting on all the plays I've read over the past year, and this is one of only a small handful which stuck in my mind. The tone, celebratory and raw, powerful and running out of it's cage - other's have already said it better in their recommendations but I would so love to see this someday. Thank you for this play.
  • Bondage
    21 Jan. 2021
    I read this play a year ago and it still haunts me (in the most beautiful way) - the rare freshness of the voices, the truly surreal twists of the story, the characters which stayed with me in their indiosyncratic and strange realness. A play examining power and the 'feminine' experience, coming of age and race - one that should be read by anyone interested in understanding the pulse of new work now.