Allison Gregory’s plays have been produced nationally and internationally by a fusion of professional theatres, academic stages, and non-traditional spaces. She has received support and commissions/grants/development from Oregon Shakespeare Festival, The Kennedy Center, South Coast Repertory, The New Harmony Project, Hedgebrook, Indiana Repertory Theatre, The Playwright’s Center, the Skirball-Kenis Foundation, GEVA, Seattle Repertory Theatre, ACT Theater, Orlando Shakespeare Festival, The National New Play Network, Northwest Playwright’s Alliance, Wordsmiths/LATC, and Banff Playwright’s Conference.
Allison’s spirit of invention takes many forms. Her plays range from satires centering on under-represented historical women which ask us to reconsider how we got where we are, to muscular contemporary interpretations of mythology and fairytales, to intimate dramas and rowdy, irreverent children’s theatre. Her work includes NOT MEDEA and WILD HORSES, which were O’Neill Finalists and received multiple Rolling World Premieres through NNPN; MOTHERLAND, a reimagining of Brecht’s Mother Courage for a diverse world, and TRENT'S LAST CASE, an adaptation of a popular 1913 detective novel.

Her plays for young audiences include Go Dog. Go!, adapted from the P.D. Eastman book and co-written with Steven Dietz; Peter and the Wolf; a revved-up Red Riding Hood; Junie B. in Jingle Bells, Batman Smells!; Junie B. is Not A Crook; and Junie B., Toothless Wonder -- all adapted from the beloved book series by Barbara Park and appearing at over 200 theatres nationwide. Her play Ronia, the Robber's Daughter, adapted from the Astrid Lindgren novel, premiered recently in Poland. Allison has been recognized by TYA USA as “One of the 10 Most Produced TYA Playwrights”.
Her plays are published by Dramatic Publishing, Playscripts, Smith & Krauss, and Rain City Press. http://allisongregoryplays.com/