Kait Kerrigan

Kait Kerrigan

Kait Kerrigan is a playwright, lyricist, and bookwriter. Off-Broadway: THE MAD ONES, HENRY AND MUDGE, and ROSIE REVERE, ENGINEER, AND FRIENDS. Her work has been developed and performed internationally. Her plays include DISASTER RELIEF, IMAGINARY LOVE, TRANSIT, and WE HAVE TO HOLD HANDS. Other musicals include REPUBLIC, UNBOUND, and THE BAD YEARS, an immersive house party. Awards, fellowships, and residencies...
Kait Kerrigan is a playwright, lyricist, and bookwriter. Off-Broadway: THE MAD ONES, HENRY AND MUDGE, and ROSIE REVERE, ENGINEER, AND FRIENDS. Her work has been developed and performed internationally. Her plays include DISASTER RELIEF, IMAGINARY LOVE, TRANSIT, and WE HAVE TO HOLD HANDS. Other musicals include REPUBLIC, UNBOUND, and THE BAD YEARS, an immersive house party. Awards, fellowships, and residencies include the Kleban, Larson, Dramatists Guild Fellowship, I-73 Writer’s Group, Lark Playwright’s Week and Winter Retreat, and MacDowell. Kerrigan is an alumna of Barnard College, and a member of ASCAP, the Dramatists Guild, and founding member of NewMusicalTheatre.com. For more information, visit www.kerrigan-lowdermilk.com.

Plays

  • Father/Daughter
    Father / Daughter is an a structurally inventive play that asks how much our relationship with our parents and our children impact our romantic relationships. Two stories told 23 years apart, Baldwin is Miranda's 30-year-old divorced father who is trying to forge a new relationship with a beguiling woman, and Miranda is Baldwin's 30-year-old daughter, who has found herself in her first serious...
    Father / Daughter is an a structurally inventive play that asks how much our relationship with our parents and our children impact our romantic relationships. Two stories told 23 years apart, Baldwin is Miranda's 30-year-old divorced father who is trying to forge a new relationship with a beguiling woman, and Miranda is Baldwin's 30-year-old daughter, who has found herself in her first serious relationship. What baggage do we bring with us from our past and how can we learn from the relationships we choose in order to repair the relationships we inherit?
  • The Mad Ones
    written with composer Brian Lowdermilk. Samantha Brown balances on the edge of her future, car keys in hand. As she sits in the driver's seat, she faces a choice: will she follow in her mother's footsteps, or take the dare of her impetuous best friend and chart a new path? This contemporary and compelling score from one of NYC's most exciting new songwriting teams immerses audiences in the...
    written with composer Brian Lowdermilk. Samantha Brown balances on the edge of her future, car keys in hand. As she sits in the driver's seat, she faces a choice: will she follow in her mother's footsteps, or take the dare of her impetuous best friend and chart a new path? This contemporary and compelling score from one of NYC's most exciting new songwriting teams immerses audiences in the complex inner life of a young woman on the brink of change. When every choice feels like life and death, how do you turn the key?
  • Transit
    A small-town newscaster seizes her opportunity for a big break when an unidentified Muslim woman jumps in front of a commuter train on the one-year anniversary of a major terrorist attack. Delving into the haunted life of the train's conductor, his ailing mother and his hapless colleague, Transit explores the power of faith in the face of fear — and of fear in the face of faith.
  • Disaster Relief
    Disaster Relief is a highly theatrical drama for three 3 tour-de-force actors about surviving a high school shooting. The play asks the question: What does it take to be a survivor? It also deals a lot with repressed trauma, especially of the high school variety, and how we try to grow up. There's a lot of research right now on psychological development that argues that we become the people that we will be...
    Disaster Relief is a highly theatrical drama for three 3 tour-de-force actors about surviving a high school shooting. The play asks the question: What does it take to be a survivor? It also deals a lot with repressed trauma, especially of the high school variety, and how we try to grow up. There's a lot of research right now on psychological development that argues that we become the people that we will be in high school and I wanted to explore what happens when a person in high school experiences the most extreme kind of danger and trauma, and takes dangerous actions. What does a teenager do with that kind of extreme experience? How do they grow out of it? Can they?

    In Disaster Relief, Jenny and Bank both run away from their past trauma but in polar opposite ways. Jenny tries to become a different person, but does not stray very far from home. Bank tries to outpace his pain by attending to the pain of others and never looking inward. Neither functions in a sustainable way and they are constantly haunted by the trauma that they can't escape. They see echoes of each other and their assailant Mike in every person they meet no matter how much time and space distances them from their moment of original sin. Inevitably, or perhaps by design, they find each other again at what feels like the ends of the earth in the midst of a another impending disaster. Face to face with each other for the first time in ten years, they wonder if together they might be able to find relief.
  • Imaginary Love
    Kara and Lyle were childhood friends and then lovers for almost 25 years. But now they've broken up. In a twist on the romantic comedy, Imaginary Love is an inventive and structurally ambitious play that asks how much love matters in the face of real life.