Noelle Viñas

Noelle Viñas

Noelle Viñas is a Uruguayan-American playwright, educator, and theater-artist from Springfield, Virginia and Montevideo, Uruguay. She is a resident playwright at Playwrights Foundation and a 2019 Artist-in-Residence at the Djerassi Resident Artists Program. Her play DERECHO was a Finalist for the 2019 Bay Area Playwrights Festival, a Madison New Works Lab Residency Finalist at JMU, and a Semi-Finalist for the...
Noelle Viñas is a Uruguayan-American playwright, educator, and theater-artist from Springfield, Virginia and Montevideo, Uruguay. She is a resident playwright at Playwrights Foundation and a 2019 Artist-in-Residence at the Djerassi Resident Artists Program. Her play DERECHO was a Finalist for the 2019 Bay Area Playwrights Festival, a Madison New Works Lab Residency Finalist at JMU, and a Semi-Finalist for the 2019 Premiere Stages Play Festival. In 2017, she was commissioned by TheatreFirst to write and direct the one-act play LA PROFESORA, where it was developed for production in 2018 as a one-woman show starring the Argentinian actress Virginia Blanco, and is currently in development to become a podcast with We Rise Production. She wrote the libretto for the 10-minute opera REMEDIAL MATH, which won "Best Opera" at Opera Theatre Unlimited's 48-Hour Opera Festival. Her first two plays, NEVERMIND and APOCALYPSE, PLEASE were both self-produced in Boston and San Francisco, respectively. An Emerson College alumna, she has performed, written/directed plays, taught, and produced with many theaters including ArtsEmerson, Arena Stage, GALA Hispanic Theatre, Apollinaire Theater, TheatreFirst, Shotgun Players, Berkeley Rep, and is a company member of Ubuntu Theater Project and PianoFight.

Plays

  • DERECHO
    Finalist, Bay Area Playwrights Festival. Finalist, Madison New Works Lab at JMU.
    2019 Premiere Play Festival Semi-Finalist. Honorable Mention for the 2019 Jane Chambers Award.
    Sisters Euegnia and Mercedes Silva grew up in the immigrant enclaves of northern Virginia and went entirely separate ways. When a bad storm strikes, Eugenia uses it as a unique opportunity to host high school friends she...
    Finalist, Bay Area Playwrights Festival. Finalist, Madison New Works Lab at JMU.
    2019 Premiere Play Festival Semi-Finalist. Honorable Mention for the 2019 Jane Chambers Award.
    Sisters Euegnia and Mercedes Silva grew up in the immigrant enclaves of northern Virginia and went entirely separate ways. When a bad storm strikes, Eugenia uses it as a unique opportunity to host high school friends she hopes will help her join the wave of women of color elected for state office. As the house becomes a trap with friends and lovers from both worlds, Mercedes and Eugenia must address the tensions between traditional Latino family values, the community Eugenia hopes to represent, and the sacrifices we make for a definition of American success that is always changing.
  • La profesora
    Tachi, a Uruguayan-educator in the US, must confront her boss about getting fired for a lesson on the Uruguayan communist Nibia Sabalsagaray and discovers some painful truths along the way.

    One-Act solo show commissioned by TheatreFirst in Berkeley, CA. Produced in Feb 2018, but still in development for translation into Spanish and possible extension into full length.
  • Apocalypse, Please
    Remy, a programmer who encrypts a cellular radiation protection service called SafeShell at MIT, finds herself the subject of international and mythological attention when implicated in radiation corruption that kills 2/3 of the United States. Her own sense of guilt and delusion corrupt reality, along with space and time - or maybe it's just Excalibur. This play was re-written and co-produced with Kevin...
    Remy, a programmer who encrypts a cellular radiation protection service called SafeShell at MIT, finds herself the subject of international and mythological attention when implicated in radiation corruption that kills 2/3 of the United States. Her own sense of guilt and delusion corrupt reality, along with space and time - or maybe it's just Excalibur. This play was re-written and co-produced with Kevin Vincenti for a world premiere at PianoFight in San Francisco in March 2017. Further inquiries should contact the playwright at noelle.vinas@gmail.com.
  • breakroom
    Mary and Brina are two sisters who live nomadically and care for each other due to Brina's self-destructive tendencies. When they start a "break room" business in a non-existent Nevada, old wounds begin to bleed, broken objects come alive to wreak havoc in the town, and young Amelia (the child of one of them and a violinist) begins a journey towards healing what her family could not. Originally...
    Mary and Brina are two sisters who live nomadically and care for each other due to Brina's self-destructive tendencies. When they start a "break room" business in a non-existent Nevada, old wounds begin to bleed, broken objects come alive to wreak havoc in the town, and young Amelia (the child of one of them and a violinist) begins a journey towards healing what her family could not. Originally developed as part of the Inkwell's Wellspring Initiative in 2015, it requires further development and collaboration to be ready for staging.
  • nevermind
    Morgan writes poems with lowercase letters about growing up below the Mason-Dixon line (which always looks different when you come back from your college up north). Morgan talks shit about the southeastern university her dysfunctional sometimes-boyfriend goes to, despite visiting for the excessive drinking culture. But what happens when Morgan stops observing, starts calling shitty best friends out, catches...
    Morgan writes poems with lowercase letters about growing up below the Mason-Dixon line (which always looks different when you come back from your college up north). Morgan talks shit about the southeastern university her dysfunctional sometimes-boyfriend goes to, despite visiting for the excessive drinking culture. But what happens when Morgan stops observing, starts calling shitty best friends out, catches feels for Dan, and realizes she might accidentally have written herself into a corner with her faux-Southern narrative?