Nalsey Tinberg

Nalsey Tinberg

Nalsey Tinberg is the author of five full-length plays and several one act/ten minute plays. She is represented by Susan Schulman, A Literary Agency in New York (212 713-1633, schulman@aol.com)
Newest work: Misconduct is a 2015 Eugene O’Neill Theater Center’s 2015 National Playwrights Conference Semi-finalist and a winner of the Long Beach Playhouse New Works Festival April 2015
Other Full length...
Nalsey Tinberg is the author of five full-length plays and several one act/ten minute plays. She is represented by Susan Schulman, A Literary Agency in New York (212 713-1633, schulman@aol.com)
Newest work: Misconduct is a 2015 Eugene O’Neill Theater Center’s 2015 National Playwrights Conference Semi-finalist and a winner of the Long Beach Playhouse New Works Festival April 2015
Other Full length plays:
-- Cakewalk world premiere at Main Stage Theater in Houston Texas as part of their 2011-2012 Main Stage Season, October 29-November 27, 2011. Previous version, entitled "Christmas Babies", was produced at the Laurelgrove Theater, Los Angeles.
-- Bearing Witness produced at Stella Adler Theatre in Los Angeles, California, May-June 1998; staged reading at the Jewish Ensemble Theater (JET) New Plays Festival, West Bloomfield, Michigan, April 2000
-- Musical Chairs produced at the Stella Adler Theatre in Los Angeles, California in December 2004 (“This Week’s Pick” by reviewplays.com)
-- A Teachable Moment (New Play Reading Series August 1, 2010 and New Works Festival January 23, Theatre West; Three Roses Players Reading February 22, 2011)
Short plays include:
-- Four Chairs, playlet (10 minutes) produced by the Playwrights Group
-- Seeing is Believing, playlet produced by the Playwrights Group, Tamarind Theater, Los Angeles, California,
-- Long Island Ice Tea, playlet produced by the Playwrights Group, Tamarind Theater, Los Angeles, California -- Dummy in the Carpool Lane, finalist in Secret Rose Ten Minute Play Festival 2004 and produced by Theatre 40 in “Benchmarks” in Los Angeles
-- Back to the Barbizon, produced as part of “Shortages”, a series of one-act plays at Theatre 40, Los Angeles
-- Tuskeegee Man, produced as part of “Deskapades”, a series of playlets at Theatre 40, Los Angeles

AFFILIATIONS
Member of Dramatists Guild of America, Association of Los Angeles Playwrights, Theatre West, Playwright Member of the Association for Jewish Theatre (AJT).

Nalsey Tinberg has a doctorate in mathematics, and is a faculty member at Occidental College in Los Angeles.

Plays

  • MISCONDUCT
    Sexual assault and the politics around it affect not only its victims, but those who try to support those victims. In “Misconduct”, a professor at an idealistic liberal arts college faces her own past, and suffers personal and professional consequences when she comes to the aid of a student victim. How these incidents are reported by the local press, how race affects the college culture, and how...
    Sexual assault and the politics around it affect not only its victims, but those who try to support those victims. In “Misconduct”, a professor at an idealistic liberal arts college faces her own past, and suffers personal and professional consequences when she comes to the aid of a student victim. How these incidents are reported by the local press, how race affects the college culture, and how administrators choose to protect their own reputations while a faculty member’s life unravels, reveal that no one is free of “misconduct.” A serious and topical subject is explored by a multi-ethnic and multi-generational cast. Using a light hand, the exploration involves humor (when appropriate), and results in a tale of honestly, ultimate optimism and personal triumph.

    The play is a 2015 Eugene O'Neil Playwrights Conference semi-finalist and a winner of the 2015 Long Beach Playhouse New Works Festival.
  • CAKEWALK
    In Cakewalk American-born Bersahla (Barrie) attempts to tell the story of her relationship with her mother, Sprintze, a Holocaust survivor, but Sprintze has her own ideas. Bersahla, born on Christmas, and Sprintze, supposedly “reborn” on Christmas, take us on a ten-year journey (1990-2000) with plenty of pathos and birthday cake. Seasoned storytellers both, these two head-strong, intelligent and passionate...
    In Cakewalk American-born Bersahla (Barrie) attempts to tell the story of her relationship with her mother, Sprintze, a Holocaust survivor, but Sprintze has her own ideas. Bersahla, born on Christmas, and Sprintze, supposedly “reborn” on Christmas, take us on a ten-year journey (1990-2000) with plenty of pathos and birthday cake. Seasoned storytellers both, these two head-strong, intelligent and passionate women bring us directly into their lives and souls as they share their journeys of survival and triumph – from refugee to homemaker, from believer to skeptic (and back again), from daughter to mother, from care-giver to care-receiver. Not your typical Jewish mother-daughter tale, this play starts comfortably familiar then accelerates from zero to sixty taking on serious themes (war, illness, childbirth, family, faith, assimilation, psychology of the “victim”, history) before you have a chance to recover from your last laugh. These two women are, at their core, bonded inextricably. Their relationship? Anything but a “cakewalk”.
  • Bearing Witness
    How can a daughter of a Holocaust survivor reconcile her culture's wish that she bear children against her own emotional and physical restraints. A story of family, friendship, and marriage whose bonds are tested at every turn.
  • Musical Chairs
    Three women, Rose, Ellen, and Winnie (aged from their twenties to forties), meet in a breast cancer support group and decide to meet separately to get to know each other better. They have little in common except for their need for companionship and their fear and hope for the future as they undergo treatment. The women struggle with their own mortality, their fears of recurrence, their appearance, their hair,...
    Three women, Rose, Ellen, and Winnie (aged from their twenties to forties), meet in a breast cancer support group and decide to meet separately to get to know each other better. They have little in common except for their need for companionship and their fear and hope for the future as they undergo treatment. The women struggle with their own mortality, their fears of recurrence, their appearance, their hair, their breasts, and their love and affection for each other. They meet regularly in a local restaurant where they make the acquaintance of Rick, their waiter, struggling to be a writer/poet. Rose, a lesbian, falls deeply for young Ellen, who falls for Rick. The play’s central tension revolves around this threesome until the the oldest, Winnie, the third and most proper, reveals perhaps the most terrible of personal family secrets, incest. This ensemble piece is a deeply personal journey that 1 in 4 women face – Musical Chairs of who will live and who will not.
  • A Teachable Moment
    A new college President discovers her most famous faculty member has just won a Pulitzer Prize for his recent book. Unfortunately, in the haze of publicity she finds he has lied about his Viet Nam war experience.