Addie Ulrey

Addie Ulrey

Addie Ulrey is a playwright and ensemble theatre maker currently pursuing an MFA at Brooklyn College.

Addie was raised by farmers, house painters, meditators, and real-life radicals in Charlotte, Michigan. She holds a BA in theatre from Oberlin College and has trained at the Moscow Art Theatre School and the Double Edge Theatre. She is a long-time collaborator and original core company member of...
Addie Ulrey is a playwright and ensemble theatre maker currently pursuing an MFA at Brooklyn College.

Addie was raised by farmers, house painters, meditators, and real-life radicals in Charlotte, Michigan. She holds a BA in theatre from Oberlin College and has trained at the Moscow Art Theatre School and the Double Edge Theatre. She is a long-time collaborator and original core company member of Ragged Wing Ensemble in Oakland, CA, with whom she wrote and produced nine new plays between 2010 and 2018. Other Bay Area affiliations include the Playground Writer’s Pool; The California Shakespeare Theatre (Audience Engagement Fellow, 2017); The Ground Floor at Berkeley Rep (finalist for 2020 cohort – cancelled due to Covid); and Emerging Arts Professionals SF/Bay Area (Fellow, 2015-16).

Recurring obsessions in Addie’s work include non-traditional constructions of family, activist culture, whiteness, the changing shape of queer identity, mythologies of creativity and the role of the artist in today’s society. Addie is at home in multidisciplinary collaborations, and has worked closely with composers, visual artists, choreographers and clowns. Her ensemble background has taught her to value writing that is responsive to––and responsible to––context. She believes in theatre that is firmly rooted in place.

Plays

  • In the Game
    The hot one. The one who lies about her age. The man of faith. The career chick. The bisexual.

    In the game of love, who are you? What has it taken to name your own desires inside the limited landscape of our cultural story about love? In the Game takes us inside a sinister Bachelor-esque reality tv show to examine the ways we’ve been taught that love = winning, and what happens when we try to get out.
  • When the Lights Go Out
    Fourteen-year-old Cami is deep into zero-waste blogs, solar-panel Kickstarters, and homemade laundry detergent. Cami’s parents, Heather and Beth, are activist-y types themselves and are proud of their daughter’s passion. But when they discover what she has been doing with all the trash she can’t recycle, the line between passion and compulsion starts to blur. Then her aunt Verve shows up, ambivalently pregnant...
    Fourteen-year-old Cami is deep into zero-waste blogs, solar-panel Kickstarters, and homemade laundry detergent. Cami’s parents, Heather and Beth, are activist-y types themselves and are proud of their daughter’s passion. But when they discover what she has been doing with all the trash she can’t recycle, the line between passion and compulsion starts to blur. Then her aunt Verve shows up, ambivalently pregnant and fleeing her own world that’s coming to an end.

    When the Lights Go Out interrogates the variety of ways we are coping with—and not coping with—accelerating ecocide through the eyes of a 14 year old in crisis and the adults around her. Centering on an uncertain web of family ties, the play interrogates our loyalty to various lineages—blood family, queer family, good people/people who “change the world”—and asks: how much of our life’s meaning do we derive from believing that we are part of a lineage that continues?
  • Agent of Change
    The customer is always right. Except when they're not, which is most of the time. It starts out being about breakfast sausage, but pretty soon it's about changing the world.
  • Sad Stories of the Death of Kings: A Panel Discussion
    Many years from now, when in-person gatherings are just a nostalgic memory, three academics debate the mysteries and merits of a long-dead practice called "theatre" in a Zoom panel discussion.
  • How to Ripen
    Go to dance class.
    Do not skip dance class.
    Occasionally you may need to skip dance class.
    Accept that time is passing.
    You may never feel ripe, but at some point you will feel past ripe.
    You will wonder what ripe may have felt like.
    You will recall moments when you thought, “this is the beginning.”
    You will recall arrival, departure.
    But the thing...
    Go to dance class.
    Do not skip dance class.
    Occasionally you may need to skip dance class.
    Accept that time is passing.
    You may never feel ripe, but at some point you will feel past ripe.
    You will wonder what ripe may have felt like.
    You will recall moments when you thought, “this is the beginning.”
    You will recall arrival, departure.
    But the thing itself?
    This life is not a fruit.
    The body is a fruit, but this life is not a fruit.
    There is no guarantee that you will bloom.
  • A Different Long Stretch of Earth
    The American cowboy. Hero or villain? Casanova or colonizer? Either way, his myth rides on. And in this rural Montana town, everyone must reckon with his long, stooped shadow. A Different Long Stretch of Earth is a play about the American West, and how the mythologies and mindsets of our collective past shape our ability to envision the future.
    *Originally developed with Amy Sass for Ragged Wing Ensemble.