Announcing Our 20th Anniversary Season! by Keen Admin

Keen Company
Announces Its 20th Season: 

1996 Drama Critics’ Circle Award Winner
Molly Sweeney
by Brian Friel
Directed by Jonathan Silverstein 

Molly Sweeney is an astonishing work...A deeply moving meditation on hope, change and despair” -- The New York Times

Limited Engagement Begins October 8th  


The NY Premiere of
Blues for an Alabama Sky
by Pearl Cleage
Directed by LA Williams

“Cleage writes with amazing grace and killer instinct.” - New York Times

Limited Engagement Begins February 4th


Today Keen Company Artistic Director Jonathan Silverstein announced his plans for the upcoming season, Keen’s 20th: “In 2000 Keen was born with a belief that there was a place for theatre that was generous in spirit and provoked identification. Twenty  years later I am proud to say the dream Carl Forsman began is still relevant and necessary. This year we will mark our 20th Season by producing two plays about the complications of chasing a dream, set in two very different times and places. In the fall we will produce a revival of Brian Friel’s gorgeous play Molly Sweeney, a story about a woman blind since infancy who is urged on by her husband and doctor to get an operation that will change her life forever. I have loved this play for many years; and in a time when we are all discussing the right of choice, Molly Sweeney is incredibly timely. 

“In the spring, we will produce the New York premiere of Pearl Cleage’s Blues for an Alabama Sky, the story of five friends navigating changing and challenging times. The play asks modern questions about survival, aspiration, and women’s healthcare. Blues for An Alabama Sky has been popularly produced around the country for the past 25 years. I am thrilled to bring this play to New York, where it is set, for the very first time,” said Silverstein. 

Performances for this limited Off-Broadway engagement of Molly Sweeney, directed by Keen Artistic Director Jonathan Silverstein, will begin Tuesday, October 8th, and continue through November 16th only, with opening night set for Wednesday October 23rd. Cast and design team to be announced later.

Having lost her sight at infancy, Molly Sweeney knows the world through touch, sound, taste, and smell. When her hopeful husband and ambitious doctor propose an operation to restore her sight, Molly and those around her begin to understand that things may not all be as they appear. Brian Friel, Ireland’s master storyteller (Dancing at Lughnasa, Faith Healer, Translations) creates a riveting contemporary drama about the unexpected consequences of a medical miracle. “Molly Sweeney is an astonishing work… A deeply moving meditation on hope, change and despair” declared The New York Times.

From one of Ireland’s best living playwrights, this striking piece of dramatic writing is a daring piece of theater. Keeping the play’s three characters on stage at all times to speak directly to the audience, Brian Friel presents three points of view to the same intriguing tale. Each of their voices interweaves, threading in and out with details, spinning a lush and sensate narrative, and carrying us effortlessly to an unexpected and poignant conclusion. Deceptively simple, yet richly multilayered—combining both an insightful story about the way we perceive our existence with an allegory for our times — Molly Sweeney is an Irish storyteller’s art to create an unforgettable theater piece, painting scenery and rousing emotions with nothing more than the simple purity of beautifully rendered words.

Writing in The New York Times, longtime critic Vincent Canby said “Brian Friel has been recognized as Ireland's greatest living playwright almost since the first production of Philadelphia, Here I Come! in Dublin in 1964. In succeeding years, he has dazzled us with plays that speak in a language of unequaled poetic beauty and intensity. Such dramas as Translations, Dancing at Lughnasa and Wonderful Tennessee, among others, have given him a privileged place in our theater.

Later this season, Keen will present the limited Off-Broadway engagement of Blues for an Alabama Sky beginning Tuesday February 4th. Performances will continue through Saturday March 14th only, with opening night set for Wednesday February 18th. Cast and design team will be announced shortly.

Keen is honored to bring this well-loved play to New York for the first time. Playwright Pearl Cleage (Flyin’ West and Oprah Book Club selection What Looks Like Crazy on an Ordinary Day) tells a strikingly timely story about four friends whose lives and passions collide when an innocent newcomer from Alabama arrives in Harlem during summer of 1930, as the promises of the Harlem Renaissance are being swept away by the Great Depression.  Now, after captivating audiences around the world, Keen is proud to bring Blues for An Alabama Sky to New York for the first time since its premiere 25 years ago. The Guardian said Blues for An Alabama Sky  is “a riveting picture of Harlem at a moment of historic transition.”  Variety agreed, calling it “a compelling insight into personalities and prejudices” 

“The story of Blues for An Alabama Sky arrived while I was driving with my husband, Zeke, through rural Alabama one cool, clear night when the stars were so thick I hung my head out the window like a dog so I could take it all in. For weeks after we got back to Atlanta, I couldn't stop wondering what it would be like to leave those stars behind and have to settle for the artificial lights of the big city. Now, 25 years later, Angel and Doc and Guy and Leland and Delia will finally have a chance to walk around Manhattan and see how they like it. It is an honor for me to have this play make it's New York debut as part of the Keen Company's 20th Season and to have these characters come to life here under the direction of LA Williams who loves them almost as much as I do. Almost,” said Cleage

Pearl Cleage, an award-winning playwright, bestselling novelist, published poet and popular newspaper columnist, has earned praise from critics and from her peers for her passionate writing across several genres. An incredibly multifaceted talent, Cleage offers a fresh perspective on the universal themes of cultural enrichment, social identity and the power of love. With the rhythms of Black life as her muse, she focuses on the experiences of love, sex and female empowerment that she sees as vital to the African American community. As The New York Times said “Cleage writes with amazing grace and killer instinct.” Cleage has a way with both character and language. Widely regarded for her collection of plays, her play Flyin’ West was the most produced new play in the country in 1994 and has enjoyed multiple productions every year following its world premiere. She is also the author of many best-selling books, including What Looks Like Crazy on an Ordinary Day, Seen It All and Done the Rest and Just Wanna Testify. Most recently, Cleage published her memoir, Things I Should Have Told My Daughter: Lies Lessons and Love Affairs, giving readers an insight into her world and personal journey. An important advocate for women, Pearl’s work speaks to women from all walks of life. Her poem, “We Speak Your Names,” co-authored with husband, Zaron W. Burnett, Jr., provided the centerpiece of Oprah Winfrey’s Legends Weekend honoring 25 extraordinary African American women. Cleage’s 1990 collection of essays and performance pieces Mad at Miles: A Black Woman’s Guide to Truth, is a classic among those working to end violence against women. Mad at Miles has been adapted for the stage and is frequently performed around the country.

Keen Company creates theater that provokes identification, reflection, and emotional connection. In intimate productions of plays and musicals, we tell wholehearted stories about people striving to do their best and the decisive moments that change us. Keen has been honored with eleven Drama Desk nominations, two Drama Desk Awards, two Drama League nominations, and two Obie Awards.

All performances will be at Theatre Row (410 West 42nd Street, between 9th and 10th Avenues) and will be Tuesday through Thursday evenings at 7pm; Fridays at 8pm; Saturdays at 2pm & 8pm; and Sunday matinees at 3pm.  All tickets will be $65 with premium tickets available for $80. (All ticket prices include restoration fees.)

A subscription package for both shows of the season is only $100 which includes unlimited exchange privileges, invitations to Keen Company readings, and admission to Keen Teens Festival of New Work!  Save over 35% off full ticket price (a $160.00 value). Subscribers also get free invitations to Keen’s Play Club discussion series, discounts on the purchase of Keen’s cast recordings of Keen’s productions of Marry Me a Little and John & Jen, as well as advance notice and discounted tickets to The Playwrights Lab Series, and Keen Company’s Annual Gala.

Keen patrons 30 or under see both shows for just $25 each with a KEENConnect Subscription at only $50. That's all the perks of a regular subscription for the price of a rush ticket! Save over 65% off the full ticket price! (Please note, government issued ID must be presented at the box office).

Subscriptions are on sale NOW! Please visit for more info.

Single tickets to Molly Sweeney and Blues for an Alabama Sky will go on sale Monday August 19th. To purchase single tickets, visit the Theatre Row Box Office (410 West 42nd Street, between 9th and 10th Avenues), order online at, or order by phone at 212-239-6200.

In Discussion with Chisa Hutchinson by Keen Admin


Playwright Chisa Hutchinson – whose play Surely Goodness and Mercy is currently receiving its New

York premiere with Keen Company – sits down with Keen’s Director of New Work Jeremy Stoller to talk

about her and this play’s origins, and the stories she’s driven to tell.

When did you first start to think of yourself as a writer?

6th grade. My teacher, Ms. Carlisle Peters, was the first person to single me out as a good writer and encourage that. I didn’t really know about theater until much later. Mostly I was writing short stories. Little murder mysteries and whatnot. Cheesy romances.

Newark Public Library

Newark Public Library

Is that what you were reading?

Yeah, because that’s what was around the house. Or I’d go to Newark Public Library and take out all the V.C. Andrews books, and I got up to Terry McMillan when I got a little older.

Who was the first writer who made you feel seen? That made you go, “wow, I didn’t know a book could do this.”

It wasn’t a book, it was a play, which I read in freshman year of high school. Lorraine Hansberry’s A Raisin in the Sun. That was transformative. I got turned onto the idea that regular black folk like me can write plays.

And where did you go from there?

Brustein and WIlson

Brustein and WIlson

Then it was Paula Vogel, Jane Martin, [John Guare’s] Six Degrees of Separation, Eric Bogosian, and of course, August Wilson. I got to go see August Wilson debate Robert Brustein on the issue of colorblind casting. And at that point – I think I was a junior – I had been cast in plays in the most inappropriate roles, roles that were clearly not intended for the young black girl. But you go along with it because, what else are you going to do with your afternoons in high school? When I went to listen to that debate, it was like, “oh, you’re speaking my truth, Mr. Wilson. You’re literally giving me life.” He was saying that he didn’t understand this colorblind business, he thinks it’s lazy, it just gives theaters an excuse to not do plays that are actually by writers of color about people of color, when we just shoehorn people of color intro traditionally Eurocentric stories. I saw that as a call to arms. I really started writing plays in earnest after that experience.

You got your MFA in playwriting from NYU – what did you take away from that program?

Lynn Nottage

Lynn Nottage

NYU is a really great place to learn about craft, and to build a foundation for good storytelling, to put a lot of tools in your toolbox that you can use later on when you’re staring at a blank screen with the cursor blinking.

And Diana Son – who is a force, and an incredibly generous mentor – taught my master class at NYU, and she connected me with Lynn Nottage. I was looking for an internship, as part of my curriculum at NYU. I didn’t want to fetch coffee at some theater company. I said, “I’m going to be a playwright, so can I just shadow a playwright?” Richard Wesley, who was the head of the theater department at the time, said yes. And I asked Diana Son to hook me up with Lynn Nottage, as her intern. Lynn said yes, and a couple of weeks later, she won the Pultizer [for Ruined]. So I became the busiest intern who ever interned. Lynn has been incredible. She’s been another hand in my clay, just shaping things. I also met one of my best playwright friends, Sarah Gancher, in grad school. And she’s the reason I have the agent I have right now – Di Glazer at ICM – who is an amazing fit for me. None of that could have happened without my being at NYU.

Can you talk a little about the history of Surely Goodness and Mercy?

The play was commissioned by NJPAC and Writers Theater of NJ, and the only guideline I was given was it had to be about a community in New Jersey. And of course I’m going to choose Newark, because I grew up in Newark, I have a soft spot for Newark even though by all appearances Newark is a hard place.

New Jersey Performing Arts Center

New Jersey Performing Arts Center

This will be the fourth production of the play. It’s been done in very different places -- in Newark and Chicago and Salt Lake City, and I’ve been shocked how much the story resonates with different people, particularly with people who don’t have a background similar to Tino’s and don’t come from places like Newark. I’m touched to know that it’s landing for people.

I want to talk about your program note:

This play is my answer to the White Savior Narrative, a simple assertion that you don’t

have to be a particular race— or age or class, for that matter — to be a blessing to

someone else. 

We’re having this conversation the day after Green Book -- which has been criticized for perpetuating a white savior narrative – won the Oscar for Best Picture. Earlier today I spoke with with someone – a white person, not in the entertainment industry – who enjoyed that movie, and seemed somewhat perplexed by the frustration at its Oscars success. I was attempting to explain that frustration.

Untitled design.jpg

When movies like Dangerous Minds and The Blind Side come out – on the one hand you’re like, that is a particular kind of reality. But when that is the only reality you see onscreen about black people, it becomes insulting. It feels disabling – it’s like, whatever you accomplish you can only accomplish because you have the support of white people.

How about trying something new? Something that audiences could find just as appealing. Which is why I think Surely Goodness and Mercy is that same sort of feel-good, do-good story, but it doesn’t offend at minimum 13% [the estimated percentage of African-Americans in the United States] of your audience, it doesn’t insult.

I used to say about my writing, that I write about how majorities screw minorities over. Which is part of it. Now I try to focus more on how minorities are living, within their own identities, divorced from any sort of majority, or at least attempting to live their lives without thinking about or bumping up against or having to define themselves against the majority. And also finding their own agency. Going from this victimhood narrative to one that’s a little more: now what? How do I claim something for myself, in spite of whatever forces are working against? That feels important right now.

When audiences walk out of your plays, is there something you’d like them to feel?

I set out to create space for people to come in and feel invited. Maybe not always comfortable because I do like to challenge people sometimes, but valued. Whenever I sit to write a play, I want the audience to feel like they have some place to fit in there. Whether it’s “I was so Tino when I was 12” or there is that old church lady sitting in the audience and she’s listening to the preacher and she’s like, yes, that guy, that’s my preacher. Or, that’s the preacher I would be if my church allowed women to be preachers. To have the play -- there’s space inside of the play for the audience, and I want there to be space inside the audience for the play, if that makes any sense.


Surely Goodness and Mercy runs through April 13. For tickets, visit

Our Fearless Leader Talks About Musicals at Keen! by Keen Admin

We just began rehearsals for our FOURTH musical at Keen!


When I began at Keen 6 years ago, the first thing I did was to produce our first ever musical – Stephen Sondheim’s Marry Me A Little. Keen’s work always tugged at the heart strings – and what more natural way to speak to “emotional connection” in our mission than with a musical?

Often when one thinks of a musical, the first thing that comes to mind is a big ol’ splashy Broadway style musical with chorus of dancers and big sets. We specialize in intimate stories that are told simply, perhaps the opposite of what you may think when you hear the word “musical.”

So what is a “Keen musical”?

  • A Keen musical is modest. Ordinary Days will be our largest cast with four performers. Both Marry Me A Little and John & Jen had two performers each, giving you the opportunity to truly get to know the actors and characters.

  • A Keen musical is generally about something relatively minor and its big emotional impact. Tick, Tick…BOOM! is about the week leading up to a composer’s birthday and the workshop of one of his musicals. While the ending packs a huge emotional punch – as Jonathan sits alone at a piano, recommitting to his art – nothing overly dramatic or groundbreaking occurs. No helicopters, no record deals, no cats ascending to the heavens.

  • A Keen musical is intimate. Both Marry Me and John and Jen were performed in our 99 seat theatre at Theatre Row, without amplification and up close. Where else can you see Kate Baldwin sing her heart our just a few feet in front of you without anything getting between you and her voice?

  • A Keen musical is often reimagined. Marry Me a Little was a completely different show than the original. With the assistance of Craig Lucas (who originally conceived and developed the musical) and Mr. Sondheim, we substituted new songs and re-shaped the narrative, adding a whole new arc for the characters. Ordinary Days will feature some changes to the material written by Adam Gwon, as well as new orchestrations by Tony Award Winning orchestrator Bruce Coughlin.

Of course, a Keen musical is not unlike a Keen play: a story that we hope our audiences identify with and relate to. I am confident anyone who has experienced New York City will be able to relate to Ordinary Days!

Back With An Old Friend by Keen Admin

A.R. "Pete" Gurney & Jonathan Silverstein 2013. Photo credit: Carol Rosegg

A.R. "Pete" Gurney & Jonathan Silverstein 2013. Photo credit: Carol Rosegg

Peter Rini, Laura Esterman, and Marsha Dietlein Bennett in The Old Boy 2013 Photo: Carol Rosegg

Peter Rini, Laura Esterman, and Marsha Dietlein Bennett in The Old Boy 2013 Photo: Carol Rosegg

Last week we went into rehearsal with the third play written by our friend, A.R. “Pete” Gurney, his 1993 comedy Later Life. We first produced The Dining Room in 2007 and The Old Boy in 2013. If you don’t count short plays bundled together (we’ve done 2 evenings of Thornton Wilder’s one acts - 7 works in all - but none full lengths), we’ve produced more evenings of Pete's plays than any playwright in our history. 

Why is that?

At Keen, we tell stories about the decisive moments in life that change us. These moments can be small, yet change us in profound ways. Pete wrote about those instances. Whether a child not wanting to take dancing lessons or two acquaintances meeting at a party, Pete had a rare gift to turn the commonplace into the extraordinary. And do so with a healthy sense of humor.

The cast of Later Life. Top: Barbara Garrick, Laurence Lau. Bottom: Liam Craig, Jodie Markell

The cast of Later Life. Top: Barbara Garrick, Laurence Lau. Bottom: Liam Craig, Jodie Markell

In Later Life, he does so not only with our main protagonists, Austin and Ruth, but in a host of characters (all played by the same two actors) who we meet for just a few minutes of stage time each. What always amazes me is the economical and empathetic way Pete paints these characters. In only a few minutes, we get to know them as if we’d spent hours with them — and want to get to know them more. Pete presents them fairly as they’re all trying to do their best in this crazy world we live in.

When Pete would come to theatre on a given night, he’d always ask me “How’s it selling?” In the early days I wondered if that was his ego asking, but as I got to know him better, I knew he asked because he cared for the health of our company. He cared for the theatre the way he cared for his characters - wanting everyone to succeed.

Pete passed away this summer. While we miss him terribly, it is so nice to be back in the room with his characters. Like him, they are true mensches. Even if we can’t have him with us in the flesh, he is certainly with us in spirit every day.

By Jonathan Silverstein


On the eve of first rehearsal... by Keen Admin

FULL DISCLOSURE: It's the night before our first rehearsal. As the director of said show I am on edge. Like many directors, I am always nervous as we approach that first day. So, as I tell my collaborators, think of me with my “Artistic Director hat” on for this post!

A few words of praise from our production of Tick, Tick...BOOM!

It’s an exciting time at Keen as we get ready to start on the second play in our season, Courtney Baron’s When It’s You.

If it feels like yesterday we closed our first show, Jonathan Larson’s Tick, Tick…BOOM!, well, it almost was. TTB extended and ran for 11 weeks total -- and closed before Christmas. Most Keen shows run 7 weeks and close a week or so before Thanksgiving. Tick, Tick…BOOM! also played in a house twice the size of our regular theatre. 100% more seats and almost 50% more of a run? All of us in the office felt like we were running a huge commercial venture. It was thrilling to bring Larson’s story to so many people for such a long time.

Now we’re back to our regularly sized theatre and there are other things we’re excited about: the first new play developed at home, going from our Playwright’s Lab to stage; our first one-woman play; and the first Keen play to deal with a truly up to the minute issue that is effecting our country, gun violence.

There have already been 5,349 incidents of gun vioelnce since January 1st.

There have already been 5,349 incidents of gun vioelnce since January 1st.

Like Tick, Tick…BOOM!, When It’s You is a deeply personal play. While Jonathan in Tick,
delved into issues so many artists (and, indeed, anyone who has had a dream)
face, Ginnifer in When It’s You faces another challenge many of us can relate to: how do events
that hit close to home affect us – and are we able to change because of them?

So many of us are grappling with the change that is roiling our country. While of course we’re rightly concerned about the practical changes in politics and our world, how will these monumental times affect our make up? Will we find meaning? Can we change?

As I wear my “Artistic Director" hat, I look forward to exploring these important questions with you come February. As I prepare to put on my “Director hat” for tomorrow I feel privileged and humbled to be able to explore these truly human questions.

-Jonathan Silverstein

TODAY IS OUR SWEET 16! by Keen Admin

What better way to celebrate our Sweet 16, then a social media party?!

Today, as you know, we are asking all of you amazing fans and supporters to help us commemorate this amazing season by making a small donation of $16.

Remember, each time you give, you are automatically entered for a chance to win 1 of 8 Keen prizes:

  • 2 Subscriptions for the 2016-2017 Season
  • 2 tickets to either Keen production in the 2016-2017 Season
  • John & Jen Cast Album
  • Marry Me A Little Cast Album
  • Keen Teens Volume 1 & 2
  • Gift certificate to Chez Josephine, across the street from Theater Row
  • An exclusive champagne toast for two on the stage with a Keen artist!


Thank you again for all of your support and love over the past 16 years. We would not be here now, if it weren't for all of you. Here's to the next 16 seasons!

Sweet 16 Countdown: Day 15 by Keen Admin

We love our donors so much that we want to give back to those that will be giving $16 on 16 to us. So we are offering a raffle prizes to anyone who donates. At the end of the day we will randomly choose one person to win each of these prizes. Will you be a lucky winner? Find out Friday if you are a lucky winner.

1. A season subscription to Keen Company

2. Two tickets to any 17th season Keen show

3. John & Jen cast recording

4. Marry Me A Little cast recording

5. A signed John & Jen poster

6. Keen Teen Volume 1 & 2

7. A gift certificate to Chez Josephine

8. A champagne toast on the stage with a Keen artist

Donate $16 on 6/16/16 and help us celebrate our #KeenSweet16!

Sweet 16 Countdown: Day 14 by Keen Admin

What $16 means to us.

We know we've been asking you to give $16 on the 16th, but just what can $16 get us, you might have asked yourself? Well here are just a few of the things that we could get with your donation.

Poster that was displayed in our lobby last season

Poster that was displayed in our lobby last season

1. Reams of paper so we can print out scripts for our Keen Play Club.

2. Clamp lights so musicians so see their sheet music during a show.

3. Poster board so we can print more posters and signs to showcase in the lobby.

4. Pens so that we can write lists of everything that needs to get done in a season.

5. Spike tape for rehearsals and so that actors can get used to knowing where furniture will be.

6. Stamps so that we can mail out thank you cards to everyone who has helped us in a season.

7. Binders to to place scripts in for our Playwrights Lab.

8. Laundry detergent so our actors smell and look nice an clean every show.

9. Coffee for our meet & greet with cast and designers at our first rehearsal.

10. Sodas for a pizza party for our Keen Teens.

Post-It notes we leave each other in the office

Post-It notes we leave each other in the office

11. Post-It notes so we don't forget to e-mail donors and so we can leave notes to each other in the office.

12. Cab fare to transfer all of our auction items from the office to the location of our annual Benefit.

13. Cups and utensils for our Opening Night party.

14. A case of water for our panelists at one of our Talkbacks.

15. An hour of rehearsal space for a Committee Meeting.

16. A big smile from all of us here in the office knowing we have such amazing supporters.

The smiles you can induce when you donate $16 on the 16th

The smiles you can induce when you donate $16 on the 16th

Donate $16 on 6/16/16 and help us celebrate our #KeenSweet16!

Sweet 16 Countdown: Day 13 by Keen Admin

A Day of Rest and Reflection

In light of recent news about the Pulse Orlando massacre, we would like to dedicate today as a day of recuperation and silence in solidarity with those who are directly affected by this tragedy. Sometimes you have to regain your strength in order to go full force and celebrate again. Hearing about this news took the wind out of our sales, but just briefly, causing this respite. We will return tomorrow with our countdown and continue to show our love, excitement, and joy. Our hearts are with all those affected.

Sweet 16 Countdown: Day 12 by Keen Admin

In honor of the Tony's tonight we decided to share 16 Tony nominated and award winners that we have worked with.

1. Kate Baldwin, who was in our production of John & Jen, was nominated for Big Fish

2. Kathleen Chalfant, who starred in A Walk In the Woods, was nominated for Angels In America: Millennium Approaches

3. Bobby Steggert, who starred in Boy, was nominated for Ragtime

4. Brian d'Arcy James, who starred in The Good Thief, was recently nominated for Something Rotten

5. Lanford Wilson whose play Lemon Sky we revived, was nominated for Talley's Folly

6. Euan Morton who starred in our revival of The Film Society, was nominated for Taboo

7. Jon Robin Baitz, who wrote The Film Society, was nominated for Other Desert Cities

8. Daniel Jenkins who starred in our production of Travels With My Aunt, was nominated for Big River

9. Lee Blessing, whose play A Walk In the Woods which we revived, was nominated when it originally premiered

10. Jonathan Hadary, who starred in our production of Middle of the Night, was nominated for Gypsy.

11. John Cullum, who starred in Heroes, was nominated for 110 in the Shade

11. Beowulf Boritt, who scenic designed Heroes, is nominted this year for Therese Raquin

12. Stephen Sondheim, whose Marry Me A Little we revived, has been nominated countless times

13. Andrew Lippa, whose Jphn & Jen we revived last year, was nominated for The Addams Family

14. Paddy Chayefsky, who wrote Middle of the Night, was nominated for his previous plays Gideon and The Tenth Man

15. Tina Howe, who wrote Painting Churches which we revived, was nominated for her play Coastal Disturbances

16. Mark Medoff, won the Tony for his plat Children Of A Lesser God, which we revived in our 6th season.

Donate $16 on 6/16/16 and help us celebrate our #KeenSweet16!