Playwright Mike Lew recently expressed concerns about the state of new-play development in the theater world, noting a significant decline in artistic opportunities since the onset of COVID-19.
Historical theaters and playwriting institutions that once thrived, such as The Lark, the Humana Festival, and Book-It, have seen their missions and programs diminished or disappear altogether.
As new work is essential to the vitality of theater, the ongoing Profile Theatre’s Playwright Festival, with public performances set for June 26, 27, and 28 at The Armory, takes on heightened significance.
Jen Silverman, another featured playwright in the festival alongside Lew, emphasized the necessity for artists to have the time and space to explore various pathways, develop drafts, and receive feedback through audience interaction.
Silverman and Lew are set to be the spotlight playwrights during Profile’s upcoming seasons in 2025-26 and 2026-27, where they will present commissioned plays and world premieres.
Josh Hecht, Profile’s Artistic Director, highlighted the core mission of the theater company, which is to produce high-quality productions and engagement activities centered around playwrights whose visions broaden perspectives and foster collective compassion.
This year’s festival faced challenges when promised funding from the National Endowment for the Arts was suddenly retracted, leading to grave concerns about its continuity.
Luckily, emergency funding from the community helped keep the festival alive.
Over the first 15 years, Profile Theatre, under founding Artistic Director Jane Unger, focused on the works of notable playwrights from the 20th century.
Adriana Baer later transitioned the focus toward contemporary playwrights who represent the future of the American theatrical canon, and Hecht has further developed this mission.
Lew underscored the importance of ongoing drafts, stating that playwrights often discover the strengths and weaknesses of their work only when they see it performed by actors in front of an audience.
During the festival, Silverman and Lew will collaborate with directors and actors on their respective new projects, marking the beginning of a two-year exploration of their past, present, and future creations.
Jen Silverman’s diverse background includes time spent living in Europe and Asia, but she initially didn’t envision a career in the arts.
Her life changed when she met Paula Vogel during her undergraduate studies at Brown University and fell in love with playwriting under the guidance of talented educators.
After obtaining an MFA in playwriting from the University of Iowa, she progressed to the Juilliard playwrights program, further solidifying her commitment to the craft.
Some of Silverman’s acclaimed works include the award-winning “Still,” the notable play “Witch,” and her latest Broadway production, “The Roommate,” featuring Mia Farrow and Patti LuPone.
Silverman is currently developing an untitled play based on magician Harry Houdini’s testimony before Congress in 1926 against a bill to outlaw fortune-telling.
This piece explores the tumultuous and politically charged context of the hearings, which revealed many politicians’ connections to mediums.
Silverman and director Mike Donahue hope this week allows them to curate the hearing transcript effectively while generating new material to interweave into the narrative.
Similarly, Mike Lew, who also has a scientific upbringing with both parents as doctors, did not initially consider theater as a career path.
His accolades as a playwright include works like “Teenage Dick” and “Tiger Style!” Along with his wife Rehana Lew Mirza, he is also working on a musical together, “Bhangra Nation.”
For the festival, Lew is focusing on a play titled “Alpha Asians,” inspired by a real-life hazing tragedy within an Asian fraternity.
He aims to delve into themes of masculinity, community, and the pressures faced by young pledges in search of belonging.
Both Lew and Silverman recognize the importance of events like the Playwright Festival in shaping their artistic endeavors.
Hecht remarked on the collaborative aspect of theater creation, emphasizing that playwrights require support from directors and actors to refine their works through diverse perspectives.
The Playwright Festival’s significance has been heightened by recent funding challenges, including the impact of National Endowment for the Arts budget cuts under the administration of President Donald Trump.
Community efforts helped bridge the funding gap, yet the loss of federal support remains a pressing concern for artists across the country.
Hecht noted that the ripple effects of decreased funding could lead to diminished opportunities for artists, reducing the volume and diversity of art produced within the community.
Silverman pointed out the vital role that organizations like Profile Theatre play in sustaining live storytelling and ensuring the theater remains a relevant and vibrant medium.
The Playwright Festival is a valuable opportunity for both Silverman and Lew to experiment with their new works, allowing for essential creative exploration and carrying the potential to inspire further development.
In a landscape marked by uncertainty, the festival stands as a crucial platform for continuing the tradition of new work, affirming the need for cultural resilience and artistic innovation.
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