Griffin Theatre Company and Playwriting Australia invite you to join leading artists Mina Morita and Courtney Stewart in a conversation about new play development and the new writing scenes in the USA and Australia. The conversation will focus in particular on the emerging and dynamic voices of Asian playwrights and promises to be a stimulating and timely conversation between two powerhouse practitioners.
Where: Griffin Theatre, Kings Cross
When: 5pm, Sunday 31 March 2019.
This event is free but please click here to ensure your place.
Mina Morita is the Artistic Director of Crowded Fire Theater, a critically acclaimed, intrepid, female-led company dedicated to developing a fierce contemporary theater canon that reflects the plurality of our world. Previously, Mina was the Artistic Associate at Berkeley Repertory Theatre (and a founding member of its Ground Floor program); Board President of Shotgun Players; a 2014 Lincoln Center Director’s Lab participant; one of the founding members of Bay Area Children’s Theatre; a Community Arts Panelist with the Zellerbach Family Foundation; a Panelist for the Getty Leadership Summit; and a Guest Artist at UC Berkeley and Stanford University. She is a recipient of Theatre Bay Area’s 2014 award for Best Director of a Musical: Tier II and TBA’s 2016, 40@40 award for her impact on Bay Area Theater. In 2015, Mina was honoured to share her story on TEDx, and in 2016, she was chosen as one of the YBCA100, for “asking questions and making provocations that will shape the future of culture.”
Mina has had the privilege of directing the following plays among many: Aulis: An Act of Nihilism in One Long Act at Zellerbach Playhouse, A Tale of Autumn Sisters Masumoto by Philip Kan Gotanda at CenterRep (Shellie nominated for best direction), By and By by Lauren Gunderson and The Great Divide by Adam Chanzit at Shotgun Players, and Crane by J.C. Lee at Ferocious Lotus Theatre Company. At Crowded Fire she has co-directed The Shipment by Young Jean Lee (TBA nominated for best direction, and award winner for best ensemble), Church by Young Jean Lee, Blackademics by Idris Goodwin, A Tale of Autumn by Christopher Chen, and a multidisciplinary, immersive performance with Ensemble Mik Nawooj and Axis Dance Company. Special assistant directing credits include Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and Sarah Ruhl’s Tony-nominated In the Next Room (or The Vibrator Play) at Berkeley Rep. In 2012, Mina worked with Anna Deavere Smith as the artistic coordinator for On Grace.
Courtney Stewart is an Actor, Director, Dancer and Teaching Artist. She has worked on a number of productions and developments of new Australian work such as Hamlet- Prince of Skidmark for STC, Neon Tiger by Julia-Rose Lewis and Single Asian Female by Michelle Law for La Boite and Belvoir St Theatre, A Ghost in My Suitcase by Vanessa Bates, Australian Graffiti by Disapol Savetsila for STC, This Witch by Shari Indriani, Siti Rubiyah by Katrina Irawati Graham, Barbaric Truth by Jordan Shea, Meat Eaters by Lewis Treston, How To Rule The World by Nakkiah Lui and White Pearl by Anchuli Felicia King. She has also performed for Queensland Theatre, Imaginary Theatre and in South Korea for LATT Children’s Theatre Company.
Courtney was also the Assistant Performance Director for the City of Sydney 2016 Chinese New Year Lunar Lantern Festival. She is also a participant of the current CAAP Directors Initiative in partnership with STC. As a dedicated Teaching Artist, Courtney has worked with Sydney Theatre Company, NIDA, ATYP and the Museum of Applied Arts and Sciences, specializing in producing and facilitating creative, EdTech and special access workshops in the areas of drama, film-making & editing, music, coding, Virtual and Augmented reality, robots for space exploration and physical computing. Later this year, Courtney will work as a Dramaturg on the production of White Pearl for STC. Courtney is a proud member of MEAA and is the Chair of the Equity Diversity Committee and a delegate to the National Performer’s Committee.