Huntington Presents BREAKING GROUND Festival Of New Plays, July 20-25
Breaking Ground highlights the work of Huntington Playwriting Fellows and marks the first festival since 2019, before the pandemic.
The Huntington announces that the 2022 Breaking Ground festival of new plays will be held July 20 - 25, 2022 at The Calderwood/BCA, the first Huntington readings open to the public since before the pandemic.
The Breaking Ground festival is a vital part of the Huntington's new play development efforts and highlights the work of locally-based Huntington Playwriting Fellows and national writers in partnership with the Huntington. Since its inception in 2003, many Breaking Ground plays have gone on to appear as part of Huntington seasons as well as those of theatres in Boston, across the country, and internationally.
Readings are free and open to the public. Advance reservation is required. Find more information and RSVP at huntingtontheatre.org/BreakingGround2022
The five-day festival will include 4 plays written by Huntington Playwriting Fellows:
- Arbor, written by Catherine Epstein and directed by Morgan Green
Wednesday, July 20 at 7:30pm at The Calderwood/BCA
- Black Mother Lost Daughter, written by Fedna Jacquet and directed by Stevie Walker-Webb
Friday, July 22 at 7:30pm at The Calderwood/BCA
- Rough Magic, written by Andrew Siañez-De La O and directed by Melinda Lopez
Saturday, July 23 at 7:30pm at The Calderwood/BCA
- Let's Pretend We're Married, written by Kate Cortesi and directed by Rebecca Bradshaw
Monday, July 25 at 7:30pm at The Calderwood/BCA
"One of our joys at The Huntington is bringing work by Playwriting Fellows to Boston audiences in Breaking Ground," says Huntington Director of New Work Charles Haugland. "Each of these playwrights' voices are effortlessly distinct, and I love these plays' humor, insight, sorrow, and humanity. We're also happy to welcome an incredible slate of directors both new and returning. We'll be in great hands with the teams bringing these new plays to life."
Breaking Ground is supported by the Harry Kondoleon Playwriting Fund and the Stanford Calderwood Fund for New American Plays.
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