ALL THE NATALIE PORTMANS is a fantastical new coming-of-age comedy written by C.A. JOHNSON (MCC debut) and directed by KATE WHORISKEY (SWEAT, RUINED).
Sixteen year old Keyonna and her older brother Samuel are living on the brink of eviction while dreaming of a better tomorrow. Too smart, “too gay”, and too lonely to fit in, Keyonna escapes by writing to her muse (or muses) Natalie Portman in her most iconic roles. When “all the Natalie Portmans” start talking back to her, Keyonna finally has to face her own off-screen drama in this imaginative new play that reminds to see the beauty of life even if we can’t see the stars.
ALL THE NATALIE PORTMANS was developed, in part, at the 2018 Sundance Institute Theatre Lab.
C.A. Johnson is MCC Theater’s 2019/20 Tow Playwright-in-Residence.
C.A. Johnson hails from Metairie, Louisiana, but currently lives and writes in Queens, NY. Her plays include Thirst (2017 Kilroys List, The Contemporary American Theater Festival), The Climb (Cherry Lane Mentor Project 2019), An American Feast (NYU Playwrights Horizons Theater School), All The Natalie Portmans, and Mother Tongue. She is a Core Writer at the Playwrights Center. She was previously the 2018 P73 Playwriting Fellow, The Lark’s 2016-17 Van Lier Fellow, a Dramatists Guild Fellow, a member of The Civilians R&D Group, and a member of The Working Farm at SPACE on Ryder Farm. Her work has been developed with The Lark, PlayPenn, Luna Stage, Open Bar Theatricals, The Dennis and Victoria Ross Foundation, and The Fire This Time Festival. Most recently, C.A. was chosen for a Sundance/Ucross Fellowship and the 2018 Sundance Theatre Lab in Marrakesh, Morocco. BA: Smith College MFA: NYU. MCC’s 2019-20 Tow Playwright-in-Residence.
Kate’s work has been seen on Broadway, off-Broadway and regionally. On Broadway, she directed Sweat at Studio 54, and Miracle Worker at Circle in the Square. Off Broadway credits include Songs for a New World at Encores Off Center; How I Learned to Drive at Second Stage; Sweat at the Public; Ruined at Manhattan Theatre Club; Her Requiem at Lincoln Center Theatre; Aubergine, Fabulation and Inked Baby at Playwrights Horizons; The Piano Teacher at the Vineyard among others. Regional credits include the Goodman, the Geffen, South Coast Rep, Sundance Theatre Lab, Shakespeare Theatre, the American Repertory Theatre, the Huntington, Oregon Shakespeare Festival, Baltimore Center Stage, Arena, among others. Her opera direction has been seen at the Chatelet in Paris and Teatro Municipal in Brazil. She has also taught at Princeton, NYU and UC Davis.
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