"Packed with young talent. In the risk-taking venture that is summer festival-going, encountering talent you want to see more of is a worthy payoff." - The New York Times, on Corkscrew FESTIVAL

Lindsey Spohler in The End of Mermaids (2018) by Anya Richkind, dir. Allison Benko. PC: Alex Bailey

Mission

Corkscrew Theater Festival’s mission is to showcase original productions by early-career theater artists who are creating work through robust, innovative collaborations. We advocate for underrepresented artists and viewpoints through an annual summer festival, offering audiences a unique mix of work at various stages of development, promoting interaction and dialogue among artists, and building a community around a season of theater.

Founded in 2017, Corkscrew Theater Festival has been featured in The New York Times, Village Voice, Playbill, on WNYC, and more.

What’s new?

Following two acclaimed seasons, Corkscrew Theater Festival returns for a third summer with more programming for audiences and more resources for its artists. Known for providing early-career artists with a high level of production support, the third edition of the summer festival, running July 10 – August 3 at the Paradise Factory (64 East 4th Street, Manhattan), features four world premieres, four workshop productions, and four readings performed in repertory over four weeks – 80 performances in all. As in past years, special attention has been given to theater makers who are developing work through tight-knit collaborations.

Per Artistic Director Thomas Kapusta, “The wonderful plays that make up the third year of Corkscrew Theater Festival feature characters who, when faced with crises of faith in institutions, movements, and people they’ve relied on, turn to the products of our culture for signs and deeper truths. From social media influencers to Yentl, Venus and Serena Williams to the American labor movement, these characters plumb the depths of our collective consciousness and emerge with a vision for how to remake themselves, if not their world. Facing so many of the same crises, our artists are in turn remaking our understanding of theater: conventional notions of audience, activism, and action will be challenged at Corkscrew this year.

Taking a cue from our artists, we’re remaking Corkscrew into a festival that does more than just showcase tight-knit collaborations, but incites and embodies a collaborative spirit itself. This deepened commitment to our mission appears on our Mainstage, as we lengthen our plays’ runs, foster an intimate creative relationship with our teams through our Directors/Producers Lab and Writers Group, and pilot a festival-wide casting process. We’re also expanding our understanding of our mission as we tackle four plays on a flexible repertory set in our second theater, Corkscrew Downstairs.”

Producing Director Alexandra Cadena, who spearheads Corkscrew Downstairs: “What’s most exciting about the Downstairs series is that it’s furthering the festival’s mission of absolute collaboration. We are taking early-career artists, who are presenting very different workshop productions, and having them all inhabit a shared living space—where they can create, risk, and fail together. I can't wait to see what our Downstairs designer team (set designer Dan Daly, lighting designer Christina Tang, and props designer Cinthia Chen) dream up in conjunction with each of the four projects."

The company of  Cradle Two Grave  (2017): Korinne Winter, Terra Chaney, Patricia Sabulis, Sarah Suzuki, Sarah Kowalski, Billie Wyatt, and (center) Morgaine Gooding-Silverwood. Photo by A Jo.

The company of Cradle Two Grave (2017): Korinne Winter, Terra Chaney, Patricia Sabulis, Sarah Suzuki, Sarah Kowalski, Billie Wyatt, and (center) Morgaine Gooding-Silverwood. Photo by A Jo.