"...is a dramatist of courage, intelligence, wit and lyricism"
- Tony Kushner
"...is a dramatist of courage, intelligence, wit and lyricism"
- Tony Kushner
who has worked on and Off Broadway as well as extensively in regional theater. She is most well known for having originated the part of the Angel in Tony Kushner’s Angels in America, appearing in every U.S. production from its earliest workshops through its Broadway run.
I was more than happy to discuss the rewards and challenges of playing Lear during our rehearsal process. Listen and watch here.
Peter Foley was my dear friend and longest-standing collaborator. As a composer, he wrote music of intricacy, power, and extraordinary beauty. This is his memorial concert. A pretty stunning collection of talent, all Peter’s friends, are coming together to make this happen.
I’ll be playing Lear himself in a production directed by the accomplished Carolyn Horwatch. There has already been a bit of buzz about it.
I had the pleasure of speaking with Lisa Wexler about art that challenges its audiences and my play Kissing the Floor. We discussed why the Greeks ask us to think through some of the darkest thoughts imaginable and what’s on the other side: something luminous, vibrant.
The first episodes of Pericles are now available for Shakespeare enthusiasts and podcast listeners through Next Chapter Podcasts and Play On Podcasts. Written by Ellen McLaughlin and directed by Lisa Rothe, "Pericles presents this exciting story in a modern, accessible 'translation'."
Reserve your free ticket for this January 15, 2021 event. We planned to offer this reading as a paid ticketed event, but, in light of current events, it feels vital to us that we are all invited to participate in the civic discourse of our nation.
In light of the political upheaval and the upcoming inauguration, Cal Shakes revisits The Oresteia by Ellen McLaughlin—a story of family, war, power, sacrifice, and our collective responsibility to disrupt the tragedies amongst us with mercy, compassion, and grace.
“★★★★★…breathtaking, deeply satisfying…this is Kahn in greatest communion with his art, his voice visceral and unwavering, and it is a profound note upon which to take his leave.” –Metro Weekly
“★★★★★…the language is stark and rich with the poetic alchemy of ancient Greek. The way McLaughlin’s words sound in your ears and are beautifully spoken by the actors is ambrosia.” –DC Theatre Scene
What is justice? Who decides, who metes it out, how do we know it is truly "just"?
“These are questions we ask ourselves regularly - in politics and current events, at work, in our personal lives. They're questions humanity has grappled with over the centuries, and people will continue to do so long after we're gone.
Strongly influenced by the Greek dramatists, Ellen has written numerous adaptations and plays inspired by their work.
Strongly influenced by the Greek dramatists, Ellen has written numerous adaptations and plays inspired by their work.
Grants and awards include: Helen Merrill Award for Playwriting, Great American Play Contest, Susan Smith Blackburn Prize, the NEA, the Writer's Award from the Lila Wallace-Reader's Digest Fund, the Berilla Kerr Award for playwrighting. T.C.G./Fox Residency Grant -- for Ajax in Iraq, written for the A.R.T. Institute.
Producers include: the Public Theater, The National Actors' Theater and New York Theater Workshop in NYC, Actors' Theater of Louisville, The Actors' Gang L.A., Classic Stage Co., N.Y., The Intiman Theater, Seattle, Almeida Theater, London, The Mark Taper Forum, L.A., The Oregon Shakespeare Festival, The Getty Villa, California., and The Guthrie Theater, Minnesota, among other venues.
She has taught playwriting at Barnard College since 1995. Other teaching posts include Breadloaf School of English, Yale Drama School and Princeton University, among others.
Journal entries, essays, speeches, and other writings
Journal entries, essays, speeches, and other writings
The Names We Gave Him is a musical I wrote with late composer and friend Peter Foley. It is now available for listening and perusal via the Peter Foley Music Project.
The opportunity to return to Turkey and Troy with the U Penn classics seminar Homer and Troy, which I’d last been a guest professor on just as the world was shutting down in March 2020, was something I simply couldn’t pass up, even though it meant leaving NY through most of the run of Kissing the Floor.
The streets of New York are empty; even mighty 42nd Street is dimmed and silent. At noon on a week day, the vaulted ceiling of Grand Central echoes with no footsteps at all. Down through the financial canyons at the base of the island, the spring wind blows unimpeded by a single person. This hollowed out, stilled world is like nothing we have ever experienced before. What are we to make of it? Lately I find myself remembering
I was on the road in a big way until mid-March and only recently realized just how lucky I was to get home. It meant foregoing the last leg of my trip, which would have been to Greece, but I did manage to get myself out of Istanbul on one of the last flights possible. The idea that…
When Michael Kahn approached me with the commission for this adaptation of Aeschylus’ trilogy of plays, The Oresteia, he gave me surprisingly few limitations. He told me to trust my instincts and to feel free to step as far from the source material as I needed in order to make a new version of these ancient plays for our times.
"When you’re starting from a cold stove, lay the fire according to the principles that have lasted over the centuries, namely: clear the way for the new..."