Ken Rus Schmoll

Playwrights Horizons: world premiere of Iowa by Jenny Schwartz and Todd Almond. He directed Anne Washburn’s The Internationalist for both 13P and the Vineyard Theatre and her one-act October/November for Ensemble Studio Theater’s 2008 Marathon. Recent credits include Max Posner’s Judy for Page 73, Kate E. Ryan’s Card and Gift for Clubbed Thumb and Ayad Akhtar’s The Invisible Hand at New York Theatre Workshop (Lucille Lortel nomination). Previous work includes The Grown-Up, Death Tax (Humana Festival); George Brant’s Grounded (Walkerspace); Not What Happened (BAM Next Wave); Red Dog Howls (NYTW); Luther, Telethon, Amazons and Their Men, Demon Baby (Clubbed Thumb); A Map of Virtue, Mark Smith, Aphrodisiac (13P); Telephone (Foundry Theatre); Middletown(Vineyard Theatre); What Once We Felt (LCT3); Hello Failure (PS 122); and Cause for Alarm (NY Fringe Festival). Ken is a usual suspect at New York Theatre Workshop, an affiliated artist with Clubbed Thumb, a three-time Sundance Theatre Institute alum, co-chair of the Soho Rep. Writer/Director Lab, co-mentor of the Clubbed Thumb Directing Fellowship and the recipient of two Obie Awards.


More Reviews


Anne Washburn Artist Interview

Tim: Offstage sounds and conversations are also prominently featured in the play. Do you think the silent retreat contributed to this? Anne: I think when there is no conversation, the ear becomes more attuned to other sounds. And thirsty for them.


TheaterMania meets Antlia Pneumatica

TheaterMania sits down with the cast, Anne Washburn, and our Associate Artistic Director Adam Greenfield to explore the mystery behind ‪Antlia Pneumatica‬, and why we're so haunted by memories of the past.


In Process: Anne Washburn

Anne Washburn (Mr. Burns) enlightens us on the Texas Hill Country origins of ‘Antlia Pneumatica,’ and how silence has shaped the show's sound landscape.


Letter from Tim: Antlia Pneumatica

I thought long and hard before quoting Nietzsche in this introduction, but I don’t think it’s a stretch to say that particular, delightfully unsettling character of Anne Washburn’s work owes much to the striking collision of rational and the irrational impulses in it.


Backstory: Anne Washburn, a 15-Year Tour

Anne Washburn possesses an uncanny genius for conjuring theatrical worlds that arrest and fascinate, even on unfamiliar wavelengths. A master of the gradual release of information, she trusts her audience enough to disorient us, for a time, charting her course with quiet precision even as she leads us down the rabbit hole. Here’s a gloss of her projects to date.