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Lee Sunday Evans

Recent Credits include: Bull in a China Shop by Bryna Turner (LCT3), [Porto] by Kate Benson (Bushwick Starr), Caught by Christopher Chen (Play Co.), Macbeth (Hudson Valley Shakespeare Festival), Wellesley Girl by Brendan Pelsue (Humana Festival), D Deb Debbie Deborah by Jerry Lieblich (Clubbed Thumb), A Beautiful Day in November on the Banks of the Greatest of the Great Lakes by Kate Benson (OBIE Award – New Georges/Women’s Project). Her work has been presented/developed at: Baryshnikov Arts Center, Sundance Theater Lab, BAX, CATCH, LMCC, Robert Wilson’s Watermill Center, Juilliard. Lee received the 2016 Susan Stroman Directing Award from The Vineyard Theater.


Playwrights' Perspectives

Playwright's Perspective: Dance Nation

I wanted to write this play because I wanted to present a different picture of teenage girls onstage. One where trauma wasn’t the central narrative. One where “being the best” was.


The American Voice: No Pudding

Clare is far from invisible in her plays; or, more precisely, Clare has become far from invisible. If anything, the progression of her writing shows an increasing emergence of herself in her work.


From the Artistic Director: Dance Nation

Power surges everywhere through Dance Nation. I don’t know if I’ve ever read a play that captures as fully the breadth and depth of the adolescent experience, and certainly not one about adolescent girls.


Backstory: Smile for Me

Laying bare the raw humanity of her characters across the rich continuum of their lives, Clare throws down a gauntlet: she insists on a representation of women that is more multivalently human.
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