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Mr. Burns, a post-electric play image 1
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Anne Washburn

Anne Washburn's plays include Mr. Burns, a post-electric play (Playwrights Horizons); The InternationalistA Devil at NoonApparitionThe Communist Dracula PageantI Have Loved Strangers; The LadiesThe Small; Iphegenia in Aulis, an adaptation of Euripides’ Iphigenia; and a transadaptation of Euripides’ Orestes. Her work has been produced by 13P, Actors Theater of Louisville, American Repertory Theatre, Cherry Lane Theatre, Clubbed Thumb, The Civilians, Dixon Place, Ensemble Studio Theater, The Folger, London’s Gate Theatre, Soho Rep., DC’s Studio Theater, Two River Theater Company, The Vineyard and Woolly Mammoth. Awards include a Guggenheim, a NYFA Fellowship, a Time Warner Fellowship, Susan Smith Blackburn finalist, residencies at MacDowell and Yaddo and an Artslink travel grant to Hungary to work with the playwright Peter Karpati. She is an associated artist with The Civilians, Clubbed Thumb and New Georges, and is an alumna of New Dramatists and 13P. Currently commissioned by MTC, Playwrights Horizons, Soho Rep., and Yale Rep. 

Michael Friedman

At Playwrights Horizons: Saved, The Drunken City, Spatter Pattern. Michael wrote music and lyrics to Bloody Bloody Andrew Jackson, which recently played at The Public Theater and on Broadway (Outer Critics Circle Award, Lortel Award.) As an Associate Artist with the acclaimed theater company The Civilians, he has written music and lyrics for Canard Canard GooseGone MissingNobody's LunchThis Beautiful CityIn the Footprint, and The Great Immensity, and co-created the groups 2012 TED Talk. With Steve Cosson, he is the co-author of Paris Commune (BAM Next Wave Festival 2012). Upcoming: Love’s Labours Lost with Alex Timbers for Shakespeare in the Park this summer, and an adaptation of Jonathan Lethem's Fortress of Solitude with Itamar Moses and Daniel Aukin, which will premiere at Dallas Theatre Center in 2013. He was the dramaturg for the recent Broadway revival of A Raisin in the Sun,and has been a MacDowell Fellow, a Princeton Hodder Fellow, a Meet The Composer Fellow, a Barrob Visiting Professor at the Princeton Environmental Institute, and an artist-in-residence at Spring Workshop Hong Kong. His recent Tedx talk, “The Song Makes a Space,” is available on YouTube. An evening of his songs was featured in Lincoln Center’s American Songbook series, and he received an OBIE Award for sustained achievement. As of June 2013.

Reviews

More Reviews

Interview

Tim Sanford and Anne Washburn on Mr. Burns

Tim Sanford: So you grew up in Berkeley, right? What did your parents do? Anne Washburn: My dad’s a painter and my mother worked for a non-profit housing agency. What was your first exposure to theater? My first memories of theater were in kindergarten, watching the older grades—second and third graders—do actual plays and thinking that that was extraordinarily impressive. First of all they were very sophisticated people, these second and third graders. But also the event of the thing was super fun. So, I was one of those kids who loved it pretty instantly.

Podcast

Colleen Werthmann

MR. BURNS actor Colleen Werthmann discusses playing a Simpson, the process of creating the show, and moonlighting as a comedy writer. Produced by 2013/14 Marketing Resident Nicole Dancel.

Interview

On Cartoons, Culture, and the End of the World

Mr. Burns author Anne Washburn trade thoughts on the set of her play with John McWhorter, an expert on the evolution of language and culture and the author of Power of Babel: A Natural History of Language; Matt Zoller Seitz, TV critic for New York magazine; and Jon Vitti, one of the most prolific Simpsons writers in the show's 24-season history.

Interview

Mr. Burns Symposium

In the first of our curated panels, Mr. Burns author Anne Washburn trades thoughts on the set of her play with John McWhorter, an expert on the evolution of language and culture and the author of Power of Babel: A Natural History of Language; Matt Zoller Seitz, TV critic for New York magazine; and Jon Vitti, one of the most prolific Simpsons writers in the show's 24-season history.

Interview

Anne Washburn

Anne Washburn discusses how she chose "The Simpsons" as the subject of Mr. Burns and how it all began in an empty, underground bank vault.

Podcast

Michael Friedman

MR. BURNS' Obie Award-winning composer Michael Friedman discusses his role in the play's development and the fascinating intersection of "The Simpsons" theme with Bernard Herrmann.

Podcast

Anne Washburn

MR. BURNS playwright Anne Washburn on the origin of the play, its unique development process, and how "The Simpsons" came to represent the high culture of the future.

Playwrights' Perspectives

Anne Washburn on Mr. Burns

This play comes from an idea which had been knocking around in my head for years: I wanted to take a pop culture narrative and see what it meant, and how it changed, after the fall of Civilization. Really just because I was curious; I write plays because that part of my brain is more entertaining to me than this part of my brain. I knew I wanted to start with an act of recollection, with a group of survivors trying to piece together a TV episode. And to do that, I wanted to work with a group of actors; remembering is complicated; I could make remembering up, but it would never be as rich and complex as the real thing.

Essay

Tim Sanford on Mr. Burns

Culture mongers relentlessly peddle dystopic futurist scenarios in TV and movies. Despite all evidence we might be sated with zombie/vampire/invading alien/oncoming asteroid/catastrophic climate change/magnetic pole inversion/nuclear meltdown disaster epics, the shows keep coming. Most of these would fall decidedly into the bottom left “Lowbrow/Despicable” quadrant of New York Magazine’s Approval Matrix (except maybe The Walking Dead, which nudges just slightly into the Lowbrow/Brilliant quadrant). Anne Washburn’s ridiculously inspired Mr. Burns shoots straight into my personal “Highbrow/Brilliant” by riffing on one entirely plausible disaster scenario, the disintegration of our electric grid, and turning it inside out.

Essay

Backstory: The End of the World As We D'Oh It

The end times have been with us for a long time. Nearly every human culture has postulated some epic finale for the universe. But as our power to shape the world (for better or worse) has grown, so has the genre of doom. The Industrial Revolution brought a spike in apocalyptic fiction (Mary Shelley’s The Last Man, 1826; H.G. Wells’s The Time Machine, 1895; and War of the Worlds, 1898), but the atom bomb kicked things into high gear, exponentially multiplying the ways we’ve been able to conceive of our end. In the last seventy years, our stories have wiped civilization from the planet’s surface by way of nuclear war, pandemic, extraterrestrial attack, impact event, cybernetic revolt, technological singularity, dysgenics, runaway climate change, resource depletion, ecological collapse, assorted geological and astronomical catastrophes, and that old standby: divine judgment. But what of after?

Essay

The American Voice: A Math Somewhere

Q: Tell me a story from your childhood that explains who you are as a writer. A: I have a lot of vivid earthquake memories... —from an interview with Anne Washburn In the classic parlor game Balderdash, players compose fake definitions for a real word—the more obscure, the better—and then mix these imagined definitions with the actual definition. “The Dasher” reads them all aloud, and everyone casts votes on what they think is the truth. If you guess correctly, you score. But you also score when another player votes for the lie you invented.