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Daniel Goldstein

Daniel Goldstein is the winner of the 2016 Kleban Prize for Most Promising Musical Theater Librettist. Daniel’s plays include Orange Crush, commissioned by Roundabout Theater Company, about Tony Schwartz, the ghostwriter of “The Art of the Deal.”  He has also written the musical Row, with Dawn Landes, about Tori Murden McClure, the first woman to row across the Atlantic Ocean, commissioned by The Public Theater and currently in development at Playwrights Horizons with support from The Williamstown Theater Festival.  He was the recipient of an inaugural Calderwood Commission from the Huntington Theatre Company, for which he wrote an original musical with Michael Friedman entitled Unknown Soldier, which was developed at the Manhattan Theater Club, O’Neill National Music Theater Conference and The McCarter Theater. With Michael, he is also the author of The Song Of Songs, an adaptation of the Sholem Aleichem novella. As a director his work includes many productions on and off-Broadway and at theaters around the United States and internationally.  He is a graduate of Northwestern University with a degree in Performance Studies.

Michael Friedman

Credits include Bloody Bloody Andrew Jackson (Broadway and the Public Theater) Unknown Soldier, The Fortress of Solitude, Love’s Labour’s Lost, and Mr. Burns. With The Civilians: Canard Canard Goose, Gone Missing, Nobody’s Lunch, This Beautiful City, In the Footprint, The Great Immensity, Paris Commune, Pretty Filthy, and The Abominables. He was the Artist-in-Residence and Director of the Public Forum at the Public Theater and Artistic Director of City Center Encores! Off-Center. He received the 2007 OBIE Award for sustained excellence and was honored with a star on the Playwright’s Sidewalk at the Lucille Lortel Theatre in 2018.  (photo by Jared Siskin)

(Updated Mar 2019)


Playwrights' Perspectives

Playwrights Perspective: Unknown Soldier

For as glorious a composer as Michael was, the only thing that ever mattered for him was the story — the often-brutal sometimes-tender evocation of our collective humanity. And I guess, for now, that has to be enough.
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