Milo Cramer’s Obie-winning solo show School Pictures has been featured on NPR’s This American Life and produced in Philadelphia, Minneapolis, and at Playwrights Horizons, where it was named the #1 show of 2023 by Vulture. Other works include Business Ideas (Clubbed Thumb Summerworks 2025, winner of the Alliance Theatre’s Kendeda Award, upcoming publication through Concord Theatricals), Cute Activist at The Bushwick Starr (“a brilliant match of material and theater… a fable for our times” - NYT), and Minor Character: Six Translations of Uncle Vanya at the Same Time created with New Saloon and seen at The Public Theater / Under The Radar. MacDowell Fellow; MFA: UCSD.
Aysan Celik is a theater maker and performer. Her New York credits include BAM, The Public, NY City Center, Soho Rep, New York Theater Workshop, 59E59, Classic Stage Company, Rattlestick Playwrights Theater, HERE, Under the Radar, and Theater Row. Regional: Oregon Shakespeare Festival, Cal Shakes, Humana Festival, ArtsEmerson, American Repertory Theater, and multiple US and international tours. Aysan is a longtime Associate Artist of the OBIE Award-winning companies Theater Mitu and The Civilians.
With a hundred bucks in hand and 24 hours on leave, three silly sailors live as much life as they possibly can before getting shipped off to war and certain death. A 3-actor, 1-piano attack on the “golden age” of musicals, No Singing in the Navy is a delightfully sardonic explosion of the myth of American innocence.
Cast
Bailey Lee
Sailor 1
Ellen Nikbakht
Sailor 3
Elliot Sagay
Sailor 2
Playwrights Horizons and Off-Broadway debut. Regionally: Working Girl (La Jolla Playhouse); Execution of Justice (Chautauqua Theater Co.); Romeo & Juliet, Pirates of Penzance (NC Symphony). Education: UCSD (MFA), UNCSA (BFA). Love & gratitude to the No Singing in the Navy team!
Playwrights Horizons and Off-Broadway debut. Select regional: La Cage Aux Folles (Pasadena Playhouse); Love All (La Jolla Playhouse); Into the Woods, Merry Wives of Windsor (Oregon Shakespeare Festival); Fun Home (Kansas City Rep); Television: Margo's Got Money Troubles (upcoming). MFA: UC San Diego.
Playwrights Horizons Debut. Regional: Working Girl (La Jolla Playhouse); "Master Harold"...and the Boys, Into the Woods, A Midsummer Night’s Dream, Hamlet, As You Like It (Santa Cruz Shakespeare); we are continuous (Diversionary Theatre); Passing Strange (Theo Ubique); A Christmas Carol (Indiana Repertory Theatre); Botticelli in the Fire (First Floor Theatre); The Magnolia Ballet (About Face Theatre); Call Me Madam (Porchlight Music Theatre). Film: Chicago Med; The Month Between April and May (upcoming). Education: B.A., Northwestern University; M.F.A., UC San Diego.
Creative
Krit Robinson
Scenic DesignEnver Chakartash
Costume DesignMasha Tsimring
Lighting DesignTei Blow
Sound DesignKyle Adam Blair
Music Director, Additional ArrangementsPadra Crisafulli
Additional ArrangementsMatt Carlin
PropsKelsey Vivian
Production Stage Manageris an award-winning designer, artist. Select design credits include: Complications in Sue (Opera Philadelphia), Rheology (The Bushwick Starr), Hilma (Wilma Theatre), Drinking in America (Audible Theater), Don Giovanni (Wolftrap Opera), Heather Christian’s Oratorio for Living Things (Ars Nova & Signature Theatre), graveyard shift (Goodman Theatre), Familiar (Steppenwolf Theatre Company), and In the Green (LCT3). Krit is co-founder and principal designer of Queens Lighting Collective - which creates multidisciplinary community oriented art in the public realm, A Princess Grace Fellow, holds an MFA from Yale University, and is a proud member of USA 829.
is a Drama Desk Award winning and Tony nominated costume designer. Playwrights Horizons: Stereophonic, Teeth, Catch as Catch Can. Broadway: Stereophonic, English, Romeo + Juliet, A Doll's House, Is This A Room. Off-Broadway: Tartuffe, Meet the Cartozians, The Least Problematic Woman in the World, Pre-Existing Condition, Becoming Eve, Public Obscenities, Toros, The Trees, Wolf Play. Film: Reality (Seaview/HBO).
Playwrights: Practice, Staff Meal, Sad Boys in Harpy Land, Noura Selected Off-Broadway: Coriolanus (TFANA); Six Characters (LCT3); Cold War Choir Practice, Coach Coach, Grief Hotel (Clubbed Thumb); A Woman Among Women (Bushwick Starr); Terce (Prototype); Montag (Soho Rep); morning/mourning (HERE/Prototype); Opera/Dance: Friday Night Rat Catchers (NYLA); GEMS, Plenum/Anima, Unstill Life (LA Dance Project); Giulio Cesare, Rodelinda (Hudson Hall); Deepe Darknesse (Lisa Fagan/Lena Engelstein). MFA - Yale School of Drama. Member of USA829.
Playwrights Horizons: Wet Brain; The Trees; Staff Meal. Other recent: Galas (Little Island); Public Obscenities (Soho Rep); Give Me Carmelita Tropicana! (Soho Rep); watch Me Walk (Soho Rep); Rheology (Bushwick Starr). Awards: Henry Hewes Design Award (2023); Foundation for Contemporary Arts Grants to Artists (2024); Creative Capital 2016; Bessie Award for Outstanding Sound Design (2015) for I Understand Everything Better (David Neumann / Advanced Beginner Group).
Playwrights Horizons debut. Regionally: Master Class (Roustabouts/Scripps Ranch Theatre). UC San Diego: Vinegar Tom (Allie Moss); Gone Missing (The Civilians, Aysan Celik); An Iliad (Peterson/O’Hare, Juliana Frey-Méndez w/ Danielle Wineman); Movers and Shakers (Suli Holum/Deborah Stein). Opera: Pancho Rabbit and the Coyote (Anthony Davis, Bodhi Tree Concerts, world premiere); The Robots (Carolyn Chen, projectBLANK, Rosie Glen-Lambert, world premiere); The Four-Note Opera (kallisti, Samantha Fox); Noon at Dusk (Stephen Lewis, kallisti, world premiere).
Playwrights Horizons: School Pictures; Amusements; Wet Brain (co-produced w/ MCC). Off-Broadway: Ulysses (ERS at The Public, Bard Summerscape); Oratorio for Living Things (Signature Theatre, Ars Nova); Our Class (Arlekin Players at CSC); The Appointment (Lightning Rod Special); Montag (Soho Rep); I’m Assuming You Know David Greenspan, The Mother (Atlantic Theater Company); Twelfth Night (Public Works). Tours: Geoff Sobelle’s FOOD, HOME (Fin Productions). Upcoming: Franklin’s Key (Pig Iron); Clown Show (Fin Productions).
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What [Milo Cramer] is doing is simply structured, generously conceived, full — inside its simple container — of irresolvable yearning and wondering, guessing and risking — and it’s completely wonderful.
Walking out of Milo’s show, I became aware that my cheeks felt a slight ache from either my constant grinning, or my laughing out loud, during their performance. What a welcome ache in these most challenging times.
Special thanks to Eric Bennett for being a Production Sponsor for No Singing in the Navy.
To learn more about the Production Sponsorship Program, please email Susan Ferziger at sferziger@phnyc.org.
