STRETCH GOAL! (NEW)
Help us get to $36,000 (Shazaaaaaam! Eeep!)
Pay for our set!
Yes, we've got personnel to pay to make all this magic happen, but there's also something we really need. A set. That thing the actors stand and roll around on that will be designed by Meredith Ries. The materials and building of our set will cost about $6,000, we need to make the theater change from a proscenium (stage here, chairs in a row opposite) to theater in the round. Technically, it's theater in the square, but for some reason people insist on calling it in the round. And, we have a trick up our sleeve that we're very excited to make happen. So, yes, it's a single set, but it has to be safe and soft for our actors because they're going to be put through the ringer, athletically (and emotionally).
Why this story? Why now?
I'm glad you asked. I used to work as a researcher and writer for The New York Times, and in 2002 when the journalist Daniel Pearl was brutally beheaded on video by Al Qaeda, the rules of engagement had suddenly changed. As North Americans, we thought we had diplomatic immunity.
But we don’t.
The assassination of journalist Jamal Khashoggi ordered by Saudi Arabia's Crown Prince and Trump's refusal to acknowledge the facts of that hideous murder should sound a deafening alarm to all of us. This has a chilling effect on the people who tell stories in dangerous places. Censorship is on the rise everywhere, journalists are jailed daily. The White House bars certain reporters, showing all too clearly, a free press is not guaranteed.
In the years since Daniel Pearl’s murder, I’ve wondered about the horrors that could await journalists or aid workers in war-torn countries, but also any of us—travelers who land in the right place at the wrong time. Over the years, I read accounts of people captured and some of what they encountered as hostages. Something I always wondered was, how do they pass time in their cell? Perhaps I was born with a disaster-preparedness gene* but I’m always thinking, in any given situation, what would I do if fill in the blank happened, as if one could be ready and know how to stay alive. Beyond staying alive, what would I do so as not to lose my mind if I didn’t know if I’d make it out or when? I believe the world is a wonderful place but it’s also a terrifying place, and I think about the people who are missing and the people who miss them.
*not scientifically proven to exist
I wrote this play in one week at a winter retreat workshop at The Lark in New York City. You could say, more accurately, the play wrote me. I then traveled around the country with the play, directing readings and workshops of it in San Francisco, Utah, Florida, Kansas, and Indiana. There are so many amazing plays, theater’s seasons are so packed and I didn’t want to wait until 2023 to bring you this play. The time is now, based on current events, to mount this production.
I knew I had to produce and direct this play. The first person I told was my dear friend Kathy Chalfant. She nodded in approval, but wisely advised that I raise $20,000 in one week to prove it was viable. And guess what? I did! I'm working on another $20,000 from outside sources, and I'm here to raise the final $30,000. That's right, reader. Producing this play costs $70,000! Paying for space, designers, marketing, performers, and all the things add up quickly. I am so grateful for the support of New Georges as the angel fiscal sponsor who makes your gifts tax deductible, and to Rattlestick Playwrights Theater - I snagged my dream space for this play!
I’ve set an intention that our crew identifies as 90%+ female, queer, POC or trans, and to pay our team a living wage in New York City. The art I make is as important to me as how I make it. Your financial support, your sharing of this campaign, your coming to see this play, mean more to me than you'll know.
The Road to Rattlestick
It began in New York City - written in one week at The Lark
Then, onto Magic Theatre's Virgin Play Festival in San Francisco
From there, we went to Salt Lake Acting Company for a 10-day developmental lab
Next was a presentation at NNPN's Showcase of New Plays in Orlando
Back to NYC for a reading with New York Stage & Film
Then, an In-Progress Play Reading at Unicorn Theatre in Kansas City
Onto the LAByrinth Theater Company's Barn Series in Indianapolis
And finally, we're coming home for the world premiere at Rattlestick.
Winter Miller is a founding member of the Obie-winning 13Playwrights and a New York Foundation for the Arts Playwright. She is best known for her play In Darfur which premiered in a sold-out run at The Public Theater, followed by a standing room only performance at their 1800-seat Delacorte Theater in Central Park, a first for a play by a woman. Winter traveled to the Sudan border with her then boss, New York Times columnist Nicholas Kristof.
Plays include: Spare Rib, No One Is Forgotten, The Penetration Play, Look At Us, The Arrival, Conspicuous and the musical Amandine. Her work is published by Samuel French and Playscripts. Select theaters where her plays have been produced include: The Cherry Lane, Joe’s Pub, The Goodman, Center Theater Group, and WAM. Winter’s work is supported by the Sundance Institute, The Cherry Lane Mentor Project, The Civilians, Hedgebrook, Blue Mountain Center, Nature’s Darlings and more. Winter has created theater with youth in war-torn areas of Northern Uganda, Palestine, and LGBTQIA populations in NYC. She holds a BA from Smith College, an MFA from Columbia University and is a proud affiliate of New Georges, the Lark and the Dramatists Guild.
A former journalist, Winter wrote 70+ articles for The New York Times, and is profiled in The New Yorker, Bomb, New York Magazine, and on NPR’s Brian Lehrer.
Eartha Kitt once held her hand for five minutes.
When and where?
No One Is Forgotten goes into rehearsal June 10th, 2019.
Performances run July 8th through 27th.
Opening night is July 10th.
@ Rattlestick Playwrights Theater | 224 Waverly Pl, New York, NY 10014
Tickets and more information will be available soon at nooneisforgotten.com
No One Is Forgotten is part of Rattlestick's curated rental program, and is a New Georges Supported Production.
Risks and challenges
Making a new play is FULL of risks and challenges. That's what makes it exciting! And scary!
We've already overcome some of the big ones: securing a space, fiscal sponsorship, assembling much of our team.
What's ahead of us: raising the remainder of our budget goal, securing the full creative team, rehearsing and opening this thing, and getting people (you and all your friends!) to the theater.
It's no small task, but we're up for the challenge. Stories are important. The freedom to make and tell them is important. With your help, we will tell this one.Learn about accountability on Kickstarter
- (30 days)