Play4Keeps Podcast | The regional playwright hustle: A conversation with Donna Hoke and Andrea Stolowitz

We’re excited to bring together playwrights Donna Hoke and Andrea Stolowitz, who are meeting for the first time on our podcast! They share about the successes and struggles they’ve encountered in their careers, with topics ranging from self-advocacy and maintaining confidence to taking ownership of one’s hometown as a regional playwright. They also share recommendations for curated rentals in New York. In the episode they mention perhaps meeting in person in New York in September and (spoiler alert) they did! Not only are we excited to connect you with these amazing playwrights but so happy to connect the playwrights themselves.

Donna Hoke is an award-winning playwright; Dramatists Guild Council member; blogger and moderator of the Official Playwrights of Facebook (with more than 12,000 members); a New York Times-published crossword puzzle constructor; published children’s author; and founder/co-curator of BUA Takes 10: GLBT Short Stories. Her popular blog series about PLONY’s – playwrights who live outside New York – shares the wisdom and stories of successful regional playwrights. Her play TEACH was a finalist at ANPF 2018. We’ve recorded three of her plays on the Play4Keeps Podcast, including BRILLIANT WORKS OF ART, ELEVATOR GIRL, and FLOWERS IN THE DESERT.

Andrea Stolowitz is a three-time Oregon Book Award-winning playwright. She is the Lacroute Playwright-in-Residence at Artists Repertory Theater in Portland as well as a member of the New Dramatists class of 2024 and a core member at The Playwrights’ Center. Her play KNOWING CAIRO was a winner at ANPF 2001 and world-premiered at the Old Globe Theatre, which earned San Diego’s “Billie” Best New Play Award and an LA Times’ Critic’s Pick. It is published by Playscripts Inc. and continues to be produced nationally and internationally.

Play4Keeps Podcast is proudly made by Ashland New Plays Festival, in beautiful Ashland, Oregon.


  1. Susan Middaugh on December 14, 2019 at 8:26 am

    Thank you, Donna and Andrea, for sharing your insights and experience. I appreciated Andrea’s saying what she is grateful for as a playwright. Donna gives a lot of her time to encouraging other playwrights, much appreciated. If the two of you have trouble getting produced nationally, what does that say about the rest of us PLONYs?..

    I have a different view of self-production. I feel that theaters see their curated spaces as income streams. More and more, NYC features opportunities for self-production and fewer theaters that invite submissions that they will produce.

    That said, I am in a new position of self-production for a new play, a situation that requires a different skill set than writing. Fortunately, there is a local grant available for such enterprises.

    Good luck to you both.

  2. Donna Hoke on January 6, 2020 at 8:04 am

    Thank you for listening, Susan! I don’t mean to imply with anything I said that it’s that much easier for New York playwrights than PLONY, but opportunity begets opportunity and the opportunities are just larger and CAN be–but aren’t always–more fruitful. But also to clarify when we talk about curated rentals, we are talking about theaters that have a season, not some DIY festival where you’re expected to sell the tickets, but theaters that put up a slate of shows, often have subscribers and regular audience, do promotion, etc. That’s a much different animal than those types of festivals.

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