Our talented team of writers!
Edward Karam has been a freelance theater writer in New York since 1995. For seven years he covered New York theater for The Times of London and for two more years he served as The Guardian theater correspondent. His work has appeared in American Theatre, Theatermania, the Daily News, InTheater, Theatre Crafts International, and at Playbill.com. He is currently the Treasurer of the Drama Desk.
Lauren Wolman recently completed coursework for her Master’s in Corporate Communication at Baruch College, where she investigated the communication strategies used by Broadway theater publicists for her thesis. She graduated from Quinnipiac University with a BA in Journalism in 2012, and now works in the communication department of the National Hockey League. Lauren loves running and show tunes.
Chloë Rae Edmonson is a Ph.D. candidate in Theatre at the CUNY Graduate Center and an adjunct lecturer in Theatre at the City College of New York. Her dissertation focuses on immersion and intoxication in New York City theater and popular entertainment (1850-present). She has worked professionally in the theater as an education programmer for NYU’s Skirball Center and as a booking agent for Holden Arts Associates in Austin, Texas. Select roles as an actress include Charlotte in Tennessee Williams’s Night of the Iguana (Different Stages, Austin), Friday in Robinson Crusoe (Missoula Children’s Theatre, national tour actor/director), and Célimène in Moliere’s The Misanthrope (Trinity University, San Antonio). She holds an MA in Performance Studies (Wasserman Scholar) from NYU Tisch School of the Arts and a BA in Drama and English (summa cum laude) from Trinity University in San Antonio.
Colin Macdonald has a Ph.D. in English from the CUNY Graduate Center, where his work focused on Shakespeare and early modern theater. He is the managing editor of Renaissance Quarterly (Cambridge University Press), a scholarly journal that covers visual art, history, literature, and theater of the period 1300–1700. His writing on theater has appeared in the Times Literary Supplement, Salon, and the Shakespeare Newsletter.
Lea Fridman is a writer, critic, playwright and music producer. She is a professor of English at CUNY and holds a Ph.D. in Comparative Literature. She is the author of a work of literary criticism, "Words and Witness: Narrative and Aesthetic Strategies in the Representation of the Holocaust" (SUNY in 2000). She is currently completing projects on the dashing and neglected figure of George Washington Williams as well as a long-standing music venture, “The Stanley Babin Historic Recording Project.” She is an ardent practitioner of Ohad Naharin’s dance form, “gaga," and committed to an exploration of the gaga aesthetic in her writing and in her life.
Nicole Colbert is a NYC based director/choreographer. She is artistic director of Nicole Colbert Dance/Theatre, a company dedicated to creating a platform for inter-generational and multicultural performers to explore the intersectionality of dance and theatre. She has shown her work in New York, New Orleans, Denmark, London, and Russia. Recently, her evening length work, Last Stop: Desire, a dance/theatre adaptation of Tennessee Williams' A Streetcar Named Desire was shown as part of the Tennessee Williams/Literary Festival at the New Orleans Jazz Museum in New Orleans, LA. She is trained in dance, choreography and theatre. She has been selected for the 2018/2019 SDC Foundation’s Observership Class. She teaches English at CUNY as an Adjunct Professor.
Nathan Harding is a writer and actor. He is currently editing his novel, Taming the Chairman, which is about a young man who travels to Nepal in search of his father, who he believes will show him how to tame an imaginary purple elephant called, the Chairman. Nathan holds a Bachelor of Fine Arts in Film and Television Production from Chapman University in Orange, California. He started working in the entertainment industry as a talent agent trainee at the William Morris Agency in Beverly Hills and left for self-discovery in Japan and India. He has also lived in Bali and Nepal. Nathan is a member of the Asian American Journalists Association and a journalist with www.kollab.nyc. Nathan loves the stories that live theater has to share with the world.
Charles Wright has written about theater and books for a variety of magazines, newspapers, and online publications. His essays have appeared in 10 volumes of the Best Plays Theater Yearbook, the annual record of American theater founded in 1920 and published most recently by Limelight Editions; he was a contributor to the TheaterMania Guide to Musical Theater Recordings (Back Stage Books, 2004, and recently updated online at http://castalbumreviews.com/). He has also contributed the program notes for almost 100 presentations of Musicals in Mufti, the popular Off-Broadway series of the York Theatre Company in New York City. He is currently the president of the Drama Desk.
Leslie R. Herman
Leslie R. Herman has a BA in Performance Arts from CUNY, Queens College, and a post-graduate degree in Drama from the Royal Welsh College of Music and Drama, Cardiff, Wales, U.K. She is fluent in English and Welsh, and her writing genre of choice is the “short,” an ideal tool for her style: a light-hearted but powerful celebration of the human condition.
Julia Alexander has performed as an actress in theater, film, and television. She holds a degree in theater from the University of Utah, where she minored in French language and literature. She has also worked on the company management side for the Pioneer Theatre Company in Salt Lake City.
Jessica Taghap is a New York–based writer. In addition to criticism, Jessica also writes poetry and short fiction on her blog starts & stops and has contributed to websites such as New Musical Theatre’s Green Room blog, Casually Political and Babbling of the Irrational.
Marc Miller has written on theater for such publications as Stagebill, Playbill (out-of-town), In Theater magazine, and Stages, and such websites as Theatermania, Backstage, nytheatreguide.com, and theaterscene.com. He's a contributor to the Theatermania Guide to Musical Theater Recordings (now active online as castalbumreviews.com). As a lyricist, he has seen his work performed at the American Music Theater Festival and the New York Festival of Song.
James Wilson is Professor of English and Theatre at LaGuardia Community College and the Graduate Center of the City University of New York. His academic theater articles and reviews have appeared in Studies in Musical Theatre, Theatre History Studies, Ecumenica, Theatre Journal, and several chapter anthologies. He is co-editor of The Journal of American Drama and Theatre. His book, Bulldaggers, Pansies, and Chocolate Babies: Race, Performance, and Sexuality in the Harlem Renaissance, was published by the University of Michigan Press, and he is currently working on a project focused on representations of teachers in U.S. theater.
A Ph.D. student in Theatre and Performance at the Graduate Center, CUNY, Curtis holds a Master’s degree in Theatre Criticism and Dramaturgy from the Royal Central School of Speech and Drama, London. Curtis is a playwright, lyricist/librettist, dramaturg, critic, and translator. His translations of Chilean plays have been performed in London (King’s Head Theatre) and New York (LaMicro Theater Company). His play The Zion Curtain was performed in the University of Utah’s Studio 115; he also cowrote the original musical Pomp and Circumstance for the university’s Musical Theatre Program. Curtis is part of Out of the Wings, a theater translation group at King’s College, London, and has been published in Review: The Journal of Dramaturgy and Latin American Theatre Review. He studied with playwright Juan Radrigán in Chile in 2013, and is managing editor of The Journal of American Drama and Theatre.
Alison Durkee is a New York–based journalist and editor. She currently serves as the features editor for London-based theater website Everything Theatre, and her writing has appeared in such publications as City Guide NY, HowlRound, Exeunt Magazine, and Critical Dance. Her experience in arts administration includes work with HERE Arts Center, NYU Skirball Center for the Performing Arts, and the Theatre Museum. She holds two degrees in Theatre Studies: from NYU’s Gallatin School of Individualized Study and from the Royal Central School of Speech and Drama in London, where her research interests focused on the relationship between musical theater, history, and mid-century nostalgia. She has a particular interest in musical theater dance.