SARAH LUNNIE

Performance

Sarah Lunnie is a dramaturg who works, primarily, on new plays.

Recent projects include Heidi Schreck’s What The Constitution Means to Me (Broadway, New York Theatre Workshop, Clubbed Thumb), Anne Washburn’s Shipwreck (Woolly Mammoth, Public Theater), and Bess Wohl’s Grand Horizons (2ST at The Hayes). As a company member with The Mad Ones, she collaborated on the creation of Mrs. Murray’s Menagerie (Ars Nova); Miles for Mary (Playwrights Horizons, Bushwick Starr); The Essential Straight & Narrow (New Ohio), and Samuel & Alasdair: A Personal History of the Robot War (New Ohio, the Brick). She also maintains a long-running collaboration with the playwright Lucas Hnath, and dramaturged the Broadway productions of his plays Hillary & Clinton and A Doll’s House, Part 2; The Thin Place (Playwrights Horizons); and the Humana Festival premieres of The Christians, nightnight and Death Tax. Other work includes dramaturgy for the Humana Festival premieres of Mona Mansour’s The Hour of Feeling, Charles L. Mee/SITI Company’s Under Construction, and Jeff Augustin’s Where The Mountain Meets The Sea, featuring original music by The Bengsons.

Sarah recently directed workshops of David Adjmi’s The Blind King (Sundance Theatre Lab) and Mashuq Mushtaq Deen’s The Empty Place (New Dramatists), and produced Ngozi Anyanwu’s Good Grief and Lucy Thurber’s Transfers for Audible. She makes audio plays for very small audiences with Telephonic Literary Union.

She was previously an Associate Artistic Director of the Jungle Theater in Minneapolis, where she collaborated with Artistic Director Sarah Rasmussen and her staff on artistic planning and new work development. Before that, she was the Literary Director at Playwrights Horizons, where she managed the theater’s script submissions and scouted new work, consulted on season programming and new play commissions, and co-produced the theater’s new-play labs and audience education programs. Before that, she was the Literary Manager at Actors Theatre of Louisville, where she curated and developed new work for the Humana Festival of New American Plays. She is the co-editor, with Amy Wegener, of several volumes of Humana Festival play anthologies.

Sarah has worked as a dramaturg at Actors Theatre of Louisville, Ars Nova, the Bushwick Starr, Clubbed Thumb, Denver Center Theatre Company, the Kennedy Center for the Performing Arts, The Lark, Ma-Yi Theater Company, Montana Repertory Theatre, New Dramatists, New York City Ballet, New York Theatre Workshop, the O’Neill National Playwrights Conference, the Baltic Playwrights Conference (Estonia), Playwrights Horizons, Second Stage, SPACE on Ryder Farm, the WildWind Performance Lab at Texas Tech, Woolly Mammoth Theatre Company, and on Broadway. She is a company member with The Mad Ones. She teaches in the Department of Dramatic Writing at NYU’s Tisch School of the Arts and is a graduate of Boston College, where she studied theater and creative writing.

She lives with her family in Brooklyn.

Photo by Marielle Solan, courtesy of New York Theatre Workshop.

This fall, Sarah is co-creating Human Resources with Telephonic Literary Union for Woolly Mammoth Theatre Company, and dramaturging the radio play adaptation of Anne Washburn’s Shipwreck at the Public Theater.

Last season, Sarah dramaturged productions of Lucas Hnath’s The Thin Place (Playwrights Horizons), Bess Wohl’s Grand Horizons (2ST at the Hayes), Anne Washburn’s Shipwreck (Woolly Mammoth), Eric John Meyer’s The Antelope Party (Dutch Kills), and Jeff Augustin’s Where the Mountain Meets the Sea (Humana Festival), featuring original music by the Bengsons. (The latter two are still awaiting their openings, COVID.) She also directed a series of workshops of Mashuq Mushtaq Deen’s The Empty Place at New Dramatists and David Adjmi’s The Blind King at the Sundance Theatre Lab, produced Ngozi Anyanwu’s Good Grief and Lucy Thurber’s Transfers for Audible, and provided dramaturgical support at the fall intensive of the New York Choreographic Institute at New York City Ballet.