Moments in Black American History

Various Authors


This bundle consisting of eight books is sold at 20% off the regular price for its individual titles.


Book — An American Journey by Kermit Frazier and John Leicht

A passionate retelling of the Daniel Bell incident, in which a black man was shot and killed while running from police officers.

Acting Edition — Blueprints to Freedom: An Ode to Bayard Rustin by Michael Benjamin Washington

In the political and racial upheaval of 1963, Bayard Rustin ⁠—⁠ the brilliant proponent of nonviolent civil resistance ⁠—⁠ is pushed to orchestrate an unprecedented march on Washington D.C. for jobs and freedom. Exiled from the Civil Rights movement by both internal and external forces, Rustin grapples with his last chance for professional restoration and spiritual redemption as he masterminds “a tribute to the ancestors.” The characters in the play include Martin Luther King Jr and A Philip Randolph.

Acting Edition — Hit the Wall by Ike Holter

It’s the summer of ’69, and the death of music icon Judy Garland has emboldened her gay followers. A routine police raid on an underground Greenwich Village hotspot erupts into a full-scale riot, the impetus of the modern gay rights movement. That’s the well-known, oft-rehearsed myth of Stonewall, anyhow. Smash that myth against the vivid theatrical imagination of playwright Ike Holter, add a howling live rock ‘n’ roll band, and you get HIT THE WALL. Remixing this historic confrontation reveals ten unlikely revolutionaries, caught in the turmoil and fighting to claim “I was there.”

Book — Mexican Day by Tom Jacobson

In 1948, Los Angeles Tribune reporter Hisaye Yamamoto puts her job at risk when she joins forces with civil rights pioneer Bayard Rustin to desegregate Bimini Baths.

Book — Mississippi Goddamn by Jonathan Norton

1963. Jackson, Mississippi. Robert-Earl Monroe wants Civil Rights Activist Medgar Evers off his once quiet street. But his plans are jeopardized when his sixteen-year-old daughter, Robbie, returns home from jail, newly politicized and eager to stand on the front lines of the Movement. Act Two jumps back in time to 1959, to the last time Medgar Evers set foot in the Monroe household for Robbie's 13th birthday. Battle lines are drawn ⁠—⁠ daughter against father, husband against wife, sister against sister, and neighbor against neighbor. MISSISSIPPI examines the tensions and complications within families and among neighbors in the years leading up to the 1963 assassination of Medgar Evers.

Book — Only in America by Aishah Rahman

ONLY IN AMERICA is oracular, mythic, wicked satire, with outrageous humor and provocative subject matter. In this play, Aishah Rahman achieves a synthesis of Jazz and secular speech, as she creates a language for America’s “invisible women.” ONLY IN AMERICA is set in an imaginary Animal Bureau of Civil Rights in Washington DC, and was written, in part, in reaction to Anita Hill’s testimony about working with Clarence Thomas.

Book — People Where They Are by Anthony Clarvoe

Inspired by true events: on a Tennessee hilltop, heroes in training meet in secret. All are changed. Some change America.

Thurgood by George Stevens, Jr

THURGOOD depicts the life of Thurgood Marshall, the first African American Supreme Court justice, and his role in the historic decision on the Brown v. Board of Education case.


A selection of titles that explore significant civil rights people and events.


Press Quotes


“The Daniel Bell incident twice was a major story in Milwaukee. In 1958, the 22-year-old black man was shot and killed while running from a pair of uniformed Milwaukee policemen. In the late 1970s, one of the former police officers came forward and admitted the shooting incident was not self-defense and that there was a cover-up that spread from the Milwaukee Police Department to the office of the district attorney. That disclosure launched a criminal trial and subsequent civil suit by the family of the slain man. The Bell incident forms the basis of a compelling and … engrossing play, AN AMERICAN JOURNEY.” —Variety

“Kermit Frazier’s and John Leicht’s AN AMERICAN JOURNEY is a piece of fine playwriting … the play is an effective and moving piece of drama.” —Jay Joslyn, Milwaukee Sentinel

“… authors Kermit Frazier and John Leicht [bring] forth a model of clarity and condensation that is all the more notable for its power to move us.” —Nels Nelson, Philadelphia Daily News

“AN AMERICAN JOURNEY, a provocative play that rings with awareness of American life as people are actually living it today.” —William B Collins, The Philadelphia Inquirer

“The play creates a haunting portrait of a transient country in which many characters, both black and white, seem unable to settle down in one place.” —Bruce Murphy, Milwaukee

“Playwrights Kermit Frazier (who is black) and John Leicht (who is white) have succeed in fashioning a powerhouse play … that is ingenious in structure (moving through time with cinematic grace), passionate in content …” —Charles Lee, WFLN


“In Michael Benjamin Washington’s absorbing new play about an all-but-forgotten civil rights leader, one of the biggest moments in the fight for racial equality comes off despite ⁠—⁠ or perhaps because of ⁠—⁠ a crisis of faith. Faith, in fact, becomes a key motif coursing through BLUEPRINTS TO FREEDOM: An Ode to Bayard Rustin. There’s the faith that other African-American activists place in Rustin to organize the 1963 March on Washington for Jobs and Freedom, despite plenty of agonized mutual history. There’s the broader faith in the idea that such an action can make a difference, with discrimination and segregation still pervasive in America 100 years after the Emancipation Proclamation. And then there’s Rustin’s own deep Christian faith, shattered (by his count) 669 days before the play begins, when he was forced to quit the Southern Christian Leadership Council over worries about publicity concerning his private life. Rustin, a pillar of the civil-rights movement who died in 1987, was a gay man (more or less openly so) in a time when that was difficult even for someone not already facing bigotry. That aspect of his identity helps explain why his name has faded from our nation’s roll call of those who led the movement in the 1960s. The play … is an often lyrical, dialogue-rich piece of work whose political sweep and sense of building momentum is reminiscent of ALL THE WAY, Robert Schenkkan’s 2014 Tony Award-winner about President Johnson’s push to pass the Civil Rights Act of 1964 … [There is] humor, too. When Rustin’s bright young assistant, Miriam Caldwell, asks Rustin and his mentor, A Philip Randolph, why they speak so formally, Randolph replies that it’s a nod of respect to their ancestors. Rustin’s response: ‘I do it to confuse white people.’ (After a pause, he adds: ‘I speak this way aloud because I speak this way to God.’) Despite the triumphant notes around the march, which drew a quarter-million people, there’s a storm yet to come in BLUEPRINTS. There’s always another storm to come, as the ‘Black Lives Matter’ movement can attest today. BLUEPRINTS bears witness that history matters, too.” ⁠—⁠James Hebert, The San Diego Union-Tribune


“The words ‘I was there,’ intoned repeatedly by the characters in HIT THE WALL, give Ike Holter’s play about the 1969 Stonewall riots the self-consecrated holiness of solemn testimony. But the crucial refrain is: ‘The reports of what happened next are not exactly clear.’ Given the extent to which urban legend and documented research of the events have blurred together over the decades, any dramatic consideration of Stonewall must embrace the mythology. So Mr Holter’s impassioned evocation of the sparks that ignited the gay rights movement … are strongest when stylized interpretation eclipses conventional realism … Watching the characters strut through a liberating dance that erupts into chaos and violence when police lights pierce the smoky haze gives the sense of being caught up in that momentous clash … Among the most fully realized figures are Carson, a black drag queen as fearful as he is imperious; Peg, a ‘stone butch’ lesbian ostracized by her family; and the ‘Snap Queen Team’ of Tano and Mika, throwing shade at passers-by from their perch on a Christopher Street stoop. The play is deeply affecting at times, notably when Carson is bitterly rebuked during a rare foray outside in daylight to pay his respects at the funeral of Judy Garland. Or when Peg’s uptight sister insensitively suggests how much better off she would be if she could just ‘hold it in.’ … [We] feel the unendurable pain of self-denial … What’s perhaps more significant is that Mr Holter is working in a vernacular that speaks sincerely and directly to today’s gay youth. His freewheeling play invites them to honor the earlier generation that broke the chains of marginalization and invisibility.” ⁠—⁠David Rooney, The New York Times


“Water is a vivid metaphor in Los Angeles. We live in a desert beside an ocean, an existence of simultaneous want and plenitude. Another, lesser-known water source inspires The Ballad of Bimini Baths, a trio of plays by local playwright Tom Jacobson. Bimini was a popular swimming and spa complex at the site of hot springs one block east of Vermont Avenue between 1st and 2nd streets, operated from 1903 to 1951. Jacobson makes this the nexus of a wide-ranging tale that pulls together events in LA history, some of which occurred at the baths, others not. His theme is sins in need of being washed away⁠—⁠racism as well as other moral failings. The intriguing result is being staged by three small theaters, all running different plays ranging from 55 minutes to 1½ hours. The final play is an inspiring tale of people working together to try to redeem the past and re-chart the future … Bimini, like many places in the early 20th century, was racially exclusive. People of color were admitted just one day a month, the day before the pools were drained and cleaned.” ⁠—⁠Daryl H Miller, Los Angeles Times

“Only a playwright as daring and talented as Tom Jacobson could imagine and achieve a project as mind-blowing as his fascinating, informative Ballad of Bimini Baths trilogy. MEXICAN DAY is the most accessibly crowd-pleasing of the bunch.” ⁠—⁠Stage Scene LA

“Highly effective. This is a thought-provoking and powerful play … humor alternates with seriousness.” ⁠—⁠LA Splash

“Tom Jacobson’s insightful script intimately, intricately interweaves ethnicity, class, sexuality and more in his story depicting a landmark Civil Rights struggle in late 1940s Los Angeles.” ⁠—⁠Hollywood Progressive


“Some shows have warnings for strobe lights. Some have them for loud gunshots. Some for smoke. MISSISSIPPI GODDAMN, a new play by Jonathan Norton, should have one for intensity. Granted, anyone attending a play about civil rights pioneer Medgar Evers set in 1963 Jackson, Mississippi, should expect some strife. Blood in the battle for racial equality is no surprise, but friendly fire is. Playwright Norton sets expectations on edge by focusing on the fight from the living room of the black neighbors next door to the Evers’ home … playwright Norton’s novel take in an unflinching pressure cooker … Considering the intensity, can you handle it? Considering the history, how can you not? Playwright Norton takes this historical kernel and creates a world in which only [an] adolescent youth pursues [an] idealistic aim and she does it with reckless abandon. Everyone else has the more measured concerns that come with growing up and growing comfortable: family, job and property. Their position tempers their pursuit of racial equality, so much so that the people he is championing perceive Evers as a threat. On this score, the play transcends race and asks, ‘At what cost, comfort?’ To that end, playwright Norton turns the comfortable environ against itself. With people driving by and knocks on the door, front and back, the middle class palace becomes a prison … In a risky playwriting move, Norton moves the action four years back in time. As confusing as it is, some of the mystery of the first act is preserved by reserving the backstory ’til the second. Patterns emerge but by inverting the sequence, it comes off as discovery instead of predictability. Call it ‘The Prequel Effect’ … The tension mounts terrifyingly. There’s even some visceral combat … There are some changes, though. The Evers, Medgar and Myrlie, who we heard so much about in the first act, make their first appearance in the second … The other great change is that Robbie is young and impressionable. As thrilling as the events of the second act are, a close second is watching the effect they have in forming her attitudes. It becomes its own play. This historical thriller is an ensemble achievement of the first order with long sequences building tension in both acts, but without its emotional base it would be a roller coaster ride that was fun for as long as you rode it and nothing more. Be among the first to see it, because it’s going places. Just don’t say I didn’t warn you.” —David Novinski, TheaterJones


“In the spring of 1955, much of the Southern US was a simmering kettle of racial segregation, civil rights repression, and worker/workplace abuses ⁠—⁠ one that was on the verge of boiling over into a full scale struggle against those economic and civil rights injustices. With that time and atmosphere of conflict as a starting point, playwright Anthony Clarvoe has focused in on the rural Grundy County of 1955 Tennessee and the organization known then as the Highlander Folk School for his new play, PEOPLE WHERE THEY ARE … While the story of Highlander and its goals of educating and agitating for change may be an unfamiliar or misunderstood one among today’s audience, Clarvoe has succeeded with a superbly compelling narrative that reveals and explains. Most importantly, he draws important parallels between the racial and socioeconomic struggles of the 1950s and 60s and similar issues that face contemporary American society such as immigration, voter suppression, and LGBTQ rights. The storyline of PEOPLE WHERE THEY ARE is constructed around an educational session at the Highlander Folk School in the pre-Montgomery bus boycott days of 1955, involving four invited, outsider ‘students’ along with the group leader, Mrs Clark and a helper, Mr Carawan. [Note: Clark and Carawan are based on the real-life Septima Clark and musician Guy Carawan.] The visitors are May, a mountain housewife turned labor organizer; Emma, a Mexican-American suffering from ethnic and class abuse; Ned, a compromised white man from the Atlanta office of the CIO; and John, a northern black man who presents himself initially as the son of a minister. As their session moves into a second day, personal stories begin to flow and character complexities emerge allowing each actor to paint a portrayal that not only reveals their character, but ties in subject matter relevant to an audience in 2019 … While I rarely make such a direct and obvious recommendation, I am suggesting that all theatre-goers place PEOPLE WHERE THEY ARE on their must-go list … This is brilliant theatre.” ⁠—⁠Alan Sherrod, ArtsKnoxville


“Stirring and absorbing. THURGOOD may actually feel like a sweet escape to happier times, every bit as cheering (and a whole lot more edifying) than the giddiest of Broadway musicals. As I left, I found myself misty eyed.” ⁠—⁠Charles Isherwood, The New York Times

“All bio dramas should be as vivid and entertaining as THURGOOD. A story rich in history, humanity and humor.” ⁠—⁠Joe Dziemianowicz, New York Daily News

“A superb bravura performance! Compelling and engrossing.” ⁠—⁠Frank Scheck, The Hollywood Reporter

“Riveting and inspiring! This fine production does Thurgood Marshall supreme justice.” ⁠—⁠Roma Torre, NY1

“A don’t miss event! As riveting as anything ever seen on the stage.” ⁠—⁠Liz Smith, syndicated columnist

“The verdict on THURGOOD: Excellent!” ⁠—⁠Elysa Gardner, USA Today

About the Authors


  • Kermit Frazier

    Kermit Frazier has been a writer — especially playwright and television writer — as well as a teacher of writing, literature, and theater for more than 40 years. His latest play, MODERN MINSTRELSY, was a finalist (60 plays out of 1,450 submissions) for the Eugene O'Neill National Playwrights Conference. Another new play, FIREPOWER, premiered at the Detroit Repertory Theater in 2017. Plays produced in New York include KERNEL OF SANITY, SHADOWS AND ECHOES, OUTSIDE THE RADIO, DINAH WASHINGTON IS DEAD, and CLASS REUNION. Those produced around country include LEGACIES, SACRED PLACES, INTERSTICES, AN AMERICAN JOURNEY (commissioned by the Milwaukee Repertory Theater), DREAM KING (commissioned by Baltimore Center Stage), and SMOLDERING FIRES (commissioned by First Stage Children's Theater). Also, LITTLE ROCK, a rock'n'roll musical inspired by events surrounding the desegregation of Little Rock's Central High School in 1957, which was commissioned by the Seattle Children's Theatre and performed in Seattle, Pittsburgh, Washington, DC, and Little Rock. He has also been commissioned to write living history plays for the Baltimore City Life Museum and the Lewis Museum of Maryland African American History & Culture. As a television writer, his series include the popular children's mystery series Ghostwriter (which he helped to create and was a head writer), Gullah Gullah Island (co-producer and executive story editor), Married People, True Colors, All My Children, The Misadventures of Maya and Miguel, The Magic School Bus, and The Wonder Pets. His articles, reviews, and short stories have appeared such magazines and journals as Green Mountains Review, The Chicago Review, American Theatre, Black World, Essence, and The New York Times Book Review. "Drive," the first chapter of his memoir, Piecing the Puzzle: Coming of Age in Anacostia, was published in Callaloo. Another chapter, “Snow,” was a runner-up in a 2018 national essay contest and was recently published in The Missouri Review. His play SMOLDERING FIRES is published by Dramatic Publishing. Four other plays have been published by Broadway Play Publishing: AN AMERICAN JOURNEY, LEGACIES, KERNEL OF SANITY, and FIREPOWER. He has taught writing and literature at Syracuse, Chicago State, and Morgan State Universities, Baruch and Williams Colleges, and the Frederick Douglass Creative Arts Center, where he also served as acting president. He has also taught playwriting and acting in Maryland public and private schools (through a program he helped develop at Center Stage in Baltimore) and in New York City area public schools through the Lincoln Center Institute. He has been a writer-in-residence at Williams College and at the Lewis Museum of Maryland African American History & Culture. A recipient of a McKnight Foundation Fellowship in Playwriting, Mr. Frazier has also twice had a play workshopped at the Eugene O'Neill National Playwrights Conference. He has had artist residencies at the MacDowell Colony, the Blue Mountain Center, Yaddo, Millay, Norton Island, and the Liguria Study Center for the Arts & Humanities in Bogliasco, Italy. A member of the Writers Guild of America, the Dramatist Guild, SAG-AFTRA, Actors Equity Association, and the Ensemble Studio Theatre, Mr. Frazier received his B.A. and M.A. in English from Syracuse University and his M.F.A. in acting from the New York University School of the Arts Theater Program. He is Professor Emeritus of English at Adelphi University, where he taught for thirteen years in the MFA program in creative writing.

  • John Leicht

    John Leicht is a playwright and novelist living in Raleigh, North Carolina. John was Playwright-In-Residence for the Milwaukee Repertory Theater from 1986 – 1995. His mainstage productions at the M R T were AN AMERICAN JOURNEY (with Kermit Frazier) and MOOT. Other notable plays are a stage adaptation of Huckleberry Finn and The Irish Chord (with Michael Neville) for First Stage Milwaukee; SEQUOYAH, THE TRAIL OF TEARS for the Cherokee Heritage Center, CAFÉ DES BON TEMPS (also with Michael Neville) for Playwrights Studio Theater, and a new play CIVILIZATION. John's novels are Gardyloo! and Making the Music. John, his wife Debra and their Golden Retriever, Chiller, live in a warm, cozy home set within the modest confines of their very own little woods.

  • Michael Benjamin Washington

    Born and reared in Dallas, Texas, Mr. Washington is best known for his breakout turn as Donald Jordan on Tina Fey and Robert Carlock's hit NBC comedy 30 Rock and can be seen in their third season of Netflix's Unbreakable Kimmy Schmidt opposite Titus Burgess. Other television credits: Glee; Law & Order; The Jury; 100 Questions; 10 Things I Hate About You; Wendell & Vinny; and Hope and Faith, among others. Stage credits: the international mega-hit MAMMA MIA! (original Broadway company); the 2005 Tony Award-winning revival of LA CAGE AUX FOLLES; and Stephen Sondheim's SATURDAY NIGHT at Second Stage. La Jolla Playhouse: THE WIZ directed by Des MacAnuff; MEMPHIS directed by Christopher Ashley; LETTERS TO OBAMA; and MOST WANTED. Mr. Washington's political drama, BLUEPRINTS TO FREEDOM: AN ODE TO BAYARD RUSTIN, concerning the openly gay Civil Rights icon and his making of the 1963 March on Washington for Jobs and Freedom, had successful developmental workshops at the McCarter Theatre and La Jolla Playhouse under the direction of Phylicia Rashad before enjoying sold-out world premiere co-productions at La Jolla Playhouse and Kansas City Repertory Theatre in 2015, winning Outstanding New American Play by the Edgerton Foundation; the San Diego Critics Circle Award for Outstanding New Play and Outstanding Leading Actor in a Play for his portrayal of Mr. Rustin. He is penning a stage play about Dr. Maya Angelou at the request of her estate and The Caged Bird Foundation. He was seen with Anne Hathaway and Jake Gyllenhaal in Ed Zwick's feature film Love and Other Drugs as Richard. Training: B.F.A. New York University Tisch School of the Arts; Journalism minor. He is a Presidential Scholar in the Arts and serves as a National Reviewer and Masterclass instructor for National YoungArts Foundation and is a member of the Broadway Inspirational Voices.

  • Ike Holter

    Ike Holter is a resident playwright at Victory Gardens Theater and has been commissioned by The Kennedy Center, South Coast Rep and The Playwrights' Center. His work has been produced across the country from the Goodman and Steppenwolf in Chicago to the Lily Tomlin Center in LA to Primary Stages Off-Broadway. In 2017 he was awarded the prestigious Windham-Campbell Prize for Drama.

  • Tom Jacobson

    Tom Jacobson has had more than 80 productions of his plays, including SPERM at Circle X Theatre Company, THE ORANGE GROVE at Playwrights Arena, and the award-winning BUNBURY, TAINTED BLOOD, OUROBOROS and THE FRIENDLY HOUR at The Road Theatre Company. THE TWENTIETH-CENTURY WAY premiered at The Theatre @ Boston Court and the New York International Fringe Festival (five Ovation Award nominations, four Los Angeles Drama Critics' Circle nominations, one GLAAD Award nomination, Fringe Festival Award for Outstanding Production of a Play, PEN Center Award for Drama) and moved Off Broadway to Rattlestick Playwrights Theatre. MAKING PARADISE: THE WEST HOLLYWOOD MUSICAL was produced by Cornerstone Theater Company (Critic's Choice in Back Stage West). He has been a co-literary manager of The Theatre @ Boston Court, a founding member of Playwrights Ink, and a board member of Cornerstone Theater Company and The Theatre @ Boston Court. Most recent productions include the world premieres of THE CHINESE MASSACRE (ANNOTATED) at Circle X and HOUSE OF THE RISING SON at Ensemble Studio Theatre-LA (Critic's Choice in Back Stage West and Los Angeles Times, nominated for a GLAAD Award and winner of two Los Angeles Drama Critics Circle Awards). Film: PRAIRIE SONATA (based on THE FRIENDLY HOUR). Opera: HOPSCOTCH, commissioned by The Industry.

  • Jonathan Norton

    Jonathan Norton's work has been produced or developed at Dallas Theater Center, PlayPenn, Black and Latino Playwrights Conference, TeCo Theatrical Productions, Dallas Institute of Humanities and Culture, Castillo Theatre, Soul Rep Theater Company, Nouveau 47, CrossOver Arts Theater, African American Repertory Theater, and the South Dallas Cultural Center. His play Mississippi Goddamn was a finalist for the Harold and Mimi Steinberg ATCA New Play Award, and was the winner of the 2016 M. Elizabeth Osborn New Play Award. He was also a recipient of an Artistic Innovations Grant from the Mid-America Arts Alliance. He is also a proud two-time recipient of the Diaspora Performing Arts Commission given by the South Dallas Cultural Center, an inaugural recipient of the TACA Donna Wilhelm Family New Works Fund, and was a Finalist for the Eugene O'Neill National Playwrights Conference. He was an inaugural member of Dallas Theater Center's Dallas Playwrights Workshop led by Will Power.

  • Aishah Rahman

    Aishah Rahman was born in Harlem on November 4, 1936 and died December 29, 2014 in San Miguel de Allende, Mexico. An accomplished playwright and author, Aishah was a Professor of Literary Arts and taught at Brown from 1992 – 2011. A graduate of Howard University and Goddard College, Rahman, along with Amiri Baraka, Larry Neal, Sonia Sanchez, and others was active in the 1960's Black Arts Movement. She described her writing as adhering to a "jazz aesthetic" and was the author of numerous plays, including the dramas UNFINISHED WOMEN CRY IN NO MAN'S LAND WHILE A BIRD DIES IN GILDED CAGE, THE MOJO AND THE SAYSO, ONLY IN AMERICA, CHIAROSCURO and three plays with music, LADY DAY A MUSICAL TRAGEDY, THE TALE OF MADAME ZORA and HAS ANYBODY SEEN MARIE LAVEAU? Her plays were produced at the Public Theatre, Ensemble Theatre, BAM and theaters and universities across the United States. She served as director of playwriting at the New Federal Theater in New York. Among her numerous fellowships, grants and awards are a special citation from the Rockefeller Foundation of the Arts for dedication to playwriting in the American Theater. Her plays are distributed by Broadway Play Publishing. Chewed Water: A Memoir, the story of growing up in Harlem in the 1940s and '50s, was published in 2001 by University of New England Press.

  • Anthony Clarvoe

    Anthony Clarvoe’s plays PICK UP AX, SHOW AND TELL, THE LIVING, LET’S PLAY TWO, THE BROTHERS KARAMAZOV, AMBITION FACING WEST, WALKING OFF THE ROOF, CTRL+ALT+DELETE, THE ART OF SACRIFICE, GUNPOWDER JOE, and PEOPLE WHERE THEY ARE and his translations of Henrik Ibsen’s GHOSTS and THE WILD DUCK are published by Broadway Play Publishing, Inc. He has received American Theatre Critics, Will Glickman, Bay Area Theatre Critics, Los Angeles Drama Critics, Garland, Elliot Norton, and Edgerton New American Play awards; fellowships from the Guggenheim, Irvine, Jerome, and McKnight Foundations, National Endowment for the Arts, Theater Communications Group/Pew Charitable Trusts, and Kennedy Center; commissions from South Coast Rep, Mark Taper Forum, and Playwrights Horizons; the Berrilla Kerr Award for his contributions to American theater; and many others. He teaches dramatic literature at OLLI@UC Berkeley and playwriting in Oakland, CA. A native San Franciscan and long-time resident of New York City and the Midwest, he lives with his family in Berkeley, CA.

  • George Stevens, Jr

    George Stevens, Jr. has achieved an extraordinary creative legacy over a career spanning more than 60 years. His play THURGOOD opened in 2008 at the Booth Theater on Broadway. Laurence Fishburne was nominated for a Tony for his portrayal of Thurgood Marshall. The production went on to the Geffen Theater and the Kennedy Center and was filmed for broadcast on HBO. THURGOOD has since been produced in theaters across America. Stevens is the founder of the American Film Institute and a writer, director and producer. Film and television productions include AFI Life Achievement Awards (1973-98), The Kennedy Center Honors (1978-2014), George Stevens: A Filmmaker’s Journey, The Murder of Mary Phagan (Jack Lemmon, Peter Gallagher), Separate But Equal (Sidney Poitier, Burt Lancaster), The Thin Red Line, Herblock: The Black and the White and The Obama Inaugural Concert. Stevens has written three books. His memoir, My Place in the Sun, Life in the Golden Age of Hollywood and Washington was released in 2022. Awards include 15 Emmys, 2 Peabody Awards, 8 Writers Guild Awards and an Honorary Oscar presented in 2012 for "extraordinary distinction in lifetime achievement."