Taylor Mac (who uses “judy”, lowercase sic, not as a name but as a gender pronoun) is a playwright, actor, singer-songwriter, cabaret performer, performance artist, director and producer.  “A critical darling of the New York scene” (NY Magazine), TimeOut NY has called Mac, “One of the most exciting theater artists of our time” (naming judy the best cabaret performer in New York, in 2012, and a future theater legend).  American Theater Magazine says, “Mac is one of this country’s most heroic and disarmingly funny playwrights”.   The New Yorker says, “One of contemporary theater’s more unforgettable performances.”  The Village Voice named judy the best theater actor in New York (2013). The New York Times says of Mac in general, “Fabulousness can come in many forms, and Taylor Mac seems intent on assuming every one of them”.

 

Judy’s work has been performed at New York City’s Lincoln Center and The Public Theatre, the Sydney Opera House, American Repertory Theatre, Stockholm’s Sodra Theatern, the Spoleto Festival, the SF MOMA, and literally hundreds of other theatres, museums, music halls, opera houses, cabarets, and festivals around the globe.

 

Judy is the author of seventeen full-length plays and performance pieces including “Hir” (upcoming NYC premiere at Playwright’s Horizons, fall 2015, and world premiere at San Francisco’s Magic Theater, Feb 2014), “The Lily’s Revenge” (Obie Award), “The Walk Across America for Mother Earth” (named One of the Best Plays of 2011 by The New York Times), “The Young Ladies Of” (Chicago’s Jeff Award nomination for best solo), “Red Tide Blooming” (Ethyl Eichelberger Award), “The Be(a)st of Taylor Mac” (Edinburgh Festival’s Herald Angel Award) and in collaboration with Mandy Patinkin, Susan Stroman and Paul Ford, Mac created “The Last Two People On Earth:  An Apocalyptic Vaudeville”, which judy is performing/touring with Mr. Patinkin.

 

Recent acting roles include Shen Teh/Shui Ta in The Foundry Theater’s production of “Good Person of Szechwan” at La Mama and the Public Theater (for which judy received Lucille Lortel and Drama League Award nominations), Puck/Egeus in the Classic Stage Company’s “A Midsummer’s Night Dream”, and the title role in various productions of judy’s play, “The Lily’s Revenge”.

 

Mac is currently creating a 24-hour durational concert called, “A 24-Decade History of Popular Music” (sections of which have been performed for Lincoln Center, The Under The Radar Festival at the Public Theater and Chicago’s Museum of Contemporary Art, among many others) as well as a Dionysia Festival of four original plays (to be premiered separately and eventually performed in repertory), which deal in some way with our cultural polarization and that include:  an all-ages play called, “The Fre” (commissioned by the Children’s Theater Company in Minneapolis, premiere date TBD); a kitchen-sink tragedy named, “Hir” (which received its world premiere at the Magic Theater in Feb 2014);  a dance-theater play, “The Bourgeois Oligarch” (commissioned by The American Repertory Theater in collaboration with the Boston Ballet, premiere date TBD), and a site-specific musical set in NYC’s The Rambles about Harry Hay and the Radical Fairy movement.

 

Playscripts, Vintage Press, New York Theatre Review, and New York Theatre Experience have published judy’s plays and judy is the recipient of a Peter Zeisler Memorial Award, the Helen Merrill Playwriting Award, two Sundance Theater Lab residencies, three Map Grants, The Creative Capital Grant, two New York State Council of The Arts Grant, a Massachusetts Council of the Arts Grant, an Edward Albee Foundation Residency, The Franklin Furnace Grant, and a Peter S. Reed Grant.  Mac is a proud alumnus of both the HERE Arts Center Resident Artists program and New Dramatists.  Judy is currently a New York Theater Workshop Usual Suspect.

AWARDS

Peter Ziegler Memorial Award, 2014

Helen Merril Playwriting Award, 2014

Lucille Lortell, Best Actor Nomination, 2014

Drama League Nomination for Years Best Performance, 2014

Best Theater Actor of NYC, The Village Voice, 2013

Future Legend of New York Stage, Time Out NY, 2012

Best New York City Cabaret Performer, Time Out NY, 2012

Obie Award, 2010

Dallas Theater Critics Forum Award, 2010 Best Touring Show

Independent Bloggers Award, 2010

Chicago Jeff Award Nomination, 2009

James Hammerstein Award for playwriting, 2008

One of Out Magazine’s 100, 2008

Latest 7 Award, Best Show, 2007

Best of Brighton Review Award, 2007

Argus Angel Award, 2007

Edinburgh Festival’s Herald Angel Award, 2006

PS 122’s Ethyl Eichelberger Award, 2005

GRANTS

Massachusetts Council of Art, 2013
Map Grant (with The Children’s Theater Company), 2012
McKnight National Residency Commission, 2010
Map Grant (with Talking Band), 2010
New York State Council of the Arts (with Talking Band), 2010
New York Foundation for the Arts, 2009
Creative Capital Grant, 2009
Rockefeller Map Grant (with HERE Arts Center), 2008
New York State Council on the Arts, 2007
Franklin Furnace, 2007
Peter S. Reed, 2005

 

FELLOWSHIPS & RETREATS

MacDowell Colony, 2014
Sundance Theater Lab, 2013
New Dramatists, 2007 to 2014
New York Theater Workshop Usual Suspect, 2013
HERE Arts Center Resident Artists, 2006 to 2009
Sundance Theater Lab, 2009
Edward Albee Foundation Residency, 2005
Ensemble Studio Theatre’s New Voices Fellowship, 2000

For the last fifteen years I’ve been producing and co-producing my own work.  In 2004 I began informally calling my producing efforts, Ethyl Crisp Productions.   Under Ethyl Crisp Productions I produced The Face of Liberalism, Cardiac Arrest or Venus on a Half-Clam, Red Tide Blooming, The Young Ladies Of, and co-produced The Be(A)st of Taylor Mac with Paul Lucas Productions and the premiere of the Obie award winning The Lily’s Revenge with the Here Arts Center.  Recently, as I’ve begun strategizing how to tour my ensemble work and create a repertory theater in New York,  I realized I needed to get a little more formal and so created Nature’s Darlings, LLC.  Nature’s Darlings comes from the Walt Whitman poem, Native Moments, and was chosen to help remind me that however formal I get, or how much I manage to get the Fool into the court, the root of the work comes from and is for those darlings and ideas who are forgotten, dismissed, or buried.

 

“Native moments–when you come upon me–ah you are here now,
Give me now libidinous joys only,
Give me the drench of my passions, give me life coarse and rank,
To-day I go consort with Nature’s darlings, to-night too,
I am for those who believe in loose delights, I share the midnight orgies of young men,
I dance with the dancers and drink with the drinkers,
The echoes ring with our indecent calls, I pick out some low person for my dearest friend,
He shall be lawless, rude, illiterate, he shall be one condemn’d by others for deeds done,
I will play a part no longer, why should I exile myself from my companions?
O you shunn’d persons, I at least do not shun you,
I come forth within your midst, I will be your poet,
I will be more to you than to any of the rest.”

-Walt Whitman