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Suzanne Bradbeer's plays include Full Bloom (Barrington Stage); The Sleeping Girl (Alabama Shakespeare Festival's Southern Writers' Project); You Miss Them When They're Not Around (Dreamcatcher Rep); Bethlehem, PA (City Theatre of Miami); Okoboji (Stageworks/Hudson); Lone Star Grace (Theater Workshop of Nantucket); God in the Goat (Barrington Stage); The Match (FAB at The Barrow Group); Rita Faye Pruitte (Six Figures); Fear and Loathing on the Nile (the Drilling Company); and The Roof (Blue Collar Theatre Company). Ms. Bradbeer was a contributing writer on Speakeasy (Joe's Pub at the Public Theater); the True Body Project (Brooklyn Museum); and is the librettist for the musicals Cocus and Doot (Vital Theatre Company) and Max and the Truffle Pig (NYMF).Ms. Bradbeer has received grants from the New York Foundation for the Arts, the Berrilla Kerr Foundation, and the Anna Sosenko Trust, as well as the 2012 BMI Foundation Harrington Award for Creative Excellence. Ms. Bradbeer was also a winner of the Ashland New Plays Festival, and is a two-time finalist for the Heideman Award. Residencies include The New Harmony Project, the Dorset Theatre Festival, and New River Dramatists. Nominated by Theresa Rebeck, Ms. Bradbeer was a fellow of The Lark's Playwrights' Workshop.Monologues from many of Ms. Bradbeer's plays have been published by Smith & Kraus, who have also published her plays Bethlehem, PA; Sometimes Romeo is Sad; Full Bloom; and Okoboji. Ms. Bradbeer has written a series of children's books, used to facilitate a Headstart teaching program through Penn State. She is a member of the Ensemble Studio Theatre Playwrights Unit, the BMI Workshop, The Actors Studio P/D Workshop, and the Dramatists Guild.
Samuel French Titles by Suzanne Bradbeer
- Shining The Light: How One Teacher Brought The Ghostlight Project To His High School
- A Musical Classic Gets a Bold New Staging in San Antonio
- Beautiful: The Multi-Generational Draw of HEATHERS THE MUSICAL
- Transgender Characters, in Their Own Words
- True and False: Harold Pinter’s HOMECOMING in a Post-Factual World
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