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My first week landed right at the start of The Larks Playwrightss Week festival, and the first event I attended was a public reading of Gardleys Dance of the Holy Ghosts, a memory play. I still hold vividly that moment when the final stage directions were read, and the audience just sat in breathless silence, as I believe so many of us were just blown away by this new voice.
Amina Henry writes plays that are big question marks. Plays that don’t have the answers but instead dig deep into the intricacies of human contradiction. She finds sustenance in the parts of humanity that are simultaneously vexing and enticing. There’s something valiant and audacious about the questions Amina asks in her work. And there’s something special about a playwright asking you to think something rather than telling you to think something.
A pictorially detailed, delightfully uncomfortable, raucously funny imagining of public school teachers planning a telethon in the 1980s, Miles for Mary was birthed by Brooklyn-based theater company The Mad Ones over a multi-year development process at the Starr. Time Out New York declared, “Your troubles lift from your shoulders while you’re watching Miles for Mary,” and the New York Times hailed it as “an ideal showcase for this company’s strengths.”