SOFONISBA, written with a grant from the Ludwig Vogelstein Foundation, will be read at the Kennedy Center's Page-to-Stage Festival Sunday, August 31 at 2:00pm. (Directed by Dot Neumann. Featuring Sunshine Cappelletti as Sofonisba Anguissola.)
A completely new version of Callie's DC Fringe hit MAY 39th will also be read at the Page-to-Stage Festival Sunday, August 31, at 7:30pm. (Directed by Christy Denny.)
[7.08 Callie has three short pieces in DC Fringe. THESE THINGS TAKE TIME is produced by Journeymen Theatre Ensemble on a bill called Ball and Chain. SUICIDE CHIMPS and PLANETY HUMANITY are performed at the eXtreme eXchange Fringe Edition.
[6.08 SUGAR ON TOP is produced at Glendale Community College.
[4.08 TAKE ME OUT TONIGHT is produced at Rogers State University in Claremore, OK.
[2.08Lizard Claw debuts in Boston and Cambridge with 6 short plays on climate change. DC Fringe, The Warehouse, and Pete Miller & Sara Cormeny sponsor It's Not You, It's Me, an evening of Callie's plays. Pics here.
[1.08Callie's newly translated adaptation of Mozart's THE IMPRESARIO, commissioned by The In Series, premiered at the Atlas Performing Arts Center in Washington DC.
[12.07She received a playwriting grant from the Ludwig Vogelstein Foundation. Her one-minute plays were performed in Brooklyn at The Brick Theatre as part of Monarch Theater's 1-Minute Play Festival. The first play she wrote, TAKE ME OUT TONIGHT, was performed as part of E-Town Shorts Fest at Elizabethtown College.
[9.07THE TRAGEDY OF MARY LOU SKATONDA had a staged reading at the John F. Kennedy Center for the Performing Arts.
[7.07Her play, NUTSHELL, based on T.S. Eliot's "The Waste Land," premiered on the Woolly Mammoth mainstage as part of the DC Fringe Festival. The show's MySpace page has video snippets and blog entries by the characters.
[6.07She performed in Constellation Theatre's production of Caryl Churchill's A DREAM PLAY. “It is not until Kimball enters as the dead mother that we are treated to fully human words exchanged by fully human (though not completely alive) characters, and we can see how good the play is going to be.” DC Theatre Scene
[Kimball] combines futuristic fantasy with a plus ça change philosophy, her play adding up to a hopeful vision tinged with dark humor.
The Washington Post
“…[I]t’s something of a relief when [Edward the Black Prince]…finally gets to trounce the sneering Frenchies—and even more of one when Callie Kimball’s nicely no-nonsense Queen Phillipa arrives from England with one of those vanquished Scots in tow. …Rauscher and Kimball discover a deliciously textured bit of wordless byplay that says worlds about their relationship, which clearly runs on equal parts affection and exasperation; it’s a delight to watch, and it adds a comfortably human layer to a scene that’s otherwise all pomp and circumstance."
Washington City Paper
Callie Kimball's skill at matching the Bard's couplets with her own is impressive, as is her facility for delineating ancient politics, but it's her literary wit that sets Rape of Lucrece apart.
Washington City Paper
Kimball has ingeniously appropriated some of the most stirring lines from Shakespeare's poem, redistributing them among the characters, turning narration to speech and vice versa. You could hardly ask for an achievement that contrasted more with her 2005 play "Lulu Fabulous," a hip spoof about modern singles.
The Washington Post
Kimball has a bright way with a line and a vivid imagination for characters.
Washington City Paper
Kimball has a barbed wit and an appreciation for zany situations... Kimball has a flair for character.
The Washington Post
