Allison Gregory

Allison Gregory | Biography

Allison GregoryAllison Gregory’s plays have been produced all over the country, and she has received commissions, grants, and development from Oregon Shakespeare Festival, South Coast Repertory, The Kennedy Center, Indiana Repertory Theatre, the Skirball-Kenis Foundation, ACT Theatre, Seattle Repertory Theatre, Orlando Shakespeare Festival, New Harmony Project, National New Play Network, Northwest Playwright’s Alliance, LATC, Amphibian Stage Productions, Theatre Lab@FAU, and Austin Scriptworks. Her work has been the recipient of the Julie Harris Playwriting Award, South Coast Repertory’s Playwright’s Award (Forcing Hyacinths), Garland & Dramalogue Award (Fall Off Night, Breathing Room), Seattle Times Best New Play Award (Burning Bridget Cleary). Not Medea (O’Neill & BAPF finalist), and Wild Horses (O’Neill semi-finalist) received National New Play Network Rolling World Premiere productions across the country. Motherland (O’Neill finalist, American Blues Blue Ink Award finalist, Harriet Lake Playfest selection) was selected for NNPN’s Showcase of New Plays. She currently has workshops of Darling Boud, Hen, Henderson, Honks, Woomling, Love Naunce at the Playwright’s Center, Banff Playwright’s Lab, and Launch Pad at UC Santa Barbara. Allison also writes for young audiences; plays include Go Dog. Go!, adapted from the P.D. Eastman book, co-written with Steven Dietz; Even Steven Goes to War (“Zoni” Best New Script Award; AATE and UPRP awards; Kennedy Center New Visions/New Voices selection); Peter and the Wolf (Seattle Times Best New Play Award; National tour), Junie B. in Jingle Bells, Batman Smells!, and Junie B. is Not A Crook (over 200 professional productions), adapted from the beloved book series by Barbara Park. Ronia: the Robber’s Daughter, adapted from Astrid Lindgren’s story, premiered at Teatr Pinokio in Poland this year. Her adaptation of Judy Moody, a seven-theatre commission, will be produced at all seven theatres in ’17-18. Allison is a 2017-20 Core Member of the Playwright’s Center, and an alumni of LATC’S Wordsmiths and Hedgebrook. She splits her time between Seattle and Austin, where she is the co-founder of the Marthas, a playwright collective. Her plays are published by Playscripts, Smith & Krauss, Dramatic Publishing, and Rain City Press.

Artistic Purpose

As a playwright one goal of mine is to create challenging roles and inspiring opportunities for actresses to strut their stuff. We know gender parity is a thing, and never is it more glaring to me than when skilled artists miss their moment, simply because there’s so little being offered for them to do. I believe my purpose is to generate stories and experiences that will live deeply in audiences and artists; I strive for and embrace that responsibility in all of my work. It’s fun to write demanding roles for actors. It’s thrilling to conjure and shape a story. It’s work but it’s joy, too; it’s craft, yes, and it’s mystery. I find writing a play trying (such a good word); it demands much more of me than I’m comfortable giving. As avid and eager as I am to become a skillful writer, the truth is I become a better person the more I write. So my artistic statement is a humane statement: I write plays to better understand humanity, and to just be better.

I write plays about outsiders. I write plays about families. I write about dogs, and horses, and a wolf. I write about war and myth and magic. I write about things I don’t know. Because my life as a mother and a wife and a writer is so circumscribed, the best way I know to expand is to challenge myself to write my way out of familiarity and habit. I people my plays with strong, susceptible, often under-represented voices in urgent worlds. And I believe deeply in comedy.

© 2014 Allison Gregory. All rights reserved.
Featured background photo by Stephanie Busing.
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