Last Updated: 29 JUNE 2013
Jason Grote is a playwright, television writer, and librettist.
His best-known play is 1001, a deconstruction of the tales of the Arabian Nights. 1001 has received twenty-two productions since 2007, at The Denver Center Theater, Page 73 Productions (New York), Theater @ Boston Court (Los Angeles), The Contemporary American Theater Festival (West Virginia), Mixed Blood Theater (Minneapolis), Collaboraction and Theater on the Lake (Chicago), Company One (Boston), Rorschach Theater (Washington DC), Just Theater (Berkeley), Doppleganger Theatreforum (Germany), Brown University, New York University, Carnegie Mellon University, UC San Diego, DePaul University, The New School, Montclair State University, University of Wisconsin-Milwaukee, St. Lawrence University, Wayne Community College, and Howard Community College.
1001 was also developed or read at Soho Rep, The O’Neill, New York Theater Workshop, New Dramatists, Baltimore Centerstage, and Shotgun Players, and a published version is currently available from Samuel French.
It has been honored with an SF Bay Area Critics Circle Award; an Ovation Award from The Denver Post; and “Best New Play” from Westword. 1001 has also been included in critics’ year-end top ten lists in The Huffington Post, Time Out New York, Time Out Chicago, The Rocky Mountain News, and The Boulder Daily Camera, was nominated for Best New Play of 2008 by L.A. Weekly, and was listed as the 72nd Most Important American Play in a national poll of theater professionals conducted by The Denver Post. It is currently being adapted into a musical, Scheherazade, with book and lyrics by Grote and music by Marisa Michelson, with support from New Dramatists, TheatreWorks, The York Theater, and Montclair State University’s New Works Initiative.
His television credits include “Mad Men” and “Smash,” and he is currently a writer for the second season of “Hannibal.” He is represented by CAA and Manage-Ment for film and television and AO International for theater.
Other plays include:
Maria/Stuart, produced at Woolly Mammoth Theater (Washington DC), Sideshow Theater (Chicago), Theater Schmeater (Seattle), and REDEYE (Minneapolis), developed/read at Portland Center Stage, Soho Rep, Dog & Pony Theater, Circle X, and The hotINK Festival, published by Samuel French, named “Best of Fringe” by The Seattle Times, and featured in American Theater.
Civilization (all you can eat), commissioned and produced by Clubbed Thumb (New York) and produced at Woolly Mammoth and Salvage Vanguard Theater (Austin), developed at The Sundance Theater Lab, Playwrights’ Horizons, and The Denver Center, and presented in German translation at the Voices of Change Festival (Bielefeld, Germany).
Hamilton Township, produced at Salvage Vanguard, developed at Soho Rep and CUNY’s Prelude ’06, named Best Performance of 2008 by The Austin Chronicle, and presented in Slovenian translation at the Glej Theater (Ljubljana, Slovenia).
This Storm Is What We Call Progress, produced by Rorschach Theater, featured in American Theater, and developed by Soho Rep, Page 73, Manhattan Ensemble Theater, and Studio 42.
Box Americana, commissioned by The Working Theater, and developed by The O’Neill, Playwrights’ Horizons, Portland Center Stage’s JAW/West Festival, Woolly Mammoth, The Lark, and The Playwrights’ Foundation.
Darwin’s Challenge, commissioned by Ensemble Studio Theater’s Sloan Science and Technology Program and developed at The Playwrights’ Foundation, The Lark, and The 24/7 Lab.
He has also received commissions from Soho Rep, The Denver Center, ACT, Big Heart Productions, and The Keen Company/Playscripts Inc., and has developed or is developing devised work with David Levine (HABIT, at The Watermill Center, Mass MoCA, PS 122/The French Institute’s Alliance Française, and The Luminato Festival); Maureen Towey (The Foundry Theatre’s NYC… JUST LIKE I PICTURED IT series and We Give Up at The Baryshnikov Arts Center); and Radiohole (Anger Nation at The Orchard Project). He has developed many projects for radio, both solo and with Karinne Keithley (So Many Important Things at The Conflux Festival, The Acousmatic Theater Hour on WFMU, and a comedic live radio play tribute to Tim Burton at The Museum of Modern Art’s Poprally Series).
Honors include The P73 Playwriting Fellowship; nominations for The Pushcart Prize, The Kesselring Prize, and The Weissberger Award; an NEA Grant via Soho Rep; a NYSCA Grant via Clubbed Thumb; multiple-year finalist for The Princess Grace Award.
He has taught or been in residence at Rutgers University, Hollins University’s MFA Playwriting Program, The National Theater Institute at The O’Neill, Whitman College, The University of Rochester, LAByrinth Theater Company, DePaul University, Montclair State University, Queens College/CUNY, The New School, The University of Wisconsin-Milwaukee, Young Playwrights Inc., and Students for a Free Tibet.
His plays have been published by Samuel French, Playscripts Inc., and in The Back Stage Book of New American Short Plays 2005 (edited by Craig Lucas), and his writing has appeared in McSweeneys.net, The Los Angeles Times, The Kenyon Review, American Theater, the program notes for The Wooster Group and The Royal Shakespeare Company,, Hilowbrow.com (named one of Time’s best blogs of 2010), SignificantObjects.com, Cultural Resistance: A Reader, From ACT UP to the WTO (both from Verso Press) and the Significant Objects anthology from Fantagraphics Books.
He is a member of New Dramatists, a graduate of NYU’s MFA Dramatic Writing Program, and was a contributor to Comedy Central’s “Indecision 2008” blog. He was co-chair of Soho Rep’s Writer/Director Lab from 2004-07, and currently serves on their Artist Advisory Committee, and is a member of The Civilians R&D Writers’ Group.