In January/February of 2016 Marisa’s comedy, Mad Love, was the first new play produced at the brand new Northern Stage/Barrette Center in White River Junction, Vermont. Directed by Maggie Burrows. Mad Love was an O’Neill Playwright’s Conference semi-finalist and won Best Play (2012) from NH in Portland Stages’ (Maine) Clauder Competition and was developed and had readings at the Lark Play Development Center in NYC, The Dorset Theater Festival, The University of Delaware’s professional resident theater company (one-week workshop and reading) and at Dartmouth College and Urban Stages in NYC.
Judith Hertog was born in Amsterdam and moved to Israel as a teenager. She livedin China, Tibet, and Taiwan, and ended up settling in Vermont with her Israeli husband and children. Judith can communicate in six languages but lost track of who or where she is. She writes to find out. Judith teaches creative writing and works as a freelance writer. Her essays have appeared in Zone 3, Indiana Review, The Southampton Review, Tin House, The Common, and many other publications. In addition to being a writer, Judith also loves photography. She recently completed an interview/photography project portraying people in Israel: Views from a Real Place. Currently, Judith is working on a memoir about her experience teaching English in Tibet.
Paul Santoleri was born in Philadelphia. He received a BFA in painting from Tyler School of Art in Philadelphia and Rome, Italy and an MFA in painting from the University of Arizona in Tucson. He also attended Skowhegan School of Art in Maine
Juan Fontanive grew up climbing the rusted iron bridges of downtown Cleveland. He drew machines at Montessori school and made claymations in high school. At Syracuse University he majored in English and Textual Studies while making 16mm experimental films. He moved to New York City in 1999. In 2004, while at the Royal College of Art, London, he invented machines that breathe spirits into Victorian clocks. Currently his studio is in a buzzing factory in Bushwick, NYC.
Maureen McQuillan explores aspects of growth and unpredictability, repetition, replication and imperfection in the process and activity of drawing itself. Her work over the last two decades has ranged over many diverse mediums including printer’s ink and resin on paper, cameraless photography and installation. “Currently, I am making drawings that flout the traditional separation between line and color in Western aesthetics and explore the possibilities inherent in my own incredibly flawed system of color investigation.”