ABOUT ARS NOVA
Recently dubbed by the New York Times as a “fertile incubator of off-beat theater,” Ars Nova was honored with a 2015 OBIE Award and a 2015 Special Citation from the New York Drama Critics’ Circle for our sustained quality and commitment to the development and production of new work. Ars Nova’s ground-breaking world premieres have been essential to the development of our artists and the advancement of their careers, including New York Times Critics' Pick Underground Railroad Game by Jennifer Kidwell and Scott Sheppard with Lightning Rod Special; Outstanding Musical Lortel Award-winner Futurity by César Alvarez with The Lisps; New York Times “Best of 2015” Small Mouth Sounds by Bess Wohl; Time Out NY’s “Best of 2014” Jacuzzi by The Debate Society; Drama Desk nominated Charlatan by Vinny DePonto and Josh Koenigsberg; the award-winning smash-hit Natasha, Pierre & The Great Comet of 1812 by Dave Malloy (Lortel, Obie, and Richard Rodgers Awards; Broadway transfer production); Jollyship the Whiz-Bang by Nick Jones and Raja Azar directed by Sam Gold; the world premiere of the 2009 season’s most-produced play boom by Peter Sinn Nachtrieb and directed by Alex Timbers; Drama Desk and Outer Critic Circle nominated From Up Here by Liz Flahive; audience favorite Dixie’s Tupperware Party by Kris Andersson; the show that put Bridget Everett on the map, At Least It’s Pink, by Everett and Kenny Mellman; and Lin-Manuel Miranda and Thomas Kail’s first New York production, Freestyle Love Supreme, by Anthony Veneziale and Miranda.
Ars Nova is a 501(C)(3) Not-For-Profit Organization and was founded in memory of Gabe Wiener.
Past Producing credits include: Natasha, Pierre & The Great Comet of 1812 by Dave Malloy, directed by Rachel Chavkin; Charlatan by Vinny DePonto & Josh Koenigsberg, directed by Andrew Neisler; Game Play; Eager to Lose, created by Matthew-Lee Erlbach, Wes Grantom, Portia Krieger and Tansy; ANT Fest; Core Values by Steven Levenson, directed by Carolyn Cantor; The Lapsburgh Layover by The Berserker Residents, directed by Oliver Butler; Be a Good Little Widow by Bekah Brunstetter, directed by Stephen Brackett; Now Circa Then by Carly Mensch, directed by Jason Eagan; Bloodsong of Love by Joe Iconis, directed by John Simpkins; Sax & Dixon: We Thee Wed by John Dixon, Peter McNerney and Matt Sax, directed by Peter McNerney; Mel & El: Show & Tell by Melanie Adelman and Ellie Dvorkin, directed by Moritz von Stuelpnagel; Two Girls for Five Bucks and the Ten Dollar Heartbreakers by Cathleen Carr and Daiva Deupree, directed by Andy Donald; Jollyship the Whiz-Bang by Nick Jones and Raja Azar, directed by Sam Gold; boom by Peter Sinn Nachtrieb, directed by Alex Timbers; From Up Here by Liz Flahive, directed by Leigh Silverman; Dixie’s Tupperware Party by Kris Andersson, directed by Alex Timbers; At Least It’s Pink by Bridget Everett and Kenny Mellman, directed by Michael Patrick King; 25 Questions for a Jewish Mother by Kate Moira Ryan with Judy Gold, directed by Karen Kohlhaas; Holy Cross Sucks! by Rob Nash, directed by Jeff Calhoun; Freestyle Love Supreme by Anthony Veneziale and Lin-Manuel Miranda, directed by Thomas Kail; and The Wau Wau Sisters, by Tanya Gagné and Adrienne Truscott, directed by Trip Cullman.