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Nina Segal

NINA SEGAL

  
Nationality:    n/a
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Literary Agent:    Curtis Brown Group Ltd  

Nina Segal is a playwright based in London and New York. "My work has been presented or commissioned by the Young Vic, Roundhouse, Theatre Delicatessen, Brick Theater (Brooklyn), Pick-Up Club (Amsterdam), Basement Brighton and Yale University. I have been an Artist-in-Residence at NDSM Treehouse, Amsterdam (2014) and Camden Peoples Theatre (2011). I have participated in the Writers Programme at the Royal Court and Soho Theatre and am a member of Soho Theatres Writer Alumni group."

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below is a list of Nina Segal's plays - click on a Play Title for more information

         Audio Instructions for a [less im]perfect world         Big Guns         Dear Johannes         Escape Velocity         Fin         forwardslashfortune         Hundred Year Space Trip         In the Night Time (Before the Sun Rises)         Since We Exploded The Last Thread. . .         Text-Based-Adventure         Touch         Vessel

Audio Instructions for a [less im]perfect world

Synopsis:
You receive a package in the post. A medium-sized jiffy-bag, taped closed. The bag looks like it's been used before, and the sender has attached too many stamps, 'just to be sure'. You open it, and take out a white instruction card, adictaphone, spare batteries, blank address labels and a set ofheadphones. You unravel the wires that have become tangled in the journey. You worry momentarily about the cleanliness of the headphones. You set the dictaphone, batteries and headphones onto the table in front of you, and read the instructions, which state: You should have received this package in the post. This package should contain a white instruction card, a dictaphone, spare batteries, blank address labels and a set of headphones. If any of these items are missing, please emailninasegal@gmail.com. You should be in a space in which you can hear clearly. You should be in a space in which you feel comfortable speaking into the dictaphone. You should be in a space in which you feel comfortable following any instructions you may hear on the dictaphone. If the space has four white walls, two windows and a door, that's even better. Make sure the dictaphone is rewound all the way to the beginning. When you press PLAY, you will hear a set of audio instructions for a [less im]perfect world. When the instructions appear complete, pause the dictaphone at the point at which the instructions currently end, and press RECORD. Record your own instructions, taking off from the point at which the previous participant ended. When you are finished, replace the dictaphone, batteries, headphones and white instruction card in the package. Place a blank address label over your own address.

Notes:
Audio Instructions is a collaborative performance piece // It exists only within a single dictaphone recording // There is no back-up and it will break if you spill water on it. Audio Instructions is a verbal blueprint for a world not too dissimilar to our own - but better, surely, or at the very least not worse. It's a chance to start from scratch - from four white walls, and mean what you say this time. It's an exercise in collaboration and the international postal service. To be involved in Audio Instructions, please email ninasegal@gmail.com.

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Big Guns

Big Guns
Big Guns is a play for two actors and a bunch of guns. Or maybe just two actors and an empty stage. The guns are in our heads, maybe, not actually visible. But their presence. Their presence is there. All the things we are // All the things we could have become // We need more time // Everything would have been better // We would have been better // We would have made amends // We would have earned forgiveness // We would have // Started over and // We would have been better // So so much better // If we only had more time // That's the oldest lie in the book. A man enters the stage and // the man has a gun and // the man says, don't worry // Don't worry, I'm not here to harm you // I don't have a message for you or // a threat or // a ransom note written in // cut-out letters from the // Guardian Weekend magazine // I'm not here for any particular reason except // to let you know that I'm here // And that you shouldn't forget about me.

Notes:
originally developed through the Soho Theatre Young Company, to be workshopped at DePaul Theatre School, directed by Jacob Janssen.

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1st Published:
Oberon Books (2017) >>>    978-1786821669

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Genre:
political piece

Parts:
Male:  -            Female:  2            Other:  -

Further Reference:
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Dear Johannes

Synopsis:
Like all good beginnings, it starts with a wall. This particular wall was a usual wall in very many ways. About eight foot high and fourteen foot wide, in a hot and sandy country. Not especially load-bearing. From one side, the side by which the wall was approached in this case, it was altogether non-descript. The kind of wall you walk past and only register 'wall', if anything at all. But from the other side, from the side that required some reason, long forgotten, to pause and turn and look back the way you came, the wall was not usual at all, for a wall. On this side of the wall, the side you would see if perhaps a friendly or startling noise beckoned you back from the opposite direction to your travel, in big, black, block capitals, is a letter, written in German. We are most certainly not in Germany. Each character is at least the size of a hand and painted in a block-ish, standardised font not usually favoured by those who paint on public walls. 'Dear Johannes, I still have one suitcase left in Berlin.' On a wall, in Malaysia, one last suitcase on the other side of the world, indelibly inscribed for nobody to see. This is a piece about endings. About that one last suitcase still left in Berlin. About whether the last bite tastes better or worse than the first; about documentation, and what we should be doing with the dry brown piece at the end of the sticky tape. About the final word and the last rolo; one last song, one more story. About lights out, or lights up. About how you ever close your mouth and nod that yes, you're finished now; and about those final breathless seconds before you have to really see how many audience members are left in the room.

Notes:
Created in residency with NDSM Treehouse, November/December 2014

1st Produced:
NDSM     2014

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Escape Velocity

Synopsis:
A response to Obama's nixing of the shuttle program and the loss of every future generation's skyward gazing to World of Warcraft, we take one small step towards restoring mankind's faith in space travel. We've blended our packed lunches, practiced holding our breath, and brought Lance Bass along for the ride - now all we need is a similarly underqualified ground control team to help the pre-launch preparations go smoothly. A show about hope and failure, with thanks in advance to Michael Bay.

Notes:
Created by Nina Segal and Thomas Martin/barometric.

1st Produced:
Camden Peoples Theatre, London     2011

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Genre:
piece

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Fin

Synopsis:
A small spot of light on a dark stage. A shape, moving within that space - a baby rat, days-old, so young and new it seems almost transparent. It tries to stand but falters; slipping up and over onto its days-old, transparent baby rat back. It tries again - slips again. It skids and swirls, ice-skating without grace. Another spot of light, larger than the first. A man in this light, naked. Slipping. Twisting, fish-like, and slipping again. The man and the rat do not acknowledge each other, though they move in almost-unison.

Notes:
Developed with the Royal Court Young Writers Programme // Workshop at the Gate Theatre, Notting Hill, 2014 // Workshop upcoming in Washington DC, 2015 // Shortlisted for the Adrian Pagan award, 2015

1st Produced:
workshop, Gate Theatre, London     2014

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forwardslashfortune

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Hundred Year Space Trip

Synopsis:
Two astronauts enter the space. // Not 'space', not 'outer space', we're not suggesting that they enter outer space. We're not suggesting that you should believe that two people have just entered outer space. // We're not even really asking for a suspension of disbelief, here. // No we mean, two astronauts enter the space, like, the theatrical space. // They sit. // They wait. // Everyone waits, together. "Dear__________, I don't know when this message will reach you. _____ told me that when we send a message from where we're going, it will take five years to reach Earth. So I wrote it in the past."

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1st Produced:
Yale Cabaret     22 Sep 2011

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In the Night Time (Before the Sun Rises)

In the Night Time (Before the Sun Rises)
A baby cries. A bottle breaks. A window smashes. Over the course of one night, mum and dad try to still their screaming infant - but as the hours grow longer, the world becomes elastic around them, and the horrors that scar our planet crash in to the baby's room. Should they ever have brought this child into such a wounded world? The world premiere of Nina Segal's In the Night Time (Before the Sun Rises) takes a hallucinatory look at one couple's experience of having their first baby.

Notes:
Part of the season: NUCLEAR: A Season about the Family. In The Night Time (Before The Sun Rises) was developed at New Works Lab, Connecticut, directed by Kate Attwell, and at NDSM Treehouse, Amsterdam.

1st Produced:

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1st Published:
Oberon Books (2016) >>>    978-1783193134

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Genre:
Play/Drama 89 min

Parts:
Male:  1            Female:  1            Other:  -

Further Reference:
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Since We Exploded The Last Thread. . .

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1st Produced:
Wickham Theatre     2009

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Text-Based-Adventure

Synopsis:
Three performers stand at the ready, before you, not drawing attention to themselves, in fact, they are only of note for the headset in their ears and the number splayed across their chests - they are waiting. You, the audience, text the number with a direction // an action // a speech // a command // to stand / to sit // spit // swallow // fight // fall // laugh // whatever. The performers immediately respond to the direction, in real-time, in real-life. Text-Based Adventure is a theatre-experiment for a generation raised on Choose-Your-Own-Adventure; chiseled out from the anonymity of chat rooms and messageboards; and taught to share by Kickstarter - caught between the divisive pull of instant gratification for the individual and the limitless potential of collaboration. When navigating the space between the virtual and the real, in which the options are endless and the only accountability is to yourself, what route do you choose?

Notes:
part of Game Play 2012

1st Produced:
Brick Theater, Williamsburg     2012

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Touch

Synopsis:
about Morgellons Disease and the social effects of virtual reality.

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Genre:
WIP

Parts:
Male:  -            Female:  -            Other:  -

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Vessel

Synopsis:
On June 24th 2014, a heavily pregnant US woman was arrested, forcibly, outside the Kennedy Space Station, Merritt Island, Florida. She was, according to eyewitness sources who spoke on condition of anonymity, attempting to donate her unborn child to the US government, for use in future space programme activities. The woman, who has not yet been named, is currently in the custody of Florida state. Vessel is a play about leaving, and about coming home.

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To Buy This Play:
If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

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Genre:
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