PLAYS ON STAGE and OTHER NEWS:
For a full list of plays, production photos, reviews and news, please visit my website.
Upcoming publications!
Out of Time and Place: An Anthology of Plays from the Women’s Project. Featuring the 2010 Women’s Project Playwright Lab members, with introductions to each play and a foreword by Therese Rebeck.
Trojan Barbie published by Samuel French. On the shelves by January 2011.
The War Plays published by NoPassport Press (March, 2011)– an anthology of my plays on war.
Slow Falling Bird, Trojan Barbie and Mothergun, with an introduction by filmmaker Peter Davis (Hearts and Minds).
Excerpts from several plays published by Smith and Kraus in The Best Women’s Stage Scenes and Monologues, 2010 and The Best Men’s Stage Scenes and Monologues, 2010. Edited by Larry Harbison.
Upcoming Productions!
–Trojan Barbie at Playbox Theatre, Warwick, U.K.. March, 2011
The Underpass in workshop production at UNC Chapel Hill in April, 2011. This project began life as part of the Virtual Performance Factory at UNC Chapel Hill for the CHAT Festival (Collaborations in Humanities and Technology) in 2010. The CHAT project was collaboration between six commissioned writers, a director/ dramaturg and video game design company Icarus (Fallen Earth). THE UNDERPASS is my part of this project, in development with director Joseph Megel and interactive media designer Jared Mezzocchi.
Trojan Barbie review:
Trojan Barbiereceived the first prize for the Playwrights Theatre “Plays for the 21st Century” award (2009).
Trojan Barbie had a reading in the hotINK International Play Festival hosted by Tisch School of the Arts, NYC. Directed by Daniella Topol.
For Trojan Barbie: Awarded the 2009 Rhode Island State Council for the Arts (RISCA) Playwriting Fellowship
RECENT: Trojan Barbie world premiere at the American Repertory Theatre
Trojan Barbie at Cutting Ball’s “Risk is This” Festival of Staged Readings
Weightless world premiere at Perishable Theatre, RI
Mothergun production with Emergency Theater Project, NY
Scripts Published Online
Home To Roost: An Impossible Play Cannibalized By Events at hotreview.org
All Souls’ Day in The Australian Reader
List of Christine Evans’ plays at doollee.com
Australian Script Center archive of Christine’s plays
Reviews and Publicity
Weightless has had good houses, great audience responses and some very nice reviews in its world premiere run at Perishable Theatre, RI (Oct 26- Nov 11 2007). Here’s a review: And some nice production photos:
Trojan Barbie wins the 2007 Jane Chambers Playwriting Award
Mothergun postcard from Emergency Theatre Project
My Vicious Angel at the Adelaide International Festival of the Arts, 2000
Slow Falling Bird at Crowded Fire, 2005; image from production (Michael Storm as RICK) and article in Scene 4; feature article in the San Francisco Chronicle.
And a review that suggests doubling your antidepressants.
Slow Falling Birdin Australia at Metro Arts
Mothergun at the Midtown International Theatre Festival by Emergency Theatre Project.(First produced by Perishable Theatre in 2000; reviewed in the Theater Mirror)
Pussy Boy (scroll down!) at Belvoir St. Theatre’s B Sharp space
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writing.performance 
Dear Christine,
I just finished reading a copy of your play, Slow Falling Bird. I’m an aspiring writer and the piece really spoke to me. I wanted to ask how the character of the ‘Fish Child’ came to you, what you drew upon for the death of Zahara…
‘There’s a cord from him to you
Tangled up in your daughter
As the sea rolls his bones
Through the green ocean dark’
Dear Elizabeth,
Thanks for your interest! I’m curious–how did you encounter my play?
As for the Fish Child— images come to me first, and then characters, and then the hard work of plotting. I was haunted by the terrible stories coming out of the Australian detention camps, and one image consistently came to me: that of a tattered bird/ woman caught on a fence, unable to fly or land. This seemed to sum up the situation of the asylum seekers. So that was my seed image for Zahrah. And as for the Fish Child–it’s an extension of the same idea— a being trapped between one world and another, but in this case between incarnation and spirit life. And the fish—- I just think she listened to the sharks sing a lot on the boat, and they entered her bones as she rocked in her own private uterine sea, safe while all her family were in peril. So ocean is primal home for her.
Hope this makes sense! Interestingly when I saw published drawings from the children in the camp, they reprised many of the same imaages and themes— a weeping dove in a cage; a woman caught on a ladder of tears.
Christine