Emma Goidel used to mainly write plays.
She developed and presented them in New York at places like Ars Nova, the Playwrights Realm, Clubbed Thumb, Ensemble Studio Theatre, the Orchard Project, Colt Coeur, and SPACE on Ryder Farm. Before New York, there was Philadelphia, where she co-founded a production company with a few other playwrights, and they produced seven plays (by Emma and others) that went on to win a bunch of awards and got everybody excited. Emma reached a personal best with this kind of thing in early 2020, when she was named the Page 73 Playwriting Fellow, long-time goal, big dream, and then two months into that , Covid shuttered the city.
As a result, Emma now writes for TV.
She is currently developing an original dark comedy for FX, with Joel Fields and Joe Weisberg as producers.
She still writes plays, theoretically and some days like actually. In fact, she’s the only playwright in the history of Page 73 to enjoy the leisure of a multi-year fellowship. That’s because nobody knew when theater would reopen, and workshops kept getting rescheduled, and then she went off and had another baby, and at this point, why rush it?
As a result, she has several new works in development with P73: Women and Children (Finalist, 2021 O’Neill National Playwrights Conference), Two Minutes To Midnight (dir. Taylor Reynolds), and Conversations We Will Never Have (Rockefeller Center residency).
Before those plays, she wrote The Gap (Barrymore Award, Kilroys List, ATCA/Steinberg Nominee), Local Girls (Princess Grace Award Finalist, produced by Azuka Theater and many colleges), and A Knee That Can Bend (ATCA/Steinberg Nominee, Barrymore Award Finalist). She produced and wrote for the beloved Philly dinner theater series A Play, A Pie, and A Pint. And she worked as a standardized patient at med schools and hospitals, pretending to be ill for the benefit of future healthcare providers and American society at large.
tv
cori wellins
grace buting
william morris endeavor
theater
emma feiwel
luke virkstis
william morris endeavor
herself
myself, it’s me