Harlan Epstein is a queer multi-disciplinarian working primarily in and around theater. Brought up in London by American parents, Harlan has a natural affinity for the liminal, with work that often blurs the line between the external and the internal, the real and the imagined. With the ready accessibility of London theater and an irreverent nature, Harlan grew to have both a fondness for and disillusionment with the stagnation of ‘the western canon’. Harlan’s work is often in dialog with the mainstream of theater, from Sophocles to Shakespeare, Ibsen to Irving Berlin, with approaches that range from interrogation and adaptation to outright destruction.
A graduate of CalArts, Harlan is looking for funding* and collaborators to develop a new musical adaptation of Sullivan’s Travels, Preston Sturges’ 1941 screwball comedy turned social commentary; a minimal, experimental revival of Nine, the 1982 Maury Yeston and Arthur Kopit musical based on Fellini’s classic of existential surrealism, 8 1/2; and an anti-racist meta-production of Othello that looks to pick apart what it is that draws mainstream western (white) theater back to it again and again.
*…and just funding in general, to be honest
Harlan Epstein is a queer multi-disciplinarian working primarily in and around theater. Brought up in London by American parents, Harlan has a natural affinity for the liminal, with work that often blurs the line between the external and the internal, the real and the imagined. With the ready accessibility of London theater and an irreverent nature, Harlan grew to have both a fondness for and disillusionment with the stagnation of ‘the western canon’. Harlan’s work is often in dialog with the mainstream of theater, from Sophocles to Shakespeare, Ibsen to Irving Berlin, with approaches that range from interrogation and adaptation to outright destruction.
A graduate of CalArts, Harlan is looking for funding* and collaborators to develop a new musical adaptation of Sullivan’s Travels, Preston Sturges’ 1941 screwball comedy turned social commentary; a minimal, experimental revival of Nine, the 1982 Maury Yeston and Arthur Kopit musical based on Fellini’s classic of existential surrealism, 8 1/2; and an anti-racist meta-production of Othello that looks to pick apart what it is that draws mainstream western (white) theater back to it again and again.
*…and just funding in general, to be honest
Harlan Epstein is a queer multi-disciplinarian, writer, and activist working primarily in the theater space. Brought up in London by American parents, Harlan has a natural affinity for the liminal, with work that often blurs the line between external and internal, real and felt. The ready accessibility of London theater, combined with a knack for irreverence, led at once to an affinity for and a disillusionment with the stagnation of ‘ the western canon’. Harlan’s work is often in dialog with the mainstream of theater, from Sophocles to Shakespeare, Ibsen to Irving Berlin, with approaches that range from interrogation and adaptation to outright destruction.
A graduate of CalArts, Harlan is looking for work as a dramaturg, as well as for funding to develop a minimal, experimental revival of Nine, Maury Yeston and Arthur Kopit’s Tony-award-winning 1982 musical based on Federico Fellini’s classic of existential surrealism, 8 1/2. And just funding in general, to be honest.
Harlan Epstein is a queer multi-disciplinarian working primarily in and around theater. Brought up in London by American parents, Harlan has a natural affinity for the liminal, with work that often blurs the line between the external and the internal, the real and the imagined. With the ready accessibility of London theater and an irreverent nature, Harlan grew to have both a fondness for and disillusionment with the stagnation of ‘the western canon’. Harlan’s work is often in dialog with the mainstream of theater, from Sophocles to Shakespeare, Ibsen to Irving Berlin, with approaches that range from interrogation and adaptation to outright destruction.
A graduate of CalArts, Harlan is looking for funding* and collaborators to develop a new musical adaptation of Sullivan’s Travels, Preston Sturges’ 1941 screwball comedy turned social commentary; a minimal, experimental revival of Nine, the 1982 Maury Yeston and Arthur Kopit musical based on Fellini’s classic of existential surrealism, 8 1/2; and an anti-racist meta-production of Othello that looks to pick apart what it is that draws mainstream western (white) theater back to it again and again.
*…and just funding in general, to be honest