Playwright Danielle Winston Discusses Her New Play and Female Solidarity

Danille Winston’s new play Ida and Leonor will be featured along with four other plays in HERSTORY 2: WE RISE. In this interview with Artistic Director Natalie Osborne, she discusses the lives of Ida Lupino and Leonor Fini, as well as the importance of solidarity among women on the path to discovering our true potential. You can see HERSTORY 2: WE RISE, March 10th and 11th at the Silk Road Art Gallery in New Haven. 


1.) Have you written plays for 365 Women a Year before?

Yes. Last year I wrote a one-act play called, Stitches In Time about the former slave folk artist, Harriet Powers. I hadn’t heard of her until I was assigned to write her story. Harriet was a natural storyteller who wove elaborate tales into her quilts. Today her bible quilt hangs in the Smithsonian. Unlike my play, Ida & Leonor, Stitches was a recreation of an actual event that occurred in two women’s lives. There was a staged reading of the play in Harlem this past summer, and Stitches was well received.

2.) Tell me more about what drew you to Ida Lupino and Leonor Fini?

I chose Ida Lupino and Leonor Fini because I wanted to learn more about them. In addition to being a writer/director, I’m also an artist myself. Often I write stories about artists, and/or paintings are featured somehow. A while back, I attended an art exhibit about little known female surrealist painters at Sotheby’s in Manhattan. It was mind-expanding… The works were so imaginative and unique! Yet, it felt tragic that many of us had never heard of these artists. I was struck by Leonor Fini’s work. Many of her images were half-animal, half-woman. They were sensual, vibrant and supernatural… I had to know more about the woman who created this world. The 365 Women a Year project seemed like the right opportunity to begin.

As a woman filmmaker, I’m in awe of Ida Lupino, and grateful for what she did to pave the way for women in the film industry. She’s a true unsung heroine. Many know her as a stage and film actress. They don’t realize how radical she was, writing and producing films about subjects other people weren’t touching with a fifty-foot pole. Imagine, in 1949, she co-wrote a film about a young woman who considered having an abortion! Let that sink in… Even now that subject is pretty taboo. And that film, Not Wanted, turned out to be the first film that Lupino directed. She’s such an important woman in film history, a real role model. And proof that you can be in charge and not surrender your femininity. I’ve been wanting to write about her for a while.

3.) One thing I found interesting about this play is that this is a fictional conversation, so what inspired you to put these two women in a room together? 

Well… To be honest, part of that was, I had a deadline for 365 Women a Year. I was working on my other scripts, a feature screenplay and full length play. Suddenly my deadline for 365 Women was approaching and I had three historical women to write plays about! Since Ida and Leonor were alive at the same time, it seemed reasonable they could have crossed paths in their theatrical circles. I began to think of what might happen if they had met: how each woman might influence the other…  And I loved the idea of such intense strong-willed creative women meeting at pivotal times in their lives. Sparks began to fly in my mind as I heard their voices talking to each other. I see Ida & Leonor as the start of something bigger. I truly appreciate the opportunity to have this play in Herstory Festival. It’ll be the first time the play is read before an audience.

4.) Ida Lupino was one of Hollywood’s first female directors, can you tell me more about that? 

There were very few female directors. Alice Guy-Blanche in 1896, Louis Weber is credited as the first American woman film director at the turn of the century, Dorothy Arzner in the 20’s, there were more I’m sure, unfortunately we rarely hear about them. However, Ida Lupino is credited as the first director, male or female, to have ever directed themselves acting in a film for The Bigamist (1953). Two years earlier she had actually directed, On Dangerous Ground (1951) also.  Because it occurred out of necessity when her director Nicolas Ray had a nervous breakdown, she took over but was never credited. Think about how difficult it is to direct and act… to see through the camera lens, the entire world of the film, shape the performance of each actor, and at the same time also embody a character yourself. Personally, I think it’s one of the hardest things to do well.

Before the term, “glass ceiling” existed, Ida Lupino didn’t ask for permission to make her films. She created meaningful pictures, took on a massive amount of so-called “men’s work” and was an unstoppable cinematic force. Ida was a writer, producer, and eventually a film and television director. Her passion for telling the kinds of stories she wanted to see, naturally led her to directing, which is touched on in my play, Ida & Leonor. She was constantly evolving creatively, and an expert on the individual parts that go into making a film. Woman or man, that kind of ability is rare, even today.

5.) Leonor Fini was an immigrant, as well as a bisexual woman, I feel those are two groups that aren’t represented often in the media or on our stages, can you tell me more what it was like writing her as a character? 

In America, unless we’re American Indians, we are all descended from immigrants. Born in Argentina, raised in Italy, and living in Paris as an adult, Leonor Fini was multicultural in every sense. As a woman who didn’t stay stagnant in any one place, her heritage made me understand her nonconformist ways and wildly original way of seeing the world, reflected in her art.

Leonor seemed to have a fluid sexuality, involved with both men and women and was often polyamorous; Like Ida, Leonor was a woman who wasn’t playing by anyone else’s rules, inventing life as she went along, doing the unimaginable.

In my films and plays, I usually write about fictional characters so writing real people is an intriguing challenge. My stories are very psychological though… so with Leonor and Ida, I learned about each woman’s life and tried to imagine her motivations and feelings. My process is part fact, part imagination… It merges on the page and becomes a kind of new discovery.

6.) What does it mean to have stories about women like Ida and Leonor, who are outsiders and groundbreakers, told given our country’s current political climate? 

As a woman it’s easy to feel triggered by our current leadership for obvious reasons. It sometimes feels as though we’re in a time machine going backward. Instead of shriveling up and becoming weak, women are banning together. In turn, our voices are growing more powerful, which is inspiring. I was interviewing a writer/producer recently and she was talking to me about this uprising of female energy and power… And It’s clearly happening now in massive numbers. Women are refusing to be complacent which is a beautiful/powerful thing.

51% of the human race is female and yet, so little of how women changed the world is known to us, that there needs to be a term called, “Women’s History.” That’s pretty wild! Women need to discover other women of influence and power so they can emulate them. Seeing stories like Ida & Leonor, and the ones in HerStory and 365 Women a Year, I hope will inspire women to make their own voices heard.

Ida & Leonor is about two women who don’t realize their own power, until each woman becomes a kind of mirror that brings the other’s strength to light. When we see stories about women doing miraculous things, we have a chance to identify with these women. Not only do we gain role models, but something clicks in our heads and we think, “well, if she can do it, maybe I can too!”

7.) What do you see your role as a writer and a theatre-maker being in America today? 

I’m working on plays and screenplays now that feature juicy, wildly complex roles for women and men. It’s my goal to direct and continue to write stories driven by exciting unconventional women that reach a wide audience. Thats the best way I know to challenge and hopefully change female stereotypes.

8.) What role do female friendships fill, both in your play and in the world today? 

Ida and Leonor illustrates how a spontaneous friendship between two women can alter each one’s destiny.

The female friends you surround yourself with can teach you to become your truest self. There are women who embrace their own strength and uplift their female friends. That creates the best kind of growth… In a perfect world this would always be the case. However, some women feel threatened by other women’s successes, which in turn depletes their own energy and creates weakness and deprivation. Now, more than ever, I think it’s essential to empower and uplift the women in your life. It’s the only way to become stronger and experience happiness. Widening your circle of female friends is a way to do that. Also, social media, if used positively, creates a tapestry of interconnectedness.

9.) Is there anything else you would like to share? Any advice for your fellow writers and theatre makers? 

Tell your stories however you can. Plays are great because unlike films, you don’t need a fortune to stage them. And one-acts are a safe way to explore seeds of stories you may want to expand later on. I’ve written feature films and TV pilots from stories that began as one-act plays. For women… Make your voices heard. View your friend’s success as yours. Read your friends stories, listen to them. Listening is severely underrated and essential for creative growth. One last thing: we need more women working in theatre and film. Women, hire other women to work with on your creative projects. It’s incredibly important!

To learn more about Danielle Winston and her work, please visit

If you would like to support HERSTORY and NOplays efforts to bring women’s stories onto our stages, please consider making a donation. Remember to check our blog for more interviews with our playwrights!

NOplays Seeking Directors


HERSTORY is back! NOplays will once again produce a festival of new plays written by women about women who changed our world. The performance will take place at the Silk Road Art Gallery in New Haven Connecticut, March 10th and 11th. Directors will receive a small stipend. If you are interested, please email your resume to

HERSTORY Closing Night

Thank you to everyone who came out and saw HERSTORY this weekend. We’re so grateful for your support! Because of you, NOplays is one step closer to creating gender equality on the stage and in the pages of our history books.

Theatre can’t exist without audience members to see it and a community to support it, so if you enjoyed the performances this weekend, go see some more theatre! There’s so much amazing work happening all over Connecticut, and you can make sure there will continue to be so for generations to come!

Thank you again and we look forward to seeing you at our next performance!


The Inzalaco Family won our first doorprize, a $50 Gift Card to Cloud 9 Day Spa.


The Culla Family won a poster signed by the cast.




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And we said good bye to three beautiful plays.

Congratulations to everyone involved in the project on a job well done.


Your Last Chance!

It’s your last chance to see HERSTORY tonight at 8pm at the Silk Road Art Gallery!

We had an amazing first night!


The Pfeiffer Family won our first doorprize, a $15 gift card to Rainbow Gardens Restaurant.


Michael Gannon won a poster signed by the cast.


Koffee? donated all of this delicious food!

And we had three beautiful performances.











There’s still more to come! You can still see these three piece BUT ONLY tonight!

Food and drinks will be served again by Koffee?

And we have a $50 gift certificate to Cloud 9 Day Spa and a poster signed by the entire cast for the first two audience members to arrive.

We’ll see you tonight!


The official press release for HERSTORY, one of NOplays’ new work festivals coming this April!


When it comes to documenting his-tory, men have always had the upper hand. Until now!

NOplays presents: HERSTORY, two evenings of staged readings by emerging female writers about women who shaped our world.

About the Project:

HERSTORY is NOplays fourth production. We’ve produced festivals across New England from Bennington College in Vermont to Hubbard Hall in Cambridge, NY, to right here in New Haven. Our mission is to promote and produce the works of underrepresented voices in the American Theatre, specifically emerging female writers. We want the wild, fun, and unique stories told by these writers to be heard!

The plays featured in HERSTORY are part of 365 Women a Year. This international playwriting coalition involves over 200 women across the world who have signed on to write one or more one-acts about extraordinary women in history. The project’s ambitious yet focused goal is to write women back into the social consciousness as well as empower and promote female playwrights, and plant seeds of herstory around the country.

HERSTORY will take place at the Silk Road Art Gallery in New Haven, CT, April 29th-30th at 8pm. Plays include Mountain Dew written by J.Lois Diamond and directed by Teresa Langston, Little Swan written by Allie Costa and directed by Brooks Appelbaum, and Making Frankenstein written by Natalie Osborne and directed by Moira Malone. Coffee, tea, and dessert from Koffee? will be available free of charge. Doorprizes will be given out to the first audience members to arrive, including gift cards to Rainbow Gardens Restaurant and Cloud 9 Day Spa. There is a $5 suggested donation for entry. Tickets are available at the door, first come first serve. We hope to see you there!

If you would like to support this and other NOplays projects, consider making a donation.


A Historic Day

In honor of International Women’s Day and Women’s History Month, NOplays is launching our first fundraiser! We hope that you’ll consider making a donation today!

Any amount you can give will help us support women in theatre, but in order to receive a historical women’s trading card, you must give a minimum of $7.50. WE’RE LOWERING THE MINIMUM DONATION TO $5!!!! These cards are limited edition AND WILL ONLY BE AVAILABLE UNTIL FRIDAY, APRIL 8TH, 11:59AM. Make sure you get in your donations quickly. Thank you for your support!


365 Women a Year Part II TONIGHT!!


Get on your snow boots and scarf! Tonight’s the opening night for NOplays’ second 365 Women a Year event, featuring the works of Bennington College students and alumni. What do Mary Shelley, Elizabeth Bishop, Stella Adler, and Pina Bausch all have in common? They’re going to be on stage tonight at Hubbard Halls’ Freight Depot at 8pm! Don’t miss out! Buy tickets here.

An Interview with Catherine Weingarten (Reposted)


We’re very excited to have the opportunity to develop 365 Women a Year, The Bennington plays, further with Hubbard Hall as part of their Winter Carnival.

In preparation for the performance, we’re reposting this interview with Catherine Weingarten regarding her play Feelin’ Lonely. This interview was originally published on the site in 2015.

You can see Feelin’ Lonely, and the other 365 Women a Year plays, on Friday, January 29th and Saturday, January 30th at 8pm. You can purchase tickets here.

Interviewer: Natalie Osborne

Q: How did you hear about 365 Women a Year? 

A: Last year I got in touch with Jesslynn Chamblee because we both were selected for a few of the same short play festivals. She was super fun to talk to and we ended up commiserating about grad school, being a female playwright and submission opportunities. Then she told me about her awesome project “365 Women” and I decided to join the Facebook group and give it a go!

Q: Why did you choose Elizabeth Bishop as your historical woman? What drew you to her?

A: At Bennington College I took a poetry class my freshman year about intense friendships between poets; and we studied Elizabeth Bishop and Robert Lowell. Ever since then she has stuck in my head. I love how observant, crisp and surprisingly funny her poetry is. Also she was a lesbian and so edgy and strong! Can I be her now!

Q: Can you walk me through the process of adapting a persons life for the stage? What were some of the challenges? What parts really clicked together? 

A: I knew that I didn’t want to be too literal when it came to adaptation. I wanted to take details from her life that did it for me; and then give myself the freedom to imagine my own version of how things could have played out. The challenge is the pressure of being historically accurate/depicting things as they probably occurred; but to tell you the truth that sounds supa boring, so I tried to avoid that and let myself have weird Elizabeth Bishop odd fantasy sequences.

I had a lot of fun creating Elizabeth Bishop as a character because she is so spunky and smart and repressed; what cool qualities for a woman!

Q: The play takes place during Bishop’s time at Vassar College, what inspired you to focus on this part of her life? 

A: Ever since I have been writing plays I have been obsessed with stories about younger people trying to figure out adulthood. The idea of writing about Elizabeth Bishop still trying to figure out her voice and her swag, really did it for me. Also I was a playwriting apprentice at Vassar’s Summer Theater in 2012, so I had a clear image in my mind about the buildings she probably studied in.

Q: What are you most excited about for the reading on the 27th? What are you most nervous about?

A: I am such a Bennington chick, so I am thrilled whenever my alma mater decides to put up my work! I am nervous that people will throw hipster vegan drinks at the stage and cry and say that my play is not historically accurate(which it probs is not).

Q: Are there any playwrights that inspired you while you were working on this piece, or who inspire you in general? 

A: Things that inspire me: coconut cake, Sherry Kramer, Sam Hunter, pink cupcakes.

Q: What has been your favorite aspect of working with 365 Women a Year? 

A: I am a big proponent of female playwrights and minority playwrights having more of a voice on the American stage; so this project is right up my alley. I love feeling like I’m apart of this sketchy secret Facebook group mission that involves a ton of female playwrights.

Q: Do you have any advice for the playwrights joining 365 Women a Year in 2015? 

Don’t worry too much about getting every detail of the person’s life correct. Just try to take what’s interesting to you and then give yourself room to be crae and have fun!

Catherine Weingarten is a recent Bennington College graduate in Vermont and an incoming playwriting MFA candidate at Ohio University. Her short works have been done at such theaters as Ugly Rhino Productions, Fresh Ground Pepper, and Nylon Fusion Collective. Her full length plays include: Are you ready to get PAMPERED!?, Recycling Sexy, A Roller Rink Temptation and Pineapple Upside Down Cake: a virgin play. She is the Playwright in Residence for “Realize your Beauty inc” which promotes positive body image for kids by way of theater arts. She was previously a member of Abingdon Theater’s playwrights group and New Perspective “women’s work” short play lab 2014.

Winter Carnival Opening Weekend

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NOplays’ second production of the 365 Women a Year Plays is coming up quick; but if you can’t wait to see great new theatre in the Berkshires, come to the Winter Carnival at Hubbard Hall this weekend! Shows are Friday the 22nd at 8pm, Saturday the 23rd at 2pm and 8pm, and Sunday at 2pm. Then come back next weekend to see the 365 Women a Year Plays!

You can buy tickets here.

If you want to find out more about the Winter Carnival, listen to this great interview by Bob and Sally Sugarman from Theatre Talk.