Eugenie Chan

Eugenie is a 5th generation San Franciscan whose forefathers sold slippers in Chinatown, dry goods in the desert, and love in the bordellos. No wonder her plays tend to mix up language, reality, tradition, and history. Her work includes Madame Ho, Kitchen Table, 19 Wentworth, Bone to Pick, Diadem, Tontlawald, Daphne Does Dim Sum; Rancho Grande; Emil, A Chinese Play; Novell-aah!, Pilgrim, Consent, Circus, and opera libretti Courtside, Snakewoman. Theatres that have produced or developed her plays include the Public, Playwrights Horizons, Ma-Yi, Centenary Stage, Pan Asian Rep, and Perishable Theatre; on the West Coast: Cutting Ball Theater, Thick Description, Magic Theatre, Bay Area Playwrights Festival, Northwest Asian American Theatre, Group Theatre, East West Players, and the Asian American Theatre Company, and the Houston Grand Opera: HGOco. Eugenie has received commissions from HGOco, the Magic/Sloan Science Initiative, Cutting Ball, and the San Francisco Foundation; awards fromMixed Blood Theater, NYU; residencies from Sundance, Hedgebrook; grants from the Lippman Family New Frontier, San Francisco Arts Commission, the SF and Wallace Foundations, TBA New Works, CA$H; and fellowships from the Berilla Kerr, Affymax, Tournesol, Film Arts, and George Lucas Educational Foundations. Her work is published in Alexander Street Press’ Asian American Drama and North American Women Writers and Lexington Books’ Embodiments of Asian/American and Pacific Islander/American Sexualities. She is a Resident Playwright at New Dramatists and playwright emerita at the Cutting Ball Theater. Eugenie has also written political satire for the San Francisco Mime Troupe and screenplays which have been finalists for Nicholl and Cinestory Fellowships. She holds a BA in Literature from Yale and an MFA from NYU.

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