has found grist for her plays in an uncharted life.
Elaine saw Disneyland with the King of Zululand when he and his entourage
stayed with her family during his honeymoon. She learned Transcendental Meditation
from a guru who imparted her mantras from a make-shift altar fashioned from the
family toilet. As a grad student in Paris, Elaine found herself with Mother Teresa,
in the awkward position of handing out ham sandwiches to non-pork eating Muslims.
into the Sea
was presented at the Goodman Theatre as part of their Latino Theatre Festival. Something
Rare and Wonderful
recently premiered at the Alley Theatre.
was performed at Orlando Shakespeare Theatre. Acting Editions in
English and Spanish are available with Samuel French.
Elaine’s recent commissions include the Kennedy Center for Performing Arts
(Xochi: Jaguar Princess), Alley Theatre,
and InterAct Theatre Company (The Dalai Lama
is Not Welcome Here).
Other commissions include
Magic Theatre/Sloan (Walk into the Sea),
ONU (Undocumented), Curious Theatre Company
(Rain of Ruin), and Zachary Scott Theatre
She participated in the Sundance Playwrights’ Retreat at Ucross, Playwrights’
Center’s New Plays on Campus Program (Like Heaven),
the Texas State Black & Latino Playwrights Conference (Before
Death Comes for the Archbishop, Kenny Leon, director), and Arkansas Repertory’s
Voices at the River.
Elaine completed NBC’s
Writers on the Verge Program and CBS Diversity Institute’s Writer’s Mentorship Program, both in L.A. She received the Arizona
Commission on the Arts Playwriting Fellowship, TCG/Pew
National Theatre Artist in Residence grant ($100,000), the NEA/TCG Theatre Residency Program for Playwrights
grant, Los Angeles Film School Scholarship, Sprenger-Lang New History Play Contest,
Tennessee Williams One-Act Play Award, and The Chicano/Latino Literary Award.
Elaine’s plays (Barrio Hollywood, iCuranderas! Serpents of the Clouds, Walk into
the Sea, Something Rare and Wonderful, Alicia, Undocumented, Secret Things,
The Fat-Free Chicana and the Snow Cap Queen, Undercurrents, Day of Our
Susan Smith Could Talk) have been developed and produced at
such theatres as Actors Theatre of Louisville, Alley Theatre, Goodman Theatre, Playwrights' Center,
the Magic Theatre, the Ford Amphitheatre, New Theatre, Arizona Theatre Company,
Curious Theatre Company, Bloomington Playwrights Project, Kitchen Dog Theatre, Urban
Stages, INTAR, the Playwrights’ Center, Women’s
Project and Productions, the
Working Theater, Su Teatro, the Lark Theatre, San Diego Repertory Theatre, Borderlands Theater,
Playwrights Festival, and Miracle Theatre.
Samuel French, Vintage Books, Playscripts, Smith and Kraus, Heinemann Press, University
of Iowa Press, UA Press, Wings Press, Simon and Schuster, Bedford/St. Martin’s Press,
Arte Publico Press, Alaska Quarterly Review,
Ollantay Theater Magazine, Poems & Plays, American Theatre Magazine, The Journal
of American Drama and Theatre, Rosebud Magazine, Tucson Guide Quarterly, Tucson
Elaine has taught at
Linfield College and the University of Arizona. She has been a Guest Artist at the Mark Taper Forum, Denver Center Theatre Company,
South Coast Repertory, and CBS Television City. She has served as a judge for TCG, NEA,
and the Kennedy Center. Playwright-in-Residence
at the Arizona Theatre Company, Elaine co-chaired the
National Association of Independent Producers National Conference in Dana Point, California.
Elaine is ever grateful that she can stand on her head.