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Erin Quill

ERIN QUILL  

 Nationality:    Asian American
email:    n/a     Website:    n/a

Literary Agent:    n/a


Erin May Ling Quill is an actress, singer, director and producer of both stage and film productions. A graduate of Carnegie Mellon, she was member of the original Broadway cast of the 2004 TONY Award-winning musical, Avenue Q, and has also played Lady Thiang in The King & I opposite Debby Boone. Other credits include NYPD Blue, girlsclub, China Dolls, Godspell, Anything Goes, and numerous workshops. Former Vice Chair for the Screen Actors' Guild Asian American Subcommittee and a member on its National EEOC, she consulted on the revision of the Asian Language Contract. She is a member of East West Players and Lodestone Theater Ensemble. In addition to her own sold-out shows They Shoot Asian Fosse Dancers, Don't They? and When My Slanted Eyes are Smiling, I Can't See a Damn Thing, Quill has produced Lodestone Theater Ensemble/FOX's All American APA Comedy Jam and, most recently, the upcoming short film POLLEN, starring Alec MapA. Her next project is the pilot of Screening Party, based on the book by Dennis Hensley.
- http://www.aatrevue.com

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below is a list of Erin Quill's plays - click on a Play Title for more information

 They Shoot Asian Fosse Dancers, Don't They?         When My Slanted Eyes Are Smiling, I Can't See A Damn Thing         Yellow Feva

They Shoot Asian Fosse Dancers, Don't They?

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When My Slanted Eyes Are Smiling, I Can't See A Damn Thing

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Yellow Feva

Synopsis:
An indictment of Broadway? Never! It's a play about musicals and the people who do them-it's funny, it's sarcastic-it's an Amy Tan swallowing your bitterness because she enjoys being a girl! type of experience.
- http://www.aatrevue.com

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East West Players, LA: Paper Or Plastic    2000

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www.doollee.com comprises a comprehensive online searchable database for plays written in English since the production of Look back In Anger in 1956. Each play listing contains a playwright biography, synopsis, cast size, creative and production team for the premiere production, date and location of the first performance and much more.doollee.com not only defines the World's theatrical repertoire for the first time but also aims to revitalise that repertoire by reintroducing many lost scripts and providing a gateway for locating and clearing rights for a very large number existing scripts. We are delighted to receive information from users where our own research has been unable to locate details on the holder of a play's rights.doollee.com contains a comprehensive listing for each new play written in English produced by professional theatre companies, venues, festivals, commercial producers and once-off-producers from 1956 to the present. It includes adaptations, translations and new versions. The database also includes those plays produced by fringe (unsubsidised) companies and by semi-professional organisations, where the work is deemed to be of particular significance to the repertoire. Thus you will get help with playwright, dramatist, plays, biography, theatres, agent, synopses, cast sizes, production, published, dates, database, research.







Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.