Eugenie Chan

Eugenie Chan 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; Bone to Pick; Diadem; Tontlawald; Daphne Does Dim Sum; Rancho Grande; Emil, A Chinese Play; Novell-aah!; Pilgrim; Consent; Circus; and opera libretti, Courtside and Snakewoman. Theatres that have produced or developed her plays include, East Coast; The Public Theater, Playwrights Horizons, Ma-Yi Theater Company, Centenary Stage, Pan Asian Rep, and Perishable Theatre and; on the West Coast: Cutting Ball Theater, Thick Description, Magic Theatre, Bay Area Playwrights Festival, Northwest Asian American Theatre, Group Theatre, East West Players, Asian American Theater Company, and Houston Grand Opera: HGOco. Eugenie has received commissions from HGOco, the Magic Theatre/Alfred P. Sloan Foundation Science & Technology Initiative, Cutting Ball, and the San Francisco Foundation; awards from Mixed Blood Theatre, NYU; residencies from Sundance, Hedgebrook; grants from the The John Golden Fund/Lippmann Family “New Frontier” Award, San Francisco Arts Commission, the San Francisco 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 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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