by Mary Kathryn Nagle
About the Play
Some wounds refuse to heal. Mary Kathryn Nagle’s daring new work, part of Washington D.C.’s 2018 Women’s Voices Theater Festival, travels the intersections of personal and political truths, historic and present struggles. Sarah Ridge Polson, a young Cherokee lawyer fighting to restore her Nation’s jurisdiction, must confront the ever-present ghosts of her grandfathers. With shadows stretching from 1830s Cherokee Nation (now present-day Georgia) through Andrew Jackson’s Oval Office to the Cherokee Nation in present-day Oklahoma, Sovereignty asks how high the flames of anger can rise before they ultimately consume the truth.
Mary Kathryn Nagle (Playwright)
Mary Kathryn Nagle is an enrolled citizen of the Cherokee Nation. She currently serves as the executive director of the Yale Indigenous Performing Arts Program. She is also a partner at Pipestem Law, P.C., where she works to protect tribal sovereignty and the inherent right of Indian Nations to protect their women and children from domestic violence and sexual assault. She has authored numerous briefs in federal appellate courts, including the United States Supreme Court. She has received commissions from Arena Stage, The Rose Theater in Omaha, Nebraska, Portland Center Stage and Denver Center. Her other plays include Manahatta, Diamonds, Waaxe’s Law, Sliver of a Full Moon, My Father’s Bones, Miss Lead and Fairly Traceable.
Molly Smith (Director)
Molly Smith has served as Artistic Director of Arena Stage since 1998. Her more than 30 directing credits at Arena Stage include Carousel, Oliver!, The Originalist, Fiddler on the Roof, Camp David, Mother Courage and Her Children, Oklahoma!, A Moon for the Misbegotten, My Fair Lady, The Great White Hope, The Music Man, Orpheus Descending, Legacy of Light, The Women of Brewster Place, Cabaret, South Pacific, Agamemnon and His Daughters, All My Sons and How I Learned to Drive. She most recently directed Our Town at Canada’s Shaw Festival. Her directorial work has also been seen at The Old Globe, Asolo Repertory, Berkeley Repertory, Trinity Repertory, Toronto’s Tarragon Theatre, Montreal’s Centaur Theatre and Perseverance Theater in Juneau, Alaska, which she founded and ran from 1979-1998. Molly has been a leader in new play development for over 30 years. She is a great believer in first, second and third productions of new work and has championed projects including How I Learned to Drive; Passion Play, a cycle; Next to Normal; and Dear Evan Hansen. She has worked alongside playwrights Sarah Ruhl, Paula Vogel, Wendy Wasserstein, Lawrence Wright, Karen Zacarías, John Murrell, Eric Coble, Charles Randolph-Wright and many others. She led the re-invention of Arena Stage, focusing on the architecture and creation of the Mead Center for American Theater and positioning Arena Stage as a national center for American artists. During her time with the company, Arena Stage has workshopped more than 100 productions, produced 39 world premieres, staged numerous second and third productions and been an important part of nurturing nine projects that went on to have a life on Broadway. In 2014, Molly made her Broadway debut directing The Velocity of Autumn, following its critically acclaimed run at Arena Stage. She was awarded honorary doctorates from American University and Towson University.