named programs · 4 · from sources
What they call their work
American Woman
Solo show development and presentation program for female-identifying writers in the United States, led by Raquel Almazan and using methods such as Liz Lerman’s Critical Response Process.
Classics in Color
Development program for BIPoC playwrights creating early-draft works that merge lived experience with narratives from the global theatrical canon, led by Caridad Svich.
DQT Presents
Program that develops and publicly presents staged readings of full-draft plays by BIPoC and female-identifying playwrights, often selected from other DQT development programs.
PlayTime
New play development program for early-draft plays by female-identifying or BIPoC playwrights, led by Carmen Rivera.
activities · 3 groups
What they do
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Professional Theatrical Production 2 activities
- Co-production of original and experimental theater worksCo-produces original and experimental theatrical performances, including 'Word Menagerie: An Evening of Monologues', 'The Ballad of Him & Her', 'Firehouse', 'Bill – A Rake’s Tale', 'The Maltinsky Cycle: Play One', 'Cowl Girl', 'The Pet Play', and 'In The Night Everyone is Equal', contributing artistic and production resources to bring innovative works to stage.
- Presentation of staged readings and full theatrical productionsPresents staged readings and full productions of new and adapted plays by diverse playwrights, primarily at venues in New York City such as The Siggy Theatre/The Flea, A.R.T. New York, and others. Recent presentations include public staged readings of _La Esperanza_, _Eras(h)er Face_, _El Bacalao: The Catfish Man_, _Riding the Bear_, and _They Used to Grow Avocados Here_, as well as full productions like "An Evening With Maria Wirries," "Rita is The Goat," and "Waiting: a black queer tragicomedy in two acts."
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New Play Development Programs 2 activities
- Development of new theatrical works by underrepresented playwrightsDevelops new plays and solo performances by Black, Indigenous, and People of Color (BIPoC), female-identifying, and other underrepresented writers through structured programs such as American Woman and Classics in Color, using methods like Liz Lerman’s Critical Response Process. The organization has supported the development of works including "Lunaticus," "Sarah Rifka’s Secret," _Yerma in Vitro_, _Waiting_, and multiple solo shows that have gone on to public presentation or further residencies.
- Playwright and director development labsOperates play development initiatives such as the Playwrights/Directors Lab (launched in 2010) and groundUp (launched in 2014) to support underrepresented voices in theater through collaborative workshops, rehearsal support, and creative mentorship.
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Uncategorized 1 activity
- Distribution and licensing of short and full-length playsDistributes one-page plays weekly via email to supporters, theatre lovers, and industry professionals, aiming to represent all 50 states. Makes developed plays available for reading and licensing through its website, supporting broader access and future productions by other companies.
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financials · form 990EZ · fy2023
revenue
Total revenue$56K
Contributions & grants$55K98%
Program service revenue$1K2%
Investment income——
Other revenue—
expenses
Total expenses$56K
Program expenses—
Admin / overhead—
Fundraising—
Salaries & benefits—
Grants paid out—
balance sheet
Total assets$227
Cash—
Investments—
Liabilities—
Net assets$227
2 years on record · 2022–2023 · YoY revenue -24.8%
leadership · form 990 part vii · fy2023
Who runs it
paid leadership · 7
| Name | Title | Hours/wk | Compensation |
|---|---|---|---|
| Florian Sachistha | Marketing Manager | 50 | $8K |
| Karen Van de Vrande | Grants Manager | 50 | $6K |
| Maria Torres | Artistic Director | 50 | $6K |
| Michael Mejias | Executive Director | 50 | $6K |
| Jervelle Frederick | Social Media Manager | 40 | $5K |
| Erica Silberman | Special Projects Manager | 40 | $3K |
| Clarissa Baniecki | Website Manager | 30 | $3K |
relationships · 15
Who they work with
- A.R.T. New York Partner — Hosts public staged readings of DQT Presents… plays at A.R.T. New York's Brooklyn Space.
- ArtSpace Partner — Presented Anatar Marmol-Gagne’s Sueños, developed through the American Woman program.
- Arts on Site Partner — Presented Madeline Barr’s Diary Play, developed through the American Woman program.
- Caridad Svich Partner — OBIE Award-winning playwright and educator leading the Classics in Color program.
- HB Studios Partner — Produced plays by Maria Torres and hosts her as a member of its Playwrights Unit.
- Julia Borges Latino Cultural Center Partner — Produced plays by Maria Torres.
- LAByrinth Theatre Company Partner — Presented Madeline Barr's play "Recurring," developed through DQT's PlayTime program.
- Puerto Rican Traveling Theatre Partner — Produced plays by Maria Torres and hosted her as a member and Director of its Professional Playwrights Unit.
- Raquel Almazan Partner — Instructor for the American Woman program and playwright whose work has been presented by DQT.
- Soho Playhouse Partner — Produced plays by Maria Torres.
- The Flea Theatre Partner — Co-hosts public staged readings of DQT Presents… plays at The Siggy Theatre/The Flea Theatre in New York City.
- The Foundry Partner — Presented Melanie Marie Goodreaux’s Rita is the Goat, developed through the American Woman program.
- The Tank Partner — Presented Tanya Perez’s Welcome to Clowntown, developed through the American Woman program.
- The Tank Partner — Presented the play "Lunaticus," developed by DQT, as part of Limefest.
- Theatre for the New City Partner — Produced plays by Maria Torres.
strategies · 3
How they approach the work
Named approaches extracted from this org’s sources. Where others share an approach, follow it to see the full set of orgs running it.
- Canon Reimagining for Inclusive Narrativesmethodology: race-conscious canon reimaginingBy integrating BIPoC lived experiences with narratives from the Global Canon in new play development, we create more inclusive and relevant theatrical works because reinterpreting canonical stories through diverse lenses makes them resonate more deeply with contemporary audiences and expands cultural ownership of the theatrical canon.
- Equity-Centered Representation in Theatremethodology: equity-in-representationBy centering artistic development and production opportunities for BIPoC and female-identifying playwrights, we advance racial and gender equity in American theatre because diverse representation among produced writers leads to a more inclusive and representative national theatre.
- Values-Based Selection and Community-Centered Developmentmethodology: values-based_selectionBy selecting participants through a values-based process emphasizing equity, community, good faith, and artistry, and by fostering shared storytelling, we cultivate emerging theatrical voices because these conditions produce a supportive, rigorous, and progressive environment that strengthens artistic outcomes and national artist networks.