Gina Femia


Gina Femia has written 31 full-length plays which include ALLOND(R)A  (Winner: Leah Ryan Prize), WE ARE A MASTERPIECE  (Winner: The Doric Wilson Award, Nominee, Outstanding Full-Length NYIT Awards), THE MERMAIDS' PARADE  (Semifinalist, The Relentless Award, Finalist, Princess Grace Award), REBELS TIL DEATH  (Reading, Playwrights Horizons), ANNIE AND THE FAT MAN  (Honorable Mention, The Kilroys), THIS HAPPENED ONCE AT THE ROMANCE DEPOT OFF THE I-87 IN WESTCHESTER  (Workshop, Youngblood), SUPER, OR, HOW CLARK GRAVES LEARNED TO FLY  (semi-finalist The O’Neill and The Princess Grace Award), FOR THE LOVE OF  (Center Theatre Group’s Block Party, Theatre of NOTE, Original Works Publishing), and THE VIOLET SISTERS  (Great Plains Theatre Conference).

She is the 2019 Writer-in-Residence with Spicy Witch Productions (THE VIRTUOUS FALL OF THE GIRLS FROM OUR LADY OF SORROWS ) and is an Alum of EST Youngblood, Pipeline Theatre’s PlayLab and New Georges' Audrey Residency (ACCIDENTAL BURLESQUE ). Gina is a current member of Page 73’s Interstate 73 and Project Y Writers’ Groups. She is a New Georges Affiliated Artist and a New York Madness Company Member, and has received residencies with Page73, Powerhouse, NTI at the O’Neill, SPACE on Ryder Farm, and Fresh Ground Pepper. She has been nominated for the Cherry Lane Theatre Mentor Project. MFA, Sarah Lawrence College (Lipkin Prize in Playwriting).



My work attempts to dismantle systems and reconstruct systemic norms through plays that raise issues and confront them head on by creating theatrical experiences that tell very human stories. My greatest goal is to destigmatize stigmas and deconstruct the myth of Normal by creating narratives that honestly and truthfully tell stories about trauma, sex and sexuality that are populated with characters whose voices are often squashed.

Lofty goals, I know, but the more I write plays, the more I find I embrace these instincts rather than run from them. I try to understand them, I try to understand how they’re connected to me and my past and through that specificity, I believe they become universal. Recently, I discovered that I had been subconsciously trying to explore, understand and tell stories about my own trauma in my work; while this was apparently apparent to most, it wasn’t something I realized I had been doing.

All that being said, my plays are still playful and though they are very dark, throughout, they beat Hope. They take place in Brooklyn (mostly Coney Island), in isolated houses after Hurricane Sandy, inthe Midwest during the dawn of the AIDS crisis, at a retreat house during a Non-Profit’s disastrous staff retreat, in a supermarket that’s going bankrupt and a sex shop. They tell stories about a boy who longs to be a superhero, a roller derby team chasing championships, amateur wrestlers, a woman searching for her missing son against the backdrop of a noir thriller, and a struggling burlesque troupe trying to make a name for themselves. Characters grapple with their sexuality, with eating disorders, with socioeconomic pitfalls, with their mental health and trauma.

It is my hope that by telling these stories, we can begin to reconstruct narratives to open up what is possible for theatre to accomplish both technically (pro-wrestling on stage!) and emotionally (telling stories that are viewed as abnormal and showing that they are anything but).







FOR THE LOVE OF (or, the roller derby play) - Original Works Publishing


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Items: 15 of 5, per page
  Source Title Author Description Free sample
Gina Femia

After Father Anthony calls her into his office to discuss the nuns' concerns, Imogene talks to God.

Gina Femia

Sam is telling Pam how their father died, drowned in their basement.

Gina Femia

Forgiving when you cannot bring yourself to forget...

Gina Femia

Beth explains to Kevin what drove her to buy a vibrator from his sex shop.

Gina Femia

Beth explains how one of her students accidentally set her on fire.