Mia Chung

2023 Winner in
Drama

Mia Chung’s plays include: Catch as Catch Can (Playwrights Horizons, 2022; Page 73, 2018); Ball in the Air (NAATCO/Public Theater, 2022); Double Take (Playwrights Horizons Almanac, 2021); This Exquisite Corpse (multiple awards); You for Me for You (Royal Court, National Theatre Company of Korea, Woolly Mammoth Theatre, multiple regionals; published by Bloomsbury Methuen). Awards, commissions, residencies include: Clubbed Thumb, Hedgebrook, Helen Merrill, Huntington, Loewe Award in Music-Theatre, MTC/Sloan, NYTW, Playwrights' Center/Jerome, Playwrights Horizons/Steinberg Charitable Trust Commission, Playwrights Realm, South Coast Rep, SPACE/Ryder Farm. She is an alum of Ma-Yi Writers Lab and New Dramatists.

Photo Credit:
Willy Somma
Reviews & Praise

"I wish I could give a sense of how perfect Catch as Catch Can is, how deft it is at capturing first our attention . . . and then worming its way into senses deeper down." —Helen Shaw, The New Yorker

"So smoothly virtuosic that it takes a while to realize how good it really is . . . . [R]eflecting on the play, you may marvel at how finely Chung has woven her thematic threads (about family, heredity, nationality, genetics) into the tapestry that unravels with such violence in the play’s second half." —Adam Feldman, Time Out [on Catch as Catch Can]

"You for Me for You . . . is a dizzying, sometimes surreal tale . . . endlessly creative in its approach to contrasting two impossibly different cultures . . . . Chung’s real-world-inspired fable both dazzles and repels, revealing the ugliness buried in both very different cultures. But in one, she suggests, there’s the chance of the most entrancing fairy tale of all: a future." —Sophie Gilbert, Washingtonian

Selected Works

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From the Selection Committee

Mia Chung’s plays are a hall of mirrors that catch and fracture masks of sympathy and trust, and in the doublings that she revels in, the tartly comic shades swiftly toward the wrenching. Her antic, exquisitely controlled experimentation with the dramatic form pries apart ideologies of nationhood and resistance — including those tiny nations we call family.