Harvardwood HIGHLIGHTS - September 2025
- 3 days ago
- 20 min read
In this issue:
MESSAGE FROM HARVARDWOOD
NEWS
Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship
Harvardwood at TIFF!
Apply to the Jeff Sagansky Harvardwood TV Writers Program - closes September 12th
Apply to the new Harvardwood Fiction Group - closes September 26th
Harvardwood 101 - Applications open September 8th
Featured Job: Youth Media Representation Program Manager
FEATURES
Harvardwood Profile: Cort Cass AB '03 (executive)
Industry News
Welcome New Members
Exclusive Q&A with Susanna Wolk AB '14 (director)
CALENDAR & NOTES
The Intersection of AI and Media: An Intimate Conversation with Former Chief Analytics & AI Officer of Universal Music Group (Virtual)
Harvardwood DC Writers Workshop (DC)
Exclusive Screening and Q&A for THE VALE: ORIGINS (Virtual)
Release Party for THE VALE and the STORIES WITHOUT BORDERS Podcast, with Author/Director Abigail Hing Wen ’99 (LA)
Last Month at Harvardwood
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
Move over Julius and Augustus Caesar, here comes...Septembius?
The Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship procrastination period is violently coming to an end, get it together and apply by Sept 15! And while you're at it, APPLY NOW to the Jeff Sagansky Harvardwood TV Writers Program which closes September 12th. On second thought, do that one first. And below, other applications!
Take a break from applying and join us for An Intimate Conversation with Former Chief Analytics & AI Officer of Universal Music Group, then attend an Exclusive Screening and Q&A for THE VALE: ORIGINS! Cap all this intimacy and exclusivity off with the LA Release Party for THE VALE and the STORIES WITHOUT BORDERS Podcast, with Author/Director Abigail Hing Wen ’99! We at Harvardwood are feeling pretty good about this book and film, if we do say so ourselves.
As always, if you have an idea for an event or programming, please tell us about it here. If you have an announcement about your work or someone else's, please share it here (members) and it will appear in our Weekly and/or next HIGHLIGHTS issue.
Best wishes,
Grace Shi
Operations and Communications
Mario Cader-Frech Harvardwood Religion & Media Micro-Grant Fellowship
Application deadline: September 15th, 2025 11:59pm PT
Are you a full-time Harvard University student interested in making a short film or executing a project at the intersection of religion and media? Are you passionate about elevating portrayals or exploring issues around the role of religion and faith in entertainment? This is your opportunity!
In collaboration with Harvardwood, the Harvard Divinity School Film Festival (HDSFF) invites students to apply for a grant for work at the intersection of religion and entertainment media.
Harvardwood at TIFF
Are you going to be at TIFF this year? Let us know by emailing admin@harvardwood.org and we'll plan a Harvardwood meet-up during the festival.
Apply to the Jeff Sagansky Harvardwood TV Writers Program - closes September 12th
The deadline to submit for the Fall 2025 Jeff Sagansky Harvardwood TV Writers Program is Friday, September 12th at 11:59 pm PT!
The Jeff Sagansky Harvardwood TV Writers Program uses peer review, guest speakers, and weekly workshops to foster a motivating and supportive environment for each participant’s writing. Participants will be placed in a genre-specific module (half-hour, hour-long, rewrite, etc.) where writers read and provide personalized feedback for each other, supervised by experienced Module Leaders. Throughout the semester, guest speakers, panels, and social events supplement the workshop experience and help build a collaborative and meaningful community out here in Hollyweird and beyond. In other words, “Come for the deadlines, stay for the friends.”
The 10-week program culminates in a “pitch panel” event where participants have the opportunity to pitch their HWP project to industry veterans, receive feedback on their concept, and practice the art of pitching.
Apply to the new Harvardwood Fiction Group - closes September 26th
The Harvardwood Fiction Group is a new module launching this fall with the aim of creating a space for prose writers to get together and discuss/workshop current projects. We will provide a supportive and collaborative environment for writers looking to improve their craft and advance their careers.
Harvardwood 101 - Applications open September 8
Calling all undergrads! Curious about a career in entertainment? Join us in Los Angeles this January for Harvardwood 101, our annual career exploration program that demystifies Hollywood and connects students with alumni in the industry.
During Boot Camp Week (January 5 - 10, 2026), you'll hear directly from industry insiders, attend interactive panels, and meet Harvard alumni at top companies like Amazon, HBO/Max, UTA, and more. You can also apply for a Winternship (Jan 12–23) to gain behind-the-scenes experience through informal positions at entertainment companies or with individual industry professionals.
Applications open September 8 and close October 20 at 11:59pm ET.
Don’t miss the Info Session on September 16 at 4pm ET! Click HERE to RSVP.
Featured Job: Youth Media Representation Program Manager
Job Description:
The Center for Scholars & Storytellers (CSS) at UCLA is seeking a part-time contractor to manage our Youth Media Representation (YMR) program for the 2025-2026 school year. This program features high school students from across the US who have an interest in psychology, research, and entertainment.
Alumni Profile: Cort Cass AB '03 (executive)
by Laura Frustaci AB '21
Cort Cass is a Vice President of Drama Development at 20th Television. He previously served as Vice President of Drama and Comedy Development at ABC Signature and has spent the last 20 years in various positions within the Walt Disney Television company. In these positions, Mr. Cass develops and oversees series across broadcast, cable, and streaming platforms. His half-hour series credits include Emmy and Golden Globe-nominated comedy BLACKISH, HELLO LADIES, and HAPPY ENDINGS. His drama credits include the ABC/ HULU series DEATH AND OTHER DETAILS, QUEENS, and PROMISED LAND. He has packaged and sold projects to every major buyer across town, and his unique background as a high-level creative executive in both the comedy and drama departments has allowed him to build exceptional relationships across the talent, executive, and representation communities.
Mr. Cass helped recruit many of the studio’s biggest talent deals through the years including: Kenya Barris (BLACKISH, GROWNISH), Lee Eisenberg & Gene Stupnitsky (JURY DUTY, HELLO LADIES, TROPHY WIFE), Simon Rich AB '06 (MAN SEEKING WOMAN, MIRACLE WORKERS), Dave Bernad (JURY DUTY, WHITE LOTUS), Matt Lopez (PROMISED LAND), Zahir McGhee (QUEENS) and Marc Webb (THE AMAZING SPIDER-MAN, 500 DAYS OF SUMMER).
Mr. Cass began his tenure at ABC Studios in 2004 as an assistant/coordinator in both the comedy and drama departments and was promoted to manager in 2007. He previously worked at Creative Artists Agency. Mr. Cass started his career as an author, publishing THE REDHEAD HANDBOOK and THE BLONDE BIBLE for publishing house Blue Mountain Arts. He graduated from Harvard College in 2003, where he developed deep relationships with the comedy community as a member of THE HARVARD LAMPOON. His annual BEEFSTEAK charity dinner at Vibiana raises $20k for the LA FOOD BANK. He currently resides in Sherman Oaks with his daughter.
Cort Cass AB ‘03 self-describes as a “television nerd, with a heavy emphasis on nerd,” as evidenced by the fact that while in high school, he once translated an episode of SEINFELD into Latin for an AP assignment. Freshman year of Harvard, he was introduced to the LAMPOON by an older student. “I was not as talented as some of my friends who were on staff, and so I took a shortcut to get on staff my freshman year and comped business.” Cort laughs. “It turned out to be a really smart move.” He did an internship at MTV during his freshman summer, and even though he says he spent the summer organizing a press closet, it didn’t prevent the producing bug from biting him by senior year.
“BJ Novak [AB '01] asked me to produce a big show that he was doing on campus called 'THE BJ SHOW',” Cort recalls. “We recruited Bob Saget to host, put together this amazing variety show at Sanders Theater, and raised a bunch of money. After that, I realized, ‘Oh, shit! This was so much fun! Could I really do this for a living?’”
After graduating, Cort held a creative writing internship followed by a yearlong stint at CAA (where he quickly realized representation wasn’t the path for him). After a few interviews, he ended up as an assistant at Touchstone Television, the television studio within Walt Disney Studios. “And somehow I'm still here, twenty years later, which is absolutely insane and both impressive and mortifying,” Cort smiles.
Although it’s rare within the entertainment business to remain with the same company for so long, Cort says that he’s been able to stay energized and inspired in all the different areas he’s been involved at Disney over the past two decades. “Every time I felt like I stopped growing, a different opportunity presented itself,” he says, the most recent of which was a pivot from half-hour comedy to hour-long drama. “There were not a lot of people out there who would take a VP of comedy and just immediately anoint them VP of drama with no experience, and of course I was nervous making that leap.” Luckily, Patrick Moran, who was in charge of the studio, and Patrick Maguire, who was in charge of drama at the time, saw something in Cort. And he gladly rose to the challenge.
“It turns out that that transition, at least for me, was pretty easy… I actually find drama easier than comedy, at least from an executive standpoint. Because in comedy, you not only have to tell a compelling story, but you have to make it funny. And it's really hard to tell somebody that something's not funny enough. So I just find the one-hour world a little bit easier to navigate. And it's been humbling, learning the 2,000 additional names of writers and directors who live and thrive in that space… but it is important, I think, to feel like you're continuing to grow in this industry and that you are being challenged,” Cort explains.
The pivot from comedy to drama is easier not only for executives, Cort has observed, but also for writers. Although the script length is only half that of a drama, comedies face the challenge of having to actually be funny, which is not as easy to execute. “The reality is, if you study under the best comedy showrunners, they are so disciplined about story,” Cort says. “And I think that surprised me, just how essential that element was in the half-hour space, that it's not just about... jokes per page.” That’s not to say the transition should be discouraged; in fact, Cort notes that working in one medium helps you in the other: “We've had a lot of success and fun working with people who have only worked in one genre and then pivoting them to the other, because they've been able to do something surprising and innovative.”
That kind of surprise and innovation is key to crafting a compelling script. Right now, it’s particularly important that “any script or idea or pitch stand out and be noisy to cut through the clutter,” Cort explains. “But there is some tension, because you have this counterweight where it also needs to be recognizable or packaged in a form that knucklehead executives like me can understand. And so it is a really unique challenge… How do you take a genre that feels familiar and elevate it in some way?”
In terms of the different genres and mediums that Cort has worked across, there is still an underlying message driving the work he tries to involve himself in. “Almost every show that I've worked on hasn't taken itself too seriously. And maybe that's aligned with my worldview… I think that the best comedies that I've worked on have had dramatic elements, and the best dramas that I've worked on have had comedic elements, and I think that they've worked for a reason. Because that encompasses the human experience, and the closer that we can get to helping somebody feel less alone, or having something kind of hit for somebody in a way that makes them feel, but also not wallow in like the state of the world.” This comes down, in part, to a writer’s voice. “Voice is paramount… There are certain creators out there, whether it's Kenya Barris or Michael Waldron, who have a unique way of looking at the world and have something to say. Voice, to me, always wins. You can't teach somebody how to have a voice. They either have it or they don't. It's apparent in the first five pages of reading a script, usually,” Cort says.
That means the key for aspiring writers is to start developing their voice now. But across the industry, a piece of advice Cort offers is to understand that this industry is not always a meritocracy. Unfortunately, jobs don’t always go to the most competent or the most capable applicants. “So much of this industry, especially at the assistant level, is about fit and intangibles, and sometimes, it just becomes about a cadence that they're responding to, or just like a vibe that they're responding to more so than just pure smarts or talent…. Can you really fit into a culture and organization that's really specific to the desk or role that you're applying to?” But one thing that always helps in preparation for any role in the industry is reading and watching everything about it. “Listen to industry podcasts, and just be really well versed in what's going on… and also find a lane that you can really make your mark in as you're coming up… Make yourself an expert in a specific genre or type of storytelling or brand,” Cort concludes.
Industry News
A24 film THE BACKROOMS, written and produced by Roberto Patino AB ’06, is greenlit and in production starring Renate Reinsve, Chiwetel Ejiofor, and Mark Duplass (Deadline)
Jacob Scipio is set to co-lead the as-yet-untitled real estate drama pilot ordered by the Onyx Collective for Hulu, opposite Edgar Ramirez and written by Roberto Patino AB ’06. (Deadline)
Nearly five years after Netflix entered into a content agreement with Ubisoft, the streamer has ordered an ASSASSIN'S CREED live-action series, based on the best-selling video game franchise. The project will be created, showrun, and executive produced by Roberto Patino AB ’06 and David Wiener. (Deadline)
Laurence O’Keefe AB ’91 and Nell Benjamin AB ’92 light up the Old Globe’s HUZZAH! with a world-premiere Renaissance-faire musical that pairs whimsical fairy-kingdom escapades and family rivalries with their classic wit and melody—Rollicking fun ensues when two feuding sisters gamble everything to save their father's fair. (The Old Globe)
Noah Oppenheim AB ’00, screenwriter of JACKIE and ZERO DAY, brings razor-sharp political tension to A HOUSE OF DYNAMITE—an urgent, real-time thriller where a lone missile strike throws the White House into chaos as officials race to unravel the truth. (Screen Rant)
Dan Lin MBA ’99, Netflix Films chairman and producer of blockbuster hits like THE LEGO MOVIE and IT, champions the runaway animated sensation KPOP DEMON HUNTERS—calling it a cultural phenomenon and expressing excitement to “explore what could be the next adventure for Huntrix,” while stressing that any sequel must retain the original’s fresh, musical flair. (The Hollywood Reporter)
Bess Wohl AB ‘96, Tony-nominated playwright behind GRAND HORIZONS, premieres her searing, intergenerational drama LIBERATION on Broadway this October—an urgent, witty memory play where women gathered in 1970s Ohio spark a revolution of self and society, only to have their daughter retrace their steps decades later in search of meaning. (Deadline)
Real-life spouses Nicholas Stoller AB ’98 (veteran filmmaker behind FORGETTING SARAH MARSHALL, NEIGHBORS, etc) and writer-producer-director-actor Francesca Delbanco AB ’95 discuss co-creating and directing PLATONIC—an intimate mid-life friendship comedy that explores the messy, heart-tugging terrain where platonic bonds blur the boundaries of marriage. (The New York Times)
Peter Cramer AB ’90, President of Universal Pictures, safeguards the future of the action-packed Jason Bourne universe—announcing that Universal has secured perpetual screen rights to Robert Ludlum’s JASON BOURNE and TREADSTONE series (excluding publishing). He emphasizes the franchise’s genre-shaping legacy and promises to forge a bold, expanded cinematic universe for global audiences. (The Hollywood Reporter)
John Lesher AB ’88, Oscar-winning producer of BIRDMAN, co-produces the upcoming THE DINK for Apple TV+—a sports comedy starring Jake Johnson and Ben Stiller that reimagines the world of professional pickleball with sharp wit and unexpected heart. (Variety)
Steven Schneider AB ’96, producer of PARANORMAL ACTIVITY and INSIDIOUS, partners with A24 to produce THE UNDERTONE—a supernatural horror film by Ian Tuason that delves into the chilling aftermath of a family tragedy, blending psychological tension with supernatural dread. (Deadline)
David Heyman AB ’83, Oscar-nominated producer of HARRY POTTER, GRAVITY, and ONCE UPON A TIME IN HOLLYWOOD, teams up with Taylor Sheridan to produce an untitled high-octane action thriller for Universal—promising a gripping mix of suspense and spectacle. (The Hollywood Reporter)
Lou Howe AB ’05 and Todd Bartels ’06, co-writers of TONY, team with director Matt Johnson on A24’s upcoming Anthony Bourdain biopic. Produced alongside Tim and Trevor White’s Star Thrower and Zapruder Films, the project features a slate of executive producers including Howe, Bartels, and Emily Rose, promising a deeply personal and unflinching look at the late chef’s life. (Deadline)
Aisha Muharrar AB ’06, author of LOVED ONE, explores the complexities of ambiguous loss in her latest work. Through a deeply personal lens, she examines the emotional nuances of grief and the intricate dynamics of family relationships. (NPR)
Josh Brener AB ’07, known for his roles in SILICON VALLEY and DUCKTALES, joins the cast of the upcoming BIG BANG THEORY spinoff STUART. Brener will portray the titular character, Stuart Bloom, originally played by Kevin Sussman, in this new iteration of the beloved sitcom. (Deadline)
Ed Zwick AB ’74, Oscar-winning director of GLORY and BLOOD DIAMOND, directs THE CREED OF VIOLENCE—a revisionist Western set during the Mexican Revolution. Co-written with Marshall Herskovitz, the film follows an assassin and a young government agent with a shared past, navigating a treacherous landscape that mirrors the brutalities of empire and corruption. (The Hollywood Reporter)
Natalie Portman AB ’03, Oscar-winning actress known for BLACK SWAN and JACKIE, joins forces with Sophie Mas and Carol Joy as executive producers on CAROL & JOY. The trio collaborates to bring a compelling new narrative to the screen, promising a blend of artistic vision and powerful storytelling. (Deadline)
Welcome New Members
Harvardwood warmly welcomes all members who joined the organization or renewed their membership last month:
Maggie Buckley
Michael Connors
Priscilla Lim
Guadalupe Jacobson-Peregrino
Ify White
Owen Gwinn Landry
Jon Shayne
SK Sharma
Mary Catherine Brouder
Exclusive Q&A with Susanna Wolk AB '14 (director)
Susanna Wolk is a NYC-based director. She is currently the Associate Director of the hit Broadway musicals & JULIET (Broadway, US Tour, Toronto upcoming) and JUST IN TIME, which was her 7th Broadway show to date. She directs and develops new plays and musicals and has also worked in TV and indie film. Susanna graduated from Harvard, where she studied English and Dramatic Arts. Find her @susannawolk on social or susanna-wolk.com
Q: What initially drew you to the world of directing, and how did you begin your journey into the field? Would you say there are unique challenges to being a woman in this industry?
I grew up obsessed with theater, mostly participating as a performer—which I think is a pretty common path. Once I got to college, I started to realize how much I loved being in rehearsal— I loved the big-picture conversations, not just performing, but analyzing text, thinking about design and storytelling, and collaborating with others to shape a world. And I came to the realization that I didn’t actually love being on stage (it didn’t help that I had pretty intense stage fright). When I first tried directing, it clicked—I could engage in all the parts of theater I loved, and none of the ones that gave me anxiety.
As for being a woman in this field: yes, I’ve been in rooms where I had to work extra hard to be taken seriously, or where I noticed a difference in how authority and leadership were perceived based on gender or age. But I also think the landscape is shifting, and I’ve had the privilege of working with incredible people who continue to carve out space for different ways of leading.
Q: As the Associate Director of & JULIET, what are some of the unique challenges and rewards of working on a Tony-nominated musical? How is the directing process different when you’re on tour versus when you’re in one place?
As Associate Director of & JULIET, I’m responsible for maintaining the creative vision across the Broadway, US National Tour, and Toronto companies (which launches this fall). That means overseeing casting, running rehearsals for all new company members, training our amazing understudies and swings, watching the show multiple times a week and giving notes, leading the launch of each new company, helping execute the vision of press performances—all while ensuring the artistic heart of the show stays intact and true to the intentions of the original creative team.
It’s incredibly fulfilling because I love this show deeply. It’s a joyful, passionate story about second chances, self-acceptance, and finding the power to write your own story. I believe in the message of self-love to my core, so being able to help spread that message through this work feels like a true gift and an honor.
The biggest challenge is managing the needs of three different companies—each with its own personality and rhythm—while keeping everything aligned. Theater is ever-evolving, and part of the job is figuring out how to keep the work feeling fresh and alive while staying true to its original intentions.
We’re extraordinarily lucky that & JULIET has been running for almost three years on Broadway, and we’re about to complete our first year with the tour. With so much change both in the company and in the world, a huge part of my job is helping the company navigate whatever’s going on in the building or on the road and come together to keep the quality of the show high and the heart of the story beating, no matter the circumstances. Even if there’s chaos happening backstage, multiple people out sick, or a technical glitch, we still have to deliver something joyful, polished, and full of heart for our audiences who have invested significant time and resources into a special night out.
On the flip side, one of the most rewarding parts of the job is watching my colleagues evolve and grow within the show. You meet these folks in auditions, and then they book their dream job performing on Broadway or on a National Tour. I get to be the person who teaches them the show from start to finish, guides them through tech, and supports them through their debut. Seeing them come into their own on stage is an absolute joy. I live for that moment when they take their first bow. And then if they understudy, I help them step into multiple roles, so I watch them evolve further over the course of that process. There are company members on and off stage who have now been with the show for years, and it’s amazing to see how we've all grown together.
Touring adds another layer: we spend weeks in the rehearsal room crafting every detail of the show together, but once it opens, the road team takes over. Of course, I’m in constant touch with them, but I only get to visit every few weeks. On one hand, that distance gives me a helpful outside perspective. On the other, I miss being in the room with the people who are pouring their hearts into the work every night. That’s why strong communication with the road team is absolutely essential.
Q: Could you share some insights into your experience and the process of developing new plays and musicals? What aspects of that work are particularly fulfilling for you?
What I love about developing musicals is the collaboration. With music, lyrics, design, and book, choreography, there are so many tools for storytelling—and so many voices in the room. The director’s job becomes one of synthesis: filtering all the exciting ideas and feedback through the lens of the directorial vision. That process of shaping a world with a team of brilliant minds is exhilarating. I love figuring out how to hold the big picture while making space for creative discovery and expansion.
Q: How did your time at Harvard prepare you for where you are now? Were there connections, classes, or lessons that helped you?
Harvard was hugely formative for me. Most importantly, it’s where I met my closest friends—people who are still my support system today. This industry has so many ups and downs, and having that community forged in the fire of college theater has been absolutely vital.
Being part of the HRDC (Harvard-Radcliffe Dramatic Club) was also incredibly impactful. It felt like the Wild West: you assembled your team, applied for space, and figured out how to mount a show with very little oversight. It taught me to be scrappy, resourceful, and collaborative—skills that translated directly to working in indie theater in New York, where you often have to invent the rules as you go. Some of the work I’m most proud of to this day came out of those scrappy, bold productions. There’s something special about creating art in a space where nothing is handed to you—and where pure creativity drives the process.
I also had the chance to work at the American Repertory Theater, which was an incredible education in high-level professional theater. I got to witness new musicals being developed and work alongside artists creating work that eventually made its way to Broadway. That experience made me fall in love with the process of making large, commercial musicals at scale and shaped a lot of my artistic vocabulary.
Q: Your work spans a variety of venues and formats, from off-Broadway to short films. How do you adapt your directing approach to different settings and mediums?
Every project is different, but I always come back to a few core values that guide me no matter the medium:
Set clear expectations – clear is kind
Treat everyone with kindness and respect
What is the most simple, honest, heartfelt version of each choice? That one is usually the best.
As I mentioned, I truly love being in rehearsal – I love that it’s a space of infinite possibility. It’s almost meditative for me because it’s a space that forces you to be completely present. You have to listen like crazy: you’re listening to the work your colleagues are doing on stage so you can respond and shape it, but you’re also listening to the needs of all of your collaborators in the room, from the performers, to the stage managers, to the rehearsal pianist, etc. I think everyone wants to walk into a space and feel valued, respected, and safe to take risks. That means different things to different people, so I try to create a room where people feel supported enough to fail, explore, and push themselves.
I hope that the joy that I take in this process trickles down to the people I work with – I think that kind of environment leads to the most honest, exciting, and sustainable work.
Q: What’s a piece of advice a mentor gave you when you were first starting out that has stayed with you?
“Comparison is the thief of joy.” It’s simple, but it’s something I come back to often—especially in an industry where it’s easy to get caught up in what other people are doing.
Q: What would your dream production be to work on—whether it’s a specific show, a team, or a space?
So many! I would love to do nearly any of Sondheim’s musicals, but especially A LITTLE NIGHT MUSIC. I have a passion project about the American Girl Dolls that I’m dying to do. Basically, anything that traffics in joy, heart, imagination, and has juicy roles for women and nonbinary performers is my dream show.
The Intersection of AI and Media: An Intimate Conversation with Former Chief Analytics & AI Officer of Universal Music Group (Virtual)
Thursday, 09/11
SK Sharma revolutionized how artists connect with audiences during his transformative tenure as Chief Analytics & AI Officer at Universal Music Group. From 2016 until 2025, he pioneered groundbreaking machine learning and AI technologies that empowered thousands of independent artists, songwriters, and labels to compete on a global stage previously dominated solely by major label resources.
Join us in conversation with SK Sharma to discuss the intersection of AI and Media.
Harvardwood DC Writers Workshop (DC)
Saturday, 09/13
Join the Harvardwood DC Chapter at Tatte in Foggy Bottom (2129 I (Eye) St. NW) on Saturday, September 13, at 2PM ET, for "Fall Writing." Bring your novels, plays, poetry, and more! Many of you asked for a writers-focused event, and we are heeding that request! This gathering is meant to offer a space where writers can share pages from current projects, receive on-the-spot feedback, and collaborate with other writers. No restrictions on the project type - if you have pages, bring 'em with you. Past events have allowed for 10-minute reads and feedback.
Although this event is FREE, we do ask that you RSVP. If you have any questions, please feel free to contact us at DC@Harvardwood.org.
Exclusive Screening and Q&A of THE VALE (Virtual)
Sunday, 09/14
Join author Abigail Hing Wen AB '99 for an exclusive preview of her new short film starring Tony Award Winner Lea Salonga, coupled with the launch of her book of the same name: THE VALE.
Release Party for THE VALE and the STORIES WITHOUT BORDERS Podcast, with Author/Director Abigail Hing Wen ’99 (LA)
Saturday, 09/27
Harvardwood co-presents a joint launch event for NYT-bestselling author-screenwriter-director Abigail Hing Wen’s new middle grade novel THE VALE (with accompanying short film prequel THE VALE: ORIGINS) and the new STORIES WITHOUT BORDERS podcast hosted by Hollyn Alpert (daughter of Harvardwood founder Mia Alpert AB ’99).
Last Month at Harvardwood
Last Month at Harvardwood, we had a Beach Day, watched & JULIET, enjoyed an evening of classical music and conversation, got advice from screenwriters, and more!
Want to submit your success(es) to Harvardwood HIGHLIGHTS? Do so by posting here!
Become a Harvardwood member! We work hard to create programming that you, the membership, would like to be engaged with. Please consider joining Harvardwood and becoming an active member of our arts, media, and entertainment community!
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