patty kim hamilton

playwright • dramaturg • director

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Patty Kim Hamilton is a poet-playwright, dramaturg, director and performance artist. Her work exists at the intersection of the intimate and the political — meditating on bodies, language and memory.

Currently she is studying in a masters in Playwriting at the University of the Arts in Berlin. Her Play, “Peeling Oranges” (developed as Playwright in Residence at the Shakespeare Academy Stratford and through the Bechdel Group) is the recipient of the Heidelberger Stückemarkt 2021 Radio Play Prize (produced through the SWR2) and the Jane Chambers Award for Feminist Playwriting, amongst other nominations and mentions (Special Mention and Reading, Autorentheatertage Deutsches Theater Berlin, published in Bella Triste Literary Magazine, Semi-Finalist Bay Area Playwrights Award, Semi-Finalist Blue Ink Playwriting Award, Semi-Finalist Ojai Seven Devils Playwrights Festival). She has had a research residency at HELLERAU: Europäisches Zentrum für Kunst funded through the Fonds Darstellende Künste. Additionally, she is working on a commissioned play for Ballhaus Ost, and has assisted at Netflix and with Gob Squad. Her Play ‘Sex Play’ was invited to the European Theater Convention, developed at HfMT (Hamburg) and through the Wildwuchs Festival (Theaterdiskounter Berlin). Her play 'when it hurts // this body is just a house' was a semi-finalist for the Eugene O'Neill Playwrights Conference in 2020 and was part of Cimientos Playwrights Workshop 2021 at IATI Theatre NY. In 2018 she produced and choreographed the immersive performance installation 'the crane wives', which premiered at SOMOS Art House, while concurrently organizing the drag-adjacent, feminist performance collective JUICY!

She is a graduate of Stanford University where she received a Bachelors in Theater and Performance Studies with Honors and the Sherifa Omade Edoga Prize for Work Addressing Social Issues. In Germany she is represented by Suhrkamp. Updates can be found on instagram.

Reviews

Peeling Oranges, by the Jane Chambers Award Jury:

The five final round judges were energized and intrigued by (the) work's depth and breadth of imagery. Adjudicators emphasized the poetic, embodied force and nuanced specificity of [the] themes, attuned to Asian, Asian-American and mixed cultural identity and were compelled by the inner life crafted for daughters, mothers and sisters coming of age and across lives, facing The Great Sadness. Haunting and hybridic, artful and pragmatic, signature images included for us the ancestral presence of the family's Halmeoni and Frida Kahlo on the lawn, always: we loved the way the play reimagines form, relationships, “home,” life and choice. Elegant in language, deeply feminist in insights— “At some point you can't remember what exactly it is, stored in your body” — this play excavates cross-cultural, generational legacies in unexpected ways, which are both creative and potent. In a cadre of strong finalists, we commend [the] array of significant female roles, particularly for women of Asian descent, your intersectional approach to storytelling and intertwining of queer themes and genderqueer possibilities with the play's complex listening to loss, isolation, mental health and identity. All readers were energized by your layering of dream, everyday and (cross-cultural) ancestral space.

Sex Play, by the European Theatre Convention jury:

Patty Kim Hamilton’s Sex Play portrays with talent the increasingly complicated topics of human sexuality and gender identities, as well as the stress, frustration and sometimes violence these topics carry. Itscotemporary composition and structure give a voice to an undefined number of characters in a series of situations and conversations, in which the author combines a very delicate balance between poetry and realistic, humorous writing, with organic and believable dialogues.