Susan Hansell began writing for the theatre by constructing text/s for dancers, choreographers, and performance artists, including herself.  Early pieces can be viewed on YouTube, have been published in More Monologues for Women by Women (Heinemann) and performed by the author at The San Francisco Museum of Modern Art, among other San Francisco venues.

While studying in New York City, Susan Hansell’s My Medea became a selection of the 1996-97 Best American Short Plays series (Applause), subsequently staged by the Players Theatre division of Cal Rep in 2005.  Additional plays from this period are Little Kings and We Are All Dick 3, as well as American Rose, which was produced at The Ohio Theatre in NYC and received Honorable Mention in the 1998 Jane Chambers National Playwriting Contest.

New plays by Susan Hansell include the historically-accurate one-act Every Concentrated Fragment (which will be presented at the 36th Annual William Inge Festival in April 2017), the historically-accurate full-length experimental drama, My World War Too, the full-length experimental satire, Waiting for a Table at the Garden of Eden, and the hour-long naturalistic comedy, What Do We Have Here?

Susan Hansell has taught in the Creative Writing Department at San Francisco State University, and at California State University Long Beach in the Departments of English, History, and Theatre.  Her degrees are a B.A. with High honors in Sociology from U.C. Berkeley; an M.A. in English: Creative Writing from San Francisco State University; and an M.F.A. in Playwriting from Brooklyn College of the City University of New York, in which program she subsequently taught the graduate-level playwriting tutorials.  She is a member of the Dramatists Guild.

Original Stage Productions and Performances:

Every Concentrated Fragment
.  The William Inge Center 36th Annula Theatre Festival, April 19-23, 2017.

My Medea. 
University Players, California State University, Players Theatre, March 4 – 19, 2005.
Rollover Othello. 
California State University Long Beach, Showcase Productions,
October 15, 2004.
Detroit Mercy University Playhouse, Detroit Mercy University Productions,
Detroit, MI.  November, 1999.
Affair on the Air. 
The Harold Clurman Theatre, 412 W. 42nd Street, New York, NY.
Love Creek Productions NYC, July 11-13, 1998.  
American Rose:  Our Gals on the Homefront, 1941-1945. 
The Ohio Theatre, 66 Wooster Street, New York, NY.  Sightlines Theatre Company Productions NYC, March 6-15, 1997.
Rollover Othello. 
42nd Street Studios, 410-412 W. 42nd Street, New York, NY.  Love
Creek Productions NYC, April 26-28, 1996.  
Lady in the Purple Velvet Hat and Trolls. 
Oklahoma State University Theatre.  Student Directors Choice Productions, May 9-10, 1993.
A Day In. 
San Francisco Museum of Modern Art.  A San Francisco State University
Poetry Center Production, Nov. 17, 1988.  A videotape of this performance is available through the SFSU Poetry Center or by telephone at (415) 338-2227.
14 Ladies in Hats. 
Centerspace Studio Theatre, Project Artaud, San Francisco, CA.  
April 7-28, 1988.  
Drop It. 
Artists Television Access Productions, San Francisco, CA.  July 21, 1987.
Collage.  Centerspace Productions, Project Artaud, San Francisco, CA.  June 19-27,
Pink Rope. 
Centerspace Studio Theatre, Project Artaud, San Francisco, CA.  April 10- 21, 1986.

Three Monologues. 
Centerspace Productions, CenterspaArtaud, San Francisco, CA.  August 15-24, 1985.

Commissioned Work:

American Rose.  Commissioned by Sightlines Theatre Company in September, 1996 and produced at the Ohio Theatre in NYC, March 6-15, 1999.

Reviews Of:

“Cal Rep’s My Medea.” Mike Guardabascio.  The Long Beach Union Weekly.  Vol. 56, Issue 8.  14 March 2005.  11.

“CSULB’s Performance of My Medea.”  Mike Guardabascio.  The Long Beach Union Weekly.  Vol. 56, Issue 8.  14 March 2005.  7.

“Greek Theater, Modern Touch at CSULB.”  Harry Saltzgaver.  The Long Beach Grunion Gazette.  10 March 2005:  26A.

“Not Like Greek Tragedy, but a Good Show.”  Alessandra Djurklon.  The Long Beach Press Telegram.  10 March 2005.  U Entertainment.

“O.J. Simpson in News Again with CSULB’s My Medea.”  Katie DeBoer.  The Daily 49er.  Vol. LV, No. 86.  9 March 2005.

"'Hats Off' to a Promising New Playwright."  Robert Hurwitt.  The San Francisco Examiner.  16 April 1998:  B-2. 

"Brash Ideas about the Trouble with Men."  Robert Wilden.  The San Francisco Progress.  22 April 1998:  B-7.

Critical Studies Of:

"Highfalutin Greeks."  Neal Storrs.  Oasis  5.2  Oct.-Dec.  (1996):  Editor's Foreword.

"Disability in Western Culture."  Jenny Morris.  Pride Against Prejudice.  London:  The Woman's Press, 1991.  84-116.


E. A. Biderman Poetry Prize, inaugural recipient.

Publications - Plays

“We Are All Dick 3.”  Oasis 11.3 Oct.-Dec. (2003):  26-62.

“Little Kings.”  Oasis  10.1  Jan.-Mar. (2002):  29-56.

"Mary Mary."  Inflatable Magazine 5, 1999.  Also at < Oracle/2515>  (click on Issue 5).

"My Medea."  The Best American Short Plays, 1996-97.  Ed. Young.  New York:  Applause Books, 1998.  95-133.

"My Medea."  The Best American Short Plays, 1995-97.  Eds. Stein and Young.  New York:  Applause, 1997.  354-389.

"Don't."  More Monologues for Women by Women.  Ed. Haring-Smith.  Portsmouth NH:  Heinemann, 1996.  61-3.

"Affair on the Air."   More Monologues for Women by Women.  Ed. Haring-Smith.  Portsmouth NH:  Heinemann, 1996.  58-60.

"Lady in the Purple Velvet Hat."  Rockford Review 9 (1992):  19-22.

Publications - Poems:

"Missings/s," "Don't Be Evil" and "The Boyfriend Marriage."  Spot Literary Magazine Vol. 10 (2017):  101-109.

"As Usual."  Rip Rap 28 (2006):  113-4.

"Now and Then Again:  Homage to James Schuyler."  The Ragged Edge.  Ed. Shaw.  Louisville:  Avocado, 1994.  109-111.

"Winter Pears."  Disability Rag Nov.-Dec. (1992):  33.

“From The L.A. Horoscope Poems.”  The Portable Californian 1 (1992):  28.

"Odysseyan:  Excerpts from the Epic/Epoch."  Phoebe  3.1  (1991):  44-5.

"Every House Plant."  Metis 7 (1991):  6.

“The Wolf.”  Pride Against Prejudice.  Morris.  London:  The Woman's Press, 1991.  86-8.

"The Wolf."  Kaleidoscope 20 (1990):  85-6.
Publications - Essays:   

"Re/fractions from Los Angeles."  Phoebe 4.1 (1992):  19-22.

Publications - Translations:

"Breaking Down Barriers in Ideas and Practice."  Trans. Susan Hansell.  A Dream Compels Us.  Ed. Carter.  Boston:  South End, 1989.  93-6.

Forced to Move.  Renato Camarda.  Trans. Susan Hansell.  Berkeley:  New Americas, 1985.

"Mortally Wounded" and "The American Way of Death."  Claribel Alegria.  Trans. Susan Hansell.  El Tecolote June (1985):  7-8.

"Three Poems by Claribel Alegria."  Trans. Susan Hansell.  Suisun Valley Review  5.1  (1985):  61-3.



Master of Fine Arts in English, Creative Writing, Playwriting:  Brooklyn College of The City University of New York.  Comprehensive examinations under Jack Gelber in over one-hundred critical and creative works.  Theatre Department course work with Mona Heinze-Barreca in Dramaturgy, Translation of Plays, and Dramatic Structure.  Theatre Criticism with Doug Langworthy at the CUNY Graduate Center in Manhattan.

Master of Arts in English, Creative Writing:  San Francisco State University.  Comprehensive examinations and specializations in Samuel Beckett, Emily Dickinson, and Zora Neale Hurston.  Thesis, under Kathleen Fraser, in Contemporary Poetry, with additional course work in Feminist Poetics, in Ethnic Studies with Chinosole, and, with Robert Gordon, in 20th C American Theatre.
Bachelor of Arts with High Honors in Sociology:  The University of California at Berkeley.  Honors Thesis in social theory under Michael Buroway.  Graduate-level course work in Structural Anthropology (with Ann Merrill) and Political Sociology (with William Kornhauser).  Additional undergraduate upper-level course work in Afro-American Literature, Chicano Literature, Comparative Literature, Media-Communications (with Todd Gitlin), and in inaugural courses in Women's Studies. 

Faculty Appointments:

California State University, Long Beach, Departments of English, History and Theatre, 2000-2007.  Lecturer in upper-level Literature (370; 385), Theory (384), and Pedagogy (400) courses, in senior-level History of American Women (485), in graduate-level Theory of Theatre Aesthetics (696), in lower and upper level composition and literature (1; 100; 270; 309) and in interdisciplinary general education courses (372).

Brooklyn College of the City University of New York, 1994-2000.  Lecturer in the graduate M.F.A. Program in Playwriting:  Taught the M.F.A. program tutorials for the graduate-level student playwrights.  Lecturer in Core 6 (Landmarks in Literature) Courses; Lecturer in Multi-Disciplinary Composition.

Kingsborough College of the City University of New York, 1996-2000.  Lecturer in Composition.

California State University, Northridge, Department of English, 1989-1992.  Lecturer in Creative Writing, American Literature, and Composition.

Loyola-Marymount University, Los Angeles, Department of English, 1991-1993.  Lecturer in Literature and Composition.

San Francisco State University, Department of Creative Writing, 1987-1988.  Lecturer in Creative Writing.

Related Positions:

Los Angeles Woman's Building.  Instructor.  Taught creative writing and monologue writing classes in a community setting.

California Arts Council.  Individual Artist in Residence.  Taught creative writing  classes at the Independent Living Center in San Francisco.  Desk-top published an anthology of participants' works and organized public readings and performances.

New Americas Press.  Translator and Editor of materials from Spanish to English.  Extensive travel in North and Central America.  


Email Susan Hansell directly at:  <>.

photo © a. paul cartier