Jeremy O. Harris

Harris grew up in a military family, moving often before settling in Martinsville, Virginia. He has since lived in Chicago, Los Angeles, and New York City.^[4] He attended the Carlisle School in Martinsville, Virginia.^[5] Harris studied toward a Bachelor of Fine Arts degree in acting from The Theatre School at DePaul University in 2009, but was cut from the program after a year.^[6] In 2019, he graduated with a Master of Fine Arts degree in playwriting from the Yale School of Drama.^[4][7][8][9]

 

Harris landed a role in the play Jon at the Steppenwolf Theatre Company.^[4] He worked as an actor in Chicago, then moved to Los Angeles to further his career. There he began a collaboration with musician Isabella Summers that resulted in the play Xander Xyst, Dragon 1; the play was produced at ANT Fest 2017 in New York.^[2][10] He had a residency at the MacDowell Colony, where he wrote the play "Daddy", in which a young black artist (Franklin) becomes involved with an older European art collector (Andre).^[2][4][11] "Daddy" served as Harris's writing sample when he applied to the Yale School of Drama, where he began studies in the fall of 2016.^[4]

While still at Yale, Harris wrote Slave Play. It was produced at Yale in October 2017,^[12] and won the Lorraine Hansberry Playwriting Award and the Rosa Parks Playwriting Award at the 2018 American College Theater Festival.^[13] It was then produced off-Broadway at the New York Theatre Workshop under the direction of Robert O'Hara in 2018, Harris's first professional production as playwright. The play addresses sexuality and racial trauma in America. It begins with interracial sexual violence on a slave plantation in the American South and continues in present-day America at a sex therapy retreat for interracial couples. The couples include black participants who are no longer able to receive pleasure from their white partners. The white partners have a blind-spot about the role that race plays in their relationships. Critic Jesse Green summarized the play's message by saying "that one race lives with history each day while another pretends not to".^[14] Though critically acclaimed, the play drew ire from those who found the play's content disrespectful of African-American history.^[15][16] For the 74th Tony Awards, Slave Play was nominated for a historic total of 12 awards.^[17] This broke the record previously set by the 2018 revival of Angels in America for most nominations for a non-musical play.^[18] Harris was the winner of the 2018 Paula Vogel Playwriting Award, given by the Vineyard Theatre in New York City.^[19] A profile in The New York Times said that Harris's "ability to render subconscious trauma into provocative theatrical expression, as potentially unsettling as entertaining, has earned him a lot of attention in a very short time."^[2] Out called him "the queer black savior the theater world needs".^[20]

In 2018, Harris was awarded the Paula Vogel Playwriting Award, which includes a residency at the off-Broadway Vineyard Theatre.^[21] In 2019, The New Group and the Vineyard Theatre co-produced a revised version of Harris's earlier play "Daddy". starring Alan Cumming.^[2] Reviewer Christian Lewis called the play "a bold, experimental, political, and important work of theater that will not soon be forgotten".^[22] New York Times reviewer Ben Brantley noted some excellent performances, but found the dialogue "endless and circular and repetitive" and the play too "cerebral".^[11] In November 2019, an experimental work entitled Black Exhibition, credited under the pseudonym @GaryXXXFisher, debuted at the Brooklyn theater Bushwick Starr.^[23] Using Ntozake Shange's term choreopoem to describe its structure, Harris combines language and movement in a work that centers on five characters: San Francisco writer Gary Fisher, Kathy Acker, Yukio Mishima, Samuel R. Delany, and Missouri college athlete Michael L. Johnson.^[24]

 

In early 2020, Harris signed a deal with HBO, and is developing a pilot as well as becoming a co-producer for season 2 of Euphoria, after consulting on the first season.^[25] More recently, he set $50,000 commissions for new stage work.^[26] Harris published a condensed version of his play Yell: A Documentary of My Time Here in n+1 magazine's Fall 2020 issue. Harris describes the full play as "a site-specific document of [his] time in the space of Yale School of Drama".^[27]

Harris is a co-author on the screenplay for the A24 film Zola (2021), directed by Janicza Bravo. The film follows a road trip that results in sex-trafficking, and is based on a real-life Twitter thread.^[2] The film starred Taylour Paige, Riley Keough, Nicholas Braun, and Colman Domingo. The film earned positive reviews with Harris earning a nomination for the Independent Spirit Award for Best Screenplay. Harris also acted in the HBO Max series Gossip Girl (2021), the Netflix series Emily in Paris (2022). Harris was cast in the Sean Price Williams directed film The Sweet East (2023) alongside Ayo Edebiri. The film premiered at the 2023 Cannes Film Festival where it screened in the Directors' Fortnight selection.

Harris originated the concept of the Black out performance in which an artistic work is staged for an explicitly majority black or black identifying audience.^[28] It has become prevalent in theatrical performances in the United States and Britain. The performances take place at plays telling black stories written by Black playwrights and seek to bring Black audiences to such plays.^[29] The concept has also been seen as countering the negative psychological impact of double consciousness that can be experienced by black people.^[28]

As of 2020^[update], Harris has pledged and redistributed a significant portion of his earnings from collaborations with the fashion industry and an HBO deal to The New York Theatre Workshop, libraries across the United States, and microgrants to the Bushwick Starr theater in New York.^[3]

For the New York Theatre Workshop, Harris has created two $50,000 commissions for new works by black women playwrights.^{[citation needed]} He produced streaming for both Heroes of the Fourth Turning (a remount of an earlier digital reading) and Circle Jerk (later produced as a physical production by the same team), donated a collection of plays by black writers to one library in each of the 50 states, plus Washington, D.C., Puerto Rico, and Guam, and pledged various fees and royalties from Slave Play to fund $500 microgrants, administered by the Bushwick Starr theater, to 152 U.S.-based playwrights.^{[citation needed]}

In 2020, Harris sent a letter to then-president-elect Joe Biden, urging him to revive the Federal Theatre Project, and then used an appearance on Late Night with Seth Meyers to further advocate the idea.^[30]

Harris is gay.^[20] Interviews frequently mention Harris's physical appearance, including his 6 ft 5 in (1.96 m) stature,^[4] and what GQ called his "dandyish style".^[31]

Unproduced plays

• Water Sports; or, Insignificant White Boys (2019)
• A Boy’s Company Presents: 'Tell Me If I'm Hurting You' (2020)^[45]

• Paula Vogel Playwriting Award, 2018^[21]
• Lotos Foundation Prize, 2018^[50]
• Rosa Parks Playwriting Award, 2018^[13]
• Lorraine Hansberry Playwriting Award, 2018^[13]

In June 2019, to mark the 50th anniversary of the Stonewall riots, sparking the start of the modern LGBT rights movement, Queerty named Harris one of the Pride50 "trailblazing individuals who actively ensure society remains moving towards equality, acceptance and dignity for all queer people."^[51][52]

• LGBT culture in New York City
• List of LGBT people from New York City
• NYC Pride March
• Hari Nef
• John Golden Theatre
• Isabella Summers
• Nimrod Kamer

• Schama, Chloe (February 15, 2019). "Jeremy O. Harris Is One of the Most Promising Playwrights of His Generation". Vogue. Retrieved March 21, 2019.
• Clement, Olivia (December 2, 2018). "Meet Playwright Jeremy O. Harris, Making His Mark With 2 World Premieres Off-Broadway". Playbill. Retrieved March 21, 2019.
• Román, David (2022). "Jeremy O. Harris", in 50 Key Figures in Queer US Theatre, eds Jimmy A. Noriega and Jordan Schildcrout, Routledge, pp. 90–93. ISBN 978-1-032-06796-4.

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