Andy Bragen (Playwright) is a graduate of Brown University’s MFA Program in Literary Arts, and is the recipient of Workspace and Process Space Residencies from the Lower Manhattan Cultural Council. Other honors include the Clubbed Thumb Biennial Commission, a Tennessee Williams Fellowship from Sewanee: The University of the South, a Jerome Fellowship, a New Voices Fellowship from Ensemble Studio Theatre, a Dramatists Guild Fellowship, and residencies at Millay Colony and Blue Mountain Center. Produced plays include: The Hairy Dutchman; Spuyten Duyvil; Greater Messapia; Game, Set, Match; and This Is My Office, which was produced off-Broadway by The Play Company, and received a Drama Desk Nomination for Best Solo Performance.  His co-translation from the Japanese of Yukiko Motoya’s Vengeance Can Wait was produced at Performance Space 122, and has been published by Samuel French. A member of New Dramatists, Andy teaches playwriting at Barnard College.

Andy Bragen Theatre Projects and Rachel Sussman will present the World Premiere of Andy Bragen’s Don’t You F**king Say a Word, directed by Lee Sunday Evans at 59E59 Theaters, November 4-December 4 with performances Tuesdays through Thursdays at 7:15pm, Fridays 8:15pm, Saturdays at 2:15pm & 8:15pm, and Sundays at 3:15pm. Tickets ($35) are available online at or by calling 212-279-4200. 59E59 Theaters is located at 59 East 59th Street (between Park and Madison Avenues). The performance will run approximately 80 minutes, with no intermission. 

Andy Bragen aces his interview with SV’s Bob Shuman 

McEnroe or Borg?

When I was a kid it was Borg, but these days, I’m such a fan of Johnny Mac–both for the beauty of the serve and volley game he had, and for his amazing, incisive commentary today.

Samuel Beckett or Bertolt Brecht?

Beckett for sure–I find that he digs beneath the political into something deeper, more existential. Also, he’s an absurdist, and I’m drawn to that. I like Brecht, but for me there’s no comparison.

Who are you in the world of Tennessee Williams?

My mother, from Mississippi, has more than a little Amanda in her. I’m not sure where that leaves me.

Don’t You F**king Say a Word: Tell us about the new play.

DYFSAW starts with two guys who have an argument during the third set tiebreaker of a tennis match. The story is told from the perspective of the women they’re with, who examine the incident, and in the process reckon with questions of love, aging, and the nature of friendship and competition.  It’s a fast-moving, fun, and explosive comedy that uses tennis as a lens to get at some deeper questions.  


Who are your collaborators and how did they become involved in the project? Tell us about the production history of Don’t You F**king Say a Word.

This is the first production of this play. When I saw Lee’s work on A Beautiful Day in November on the Banks of the Greatest of the Great Lakes I reached out to her, and sent her a couple of my plays. We did a workshop of DYFSAW back in June 2015, and I knew then that she was perfect, so I set up the production.

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