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A project that you have recently worked on:
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My students bring theatre-based programming to children’s hospitals through UCF’s Jeanette M. Gould Traveling Theater. In this initiative, Theatre students develop lesson plans and performances, and Nursing students provide feedback during the development process and serve as buddies to youth during our visits. In the hospital setting, we’re constantly challenged to leverage the power of theatre while providing programming that is accessible to all patients. We’ve Zoomed in with patients, created digital scavenger hunts, provided “to-go” drama kits, and reimagined common areas into immersive game-based spaces.
Last year, we premiered our first bedside performance, Let’s Go Camping! specially designed 2 to 5-year-olds and an audience as small as one. In Let’s Go Camping! each child gets to take their favorite stuffed animal on an imagination-filled journey through nature. Their hospital room is transformed into a place of creative play, and they get to “flip the script” on their given circumstances by caregiving for their stuffie. We’re applying what we’ve learned to our next bedside show (working title Sketch Out), which uses visual arts and creative play to express and process emotions. With both shows, we’ve found our creative inspiration by identifying what a hospitalized child might have reduced access to.
A piece of art that is inspiring and fueling you right now:
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Honestly? Wicked! I was in college when the musical came out and tried to be above anything too mainstream (or “popular,” you might say). Since then, I’ve worked on my ego and have now fallen in love with the musical in its movie form. I’m sure this is in no small part because my 10-year-old daughter and I sing along to it during our commute. In addition to having fun together, I’ve loved our rich conversations about the lyrics and how Oz parallels our own world. I also love that SHE loves a musical with two power-house female roles.
A dream project:
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I’m interested in further exploring the child/parent dynamic in TYA. I would love to develop a theatre-based residency to support teenage mothers and their children. I’d love to write a series of early-reader plays for parents and young children to read together.
Why TYA?:
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I had a challenging childhood. Theatre became a lifeline for me — it allowed me to process what was happening around me, to better understand others, and to express my own emotions. It gave me my first group of real friends. It changed my world. I want to honor the diversity and complexity of every child I engage with through my work, but I always imagine a “Little Liz” among the young people I create theatre with and for. What would make her giggle? What would inspire her? What discoveries would she have? I believe honoring our child within brings out the absolute best in TYA artists.
Shout out a collaborator:
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I’ve collaborated with Emily Freeman (check out her September 2024 membership spotlight!) on a lot of projects, most recently Mind Matters, created through UCF’s professional partnership with Orlando Family Stage. Mind Matters is a theatre-based mental health initiative for high school students. We recently launched the anthology Pieces of Mind, available through YouthPLAYS, and its curriculum guide, available on the Orlando Family Stage website.
Nicole B. Adkins and Scottie Rowell/Teller Productions are my dream-team for Let’s Go Camping! and Sketch Out!
I’m so grateful for these folks as colleagues and friends — they make work feel like play.
Shout out a mentor:
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So many, but for today I’ll focus on Gay Hammond, one of my undergrad professors at Brenau University who championed TYA. She inspired me as an educator, director, and playwright, and was one of the first people to introduce me to UCF’s Theatre for Young Audiences MFA program (of which I am also an alum). I’m so grateful she gave me that nudge, which has ended up shaping my life in so many ways.
How can readers connect with you if they want to follow your work/get in touch?:

A project that you are currently working on:
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I am currently working on Micah Meets a Mami Wata, a new TYA piece commissioned by Fonseca Theatre in Indianapolis as part of The TYA BIPOC Superhero Project. This play for young audiences is inspired by African mythology, marine life, and the environment. It follows Micah, a young Black boy, who discovers the true meaning of friendship, mer-magic, and the joy of being himself in a world that often pressures him to conform.
This piece is deeply personal to me—it’s a love letter to my inner child, the imaginative, unapologetic Black boy I once was. Through Micah’s journey, I hope young audiences, especially those who might not often see themselves reflected in stories, feel inspired to embrace their magic and uniqueness.
A piece of art that is inspiring and fueling you right now:
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Honestly, nature. Growing up, I spent countless hours exploring the outdoors, marveling at the changing colors of the leaves and the way sunsets painted the sky with warm hues fading into cool tones. The world around us is art if we just pause to look.
Since moving back to Georgia, I’ve reconnected with nature. After writing sessions, I often take walks, soaking in the beauty of my surroundings. What I’ve discovered is that nature consistently inspires the settings of my TYA pieces, from enchanted forests to the deep blue sea. It reminds me of the magic and wonder that exist all around us—and within us.
An upcoming project and a dream project:
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Micah Meets a Mami Wata will have its world premiere with Fonseca Theatre in Indianapolis in the summer of 2025 and will also be published in The TYA Superhero Project Anthology. It’s such an honor to be included among esteemed writers like Gloria Bond Clunie and Idris Goodwin. I can’t wait to see this piece come to life and share its magic with audiences.
As for a dream project, I have two big aspirations. First, I’d love to write a film for Disney. Growing up as a Disney kid, I was captivated by their storytelling, and it shaped much of my creative imagination. Seeing one of my own stories brought to life through animation would be a full-circle moment for me.
Second, I dream of writing a new TYA musical. Music has always been a transformative part of storytelling, and combining it with my passion for creating meaningful theatre for young audiences would be an incredible journey. I hope to collaborate with a dynamic composer and create a piece that inspires and uplifts young audiences while showcasing the beauty of diverse stories.
Why TYA?:
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Theatre for Young Audiences cultivates hope, magic, and joy—all of which are essential for audiences of every age. I love how TYA blends humor and education, offering students and families meaningful experiences both on and offstage.
On a personal level, I write for the little Black kid I once was—the one who was always looking for himself in stories. Growing up, I watched a lot of theatre and film, and before I even understood the importance of representation, I was searching for Black characters I could relate to. Now, as a playwright, I’m creating the kinds of stories I wish I’d seen as a child—stories where young audiences of color can see themselves, their dreams, and their possibilities reflected back at them.
TYA allows me to combine imagination, representation, and storytelling in a way that uplifts young people and reminds them that they have a place in this world—and on stage.
Shout out a collaborator:
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One of the most rewarding collaborations I’ve had was with The Obsidian Theatre Festival, where we worked on my TYA play The Golden Loc, inspired by African mythology. The story follows Zia, a 10-year-old Black girl who learns to embrace her unique locs, beauty, and inner magic. As Zia’s journey unfolds, she encounters African fairies and discovers that she is the chosen one. Essentially, it’s a hero’s journey centering on a young Black girl.
Having The Golden Loc selected as the only TYA piece in the festival was an incredible honor. I was privileged to work with the entire Obsidian team—some of my favorite collaborators to date. From Asia Mark’s thoughtful and empowering direction to the exceptional casting, costuming, and set design, every aspect of this production elevated the story to its fullest potential.
This collaboration was significant because it resonated deeply, not just with audiences but also within the broader industry. It won Best Play of 2024 for The Broadway World Michigan Sector (an audience choice award) and was also nominated for Best Ensemble and Best Direction.
Working alongside such a talented team truly showcased the power of collaboration and what can happen when passionate individuals unite around a shared vision. I am deeply grateful to the entire Obsidian team for this marvelous partnership and I hope we can create magic together again in the future!
Shout out a mentor:
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While I haven’t had one formal mentor, I’ve been blessed with incredible people who’ve supported and guided me throughout my journey. One such person is Denise Chapman, a powerful theatre practitioner and creative leader, who mentored me during my fellowship at The Union for Contemporary Art in 2022. Denise helped me discover my artistic practice and encouraged me to trust my creative voice as a writer. She supported me during the early stages of The Golden Loc, and at the end of my fellowship, we showcased a 15-minute scene from the play. In 2023, I returned to The Union as a guest artist, where we workshopped The Golden Loc for three days and performed a live reading for over 125 students as part of the Omaha Public School’s Summer Reading Program. Denise directed the reading with such care, intention, and grace. Her belief in me and my work has been transformative, and I am forever grateful.
I also want to shout out Doriette Jordan, a multi-hyphenate genius and fellow artist from my time at The Union. Doriette was the first person to encourage me to read the initial scenes of The Golden Loc aloud, which marked a pivotal step in my creative journey. She continued to support the play through its various stages, from the 15-minute showcase at The Union to a sample reading at the Black Theatre Network in St. Louis, and finally, her direction of a reading at The House of Afro Capes and Curls Afro Festival. Doriette inspired me to take up space and stand boldly in my brilliance as a Black creative. Finally, I want to shout out Tianna, Christina, Sharhonda, Tempestt, and my mother—you are ALL my Aziza Fairies!
How can readers connect with you if they want to follow your work/get in touch?:
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You can follow my artistic journey on Instagram @prentissmatthews or connect with me on Facebook under the same name. For inquiries or to get in touch directly, feel free to email me at Prentisscreates@gmail.com. https://www.prentisscreates.com/playwright.

A project that you are currently working on:
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My musical, KOKO AND THE LOST PHOENIX, brings mental health to life for young audiences through a blend of fantasy and adventure. Adapted from an award-winning Thai novel, it weaves together stories of identity, acceptance and healing, mirroring the experiences children face every day. Through storytelling, the musical creates a safe and magical space where young audiences can explore their emotions, understand that their struggles are valid, and discover that they are not alone on their journey.
A piece of art that is inspiring and fueling you right now:
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I’ve fallen in love with theatre-pop songs blowing up on social media! Artists like Katherine Lynn-Rose, Alyssa Payne, Grace Yurchuk, Jared Goldsmith and Oliver Richman are creating such catchy, charming and refreshing songs. It’s so exciting how accessible these songs are, reaching so many people. They’re a huge inspiration to me.
A dream project:
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One of my dreams is to bring THE HORSE-FACED PRINCESS to life on stage! This Thai folk tale tells the story of a quirky, horse-faced girl who maneuvers a crown prince into marriage. As she schemes and stumbles, she discovers a new way to think about self-worth and true love.
Growing up in Bangkok, I was bombarded with the message that, for a girl, physical beauty is the key to love and happiness. I want to explore the absurdity of prioritizing looks over meaningful connection and question how much we should conform to societal expectations to achieve things like successful relationships, financial stability or social acceptance. It’s time to challenge outdated rules, especially the idea that girls should play a passive role. This musical will be a fun and thought-provoking journey!
Why TYA?:
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Growing up in a Thai-Chinese family as a sensitive child, I often struggled to express myself. Then I discovered TYA. It was like stepping into a magical world where I finally felt seen, heard and connected to others. TYA became my creative outlet, a place where I could freely express my thoughts, feelings and wildest imaginations. And the way TYA blends learning with pure joy left a lasting impression. The collaborative spirit of theatre filled me with wonder and a hopeful feeling. Now, I’m excited to create those same magical experiences for kids today!
Shout out a collaborator:
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A big thanks to my incredible collaborator, Ella Sodam Yoon! We’re crafting magic together with KOKO AND THE LOST PHOENIX. And yes, she’s also a fantastic cook so I’m looking forward to our residencies! 😛
Shout out a mentor:
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I’m so grateful to my thesis advisor, Kirsten Childs, who’s been supporting my writing journey for KOKO AND THE LOST PHOENIX. She’s incredibly kind, creative and always makes me laugh. Her Embracing Absurdity class unleashed my inner goofball – exactly what I need for writing a TYA musical! I’m so lucky to have her guidance!
How can readers connect with you if they want to follow your work/get in touch?:
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Instagram (@pielalit) or email (ls5507@nyu.edu).