Ain Gordon is a three-time Obie Award winning writer, director, and actor, a two-time NYFA fellow and the recipient of a John Simon Guggenheim Memorial Foundation Fellowship in playwriting. Gordon’s next project will be co-presented by DiverseWorks and Stages Repertory Theatre in Houston, TX in 2009. Previously, Gordon has been commissioned/produced/presented by Soho Rep, New York Theater Workshop, Dance Theater Workshop, Performance Space 122, Dancing In The Streets, the Public Theatre (all NYC), The Mark Taper Forum (CA), The George Street Playhouse (NJ), The Krannert Center (IL), Jacob’s Pillow Dance Festival (MA), LexArts & the Actor’s Guild of Lexington (KY), the Baltimore Museum of Art (MD), Dance Place (DC), Spirit Square (NC), and VSA North Fourth Arts Center (NM); his collaborations with David Gordon have been commissioned and produced by American Repertory Theatre (MA), American Conservatory Theater (CA), and American Music Theater Festival (PA). Gordon also wrote for the NBC series Will & Grace. He has received fellowships/grants from the Jerome Foundation, the Greenwall Foundation, the Peg Sandfordt Foundation, the Arts Presenters Ensemble Theatre Collaborations Program funded by the Doris Duke Charitable Trust, the Rockefeller MAP fund, the Foundation for Contemporary Performance Art, the Department of Cultural Affairs, the National Performance Network, the New York State Council on the Arts and the National Endowment for the Arts among others. As a performer, Gordon was most recently seen in the extended Off-Broadway run of Spalding Gray: Stories Left To Tell at the Minetta Lane Theatre; previously the piece was seen at Performance Space 122, UCLA Live, Guild Hall (LI), TBA Festival at the Portland Institute for Contemporary Art (OR), and Vineyard Playhouse (MA), etc. Gordon has been Co-Director of the Pick Up Performance Co(S) since 1992.Specialties: History, my personal playground: my file drawer of ideas. True, mainline history is a field founded on funneling the massive events of actual existence into a manageable story - so aggressively editing fact that it almost becomes fiction. But always vibrating beneath that story are all the people it took to “write” it. The distance between what actually happened and the story we can tell – in history and on the stage – is my constant trigger.