cunnicularii with Good Apples Collective
photo by Nina Goodheart
Sophie McIntosh (she/her) is a New York–based playwright and theatermaker. Her writing gives voice to women and queer folks, examines life in the small-town Midwest, and explores how our interactions with animals reflect back our own humanity.
Sophie is the co-founder of Good Apples Collective, a developmental orchard for new theatrical works that she co-leads with her frequent collaborator Nina Goodheart.
Recent productions of Sophie’s work include the world premiere of macbitches (New York Times Critic’s Pick), the premieres of Road Kills (recommended by the The New York Times and The New Yorker), cunnicularii, and cityscrape with Good Apples Collective, and Eleven Weeks of Nuclear Summer at Notre Dame University and the University of Michigan.
Sophie’s plays have also been developed at Pioneer Theatre Company, LaGuardia Performing Arts Center, the 24 Hour Plays: Nationals, the Bechdel Group, the Unicorn Theatre, Atlanta Shakespeare Company, Breaking & Entering Theatre Collective, The Tank, and The Brick, and her work has been performed at colleges across the country.
She is a proud recipient of a BA in drama from the University of Wisconsin-Stevens Point and recently graduated with an MFA in playwriting from Columbia University.
Sophie is represented by Chris Till with Paradigm.
She can be reached at sophiemcintoshwrites@gmail.com.
“A tight 85-minute exercise in youthful ambition and the correupting clashing of egos[…] With a fantastic understanding of tone and genre, macbitches juggles headier themes while remianing a lively college drama.”
— The New York Times (Critic’s Pick)
“Sophie McIntosh's cunnicularii at Good Apples Collective is a sly, shoestring-budget cabinet-of-wonders. […] cunnicularii isn't some 1:1 parable about postpartum depression; it's a humanist mystery in the absurdist tradition. The play shows a real person making her way through a bizarre environment, a world "out of harmony" that feels familiar without seeming real.”
“[Road Kills] wouldn’t be a McIntosh play if it didn’t also acutely explore women’s impossible circumstances. This thread is pulled towards the end of the 80-minute production, almost as a bonus tie-in to the rest of her growing (and consistently excellent) oeuvre.”
“With McIntosh’s signature deadpan incongruity, a frightening valentine to Midwest isolation unfolds: glittering, jagged, and written in blood…. [Road Kills] is a major piece of writing. It’s huge and risky and sad and powerful. It feels like reading a classic for the first time.”
“Bloody brilliant. […] McIntosh takes Shakespearean and grounds them in a new reality. Envy, ambition, treachery, and corruption look different among college girls than among soldiers and kings: while the latter may have farther-reaching consequences, the first hits harder for a modern audience.
Road Kills with Good Apples Collective