Sophie McIntosh (she/her) is a playwright from Wisconsin currently based in New York.
Her work confronts the limits of empathy and forgiveness and explores the line between physical and emotional violence. (She promises it’s also funny.) She likes to write about regretful loners, weird things happening to bodies, and people in dogged pursuit of things that aren’t very good for them.
Alongside director Nina Goodheart, Sophie is the co-founder of Good Apples Collective, a developmental orchard for new theatrical works.
Recent productions include macbitches (New York Times Critic’s Pick), the premieres of Road Kills (recommended by The New York Times and The New Yorker), cunnicularii, and cityscrape with Good Apples Collective, and Eleven Weeks of Nuclear Summerat Notre Dame University and the University of Michigan.
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 Kennedy Woodard with CAA.
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.”
— Juan A. Ramírez, 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.
production photos and headshot by Nina Goodheart