Tara is a graduate of Carnegie Mellon University’s MFA program in Dramatic Writing. Her work has been presented by Fusion Theatre, The Directors Company, Le Petit Theatre de Terrebonne, Theatre One, Westchester Collaborative Theater, One Armed Man, Oracle Theatre, Inc, the Bobik Theatre Ensemble, The Acme Theatre Company, The Harlequin Players, Woman Seeking…,and numerous schools, universities and colleges including Gardner-Webb, Prince Williams, and Colgate. Her work has also showcased at the Artists of Tomorrow Festival in NYC, The Bangkok Community Theatre Fringe Festival, the Pittsburgh New Works Series and the Last Frontier Theatre Conference in Alaska. Students, teachers and actors world-wide have utilized her plays and monologues for competitions, Directing, Acting and Dramatic Literature courses and workshops in schools, colleges and theatres. Serial monologues she wrote were performed for two years by the internationally recognized receptionist-robot, Valerie. She has taught Playwriting and Screenwriting at Carnegie Mellon, the Pittsburgh Public Theatre, and for The Westport Country Playhouse, and she has led Creative Dramatics Workshops for children in underserved areas throughout New York and New Jersey. Additionally, she toured in a Children’s Theatre Troupe, which she wrote for, co-directed, and performed in. Tara’s work has been published by YouthPLAYS, Oxford Press South Africa, the London Academy of Music and Dramatic Arts (LAMDA), The Hunger Journal, Meriweather Publishing and Applause Theatre & Cinema. She is a two-time recipient of the Shubert Fellowship in Dramatic Writing, the Sloan Screenwriting Fellowship, the New Works for Young Women [Actors] Award and is a member of the Dramatist’s Guild. Tara has written children’s books, short stories, a novel, and writes and records music in the chick-core rap band, Girl Crusade. She lives in Westchester County with her husband and two dramatic children.
Tara has been writing stories since she was four years old, but her passion first took dramatic form when she directed her third-grade classmates in a play she had written about a boy and his horse. When she was ten, she wrote and directed Bomeo and Cooliet, a satiric play based off of the encyclopedia’s summary of Shakespeare’s hit. At 14, she thought she had invented a new style of theater when she wrote an absurd full-length play, involving 10 characters all living at the same house, not knowing this was the case. Not long after, she discovered Ionesco and Albee, her two earliest influences (next to Northern Exposure), and was able to characterize her writing as “theater of the absurd.”
Now her work consists of talking bingo chips, mothers who pretend they are their own daughters, a stuffed dog causing scandal, vegetables contemplating their place in this world, a woman obsessed with decorating her house in human hair, and other oddities. Tara relishes the humor found in dark situations and the gravity found in the frivolous. Yet despite the absurd elements of her writing, it is important to her to find a very human factor which connects her work to her audience. While enjoying dark comedies and absurd ideas, Tara also writes passionately dramatic plays--whether it be about the tragedies of the human trafficking criminal industry, the strong connection between John the Baptist and Jesus Christ, or a newlywed's fear of having a child. Whatever Tara's subject or style, she writes her plays in such a way as they are uniquely theatrical, clearly her own voice, and truly belong on the stage.