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Tom Minter is a playwright, teaching artist, and librettist. His work explores issues of diversity and otherness, through intergenerational perspectives that shape and context immersive arts journey, and education.

Minter was born in Harlem, NY to parents who both were musicians and educators. He was nurtured in the arts, surrounded not only by music of jazz artists, but of art song and opera, coinciding with a time of international platform for singers of color, such as Leontyne Price, Reri Grist, and Grace Bumbry, all of whom followed in the career of Marian Anderson.

He had his first taste of playwriting at Pomona College, mentored by Pat Madsen, and did not expect his final for the course, a one-act play, to be submitted for an intercollegiate competition. It was and won first prize. It took time to accept this as career, but in development, found ways of writing dialogue that expressly created character driven work. This turned to experimenting with narrative in a weave of art forms, not through “multimedia,” but in a layering texture of performance.

This interest brought Minter to London at a time when creatives and stages there were in the forefront of such experimentation. He developed in an environment of creativity, that scaffolded all manner of permissions for investigating craft, technology, and identity, as exciting and complex palettes of human nature, creating dramatic situations of the individual as universal. His first work there was supported and produced by the New Playwrights Trust. In continuing journey, Minter gained an incredible fold of supporters, having works commissioned and presented in London, with the last being produced in the West End.

Returning to the states, Minter settled in D.C., where he found opportunity developing works as immersive tapestry of social/cultural context, presenting color across currents of race, class, and caste. These works shaped as performance for arts programming, and became blueprint for engagement with community conversations, as well as classroom education.

Minter’s local works have had the support of the Kennedy Center’s Millennium Stage, Washington National Opera, Duke Ellington School of the Arts, School Without Walls, Westminster Presbyterian Church DC, The Laboratory for Global Performance & Politics, Mosaic Theatre/Mosaic-on-the-move, the DC Public Library, the National Portrait Gallery, Smithsonian Anacostia Community Museum, The Phillips Collection, the Library of Congress, the March on Washington Film Festival, the National Portrait Gallery, and Stanford in Washington.

In addition to London, Minter’s theater works have been presented in NY, by The Lark, the Working Theater, The Hansberry Project, and Ensemble Studio Theater. He has also had productions in Philadelphia, PA; Madison, WI; and in Auckland, NZ.

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