DEATH COMES IN THREES
TUESDAY, OCTOBER 21, 2025
3PM & 7 PM at Open Jar Studios
by AriDy Nox (they/them)
Directed by Cooper Howell (they/them)
Stage Manager: Campbell Anidjar (he/they)
Associate Director: Julie Monteleone (they/them)
featuring Samora la Perdida and Taylor Iman Jones (she/they)
with Stage Directions read by Temidayo Amay (them)
In a bedroom on the edge of a meadow on the edge of a cliff on the edge of a shoreline, Me and Myself (im)patiently wait for Death, earnestly trying not to kill each other first.
AriDy Nox (they/them)
Writer
AriDy Nox is a multi-disciplinary black femme storyteller with a variety of forward-thinking creative works under their belt including the historical reimagining of the life of Sally Hemmings BLACK GIRL IN PARIS (2020), the ancestral reckoning play A WALLESS CHURCH (2019), the cross-generational magical realism FRESHWATER PLAY (2020) series and many others. Their tales are offerings intended to function as small parts of an ancient, expansive, awe-inspiring tradition of world-shaping created by black femmes and with black femmes at the center. They have been inordinately privileged to share the workings of their imagination in collaboration with a vast array of inspiring and supportive artists of various radical backgrounds throughout the country.
Cooper Howell (they/them)
Director
Cooper Howell (they/them) is a New York City-based playwright, director, and producer determined to spearheading an audience revolution—creating high-voltage, avant-garde theater where content rips open convention, bends form until it breaks, and unapologetically centers queer, trans, and POC voices. They are the Co-Artistic Director of WILDEHAUS, a new performance incubator positioning itself to become America’s foremost producer of radical queer work. They currently serve in the artistic collective of National Queer Theater and are a founding member of New York Theater Company (NYTC), where they are writing and directing the world’s first silent disco play—an adaptation of Arthur Schnitzler’s La Ronde titled THE LOOP. Cooper also serves as Associate Director of Cats: The Jellicle Ball (directed by Zhailon Levingston and Bill Rauch), the acclaimed ballroom reimagining of Andrew Lloyd Webber’s musical. All my love to Sawyer.
Campbell Anidjar (he/they)
Stage Manager
Campbell Anidjar (he/they) is a transmasculine New York City-based stage manager. Recent credits include MERRILY WE ROLL ALONG (New York Theatre Workshop); A CHRISTMAS CAROL (Hartford Stage); THE SCREWTAPE LETTERS National Tour; THAÏS, THE SONG OF ROME (Spoleto Festival USA). Campbell has also worked on developmental readings with Manhattan Theatre Club, the Working Theater, New York Stage and Film, Ars Nova, and Breaking the Binary Theater. He is a graduate of Marymount Manhattan College with a BA in Theatre Arts and a concentration in Producing & Management. For all the trans folks who came before, and for all who will come after.
Julie Monteleone (they/them)
Associate Director
Julie Monteleone (they/them) is a director, intimacy/fight choreographer, and educator focused on uplifting trans and queer voices, particularly through Shakespeare and classical adaptations. They’re currently a 2050 Administrative Fellow at New York Theater Workshop. This past year, they served as National Queer Theater’s Education Coordinator while working as a freelance director with First Kiss Theater, The Makers’ Ensemble, and putting up their own work at The Tank. Favorite directing credits include LESBIAN BIGFOOT, How to Defend Yourself, Macbeth, and Salwa Meghjee’s Word Play. They've also served as an associate director for Manna-Symone Middlebrooks, Ismael Lara Jr., and Halena Kays. Julie received a B.A. in Theater and Gender Studies from Northwestern University, and has taught for the San Francisco Shakespeare Festival, Shakespeare & Company, National Queer Theater, and Boston Public Schools.
Samora la Perdida
ME
Samora la Perdida is a Princess Grace Award winner, YoungArts Fellow, and the inaugural recipient of Baryshnikov Arts Center’s Artist Labs residency. She just finished a run in Galas at Little Island and previously starred in Notes on Killing… at Soho Rep and Yale Rep, Quiara Alegría Hudes’ My Broken Language at Signature Theatre, and A Transparent Musical at the Mark Taper Forum. She can be seen in Tina Romero’s upcoming feature Queens of the Dead, hitting theaters this fall. Her original musical, Spanglish Sh!t, can be heard on Playbill's Songwriter Series as well as in her TEDxTALK: Do Latines Need to Speak Spanish? She graduated from LaGuardia HS as a YoungArts Presidential Scholar in the Arts, and Carnegie Mellon with a dual degree in Drama and Global Studies. @samoraperdida
Taylor Iman Jones (she/they)
MYSELF
Broadway: SIX, Head Over Heels, Groundhog Day. National Tours: Hamilton, American Idiot. Off-Broadway/Regional: The Lonely Few, The Jonathon Larson Project, A Wrinkle in Time.
Temidayo Amay (them)
Stage Directions Reader
Tẹmídayọ Amay (them) is a Black Trans Non-Binary writer, actor, director, and queer activist. Amay’s plays have been developed alongside the Obie Award-winning Breaking The Binary Theatre Company, Musical Theatre Factory, Solas Nua, Theatre Alliance, The Clarice, and Brooklyn College. TENURE: BTB New Works Program Playwright; Theatre Producers of Color Fellow; Musical Theatre Factory Makers Cohort III Composer; Harriet Tubman Effect; MAESTRA Music Musical Theatre Writing Mentee. OFF-BROADWAY: Target Margin; New York Theatre Company; Classic Stage Company: black odyssey (Audelco Awards: Best Play, dir. Stevie Walker-Webb); MCC Theater; Classical Theatre of Harlem; The Public Theatre; Ars Nova; Clubbed Thumb. REGIONAL: Round House Theatre: School Girls: or, the African Mean Girls Play (Helen Hayes Award: winner); Signature Theatre: Woolly Mammoth Theatre Company; Arena Stage; The Kennedy Center; Shakespeare Theatre Company; Longacre Lea: The Interstellar Ghost Hour (Helen Hayes Award: nominated). WRITING: Bell’e: The Musical; Pool, Part One: An American Fantasia. temidayoamay.com