# Soho Repertory Theatre

The Soho Repertory Theatre, known as Soho Rep, is an American Off-Broadway theater company based in New York City which is notable for producing avant-garde plays by contemporary writers. The company, described as a "cultural pillar", is currently located in a 65-seat theatre in the TriBeCa section of lower Manhattan. The company, and the projects it has produced, have won multiple prizes and earned critical acclaim, including numerous Obie Awards, Drama Desk Awards, Drama Critics' Circle Awards, and a Pulitzer Prize. A recent highlight was winning the Drama Desk Award for Sustained Achievement for "nearly four decades of artistic distinction, innovative production, and provocative play selection."
Notable artists who have recently created work at the theater, often early in their careers, include: David Adjmi, César Alvarez, Annie Baker, Alice Birch, Christopher Chen, Jackie Sibblies Drury, debbie tucker green, Aleshea Harris, Lucas Hnath, Branden Jacobs-Jenkins, Daniel Alexander Jones, Young Jean Lee, Richard Maxwell, Nature Theater of Oklahoma and Anne Washburn.
The New York Times has described it as a "safer home for dangerous plays". Critics note the “jaw dropping premieres” and “big plays in a small room” as defining features of the theater’s programming. New Yorker theatre critic Hilton Als wrote about current director Sarah Benson:
   Under her directorship I have never seen a boring production—a very rare thing, indeed. Her deeply individual sensibility is not compromised by needs other than those of the work at hand, and it’s that freedom, structured around shows that I may not agree with but always learn from, that distinguishes the SoHo Rep... Benson has imbued each work with a tough, unsentimental core; she’s also made the plays into distinct visual works that help us see the words.
In 2019 the company adopted a shared leadership model. The three Directors of the theater of the company Sarah Benson, Cynthia Flowers, and Meropi Peponides led the theater until Benson and Peponides' departure in 2023.
In 2023, Caleb Hammons and Eric Ting joined Cynthia Flowers as co-directors of the theater.
The company has an annual budget of around $2 million and employs a full-time staff of seven. In 2020, in response to the Covid-19 pandemic, the company put eight artists on salary for the 2020-21 season through the creation of a job creation program titled Project Number One referencing Federal Project Number One.

## History

The Soho Repertory Theatre company was founded in 1975 by Jerry Engelbach and Marlene Swartz. From June through September 1975, they remodeled a former textile factory in SoHo. They wanted the space to feel "light and informal" so the audience would feel comfortable. They produced their first play, Maxwell Anderson's Key Largo, on September 25. Their initial focus was on rarely seen classical plays, such as works by Aristophanes, Shakespeare, Molière, Jean Anouilh, Michel de Ghelderode, Eugene O'Neill and Samuel Beckett. By 1979, the company was sometimes producing two shows per night, allowing audiences to see both plays in succession on a Saturday night. The founding duo produced more than a hundred plays until Engelbach left in 1989.
Since its early days, the company's focus has shifted to contemporary avant-garde theatrical works. In 1981, after producing works from Shakespeare to Shaw, the company produced its first new play: Stephen Davis Parks' The Idol Makers. Among the many new works presented were plays by Americans Len Jenkin and Mac Wellman.
After 1989, Swartz partnered with English director Julian Webber, and they worked together for the next decade until Swartz departed in 1999. The company was run by Artistic Director Daniel Aukin from 1998 to 2006, and he produced new work by artists including Adam Bock, Young Jean Lee, Richard Maxwell, Melissa James Gibson, and María Irene Fornés.
Sarah Benson was appointed as Artistic Director in 2007. Around this time, the company transitioned from the smaller Off-off-Broadway model of less than 100 seats to an Off-Broadway contract, typically reserved for theatres with a 100-499 seat capacity.
Benson and Flowers ran the theater together from 2012 until being joined by Producer Meropi Peponides in 2014. In the last decade the company has taken on ambitious projects often winning awards and critical acclaim. One of Benson's first plays was writer Sarah Kane’s Blasted which won the director an Obie Award. Benson's production of Branden Jacobs-Jenkins's An Octoroon won an Obie for Best New American Play and transferred to Theatre for a New Audience. Taibi Magar's production of Aleshea Harris' 'Is God Is' re-opened Walkerspace in 2018 following renovations and won multiple Obie awards. Benson directed Jackie Sibblies Drury's 'Fairview' which won the 2019 Pulitzer Prize for Drama and had an extended run. The company celebrates with an annual gala usually in the spring, sometimes on a rooftop.

## Performance spaces

During the forty-five years of its existence, the theatre has produced in several venues in lower Manhattan, often being forced to move because of issues with rent or city building requirements, and survived from time to time with help from city authorities and supporters. Its first space in 1975 on 19 Mercer Street was in a converted hat warehouse, described by the founders as a "practical adaptation of the Shakespearean playhouse laid out in a modest modern space". In 1985, Bob Moss of Playwrights Horizons, assisted by the mayor's office and a grant from the Manhattan Borough President, helped them relocate to a 100-seat neo-classical theater attached to Bellevue Hospital. While the theatre had a separate entrance from the psychiatric hospital, sometimes backstage their actors and writers rode the same elevator with patients, recalled playwright Mac Wellman. After a year they moved to Greenwich Village, and stayed there until 1991, when they found their present-day space at 46 Walker Street in Tribeca. Dubbed Walkerspace, the present theatre is only a few blocks from the company's original venue. The company has been at this location except for a short period for building renovations, which had been paid for with a fundraising campaign as well as help from the city's building commissioner, Rick Chandler and Julie Menin. In July 2024, Soho Rep announced it would be leaving its longtime home of Walkerspace, citing rising rent costs, lack of accessibility, and the costs of persistent repairs. The company will share space with Playwrights Horizons as it considers long-term plans.

## Staff

* Marlene Swartz, Co-Artistic Director (1975–1995)
* Jerry Engelbach, Co-Artistic Director (1975–1989)
* Julian Webber, Co-Artistic Director (1990–1998)
* Daniel Aukin, Artistic Director (1998–2006)
* Sarah Benson,
** Artistic Director (2007–2019)
** Director (2019-2023)
* Meropi Peponides
** Producer (2014–2019)
** Director (2019-2023)
* Cynthia Flowers
** Executive Director (2012–2019)
** Director (2019–present)
* Caleb Hammons
** Producer (2011–2013)
** Director (2023–present)
* Eric Ting
** Director (2023–present)
Since 2019, Soho Rep has used a shared leadership model.

## Dramatic productions

| Season | Title | Playwright | Director | Awards | Producing Partners |
| 1975–76 (Season 1) | 19 Mercer Street | 19 Mercer Street | 19 Mercer Street | 19 Mercer Street | 19 Mercer Street |
| 1975–76 (Season 1) | Key Largo | Maxwell Anderson | Jerry Engelbach | | |
| 1975–76 (Season 1) | The Master Builder | Henrik Ibsen | Marlene Swartz | | |
| 1975–76 (Season 1) | Coriolanus | William Shakespeare | Jerry Engelbach | | |
| 1975–76 (Season 1) | The Congresswomen | Aristophanes, translation and music by William and Billie Snow | Marlene Swartz | | |
| 1975–76 (Season 1) | The Infernal Machine | Jean Cocteau | Michael Wright | | |
| 1975–76 (Season 1) | Anna Christie | Eugene O'Neill | Marlene Swartz | | |
| 1975–76 (Season 1) | Heartbreak House | George Bernard Shaw | Jerry Engelbach | | |
| 1975–76 (Season 1) | The Father | August Strindberg, adapted by Jonathan Furst | Jonathan Furst | | |
| 1975–76 (Season 1) | Abelard and Eloise | Ronald Duncan | Charles Conwell | | |
| 1975–76 (Season 1) | The Imaginary Invalid | Molière, translation by Frances Kosbab | Marlene Swartz | | |
| 1975–76 (Season 1) | Bimbos in Paradise | B. Prune | Michael Wright | | |
| 1975–76 (Season 1) | Private Lives | Noël Coward | Jack H. Cunningham | | |
| 1975–76 (Season 1) | Candida | George Bernard Shaw | Jerry Engelbach | | |
| 1976–77 (Season 2) | Six Play Subscription Costs $12 | Six Play Subscription Costs $12 | Six Play Subscription Costs $12 | Six Play Subscription Costs $12 | Six Play Subscription Costs $12 |
| 1976–77 (Season 2) | The Birthday Party | Harold Pinter | Marlene Swartz | | |
| 1976–77 (Season 2) | Dracula | Bram Stoker, adapted by Jerry Engelbach | Jerry Engelbach | | |
| 1976–77 (Season 2) | Faustus X Seven | Based on "Doctor Faustus," by Christopher Marlowe, adapted by Jerry Engelbach | Carol Corwen and Jerry Engelbach | | |
| 1976–77 (Season 2) | The Merchant of Venice | William Shakespeare | Marlene Swartz | | |
| 1976–77 (Season 2) | Billy Liar | Keith Waterhouse and Willis Hall | Jerry Engelbach | | |
| 1976–77 (Season 2) | Uncle Vanya | Anton Chekhov, adapted by Marlene Swartz | Marlene Swartz | | |
| 1976–77 (Season 2) | Spring's Awakening | Frank Wedekind, adapted by Carol Corwen and Mary Eileen O'Donnell | Carol Corwen | | |
| 1976–77 (Season 2) | Back to Methuselah | George Bernard Shaw | Stephen R. Lieb | | |
| 1976–77 (Season 2) | What the Butler Saw | Joe Orton | Marlene Swartz | | |
| 1976–77 (Season 2) | The Dock Brief | John Mortimer | Steven Burch | | |
| 1976–77 (Season 2) | The Public Eye | Peter Shaffer | Stephen R. Lieb | | |
| 1976–77 (Season 2) | Black Comedy | Peter Shaffer | Frank Cento | | |
| 1976–77 (Season 2) | Under Milk Wood | Dylan Thomas | Harrison Ewing | | |
| 1976–77 (Season 2) | July 2 and Thanksgiving | Stan Kaplan | Jerry Engelbach | | |
| 1976–77 (Season 2) | Rain | John Colton and Clemence Randolph, based on the novel by W. Somerset Maugham | Jack H. Cunningham | | |
| 1976–77 (Season 2) | Ghosts | Henrik Ibsen | Marlene Swartz | | |
| 1977–78 (Season 3) | Misalliance | George Bernard Shaw | Trueman Kelley | | |
| 1977–78 (Season 3) | The Miser | Molière | Moshe Yassur | | |
| 1977–78 (Season 3) | Peer Gynt | Henrik Ibsen, adapted by Carol Corwen | Carol Corwen | | |
| 1977–78 (Season 3) | The Chairs | Eugène Ionesco | Jon Fraser | | |
| 1977–78 (Season 3) | Better Dead | Georges Feydeau, adapted by Jude Schanzer and Michael Wells | Jude Schanzer | | |
| 1977–78 (Season 3) | Cyrano DeBergerac | Edmond Rostand | Jerry Engelbach | | |
| 1977–78 (Season 3) | Poe in Person, one-man show | Conrad Pomerleau | Conrad Pomerleau | | |
| 1977–78 (Season 3) | Traveler Without Luggage | Jean Anouih | Marlene Swartz | | |
| 1977–78 (Season 3) | The Play's the Thing | Ferenc Molnár | Jack H. Cunningham | | |
| 1977–78 (Season 3) | Mister T | Michael Zettler | Stephen Zuckerman | | |
| 1977–78 (Season 3) | The Killing of Sister George | Frank Marcus | Marlene Swartz | | |
| 1977–78 (Season 3) | The Magistrate | Arthur Wing Pinero | Jim Milton | | |
| 1977–78 (Season 3) | The Four Little Girls | Pablo Picasso | Richard Gershman | | |
| 1977–78 (Season 3) | The Soho Theatre of the Air, an evening of vintage radio plays | Conceived and Adapted by Carol Corwen | Carol Corwen | | |
| 1977–78 (Season 3) | The Real Inspector Hound | Tom Stoppard | Timothy Brennan | | |
| 1977–78 (Season 3) | Philadelphia, Here I Come! | Brian Friel | Ron Daley | | |
| 1978–79 (Season 4) | One Act Festival Opened Jan 5th, 1979. Cost: $10 for Festival Pass; $3 per show. | One Act Festival Opened Jan 5th, 1979. Cost: $10 for Festival Pass; $3 per show. | One Act Festival Opened Jan 5th, 1979. Cost: $10 for Festival Pass; $3 per show. | One Act Festival Opened Jan 5th, 1979. Cost: $10 for Festival Pass; $3 per show. | One Act Festival Opened Jan 5th, 1979. Cost: $10 for Festival Pass; $3 per show. |
| 1978–79 (Season 4) | Overruled! | George Bernard Shaw | Gene Santarelli | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | The Love of Don Perimplin and Belisa in the Garden | Federico García Lorca | Mary Ryder | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | Only 10 Minutes to Buffalo | Gunter Grass | Alison Mackenzie | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | Guernica | Fernando Arrabal | Mitchell Engelmeyer | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | Action | Sam Shepard | Chris Silva | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | Deathwatch | Jean Genet | Denise Merat | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | If You Had Three Husbands | Gertrude Stein, adapted by Randy Knolle | Randy Knolle | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | The Twelve-Pound Look | J. M. Barrie | Alison Mackenzie | Villager Downtown Theatre Award for a commitment to the presentation of a program of short plays | |
| 1978–79 (Season 4) | Richard III | William Shakespeare | Jerry Engelbach | |
| 1978–79 (Season 4) | Miss Jairus | Michel DeGhelderode | Carol Corwen | |
| 1978–79 (Season 4) | Dandy Dick | Arthur Wing Pinero | Gene Santarelli | |
| 1978–79 (Season 4) | Inadmissible Evidence | John Osborne | Marlene Swartz | |
| 1978–79 (Season 4) | The Knights of the Round Table | Jean Cocteau | Jerry Engelbach | |
| 1978–79 (Season 4) | Amphitryon 38 | Jean Giraudoux | Jude Schanzer | |
| 1978–79 (Season 4) | The Servant | Robin Maugham | Marlene Swartz | |
| 1978–79 (Season 4) | Fallen Angels | Noël Coward | Trueman Kelley | |
| 1978–79 (Season 4) | October 12, 410 B.C. (Thesmophoriazusae) | Aristophanes | Alison Mackenzie | |
| 1978–79 (Season 4) | Requiem for a Heavyweight | Rod Serling | Richard Leighton | |
| 1979–80 (Season 5) | The Insect Comedy | Karel & Joseph Čapek | Trueman Kelley | | |
| 1979–80 (Season 5) | The Cannibals | George Tabori | Carol Corwen | | |
| 1979–80 (Season 5) | The Barber of Seville | Pierre Beaumarchais | Alison Mackenzie | | |
| 1979–80 (Season 5) | We Have Always Lived in the Castle | Hugh Wheeler, from the book by Shirley Jackson | Gene Santarelli | | |
| 1979–80 (Season 5) | The Silver Tassie | Séan O'Casey | Carey Perloff | | |
| 1979–80 (Season 5) | Twelfth Night | William Shakespeare | Stephen Brant | | |
| 1979–80 (Season 5) | The Second Man | S. N. Behrman | Jude Schanzer | | |
| 1979–80 (Season 5) | Feathertop | From a short story by Nathaniel Hawthorne, adapted by Truman Kelley | Trueman Kelley | | |
| 1979–80 (Season 5) | The Ugly Duckling | A. A. Milne | Trueman Kelley | | |
| 1979–80 (Season 5) | Brewsie and Willie | Gertrude Stein | Michael Bloom | | |
| 1979–80 (Season 5) | Homefires | John Guare | Michael Bloom | | |
| 1979–80 (Season 5) | Fairy Tales of New York | J. P. Donleavy | Jerry Engelbach | | |
| 1979–80 (Season 5) | The Caretaker | Harold Pinter | Marlene Swartz | | |
| 1979–80 (Season 5) | The Gamblers | Nikolai Gogol | Penelope Hirsch | | |
| 1979–80 (Season 5) | Old Possum's Book of Practical Cats | T. S. Eliot, adapted for the stage by Jonathan Foster, music by Elyse Goodwin | Jonathan Foster | | |
| 1979–80 (Season 5) | The Tricycle | Fernando Arrabal | N/A | | |
| 1979–80 (Season 5) | The Party | Sławomir Mrożek | N/A | | |
| 1980–81 (Season 6) | Desire Caught by the Tail | Pablo Picasso | Jonathan Foster | | |
| 1980–81 (Season 6) | The Idol Makers | Stephen Davis Parks | Marlene Swartz | "Villager Downtown Theatre Award" for Directing | |
| 1980–81 (Season 6) | The Streets of New York, also known as The Poor of New York | Dion Boucicault | Trueman Kelley | | |
| 1980–81 (Season 6) | Dark Ride | Len Jenkin | Len Jenkin | | |
| 1980–81 (Season 6) | Love in the Country | Book and lyrics by Michael Alfreds, music by Anthony Bowles | Anthony Bowles | | |
| 1980–81 (Season 6) | The Doctor and the Devils | Dylan Thomas | Carol Corwen | | |
| 1980–81 (Season 6) | Old Times | Harold Pinter | Jerry Engelbach | | |
| 1981–82 (Season 7) | The Girl Who Ate Chicken Bones | Book by Stan Kaplan, music by David Hollister, lyrics by Stan Kaplan and David Hollister | Marlene Swartz | | |
| 1981–82 (Season 7) | One-Act Operas: The Audience Mr. Lion Miyako | Libretto by Glenn Miller, music by Royce Dembo | Scott Clugstone | | Golden Fleece Ltd. |
| 1981–82 (Season 7) | One-Act Operas: The Audience Mr. Lion Miyako | Music and libretto by Linder Chlarson | Lou Rodgers | | Golden Fleece Ltd. |
| 1981–82 (Season 7) | One-Act Operas: The Audience Mr. Lion Miyako | Lou Rodgers | Lou Rodgers | | Golden Fleece Ltd. |
| 1981–82 (Season 7) | Nathan the Wise | Gotthold Ephraim Lessing | Jerry Engelbach | | |
| 1981–82 (Season 7) | Subject to Fits | Robert Montgomery, based on Dostoevsky's The Idiot | Barry Koron | | |
| 1981–82 (Season 7) | Barbarians | Barrie Keeffe | Peter Byrne | Featured Kevin Spacey | |
| 1982–83 (Season 8) | Fanshen | David Hare | Michael Bloom | | |
| 1982–83 (Season 8) | The Life and Death of Tom Thumb the Great | Henry Fielding, music by Anthony Bowles | Anthony Bowles | | |
| 1982–83 (Season 8) | Kid Twist | Len Jenkin | Tony Barsha | | |
| 1982–83 (Season 8) | Rape Upon Rape | Henry Fielding | Anthony Bowles | | |
| 1983–84 (Season 9) | Under the Gaslight | Augustin Daly | Stephen Wyman | | |
| 1983–84 (Season 9) | Mandrake | Book and lyrics by Michael Alfreds, music by Anthony Bowles | Anthony Bowles | | |
| 1983–84 (Season 9) | Catchpenny Twist | Stewart Parker, music by Shaun Davey | Marlene Swartz | | |
| 1983–84 (Season 9) | The Wood Painting | Ingmar Bergman | Alan Wynroth | | |
| 1983–84 (Season 9) | Yes is for a Very Young Man | Gertrude Stein | Robert P. Barron | | |
| 1983–84 (Season 9) | The Business of Good Government | John Arden | Jerry Engelbach | | |
| 1983–84 (Season 9) | Bertha, Queen of Norway | Kenneth Koch | Steven Brant | | |
| 1983–84 (Season 9) | George Washington Crosses the Delaware | Kenneth Koch | Steven Brant | | |
| 1983–84 (Season 9) | The Dwarfs | Harold Pinter | Jerry Engelbach | | |
| 1983–84 (Season 9) | Lenz | Mike Stott, based on a fragment by Georg Büchner | N/A | | |
| 1984–85 (Season 10) | Theater moves to Bellevue Hospital in January 1985 | Theater moves to Bellevue Hospital in January 1985 | Theater moves to Bellevue Hospital in January 1985 | Theater moves to Bellevue Hospital in January 1985 | Theater moves to Bellevue Hospital in January 1985 |
| 1984–85 (Season 10) | The Crimes of Vautrin | Nicholas Wright, based on the novel by Honoré de Balzac: Splendeurs et Miseresdes Courtisanes | Carol Corwen | | |
| 1984–85 (Season 10) | Energumen | Mac Wellman | Rebecca Harrison | | |
| 1984–85 (Season 10) | Almos' A Man | Paris Barclay, based on Richard Wright's short story, The Man Who Was Almost a Man | Tazewell Thompson | | |
| 1984–85 (Season 10) | The Winter's Tale | William Shakespeare | Anthony Bowles | | |
| 1985–86 (Season 11) | Theater moves to Greenwich House, 27 Barrow Street | Theater moves to Greenwich House, 27 Barrow Street | Theater moves to Greenwich House, 27 Barrow Street | Theater moves to Greenwich House, 27 Barrow Street | Theater moves to Greenwich House, 27 Barrow Street |
| 1985–86 (Season 11) | The Two Orphans | Cormon and D'Ennery (Les deux orphelines), original music by Marshall Coid | Julian Webber | | |
| 1985–86 (Season 11) | One Fine Day | Nicholas Wright | Tazewell Thompson | | |
| 1985–86 (Season 11) | The Grub Street Opera | Henry Fielding, new music by Anthony Bowles | Anthony Bowles | | |
| 1986–87 (Season 12) | The Ragged Trousered Philanthropists | Stephen Lowe | Julian Webber | | |
| 1986–87 (Season 12) | Sergeant Ola and his Followers | David Lan | Tazewell Thompson | | |
| 1986–87 (Season 12) | The Mock Doctor | Henry Fielding, music by Anthony Bowles | Anthony Bowles | | |
| 1986–87 (Season 12) | Eurydice | Henry Fielding, music by Anthony Bowles | Anthony Bowles | | |
| 1987–88 (Season 13) | The Racket | Bartlett Cormack | Michael Bloom | | |
| 1987–88 (Season 13) | The Girl of the Golden West | David Belasco | Julian Webber | | |
| 1987–88 (Season 13) | A Cup of Coffee | Preston Sturges | Larry Carpenter | | |
| 1988–89 (Season 14) | The Blitzstein Project | Marc Blitzstein | Carol Corwen | | |
| 1988–89 (Season 14) | The Phantom Lady | Pedro Calderón de la Barca, translated by Edwin Honig | Julian Webber | | |
| 1988–89 (Season 14) | The Cezanne Syndrome | Normand Canac-Marquis, translated by Louison Denis | N/A | | |
| 1989–90 (Season 15) | Limbo Tales | Len Jenkin | Thomas Babe | | |
| 1989–90 (Season 15) | American Bagpipes | Iain Heggie | Julian Webber | | |
| 1990–91 (Season 16) | Theater is established at 46 Walker Street Julian Webber is hired as Co-Artistic Director (with Marlene Swartz) | Theater is established at 46 Walker Street Julian Webber is hired as Co-Artistic Director (with Marlene Swartz) | Theater is established at 46 Walker Street Julian Webber is hired as Co-Artistic Director (with Marlene Swartz) | Theater is established at 46 Walker Street Julian Webber is hired as Co-Artistic Director (with Marlene Swartz) | Theater is established at 46 Walker Street Julian Webber is hired as Co-Artistic Director (with Marlene Swartz) |
| 1990–91 (Season 16) | Native Speech | Eric Overmyer | John Pynchon Holms | | |
| 1990–91 (Season 16) | Yokohama Duty | Quincy Long | Julian Webber | | |
| 1990–91 (Season 16) | Two Gentlemen of Verona | William Shakespeare, adapted by Mark Milbauer and David Becker | Mark Milbauer and David Becker | | Cucaracha Theater |
| 1990–91 (Season 16) | Hanging the President | Michele Celeste | | | |
| 1991–92 (Season 17) | 7 Blowjobs | Mac Wellman | Jim Simpson | | |
| 1991–92 (Season 17) | Tone Clusters | Joyce Carol Oates | Julian Webber | | |
| 1992–93 (Season 18) | Three Americanisms | Mac Wellman | Jim Simpson | | |
| 1992–93 (Season 18) | Cross Dressing in the Depression | Erin Cressida Wilson | | | |
| 1992–93 (Season 18) | Mormons in Malibu | Wendy Hammond | | | |
| 1993–94 (Season 19) | David's Red-Haired Death | Sherry Kramer | | | |
| 1993–94 (Season 19) | Terminal Hip | Mac Wellman | | | |
| 1993–94 (Season 19) | Careless Love | Len Jenkin | | | |
| 1993–94 (Season 19) | Dracula | Mac Wellman | Julian Webber | featured Tim Blake Nelson | |
| 1993–94 (Season 19) | Hollywood Hustle | written and performed by Jeremiah Bosgang | Rob Greenberg | | |
| 1993–94 (Season 19) | Exchange | Yuri Trifonov, translated and adapted by Michael Frayn | Peter Westerhoff | | |
| 1993–94 (Season 19) | Swoop | Mac Wellman | Julian Webber | | |
| 1993–94 (Season 19) | Women Behind Bars | Tom Eyen | | | |
| 1994–95 (Season 20) | The House of Yes | Wendy MacLeod | | | |
| 1994–95 (Season 20) | Skin | Naomi Iizuka | | | |
| 1994–95 (Season 20) | Frank, Frank | | | | |
| 1994–95 (Season 20) | Titus Andronicus | William Shakespeare | Lester Shane | | |
| 1994–95 (Season 20) | Measure for Measure | William Shakespeare | Jared Hammond | | |
| 1995–96 (Season 21) | Dark Ride (revival of 1981 production) | Len Jenkin | Julian Webber | | |
| 1995–96 (Season 21) | Wally's Ghost | Ain Gordon | | OBIE, Playwriting | |
| 1997–98 (Season 23) | A Devil Inside | David Lindsay-Abaire | Julian Webber | | |
| 1997–98 (Season 23) | Fnu Lnu | Mac Wellman, original music by David Van Tieghem | Julian Webber | | |
| 1997–98 (Season 23) | How to Write While You Sleep | Madeleine Olnek | Lisa Portes | | |
| 1998–99 (Season 24) | Cowboys and Indians | Richard Maxwell and Jim Strahs | Richard Maxwell | | |
| 1998–99 (Season 24) | Quartet | Heiner Müller | | | |
| 1998–99 (Season 24) | The Escapist | The Flying Machine | | | |
| 1998–99 (Season 24) | Alice's Evidence | Ellen Beckerman | | | |
| 1999–2000 (Season 25) | R&D: Research & Development | new work development series featuring Mac Wellman, Richard Maxwell, and Maria Shron | | | |
| 1999–2000 (Season 25) | The Year of the Baby | Quincy Long, composed by Maury Loeb, based on a play by Stephen Foster | Daniel Aukin | | |
| 1999–2000 (Season 25) | Hypatia | Mac Wellman | Bob McGrath | | |
| 2000–01 (Season 26) | Cat's-Paw | Mac Wellman | Daniel Aukin | | |
| 2000–01 (Season 26) | Caveman | Richard Maxwell | Richard Maxwell | | |
| 2000–01 (Season 26) | Boxing 2000 | Richard Maxwell | | | |
| 2001–02 (Season 27) | [sic] | Melissa James Gibson | Daniel Aukin | OBIE, Playwriting OBIE, Special Citation, Direction OBIE, Special Citation, Set Design | |
| 2001–02 (Season 27) | Attempts On Her Life | Martin Crimp | Steve Cosson | | |
| 2002–03 (Season 28) | Signals of Distress | created and performed by members of the Flying Machine; adapted by Joshua Carlebach from the novel by Jim Crace | Joshua Carlebach | | |
| 2002–03 (Season 28) | Molly's Dream | María Irene Fornés | Daniel Aukin | OBIE, Special Citation | |
| 2003–04 (Season 29) | Suitcase, or Those That Resemble Flies from a Distance | Melissa James Gibson | Daniel Aukin | | True Love Productions |
| 2003–04 (Season 29) | The Appeal | Young Jean Lee | Young Jean Lee | | |
| 2004–05 (Season 30) | Everything Will Be Different (later retitled A Brief History of Helen of Troy) | Mark Schultz | Daniel Aukin | | |
| 2004–05 (Season 30) | Frankenstein | adapted by Joshua Carlebach from the novel by Mary Shelley | Joshua Carlebach | | |
| 2005–06 (Season 31) | Not Clown | Carlos Treviño and Steve Moore | Carlos Treviño | | |
| 2005–06 (Season 31) | Peninsula | Madelyn Kent | Madelyn Kent | | |
| 2006–07 (Season 32) | Thugs | Adam Bock | Anne Kauffman | OBIE, Playwriting OBIE, Ross Wetzsteon Award | |
| 2007–08 (Season 33) | Sarah Benson begins tenure as Artistic Director Soho Rep. begins producing under Off-Broadway Equity Contract | Sarah Benson begins tenure as Artistic Director Soho Rep. begins producing under Off-Broadway Equity Contract | Sarah Benson begins tenure as Artistic Director Soho Rep. begins producing under Off-Broadway Equity Contract | Sarah Benson begins tenure as Artistic Director Soho Rep. begins producing under Off-Broadway Equity Contract | Sarah Benson begins tenure as Artistic Director Soho Rep. begins producing under Off-Broadway Equity Contract |
| 2007–08 (Season 33) | Philoktetes | John Jesurun, adapted from Sophocles' original | John Jesurun | | |
| 2007–08 (Season 33) | No Dice | Nature Theater of Oklahoma | | OBIE, Special Citation | |
| 2008–09 (Season 34) | Blasted | Sarah Kane | Sarah Benson | OBIE, Special Citation, Direction OBIE, Special Citation, Set Design, Drama Desk nomination | |
| 2008–09 (Season 34) | Sixty Miles to Silver Lake | Dan LeFranc | Anne Kauffman | New York Times Outstanding Playwright Award | |
| 2008–09 (Season 34) | Rambo Solo | conceived by Pavol Liska and Kelly Copper in conversation with Zachary Oberzan | Pavol Liska and Kelly Copper | | Nature Theater of Oklahoma |
| 2009–10 (Season 35) | Lear | Young Jean Lee, adapted from King Lear by William Shakespeare, choreographed by Dean Moss | Young Jean Lee | | |
| 2009–10 (Season 35) | The Truth: A Tragedy | written, composed, and performed by Cynthia Hopkins | DJ Mendel | | |
| 2010–11 (Season 36) | Orange, Hat & Grace | Gregory Moss | Sarah Benson | | |
| 2010–11 (Season 36) | Jomama Jones * Radiate | performed by Daniel Alexander Jones, music direction by Bobby Halvorson | Kym Moore | | |
| 2010–11 (Season 36) | born bad | debbie tucker green | Leah C. Gardiner | OBIE, Special Citation, Playwriting OBIE, Special Citation, Directing | |
| 2011–12 (Season 37) | Elective Affinities | David Adjmi | Sarah Benson | Featured Zoe Caldwell | Piece by Piece Productions and Rising Phoenix Repertory |
| 2011–12 (Season 37) | The Ugly One | Marius von Mayenburg | Daniel Aukin | | The Play Company, John Adrian Selzer |
| 2011–12 (Season 37) | Uncle Vanya | Annie Baker, adapted from Anton Chekhov's original | Sam Gold | | John Adrian Selzer |
| 2012–13 (Season 38) | We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, from the German Sudwestafrika Between the Years 1884–1915 | Jackie Sibblies Drury | Eric Ting | OBIE, Direction | John Adrian Selzer |
| 2012–13 (Season 38) | Life and Times, Episodes 1–4 | conceived by Pavol Liska and Kelly Copper in conversation with Kristin Worrall | Pavol Liska and Kelly Copper | OBIE, Special Citation | Nature Theater of Oklahoma, Burgtheater in Vienna, The Public Theater, John Adrian Selzer |
| 2012–13 (Season 38) | A Public Reading of an Unproduced Screenplay About the Death of Walt Disney | Lucas Hnath | Sarah Benson | OBIE, Performance (Larry Pine) | John Adrian Selzer |
| 2013–14 (Season 39) | Marie Antionette | David Adjmi | Rebecca Taichman | | John Adrian Selzer, American Repertory Theater, Yale Repertory Theater |
| 2013–14 (Season 39) | An Octoroon | Branden Jacobs-Jenkins; songs, score, and musical direction by César Alvarez, choreography by David Neumann | Sarah Benson | OBIE, Performance (Chris Myers) OBIE, Best New American Play | John Adrian Selzer |
| 2014–15 (Season 40) | generations | debbie tucker green | Leah C. Gardiner | | The Play Company, John Adrian Selzer |
| 2014–15 (Season 40) | Winners and Losers | created and performed by Marcus Youssef and James Long | Chris Abraham | | |
| 2014–15 (Season 40) | 10 out of 12 | Anne Washburn | Les Waters | | John Adrian Selzer |
| 2015–16 (Season 41) | FUTURITY | lyrics and book by César Alvarez, music by César Alvarez with The Lisps | Sarah Benson | Lortel Award, Outstanding Musical | Carole Shorenstein Hays, Ars Nova |
| 2015–16 (Season 41) | Revolt. She Said. Revolt Again. | Alice Birch | Lileana Blain-Cruz | | John Adrian Selzer |
| 2016–17 (Season 42) | Duat | Daniel Alexander Jones, with new music by Samora Pinderhughes, Bobby Halvorson, and Jomama Jones | Will Davis | | |
| 2016–17 (Season 42) | [untitled new play] | Jackie Sibblies Drury | Sarah Benson | | |
| 2016–17 (Season 42) | In The Blood | Suzan-Lori Parks | Sarah Benson | | |
| 2016–17 (Season 42) | Samara | Richard Maxwell, with original music by Steve Earle | Sarah Benson | | John Adrian Selzer |
| 2017–18 (Season 43) | Is God Is | Aleshea Harris | Taibi Magar | American Playwriting Foundation Relentless Award 2016 | |
| 2017–18 (Season 43) | [studio] | Alice Birch, Narcissister, Carmelita Tropicana and Branden Jacobs-Jenkins, Kate Tarker, Becca Blackwell | | | |
| 2017–18 (Season 43) | Fairview | Jackie Sibblies Drury | Sarah Benson | Pulitzer Prize for Drama 2019; Drama Desk nomination |
| 2018–19 (Season 44) | Thunderbodies | Kate Tarker | Lileana Blain-Cruz | | |
| 2018–19 (Season 44) | Passage | Christopher Chen | Saheem Ali | | |
| 2019–20 (Season 45) | for all the women who thought they were Mad | Zawe Ashton | Whitney White | | |
| 2021–22 (Season 46) | while you were partying | | | | |
| 2021–22 (Season 46) | Wolf Play | Hansol Jung | Dustin Wills | | |
| 2021–22 (Season 46) | Notes on Killing Seven Oversight, Management and Economic Stability Board Members | Mara Vélez Meléndez | David Mendizábal | | |
| 2022–23 (Season 47) | Montag | Kate Tarker, with original music by Daniel Schlossberg | Dustin Wills | | |