c. 2002



Kathryn de la Rosa is a Pilipinx-Kentuckian playwright and freelance dramaturg & audio producer working onstage, online and on air.

While their mother didn’t let them do community theater, leave the house, or have friends, Kathryn coded websites, read more fanfiction than books, and mixed themself singing the whole Johanna Quartet from Sweeney Todd, like all cool teens. Since then, Kathryn has been a dramaturgy apprentice at Actors Theatre of Louisville and interned at The New Harmony Project. Their plays have been developed at Indiana University and with members of the Actors Theatre of Louisville apprentice company.

Kathryn graduated from Indiana University with bachelor’s degrees in theatre & drama and journalism. There, they DJ'd two radio shows respectively devoted to niche musicals and David Bowie and executive produced American Student Radio before ditching it all for theater: dramaturgy, sound design, stage management (once), and even acting. They returned to student media their final semester as the original Indiana Daily Student astrologer.

Hobbies and interests include GitHub, guitar, postcolonial studies, liberation theology, and Taylor Swift.

© 2020 Cara Hinh

Curriculum vitae →


Working Title Playwrights
Dramaturg, Harina Pan workshop

Dramaturg, Blessed Aloneness, a new musical by Kaela Mei-Shing Garvin
Commissioned by College of the Holy Cross

It's Getting Brighter (Larj Media), story editor

Playing On Air, editor
Scraps and Things
Thanksgiving for One

Queer Kentucky, writer

Featured in American Theatre's Role Call series

Actors Theatre of Louisville
Producer, Borrowed Wisdom season 1
Assistant dramaturg, FLEX
Assistant dramaturg, Where the Mountain Meets the Sea
Assistant dramaturg, Are You There?
Assistant dramaturg, The Wolves
Dramaturg, Louisville // Kentucky // USA
Dramaturg, Solo Mio series

The New Harmony Project 2019
Literary assistant, Where We Stand by Donnetta Lavinia Grays
Supported writers-in-residence Jennifer Barclay and Robert Schenkkan

New Play Exchange →


Holy Virgins, full-length
it’s 2012 in western Kentucky, and Sam, Marina and Jesse are about to be licensed drivers, confirmed Catholics, and suspended from Immaculate Conception High School for a Satanic prank, a Marian hoax or on the Vatican decree against against communism, depending on who you ask. a sour-sweet dark comedy about queer girlhood, forgiving your mom, and what to believe.

Ribs, full-length
“did you know spinster age is 22?” 21-year-old Liha asks her 21-year-old roommates. a sort-of sex comedy in an accidental virgin vault, Ribs explores femininity, sexuality, and privilege from the strange, funny, vulgar confines of a Bloomington, Indiana student rental during Colton Underwood's season of The Bachelor—and the highs and horrors of being a woman at a state university.

first love / late spring, one-act
They meet in autumn, fall in winter, and leave in spring. A selfish pandemic “break up” play.

Kathryn is a member of LMDA and AIR, and is listed on POC in Audio. They're big into PWYC, sliding scale, and resurrecting the barter system.


Freelance dramaturgy
Kathryn loves new plays and collaborating with & advocating for playwrights, and is an alum of Actors Theatre of Louisville & The New Harmony Project. They're also an experienced, curious & dialogical dramaturg of the Western canon thanks to their history-heavy undergrad. If you vibe with tarot & analogies from the Bible to Brecht to The Bachelor, get in touch! (work samples →)

Audio production & editing
Content strategy, development & distribution, interview coordination, audio editing, and script work for podcasts and radio, whether it's reported, documentary, fiction or drama. Kathryn's background is in storytelling, 2-mic interviews, and live theater. Approx. $375/day or $40-60/hour, varying with project needs.

Tape sync
Based in the Tampa Bay area and able to travel with a TASCAM DR-40X. $150 + mileage, $50/additional hour.

I tend to like linear, conventional drama, with queer people of color and set anywhere but New York. Depending on audience, I think content can be radical independent of form, and we have more to learn about each other than we do about theater.

I write about history & how it haunts us, in elusive, ancestral pain & its materialist conception: how centuries of globalized capitalism locate these characters in their current conditions, however mundane their lives seem.

I like plays where nothing seems to happen. I think there is joy in the banal, life is more than suffering, and the vapid, routine things we do are worth celebration.

I believe in specificity, from "get the name of the dog" to the narrative masterclass that is All Too Well by Taylor Swift.

I write womxn who swear and scream and hurt and care for each other, who are strong only some of the time, who are too much.

I'm interested in rurality, ritual, community, epiphany, divinity.

I love realism because life contains magic.

Lately, my head is full of liberation theology. Whatever decolonization means, I'm learning it's not a wholesale rejection of colonial markers (at the expense of indigenous groups), but honoring how generations remake violent images and ideas for revolution.

The theater I strive for is jubilant and full of hope borne from loss, The Star following The Tower. I come from resilience and survival, at the twice-colonized margins of empire and its very heart. I look at my home in Kentucky and see struggle & strength against oligarchy. I write with hope because we imagine & create compassionate, anarchic futures to care for ourselves and each other.