Ian W. Hill


At the end of the world, or soon after, or soon before, as the ice rises and the food grows scarce, the six members of a “family” that has banded together for survival begin to turn on each other as the years of hardship, cabin fever, and resentment catch up with them, and neither the old or young members of the family are sure what to do next.


A film noir pastiche-play consisting of dialogue from over 150 noirs, as well as original material and quotes from a recent U.S. Administration and other pertinent sources, combined into an original, spellbinding, semi-abstract, hallucinatory tale of corruption, betrayal, and revenge.


A fantasy in which Winsor McCay's classic comic strip character Little Nemo falls asleep as usual, but, rather than traveling to the dream-world of Slumberland, is instead transported into the universe of the stories of H.P. Lovecraft, and must help the alienist Randolph Carter to defeat The Old Ones so he can return back to his safe bed.


A dark science-fiction satire set 70 or so years in the future, in which a brilliant biohacker is hired by the head of one of the corporate feudal fiefdoms that now rule the USA to create a "positive plague," a disease that will cause the stagnating population of the country to be productive again, but gets some unexpected results.


In a future USA being run like some kind of banana republic, two women -- a successful, aristocratic musician and a young idealistic Colonel -- engage in a tense and uneasy battle of revolution, reversals, ideals, and identity.


An aging novelist has reached the end of words and is ready to be done with his work, but who finds that his words don't feel like ending and his work isn't done with him. On the day he announces his retirement, his fictions rise up against him and take over not only his work but his life.


A loving pastiche of 1930s-40s b-movie serials that combines as many elements as possible of that straight-faced, sincerely-played genre into one big mashup of fast-moving fun — a single play made up of 6 episodes played one right after another (with cliffhanger endings, of course).


An American woman of unsteady mind has committed a terrorist act against her own country, and in her interrogation cell is confronted by both external and internal forces demanding an explanation or pleading to be heard.


A modern Restoration Comedy of Manners, in the style of THE MAN OF MODE or THE COUNTRY WIFE, only set in today's Brooklyn, with a cast of characters concerned with fashion, food, publicity, social media, social events, and, maybe, sex. The more things change...

Born 1968 just outside Philadelphia, PA. Raised a bit there, in Bloomington, IN and Wilmington, DE, but mostly in Cos Cob, CT. Attended Northfield Mount Hermon School in Massachusetts, studied theatre extensively there, as well as writing several radio plays and sketches, and winning awards for his poetry and photography. Graduated from NYU's Tisch School of the Arts in 1990 with a BFA in Film Production -- wrote and directed an hour-long 16mm film, Deep Night, for his final project. Intended to be a filmmaker, but got sidetracked into acting onstage, working extensively with directors (and friends/mentors) Christopher Carter Sanderson, Murphy Gigliotti, and David LM Mcintyre.

Started writing plays in 1990. First play produced in 1993 -- Even the Jungle, a collaged retelling of Kipling's The Jungle Book and Coppola's Apocalypse Now, the first "New Collisionist" compilation-play, conceived and co-written by David LM Mcintyre. Was artistic associate and caretaker of the NADA spaces on Ludlow Street from 1996-2000.

Has written, and has mostly produced/designed/directed with his company Gemini Collisionworks (founded in 1997), 7 more compilation-plays (including 4 in the NECROPOLIS series and 2 in the Invisible Republic series), 5 full-length two-act plays (Spell, ObJects, Removal, Cant, and Spacemen from Space!), 4 one-acts, 2 adaptations of existing works (including The Magnificent Ambersons by Orson Welles: A Reconstruction for the Stage), 2 adaptations of a collaborative improvised theatrical text (Sacrificial Offerings and Invincible City, with David Finkelstein), one theatrically-staged and run wedding (The Wedding of Berit Johnson & Ian W. Hill), and with Ms. Johnson, the first English-language translation of Eugène Ionesco's short play The Viscount.

Despite this, he is still primarily known as a director/designer of existing plays, and as a designer for other companies, primarily in light (NYIT Award Nomination for Outstanding Lighting in 2009).  Gemini CollisionWorks also received 8 nominations in the 2016 NYIT Awards for their productions of Nord Hausen Fly Robot and Brian Parks's The Golfer, winning 5 for the latter show.

Co-Technical Director at The Brick in Williamsburg, Brooklyn since 2007 with Berit Johnson (collaborator/partner/wife), where Gemini CollisionWorks has presented a season of its new and adapted work each year since 2007, and will continue to do so as long as it's allowed.