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Sold-Out Shows, Rave Reviews!

Our FringeNYC premiere could not have gone better…

ONAJE sold out all five shows, the performances were riveting, and both audiences and critics were exceedingly positive. Check out these great reviews from onstageblog.com and Theatre is Easy (theasy.com) .

Thanks again to our incredible cast, crew, and creative team — and to everyone whose generous support helped bring ONAJE to life!

“The Naked House Painting Society”

“Easily the festival’s best. Riveting drama with genuine humor and intense relationships. Mystical in nature, the play turns on incisive philosophical dialogue.” — Winifred Walsh, The Baltimore Sun

“Slavery,” a play in one act

Ownership is the issue as two associates draft a patent at a huge law firm in Robert Bowie, Jr’s one‑act play “Slavery.”

“Crash & Burn PA”

“It’s pretty damned refreshing. Tightly woven, with comic prowess and a nicely fast pace. If you want a carefree night of fun and laughs, this is your ticket.” — Pandora Locks

“Witchcraft,” a play in one act

“‘Witchcraft’ offers the suspenseful flavor of Alfred Hitchcock show. The drama unfolds with many unanticipated twists and turns…” — Janet Stidman Evleth

Poet Laureate - Harvard Alumni Association

Robert is also an accomplished poet and HAA Poet Laureate. You can read some of his poems here.

More plays by Robert Bowie, Jr…

Recent Posts

Elizabeth Bishop, Cemeteries, and Contrast as Creativity

Elizabeth Bishop, Cemeteries, and Contrast as Creativity

I’m extremely fortunate to have had a class with Elizabeth Bishop, who was one of our great, late 20th Century poets. She taught us that any two poems, no matter where they are from, when placed side-by-side will cause an unintended contrast that will illuminate both. Once grasped, this is an eye-opening idea with endless potentiality for creative thought.

I grew up between two schools, two cemeteries, and Harvard Square. The Cambridge cemetery was relatively flat, had few trees, was wide open, and pretty much existed to hold the military dead of foreign wars and the citizens of that city. In contrast, behind the impenetrable black iron fence and gate of Mount Auburn Cemetery, spread a small and elite universe of acres of hills and valleys with shaded walkways and still ponds, as an arboretum of carefully preserved trees and as an aviary for local and migrating birds. These two cemeteries existed side by side divided only by a single two lane road.

As children we would freely ride our bikes among the military dead in the Cambridge cemetery but we were strictly prohibited from even entering Mount Auburn. It wasn’t a place designed for us. However, when the gates were open adults were permitted to walk among the graves and in its verdant splendor. Mount Auburn rested like a shared understanding of what a patrician heaven might be while the Cambridge Cemetery was a plebeian limbo.

When I visited after last Memorial day the Cambridge cemetery had rows and rows of flags. One at each grave. No one was there except a lone bagpiper striding along one of the empty roads. Unexpectedly, I could find only one flag in all of Mount Auburn and it was guarded by a wild turkey that had become domesticated by the place. There was a quiet urgency as groups of horticulturalists or birdwatchers clustered as they whispered observations to each other.

Miss Bishop, as she called herself, was right. The accident of the unintended contrasts caused by my time and location that day opened up worlds for me about the two cemeteries, about the living generation and the predeceased, as I walked between the four.

Our Operetta is Happening!

After 80 pages of wonderful foolishness, rhymes & hip-hop, we are on track for operetta submissions by September 1st. Christian De Gré Cardenas and I have set August 10–17 to retreat to Mexico to complete The Voice of the People, our operetta about the seventh of...

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For Harvard Magazine

Last week I presented my ode for the Harvard Alumni Association to keep them laughing. As the Poet Laureate, I love doing this every year. This year, the subject was Harvard Magazine, and my ex-father-in-law, both of which I love. For Harvard Magazine (Portrait of...

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Teaching Law Through Playwriting

Several years ago Professor Mike Millemann, on the left, contacted me to see if I wanted to help him fulfill a grant made to the University of Maryland Cary School of Law to teach law differently by using the theater. We signed up Elliot Rauh, of Single Carrot Theatre...

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About Robert Bowie, Jr.

Playwright and Poet Robert Bowie, Jr. of Baltimore, Maryland has had ten plays produced, including  “Onaje,” which was selected for professional production at FringeNYC in October 2018. Its five sold-out FringeNYC performances received rave reviews. Other plays include “There Ain’t No Wyoming” and “Naked House Painting Society,” which were produced through The Baltimore Playwrights Festival. Bowie’s political farce “Crash & Burn P.A.” was the only submission selected by the 2016 Festival Committee for a full production at Theatrical Mining Company, Baltimore. 
 
Currently, Bowie is working on a operetta in partnership with Mind The Art Entertainment. Entitled “Vox Populi,” it is a comical, interactive tale about the deadly sin of pride. 
 
Bowie’s plays are focused on social justice and span a broad spectrum between drama and comedy. His subject matter ranges from plays about racial prejudice and civil rights to political farce. 
 
Bowie is a graduate of Harvard University and is the Poet Laureate of The Harvard Alumni Association (HAA).

“Without the arts, we are a rudderless boat.”
— Robert Bowie, Jr.