"Ching's language is a delight."

by Carla Ching
directed by Daniella Topol

The Sugar House at the Edge of the Wilderness is a play with music and a live twitter feed about kids growing up fast, children raising children, and shifting notions of home. When their father dies suddenly and their mother goes on a grief pilgrimage, Chinese adoptees Greta and Han are sent to live with their ex-rockstar uncle and his young girlfriend. Wrestling with the wilds of New York and their grief, Greta gets in trouble with the law and put in a court mandated reform program and Han runs away to play music on the street. On the edge of the wilderness, Greta and Han must ask themselves: If I can’t go home, where do I go?


An LA transplant, Carla Ching stumbled upon pan-Asian performance collective Peeling at the Asian American Writers Workshop and wrote and performed with them for three years, which she still considers her first theater training.

Her plays include TBA, Dirty, Big Blind/Little Blind, The Sugar House at the Edge of the Wilderness and Fast Company. Her pieces have been produced or workshopped by Ma-Yi Theatre Company, Ensemble Studio Theatre, The Lark Play Development Center, The Women’s Project, Partial Comfort, 2g, Desipina& Company, The Hegira, Red Fern Theater Company and Vampire Cowboys among others.

She’s an alumna of The Women’s Project Lab 2008-2010, the 2011/12 Lark Play Development Center Meeting of the Minds and a current member of the Ma-Yi Writers Lab. 2008 Urban Artists Initiative fellow, a 2009/2010 Teachers and Writers Collaborative fellow and a 2010/11 Lark Playwrights Workshop fellow. EST/Sloan Commission.She’s been in residence at Voice and Vision’s Envision retreat, the Rockefeller Foundation and NY Stage and Film with the Lark. TBA is published in Out of Time and Place. BA, Vassar College. MFA, New School for Drama. Artistic Director of 2g.

As an actor, she has appeared in the short films “Digital Antiquities” by J.P.Chan and “Terra Cotta” by Samantha Chance, directed by Yasmine Gomez and “Pillowed,” written and directed by Samantha Chanse.

As a teaching artist, she’s worked for The New Victory Theater, Lincoln Center Institute, The Public Theater, The Women’s Project, TDF, American Place Theater and Young Playwrights.


Daniella Topol is a New York based freelance theater director primarily focused on working with writers to develop and direct relevant, theatrical and adventuresome new plays and musicals. Some recent productions include: Rajiv Joseph’s MONSTER AT THE DOOR (Alley Theater), Anna Ziegler’s PHOTOGRAPH 51 (Theatre J, Washington, D.C.), Willy Holtzman’s THE MORINI STRAD (City Theatre, PA), Chiori Miyagawa’s FIREDANCE (Bard College), Jeff Hughes and Scott Ethier’s RED CLAY (NAMT Festival of New Musicals, Richard Rodgers Development Award at Queens Theatre in the Park/Playwrights Horizons under previous title ROSA PARKS), Janet Allard and Niko Tsakalakos’ POOL BOY (Barrington Stage), Sheila Callaghan’s LASCIVIOUS SOMETHING (Women’s Project/Cherry Lane), and many others.


The Sugar House at the Edge of the Wilderness featured Ali Ahn, Cindy Cheung, Bjorn DuPaty, Christopher Larkin, April Matthis, and David Spangler.

The design team included sets by Clint Ramos, costumes by Theresa Squire, lighting by Japhy Weideman, sound by Shane Rettig, and video by Alex Koch and David Tenant.

Ma-Yi Theater Company 520 Eighth Avenue, Suite 309 New York, NY 10018 212.971.4862 info [at] ma-yitheatre.org