About the Rimalower Prize

The Rimalower Prize intends to create a permanent space for theatre productions that intrinsically celebrates underrepresented perspectives, voices, and identities.

In recognition of the fact that contemporary revolutionary theatre is often incompatible with the factors BareStage prioritizes for its MainStage shows (e.g., large cast size, show marketability/familiarity, pre-existing casting pool, etc).

• The Rimalower Prize will consist of a $1500 grant (rights inclusive) to propose, stage, and direct a play or musical that upholds the values listed in its purpose.

• It will exist as a fifth MainStage show in addition to the four-show season, with full, equitable, and appropriate BareStage Productions support.

• Intended for a cast size of under 10 individuals

• A script or proposal that celebrates and intrinsically requires underrepresented voices

2026 Rimalower Prize Winner

Kalyan Piovesan Toussaint – Jump, Charly Evon Simpson

About the Show

Jump follows the story of Fay as she cleans out her childhood home with her Dad and sister Judy. Their storied past and broken relationships are uncovered and as time phases and contorts, Fay reflects on the bridge she used to walk with her mother and sister and where she meets Hopkins. In Jump, playwright Charly Evon Simpson shows how, through the lens of one’s single-sided life narrative, internal struggles of grief and addiction can both break and heal relationships.

About the Director

Kaly is a second-year pursuing a simultaneous degree in Theater & Performance Studies and Mechanical Engineering. After playing the lead in last semester’s 24-Hour Musical, he’s thrilled to begin his second semester with BareStage as the inaugural winner of the Rimalower! He is passionate about using both Theater and Engineering to make everyday life better—whether that be through jokes, robotics, or representing untold stories. 

Why This Matters

Because performers and technicians deserve a place to be themselves. Because audiences deserve to see themselves on stage. Because the world is setting itself on fire about ‘forced diversity.’ Because, in full honesty, marginalized people simply exist, and we’re not going anywhere. English, Sanaz Toossi. The Hot Wing King, Katori Hall. Fun Home, Jeanine Tesori/Alison Bechdel. Patti Issues, Ben Rimalower.

Because escapism doesn’t have to mean hiding from what’s wrong—sometimes it’s about creating a story where you fight structures of power head-on, and win. Or, it’s about creating a story where you don’t win, but the fact that you fought anyway matters. It’s even about creating a story where you fail, and couldn’t fight at all, but your story is told anyways. Hamilton, Lin-Manuel Miranda. A Nice Indian Boy, Madhuri Shekar. Hadestown, Anaïs Mitchell. Eurydice, Sarah Ruhl.

Because authentic truths should be told, regardless of how ‘typically marketable’ they are. Diverse theatre matters, because at its core, it’s not only about rebellion. It’s about speech—speech created together. It’s about wanting, regardless of having. It’s about searching: for belonging, community, and happiness. It’s about fighting and trying and reaching and loving despite it all. It’s about love. Cyrano de Bergerac, tr. Martin Crimp.

Diverse theatre is for you. It’s for me. It’s for all of us.

Jay Fernando, Rimalower Prize Producer