NYCPlaywrights August 10, 2019
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NYCPlaywrights
Aug 10, 2019, 3:35:29 PM8/10/19
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
Until August 25 on Thursdays through Sundays
6:30 PM
THE MERRY WIVES OF WINDSOR
Hudson Warehouse is thrilled to present the production of The Merry Wives of Windsor by William Shakespeare.Mistress Page and Mistress Ford conspire to humiliate Shakespeare’s much-loved character, Sir John Falstaff, set against the backdrop of a 1960s resort hotel in the “Borscht Belt.”
Soldiers' and Sailors' Monument in Riverside Park
West 89th Street and Riverside Drive
Manhattan
Visit hudsonwarehouse.net for more information.
*** BYLINES ***
If you are a prose writer, poet or essayist and you want no-fee opportunities, check out BYLINES.org from the folks who brought you NYCPlaywrights.
Some current calls for submissions:
Utopia seeks science fiction (and pays)
Michigan Quarterly Review pays for prose and poetry
Tidbits (very) short story contest - prizes start at $300
You can sign up for the BYLINES mailing list here:
*** OVERCOMING WRITER’S BLOCK WORKSHOP at PRIMARY STAGES ESPA ***
Whether you're in the middle of a play, making revisions on a completed draft, or starting something brand new, sometimes it's unavoidable – you just get stuck. In this 2-day workshop with Melissa Ross (Writer, Of Good Stock at MTC, Nice Girl at Labyrinth), figure out ways to banish writer's block and regain your momentum.
NEXT WEEKEND: Saturday, August 17 and Sunday, August 18, 1:00pm – 6:00pm both days. Payment plans available.
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
To celebrate 100 years of playmaking at UNC-Chapel Hill, PlayMakers Repertory Company is soliciting unproduced scripts that speak to the rich legacy of one of North Carolina’s most famous writers: Thomas Wolfe. The prize is named after the novelist whom William Faulkner called “the greatest talent of his generation.” Wolfe’s writings reflect a largeness of spirit and an expansive vision of life, while anchored in what, where, and whom he knew.
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New Plays Needed by Womxn, Femme, and Non-Binary Playwrights for #ShePERSISTED: a festival of staged readings presented by Coalescence Theatre Project. Coalescence Theatre Project is accepting submission of new plays by Womxn, Femme, and Non-Binary playwrights for the 2020 #ShePERSISTED festival.
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The Lotus Lee Foundation is currently seeking submissions for short plays under 30 minutes in our newest international theatrical initiative, the 2019 Lotus Lee Foundation Short Play Festival. The winning entry will receive a world premiere production in China in 2020.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** TOM WAITS THEATER ***
Blood Money is the 13th studio album by Tom Waits, released in 2002 on the ANTI- label.
The album contains songs written for the musical WOYZECK, based on the play of the same name by Georg Büchner. The theatrical adaptation was directed by Robert Wilson, with whom Waits had worked on two previous plays: The Black Rider and Alice, both of which resulted in soundtrack albums. The latter was released simultaneously in 2002 with Blood Money. The play premiered at the Betty Nansen Theatre in Copenhagen in November 2000.
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Cookie Monster sings Tom Waits, obviously
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Starting tonight, Waits appears in the world premiere of playwright Thomas Babe’s “Demon Wine” at the Los Angeles Theatre Center. It is Waits’ first full-length performance in a role written by someone else. (Babe is best-known for his works “A Prayer for My Daughter” and “Fathers and Sons.”)
“I feel a little intimidated,” he uttered in a low, almost slurred growl--his natural voice. “There’s this great cast around me: Philip Baker Hall, Carol Kane, Jan Munroe"--plus reunions with his longtime friend Cort, and Pullman, who showed Waits the “Demon Wine” script during the filming of “Cold Feet.”
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Mr. Waits's Steppenwolf venture, ''Frank's Wild Years,'' is playing a sold-out run through July 20 in the new Briar Street Theater here. It cannot be counted a complete success, but there are reasons for its problems, probably correctable ones. Right after the Chicago run, Mr. Waits and his band (which plays in the show) will record its songs as an album. And at some point, the hope is to re-stage the show in New York, where Mr. Waits now lives.
All along, Mr. Waits has seemed to be playing the same part, so consistently one presumes the part is him. ''Frank's Wild Years,'' seen Tuesday night, is an attempt at a theatrical expansion of his stage image. But it remains pretty much a one-man show.
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Rejoice, lovers of avant-garde theater. The mysterious “Black Rider” returns to menace your dreams once more.
A collaboration between singer-songwriter Tom Waits, stage director Robert Wilson and Beat Generation author William S. Burroughs, “Black Rider” is making a comeback in the Bay Area. Staged in 2004 at American Conservatory Theater, now the dark fable is being revived by Berkeley’s always edgy Shotgun Players.
Directed by the estimable stage auteur Mark Jackson, an inventive director who brought the memorable “Woyzeck” to life at Shotgun in 2012, this is likely to be a thrilling evening of song, tableau and despair. Tread with caution into a topsy-turvy realm where musical theater bleeds into carnival nightmare. In Burroughs’ adaptation of a 19th-century German folktale, a devil’s bargain goes awry for Wilhelm, a lowly clerk, who yearns to marry Käthchen, the daughter of a wealthy man. How will he prove his worthiness if not by making a deal with the devil?
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You've heard all about Victorian England, with its facade of strait-laced propriety masking a tortured sexual repression. Now comes the stage show. "Alice," Robert Wilson's breathtakingly elegant realization of "Alice's Adventures in Wonderland" and "Through the Looking-Glass," presents a parade of the repressed and the morally bloodthirsty that is so stark it lives up to one's childhood nightmares of a sinister world bent on punishing every evil thought.
The three-hour production, which opened the Next Wave Festival at the Brooklyn Academy of Music on Friday evening, also has moments of whimsy and antic humor that match Lewis Carroll's source material. With music and lyrics by Tom Waits and Kathleen Brennan and a book by Paul Schmidt, "Alice" is performed in English and German (with supertitles) by 12 actors from the Thalia Theater of Hamburg.
Like "The Black Rider," the Wilson-Waits-William Burroughs collaboration that the same company brought to the Brooklyn Academy two years ago, "Alice" elucidates an international theatrical style in which Minimalism, German Expressionism, Japanese kabuki and American pop bump against one another in a grand, eye-catching pageant. As before, the director's visual images and lighting design lead; the music and text follow.
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The music is by Tom Waits. Teller from Penn & Teller approved the magic. The acrobatics are by Pilobolus. The words? Those are Shakespeare's. It's a fiendish combination that makes a new and limited run of "The Tempest" at South Coast Repertory L.A.'s most mesmerizing show of the moment. Run, levitate or use whatever rough magic is necessary to see it before the show vanishes September 28 (2014)
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Bette Midler and Tom Waits: I Never Talk to Strangers
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