NYCPlaywrights December 24, 2022
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NYCPlaywrights
Dec 24, 2022, 5:23:43 PM12/24/22
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
THAT HELL-BOUND TRAIN
A new American opera-in-progress
https://www.eventbrite.com/e/that-hell-bound-train-a-new-american-opera-in-progress-tickets-471786344657?aff=ebdssbdestsearch
*** HUNTER COLLEGE MFA PLAYWRITING PROGRAM ***
The Hunter College MFA Playwriting Program is accepting applications through January 15th! The program is a highly selective, rigorous, and affordable two-year playwriting program located in the heart of NYC. We seek writers eager to develop their craft and challenge assumptions about what theater is and will become.
Students study with award-winning writers, working theatre professionals, and esteemed guest artists. The program offers workshop opportunities and fosters a collaborative, close-knit artistic community. Teaching Assistantships and tuition waivers are available.
Current and recent faculty include: David Adjmi, Clare Barron, Mia Chung, Lisa D'Amour, Maria Striar, and Lloyd Suh. Visiting artists for 2021-2022 include: Eboni Booth, Sharon Bridgforth, Sheila Callaghan, Morgan Gould, and Daniel Alexander Jones.
For more information, visit: https://www.huntertheatre.net/mfa
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
The New Voices Theatre Festival is accepting submissions of unpublished and unproduced full-length plays to develop during a summer residency that will culminate in a staged reading. One new work from the festival will be chosen to be mounted as a fully-produced production during the upcoming show season at The University of Alabama.
***
Veterans Repertory Theater (VetRep) is launching a 10-minute play competition for playwrights who meet one of the following criteria:
Current or former: US military, law enforcement, fire service, EMS, foreign service, intelligence service, DoD employee, DoD Contractor;
Immediate family of the service member listed above (“immediate family member” means: parents, siblings, children, and spouse.)
***
East Valley Children’s Theatre is searching for aspiring playwrights to become a part of the theatre’s future seasons of performances. The first place entry will receive a $500 cash prize, a stipend for travel, and will be produced by East Valley Children’s Theatre in its upcoming season, if it meets all the criteria for performance. Second and third place winners will be announced and recognized.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** TED TALKS THEATER ***
My name is Jo Michael Rezes, and I'm a PhD student here in theater and performance studies. And I specialize in the study of queer identities as they maneuver and affect the perceptions of time in the performance of camp.
You know camp? Sincerity in irony's clothing? Making the kitsch feel like home? No? The Met Gala theme from 2019 that was thoroughly misunderstood by over 95 percent of its attendees?
https://www.ted.com/talks/jo_michael_rezes_a_playful_exploration_of_gender_performance
***
The words that I spoke at the beginning, "O for a Muse of fire," et cetera, are Shakespeare's. He wrote them as the opening to his play "Henry V," and they're are also quite likely the first words ever spoken on the stage of the Globe Theater in London, when it opened in 1599. The Globe would go on to become the home for most of Shakespeare's work, and from what I hear, that Shakespeare guy was pretty popular. But despite his popularity, just four years later, in 1603, The Globe would close for an extended period of time in order to prevent the spreading and resurgence of the bubonic plague. In fact, from 1603 to 1613, all of the theaters in London were closed on and off again for an astonishing 78 months.
https://www.ted.com/talks/cara_greene_epstein_how_theater_weathers_wars_outlasts_empires_and_survives_pandemics
***
Step one: therapy. I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy. But seriously, therapy -- you have to know why you're doing these things, right? When I got the job of designing "Hamilton," I sat with Lin-Manuel Miranda, writer, Tommy Kail, director, and I said, "Why are we telling this 246-year-old story? What is it about the story that you want to say, and what do you want people to feel like when they experience the show?" It's important. When we get that, we move into step two: the design phase. And I'll give you some little tricks about that, but the design phase is important because we get to make these cool toys. I reach into Lin's brain, he reaches into mine, this monologue becomes a dialogue. And I make these cool toys, and I say, "Does this world look like the world that you think could be a place where we could house your show?" If the answer is yes -- and when the answer is yes -- we move into what I think is the most terrifying part, which is the execution phase. The execution phase is when we get to build this thing, and when this conversation goes from a few people to a few hundred people now translating this idea. We put it in this beautiful little thing, put it in the "Honey, I Shrunk the Kids" super-sizer machine and blow it up full-scale, and we never know if we did it right until we show up onstage and go, "Is it OK? Is it OK?"
https://www.ted.com/talks/david_korins_3_ways_to_create_a_space_that_moves_you_from_a_broadway_set_designer
***
When I write and direct plays, I'm amplifying voices of disadvantaged groups, I'm fighting the self-censorship that has kept many Ugandan artists away from social, political theater since the persecution of artists by former Ugandan president, Idi Amin. And most importantly, I am breaking the silence and provoking meaningful conversations on taboo issues, where often "Silence is golden" is the rule of thumb. Conversations are important because they inform and challenge our minds to think, and change starts with thinking.
https://www.ted.com/talks/adong_judith_how_i_use_art_to_bridge_misunderstanding
https://www.ted.com/talks/sarah_jones_what_does_the_future_hold_11_characters_offer_quirky_answers
***
The word Kabuki is derived from the Japanese verb kabuku, meaning out of the ordinary or bizarre. Its history began in early 17th century Kyoto, where a shrine maiden named Izumo no Okuni would use the city's dry Kamo Riverbed as a stage to perform unusual dances for passerby, who found her daring parodies of Buddhist prayers both entertaining and mesmerizing. Soon other troops began performing in the same style, and Kabuki made history as Japan's first dramatic performance form catering to the common people. By relying on makeup, or keshou, and facial expressions instead of masks and focusing on historical events and everyday life rather than folk tales, Kabuki set itself apart from the upper-class dance theater form known as Noh and provided a unique commentary on society during the Edo period.
https://www.ted.com/talks/amanda_mattes_kabuki_the_people_s_dramatic_art/transcript
***
Jomama Jones: What if I told you it's going to be alright ... but what if I told you not yet? What if I told you there are trials ahead beyond your deepest fears? What if I told you will you fall ... down, down, down? But what if I told you you will surprise yourself? What if I told you will be brave enough? What if I told you we won't all make it through? But what if I told you that is as it must be? What if I told you I've seen the future?
https://www.ted.com/talks/daniel_alexander_jones_what_to_do_when_everything_feels_broken/transcript
*** FREE THEATER IN NYC ***
THAT HELL-BOUND TRAIN
A new American opera-in-progress
Lisa DeSpain, composer & David Simpatico, librettist
A Hobo sells his soul to the Devil in exchange for one moment of perfect happiness. Will he outfox the Devil, or burn in Hell forever?
Martin, an orphan, drifter, and petty criminal makes a deal with The Conductor of that Hell-bound train: One wish in exchange for his soul. Thinking to outsmart The Conductor, Martin asks for the power to stop time and live forever in the happiest moment of his life. Armed with the Conductor's watch, Martin sets forth on the journey of life searching for one perfect moment in which he can live happily -- forever.
With Ryan Hurley, Grace Kahl, Tesia Kwarteng, Rocky Sellers, Samuel White, Tiana White and Musical Director, Scott Ethier
A Hobo sells his soul to the Devil in exchange for one moment of perfect happiness. Will he outfox the Devil, or burn in Hell forever?
Martin, an orphan, drifter, and petty criminal makes a deal with The Conductor of that Hell-bound train: One wish in exchange for his soul. Thinking to outsmart The Conductor, Martin asks for the power to stop time and live forever in the happiest moment of his life. Armed with the Conductor's watch, Martin sets forth on the journey of life searching for one perfect moment in which he can live happily -- forever.
With Ryan Hurley, Grace Kahl, Tesia Kwarteng, Rocky Sellers, Samuel White, Tiana White and Musical Director, Scott Ethier
Thu, January 12, 2023, 7:00 PM – 9:00 PM EST
OPERA America's National Opera Center
330 7th Avenue New York, NY 10001
https://www.eventbrite.com/e/that-hell-bound-train-a-new-american-opera-in-progress-tickets-471786344657?aff=ebdssbdestsearch
*** HUNTER COLLEGE MFA PLAYWRITING PROGRAM ***
The Hunter College MFA Playwriting Program is accepting applications through January 15th! The program is a highly selective, rigorous, and affordable two-year playwriting program located in the heart of NYC. We seek writers eager to develop their craft and challenge assumptions about what theater is and will become.
Students study with award-winning writers, working theatre professionals, and esteemed guest artists. The program offers workshop opportunities and fosters a collaborative, close-knit artistic community. Teaching Assistantships and tuition waivers are available.
Current and recent faculty include: David Adjmi, Clare Barron, Mia Chung, Lisa D'Amour, Maria Striar, and Lloyd Suh. Visiting artists for 2021-2022 include: Eboni Booth, Sharon Bridgforth, Sheila Callaghan, Morgan Gould, and Daniel Alexander Jones.
For more information, visit: https://www.huntertheatre.net/mfa
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
The New Voices Theatre Festival is accepting submissions of unpublished and unproduced full-length plays to develop during a summer residency that will culminate in a staged reading. One new work from the festival will be chosen to be mounted as a fully-produced production during the upcoming show season at The University of Alabama.
***
Veterans Repertory Theater (VetRep) is launching a 10-minute play competition for playwrights who meet one of the following criteria:
Current or former: US military, law enforcement, fire service, EMS, foreign service, intelligence service, DoD employee, DoD Contractor;
Immediate family of the service member listed above (“immediate family member” means: parents, siblings, children, and spouse.)
***
East Valley Children’s Theatre is searching for aspiring playwrights to become a part of the theatre’s future seasons of performances. The first place entry will receive a $500 cash prize, a stipend for travel, and will be produced by East Valley Children’s Theatre in its upcoming season, if it meets all the criteria for performance. Second and third place winners will be announced and recognized.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** TED TALKS THEATER ***
My name is Jo Michael Rezes, and I'm a PhD student here in theater and performance studies. And I specialize in the study of queer identities as they maneuver and affect the perceptions of time in the performance of camp.
You know camp? Sincerity in irony's clothing? Making the kitsch feel like home? No? The Met Gala theme from 2019 that was thoroughly misunderstood by over 95 percent of its attendees?
https://www.ted.com/talks/jo_michael_rezes_a_playful_exploration_of_gender_performance
***
The words that I spoke at the beginning, "O for a Muse of fire," et cetera, are Shakespeare's. He wrote them as the opening to his play "Henry V," and they're are also quite likely the first words ever spoken on the stage of the Globe Theater in London, when it opened in 1599. The Globe would go on to become the home for most of Shakespeare's work, and from what I hear, that Shakespeare guy was pretty popular. But despite his popularity, just four years later, in 1603, The Globe would close for an extended period of time in order to prevent the spreading and resurgence of the bubonic plague. In fact, from 1603 to 1613, all of the theaters in London were closed on and off again for an astonishing 78 months.
https://www.ted.com/talks/cara_greene_epstein_how_theater_weathers_wars_outlasts_empires_and_survives_pandemics
***
Step one: therapy. I know, I know, I know: blah, blah, blah, New Yorker, blah, blah, blah, therapy. But seriously, therapy -- you have to know why you're doing these things, right? When I got the job of designing "Hamilton," I sat with Lin-Manuel Miranda, writer, Tommy Kail, director, and I said, "Why are we telling this 246-year-old story? What is it about the story that you want to say, and what do you want people to feel like when they experience the show?" It's important. When we get that, we move into step two: the design phase. And I'll give you some little tricks about that, but the design phase is important because we get to make these cool toys. I reach into Lin's brain, he reaches into mine, this monologue becomes a dialogue. And I make these cool toys, and I say, "Does this world look like the world that you think could be a place where we could house your show?" If the answer is yes -- and when the answer is yes -- we move into what I think is the most terrifying part, which is the execution phase. The execution phase is when we get to build this thing, and when this conversation goes from a few people to a few hundred people now translating this idea. We put it in this beautiful little thing, put it in the "Honey, I Shrunk the Kids" super-sizer machine and blow it up full-scale, and we never know if we did it right until we show up onstage and go, "Is it OK? Is it OK?"
https://www.ted.com/talks/david_korins_3_ways_to_create_a_space_that_moves_you_from_a_broadway_set_designer
***
When I write and direct plays, I'm amplifying voices of disadvantaged groups, I'm fighting the self-censorship that has kept many Ugandan artists away from social, political theater since the persecution of artists by former Ugandan president, Idi Amin. And most importantly, I am breaking the silence and provoking meaningful conversations on taboo issues, where often "Silence is golden" is the rule of thumb. Conversations are important because they inform and challenge our minds to think, and change starts with thinking.
https://www.ted.com/talks/adong_judith_how_i_use_art_to_bridge_misunderstanding
***
First of all, for those of you who are not familiar with my work, I create multicultural characters, so characters from lots of different backgrounds. So before the present is the new future, a bit about the past is that I grew up in a family that was multi-everything -- multi-racial, multi-cultural, black and white, Caribbean, Irish-American, German-American. There was Dominican music blasting from stereos. There were Christians and Jews. That's a long story filled with intrigue and interfaith guilt and shame.
First of all, for those of you who are not familiar with my work, I create multicultural characters, so characters from lots of different backgrounds. So before the present is the new future, a bit about the past is that I grew up in a family that was multi-everything -- multi-racial, multi-cultural, black and white, Caribbean, Irish-American, German-American. There was Dominican music blasting from stereos. There were Christians and Jews. That's a long story filled with intrigue and interfaith guilt and shame.
https://www.ted.com/talks/sarah_jones_what_does_the_future_hold_11_characters_offer_quirky_answers
***
The word Kabuki is derived from the Japanese verb kabuku, meaning out of the ordinary or bizarre. Its history began in early 17th century Kyoto, where a shrine maiden named Izumo no Okuni would use the city's dry Kamo Riverbed as a stage to perform unusual dances for passerby, who found her daring parodies of Buddhist prayers both entertaining and mesmerizing. Soon other troops began performing in the same style, and Kabuki made history as Japan's first dramatic performance form catering to the common people. By relying on makeup, or keshou, and facial expressions instead of masks and focusing on historical events and everyday life rather than folk tales, Kabuki set itself apart from the upper-class dance theater form known as Noh and provided a unique commentary on society during the Edo period.
https://www.ted.com/talks/amanda_mattes_kabuki_the_people_s_dramatic_art/transcript
***
Jomama Jones: What if I told you it's going to be alright ... but what if I told you not yet? What if I told you there are trials ahead beyond your deepest fears? What if I told you will you fall ... down, down, down? But what if I told you you will surprise yourself? What if I told you will be brave enough? What if I told you we won't all make it through? But what if I told you that is as it must be? What if I told you I've seen the future?
https://www.ted.com/talks/daniel_alexander_jones_what_to_do_when_everything_feels_broken/transcript
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