NYCPlaywrights January 27, 2024
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NYCPlaywrights
Jan 27, 2024, 5:10:40 PMJan 27
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
OUT OF THE WINGS — A Play Scripts Open Mic
Murmuration Theatre Company
A cold-readings open mic! A night of good drinks, good folks, and some really good theatre.
Sign up online or in-person to perform a ~5m monologue or dialogue, excerpted from Murmuration Theatre Co’s collection of plays from playwrights across the country.
Online Sign-ups — https://forms.gle/D6u8HGM8Dmqc6SqJ7
Monday, February 26 · 6:30 - 8:30pm EST
Pete's Candy Store
709 Lorimer Street Brooklyn, NY 11211
https://www.eventbrite.com/e/out-of-the-wings-a-play-scripts-open-mic-tickets-780132295697?aff=ebdssbdestsearch
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
The Gulfport Community Players is accepting submissions for the Summer 2024 One-Acts. Established in July 2000, the Summer One-Acts is the longest-running one-act competition in the Tampa Bay Area. We accept submissions from authors who reside in the United States of America. We read all plays that are correctly submitted. Entries are judged anonymously.
***
Edmonds Driftwood Players is a volunteer-based nonprofit community theatre based in Edmonds, WA that has been entertaining and educating the community since 1958, making EDP one of the oldest continually operating community theaters in Washington State.
The theme for 2024 is “Silver Linings: A consoling or hopeful prospect.” We would love to see both comedic and dramatic stories with uplifting endings.
***
Fleetwood-Jourdain Theatre is proud to announce the launch of a new play development initiative in 2024. The Gloria Bond Clunie Playwright’s Festival honors the incredible career and legacy of Gloria Bond Clunie, one of the founding members of Fleetwood-Jourdain. She is also a founding member of the Playwriting Ensemble at Victory Gardens Theater where she premiered her plays North Star, Shoes, and Living Green. Her work as a theater and educator has been recognized by the NAACP, the Joseph Jefferson Awards, Chicago Black Theatre Alliance Awards, and Evanston Mayor’s Award for the Arts, among many others.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** TWO SCOTTISH PLAYS ***
There is more than one way to tell a story. In England, two equally impressive new productions of “Macbeth” prove this, both featuring major stars in the title role and adopting strikingly different approaches to Shakespeare’s classic tale of hubris and betrayal.
The first, starring Ralph Fiennes (“The Menu,” “The Wonderful Story of Henry Sugar”), runs at the Depot, a cavernous converted warehouse on an industrial estate in Liverpool. Despite its grittily authentic set design and costumes, it is for the most part a conventional, realist treatment. The second, at the Donmar Warehouse, in London, and starring David Tennant (“Doctor Who,” “Des”), is a rather more high-concept affair, heavy on ambience and atmospherics.
More...
https://www.nytimes.com/2023/12/19/theater/macbeth-ralph-fiennes-david-tennant.html
***
At first, it looks like Macbeth retooled as a history play about the corrupting effects of war. The drama of murderous ambition, power and guilt is all there in Simon Godwin’s intelligent production but with violent conflict at the fore. Shakespeare’s 11th-century battleground is turned into a modern-day war zone and Ralph Fiennes’ Macbeth emerges in army fatigues.
More...
https://www.theguardian.com/stage/2023/nov/30/macbeth-review-ralph-fiennes-the-depot-liverpool
***
David Tennant and Cush Jumbo walk into the Donmar Warehouse’s offices, above the theatre’s rehearsal rooms in Covent Garden, and sit down on a sofa, side by side. Tennant has that look his many fans will instantly be able to call to mind of being at once stressed – with a desperado gleam in his eye – yet mischievously engaged, which has to do with the intelligence he applies to everything, the niceness he directs at everyone. He is wearing a mustard-coloured jersey and could be mistaken for someone who has been swotting in a library (actually, he has been rehearsing a fight scene). If I am right in supposing him to be tense at this mid-rehearsals moment, I know – from having interviewed him before – that it is not his way to put himself first, that he will crack on and probably, while he’s at it, crack a joke or two to keep us all in good spirits. But some degree of tension is understandable for he and Jumbo are about to perform in a play that explores stress like no other – Macbeth – and must unriddle one of the most dramatic marriages in all of Shakespeare’s plays.
More...
https://www.theguardian.com/stage/2023/dec/03/macbeth-cush-jumbo-david-tennant-donmar-warehouse-interview
***
Ralph Fiennes and Indira Varma, two of Britain's most acclaimed actors, are in a warehouse in Liverpool, sitting in the middle of a wasteland of charred trees, giant lumps of blackened rubble and a burned-out car.
This immersive set has been built for the pair's new version of Shakespeare's Macbeth, which is avoiding traditional theatres in favour of different kinds of venues.
In their mock war zone, it feels a far cry from the West End.
Audience members must walk through this modern reimagining of Macbeth's battlefield, which sets the scene before they take their seats in the makeshift auditorium.
"Hopefully [it] gives them a sense of the destruction of war - the devastation and the chaos and the mess and the horror," explains Fiennes, who is in the title role.
More...
https://www.bbc.com/news/entertainment-arts-67442687
***
Top marks, then, to Tennant for encouraging so many of them to get into a relationship with Shakespeare by agreeing to take the title role in Max Webster’s production of Macbeth at the little Donmar Warehouse theatre. It was certainly cheering to see so many young faces at an opening night.
This is a high-tech affair, with every punter being given a pair of 3D headphones that – thanks to Gareth Fry’s sound design – bring alive every homicidal thought, whispered indiscretion and cackle of the three witches. The actors talk as usual, of course, on the stage, but the soundscape going on inside every audience member’s head gives the proceedings a chilling intimacy.
More...
https://www.theneweuropean.co.uk/the-mesmerising-intensity-of-david-tennants-macbeth/
***
It is not the killing of King Duncan that packs the biggest punch in this version of the tragedy about the cost of political ambition, but the slaughter of Macduff’s wife and children.
The King’s demise happens off-stage of course, as The Bard intended it – our attention is instead on the plotting of Macbeth (Fiennes) and his Lady, the washing away of blood and the impossibility of doing the same with guilt.
Macduff’s family’s deaths, as a newly-crowned and ever more paranoid Macbeth seeks to wipe out all possibility of dissent, happen right before us. We watch aghast as all the maternal desperation in the world fails to help Lady Macduff (Rebecca Scroggs) protect her offspring or her own life. It is a heart-rending moment.
More...
https://inews.co.uk/culture/arts/macbeth-depot-review-ralph-fiennes-shakespeare-tragedy-present-day-2784468
***
He’s a Machiavellian plotter, too, who might well have butchered his way up the career ladder even without the witches (and since we never see them, they might well just be thoughts in his head). He prostrates himself on the floor before Duncan, but, once that first slaughter is done, swiftly embraces the autocrat’s playbook: no critics, no witnesses. He even has a direct hand in child murder; Fry draws audience gasps with the unmistakeable sound of a neck snapping.
Webster’s production, which zips in at under two hours, brilliantly harnesses the play’s relentless momentum to illustrate Macbeth’s hubristic fall. He also positions Cush Jumbo’s Lady Macbeth, unusually, as the shred of conscience that her husband gradually shrugs off. The excellent Jumbo registers real shock as Macbeth casually mentions his next murder, and she is agonising in the sleepwalking scene, her cries piteous.
The implication that the Macbeths lost a child is thoughtfully expanded here. Children are everywhere, whether Banquo’s son or Macduff’s doomed boy, or haunting the soundscape with giggles or screams. It emphasises this realm’s reliance on dynastic structures, and adds a strong psychological underpinning for the Macbeths’ risky, disruptive actions.
More...
https://www.londontheatre.co.uk/reviews/macbeth-review-donmar-warehouse
*** FREE THEATER IN NYC ***
OUT OF THE WINGS — A Play Scripts Open Mic
Murmuration Theatre Company
A cold-readings open mic! A night of good drinks, good folks, and some really good theatre.
Sign up online or in-person to perform a ~5m monologue or dialogue, excerpted from Murmuration Theatre Co’s collection of plays from playwrights across the country.
Online Sign-ups — https://forms.gle/D6u8HGM8Dmqc6SqJ7
Monday, February 26 · 6:30 - 8:30pm EST
Pete's Candy Store
709 Lorimer Street Brooklyn, NY 11211
https://www.eventbrite.com/e/out-of-the-wings-a-play-scripts-open-mic-tickets-780132295697?aff=ebdssbdestsearch
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
The Gulfport Community Players is accepting submissions for the Summer 2024 One-Acts. Established in July 2000, the Summer One-Acts is the longest-running one-act competition in the Tampa Bay Area. We accept submissions from authors who reside in the United States of America. We read all plays that are correctly submitted. Entries are judged anonymously.
***
Edmonds Driftwood Players is a volunteer-based nonprofit community theatre based in Edmonds, WA that has been entertaining and educating the community since 1958, making EDP one of the oldest continually operating community theaters in Washington State.
The theme for 2024 is “Silver Linings: A consoling or hopeful prospect.” We would love to see both comedic and dramatic stories with uplifting endings.
***
Fleetwood-Jourdain Theatre is proud to announce the launch of a new play development initiative in 2024. The Gloria Bond Clunie Playwright’s Festival honors the incredible career and legacy of Gloria Bond Clunie, one of the founding members of Fleetwood-Jourdain. She is also a founding member of the Playwriting Ensemble at Victory Gardens Theater where she premiered her plays North Star, Shoes, and Living Green. Her work as a theater and educator has been recognized by the NAACP, the Joseph Jefferson Awards, Chicago Black Theatre Alliance Awards, and Evanston Mayor’s Award for the Arts, among many others.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** TWO SCOTTISH PLAYS ***
There is more than one way to tell a story. In England, two equally impressive new productions of “Macbeth” prove this, both featuring major stars in the title role and adopting strikingly different approaches to Shakespeare’s classic tale of hubris and betrayal.
The first, starring Ralph Fiennes (“The Menu,” “The Wonderful Story of Henry Sugar”), runs at the Depot, a cavernous converted warehouse on an industrial estate in Liverpool. Despite its grittily authentic set design and costumes, it is for the most part a conventional, realist treatment. The second, at the Donmar Warehouse, in London, and starring David Tennant (“Doctor Who,” “Des”), is a rather more high-concept affair, heavy on ambience and atmospherics.
More...
https://www.nytimes.com/2023/12/19/theater/macbeth-ralph-fiennes-david-tennant.html
***
At first, it looks like Macbeth retooled as a history play about the corrupting effects of war. The drama of murderous ambition, power and guilt is all there in Simon Godwin’s intelligent production but with violent conflict at the fore. Shakespeare’s 11th-century battleground is turned into a modern-day war zone and Ralph Fiennes’ Macbeth emerges in army fatigues.
More...
https://www.theguardian.com/stage/2023/nov/30/macbeth-review-ralph-fiennes-the-depot-liverpool
***
David Tennant and Cush Jumbo walk into the Donmar Warehouse’s offices, above the theatre’s rehearsal rooms in Covent Garden, and sit down on a sofa, side by side. Tennant has that look his many fans will instantly be able to call to mind of being at once stressed – with a desperado gleam in his eye – yet mischievously engaged, which has to do with the intelligence he applies to everything, the niceness he directs at everyone. He is wearing a mustard-coloured jersey and could be mistaken for someone who has been swotting in a library (actually, he has been rehearsing a fight scene). If I am right in supposing him to be tense at this mid-rehearsals moment, I know – from having interviewed him before – that it is not his way to put himself first, that he will crack on and probably, while he’s at it, crack a joke or two to keep us all in good spirits. But some degree of tension is understandable for he and Jumbo are about to perform in a play that explores stress like no other – Macbeth – and must unriddle one of the most dramatic marriages in all of Shakespeare’s plays.
More...
https://www.theguardian.com/stage/2023/dec/03/macbeth-cush-jumbo-david-tennant-donmar-warehouse-interview
***
Ralph Fiennes and Indira Varma, two of Britain's most acclaimed actors, are in a warehouse in Liverpool, sitting in the middle of a wasteland of charred trees, giant lumps of blackened rubble and a burned-out car.
This immersive set has been built for the pair's new version of Shakespeare's Macbeth, which is avoiding traditional theatres in favour of different kinds of venues.
In their mock war zone, it feels a far cry from the West End.
Audience members must walk through this modern reimagining of Macbeth's battlefield, which sets the scene before they take their seats in the makeshift auditorium.
"Hopefully [it] gives them a sense of the destruction of war - the devastation and the chaos and the mess and the horror," explains Fiennes, who is in the title role.
More...
https://www.bbc.com/news/entertainment-arts-67442687
***
Top marks, then, to Tennant for encouraging so many of them to get into a relationship with Shakespeare by agreeing to take the title role in Max Webster’s production of Macbeth at the little Donmar Warehouse theatre. It was certainly cheering to see so many young faces at an opening night.
This is a high-tech affair, with every punter being given a pair of 3D headphones that – thanks to Gareth Fry’s sound design – bring alive every homicidal thought, whispered indiscretion and cackle of the three witches. The actors talk as usual, of course, on the stage, but the soundscape going on inside every audience member’s head gives the proceedings a chilling intimacy.
More...
https://www.theneweuropean.co.uk/the-mesmerising-intensity-of-david-tennants-macbeth/
***
It is not the killing of King Duncan that packs the biggest punch in this version of the tragedy about the cost of political ambition, but the slaughter of Macduff’s wife and children.
The King’s demise happens off-stage of course, as The Bard intended it – our attention is instead on the plotting of Macbeth (Fiennes) and his Lady, the washing away of blood and the impossibility of doing the same with guilt.
Macduff’s family’s deaths, as a newly-crowned and ever more paranoid Macbeth seeks to wipe out all possibility of dissent, happen right before us. We watch aghast as all the maternal desperation in the world fails to help Lady Macduff (Rebecca Scroggs) protect her offspring or her own life. It is a heart-rending moment.
More...
https://inews.co.uk/culture/arts/macbeth-depot-review-ralph-fiennes-shakespeare-tragedy-present-day-2784468
***
He’s a Machiavellian plotter, too, who might well have butchered his way up the career ladder even without the witches (and since we never see them, they might well just be thoughts in his head). He prostrates himself on the floor before Duncan, but, once that first slaughter is done, swiftly embraces the autocrat’s playbook: no critics, no witnesses. He even has a direct hand in child murder; Fry draws audience gasps with the unmistakeable sound of a neck snapping.
Webster’s production, which zips in at under two hours, brilliantly harnesses the play’s relentless momentum to illustrate Macbeth’s hubristic fall. He also positions Cush Jumbo’s Lady Macbeth, unusually, as the shred of conscience that her husband gradually shrugs off. The excellent Jumbo registers real shock as Macbeth casually mentions his next murder, and she is agonising in the sleepwalking scene, her cries piteous.
The implication that the Macbeths lost a child is thoughtfully expanded here. Children are everywhere, whether Banquo’s son or Macduff’s doomed boy, or haunting the soundscape with giggles or screams. It emphasises this realm’s reliance on dynastic structures, and adds a strong psychological underpinning for the Macbeths’ risky, disruptive actions.
More...
https://www.londontheatre.co.uk/reviews/macbeth-review-donmar-warehouse
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