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NYCPlaywrights November 30, 2024
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NYCPlaywrights
Nov 30, 2024, 5:03:51 PM11/30/24
to NYCPlaywrights
Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
Script Club’s Holiday Radio Show
Script Club is excited to present a annual Holiday Radio Show. As we step back into time, during a time when radio plays were common. Seeing actors onstage with just the mics and their talent telling stories of holiday magic.
This winter we partnered with Alternative Stories, and with the amazing help of some amazing writers to create an original Radio Play called "The Out of Towners Club"!
Within a club of New York City transplants people seek love and togetherness against all odds during the holiday season.
SATURDAY, DECEMBER 7 2024 - 7:00 PM — 9:00 PM EST
SATURDAY, DECEMBER 21 2024 - 7:00 PM — 9:00 PM EST
Fiction Bar/Cafe
308 Hooper St
Brooklyn, NY 11211
https://script-club-nyc.ticketleap.com/holiday-radio-show/
*** RESISTING FASCISM ~ DEADLINE IS TOMORROW ***
NYCPlaywrights is looking for monologues and 10-minute plays about resisting fascism.
TOMORROW IS THE LAST DAY TO SUBMIT YOUR SHORT PLAY OR MONOLOGUE - SUNDAY DECEMBER 1 until 11:59 PM.
For more information:
https://www.nycplaywrights.org/2024/11/nycplaywrights-seeks-monologues-and-10.html
*** HUNTER COLLEGE PLAYWRITING PROGRAM ***
Study playwriting at Hunter College, a public school in the heart of New York City!
The Rita and Burton Goldberg MFA Playwriting Program at Hunter College is a rigorous and affordable two-year program looking for writers eager to develop their craft and challenge assumptions about what theatre is and will become. Students study with acclaimed theatre artists in a program that offers hands-on writing workshops and fosters a collaborative, close-knit artistic community. We offer ample networking opportunities and affordable tickets to a wide range of shows in New York City. Tuition assistance and teaching opportunities are available. Current/recent faculty includes David Adjmi, Eboni Booth, Lisa D’Amour, Chisa Hutchinson, Maria Striar, Lloyd Suh, and Anne Washburn.
Visit huntertheatre.net/mfa for more information. Applications due January 15!
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
PMRP SEEKING RADIO THEATRE SCRIPTS FOR SPRING 2025 ADVENTURE ANTHOLOGY
Our 2025 Spring show, with the working Title of "Tales of Adventure," aims to take the audience on an adventurous journey to exciting places. Danger, daring, and harrowing risks are the order of the day. The selected play(s) will be paired with headliner "The Most Dangerous Game." Your play can either be fully original or an adaptation of a public domain work of fiction. Submission is free, and playwrights can submit more than one play.
***
Seeking Scripts for “New Works New Writers” Virtual One Act Festival
Theme: Short One Act Plays or Excerpts from longer works that have never been produced before, written by playwrights that we have never produced before (note: if you have only written for us for a flash festival, but have never had other work produced by us, you may still submit).
***
Seeking Playwrights, Directors, and Actors for Abingdon Theatre Company's upcoming Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays in collaboration with AMT Theater. Abingdon Theatre Company continues to be committed to creating opportunities for all voices to be heard. With this in mind, ATC is thrilled to open submissions for their fifth annual festival of short plays; a festival shedding light on stories by people of color.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** WICKED ***
During the course of a record Thanksgiving weekend, Universal’s Wicked: Part One has become the highest grossing movie ever at the domestic box office based on a Broadway musical.
Through yesterday, the Jon M. Chu-directed, Cynthia Erivo and Ariana Grande-starring feature counts $214.3M in the midst of its second weekend, defeating the lifetime gross of Paramount’s 1978 classic Grease.
By Sunday, Wicked is expected to reach just under $263M.
Worldwide with $358M and counting by Sunday, Wicked will stand as the fourth highest grossing movie based on a Broadway musical after Mamma Mia! ($611.2M), Les Miserables ($442.7M) and Grease ($396.2M). Wicked was always perceived to be chiefly domestic-driven at the B.O.
More...
https://deadline.com/2024/11/wicked-box-office-record-broadway-musical-1236190290/
***
The 1939 film with Judy Garland, in particular, is so embedded in the American cinematic DNA that it’s inspired everyone from Martin Scorsese to David Lynch, Spike Lee and John Waters, who once called (accurately!) the wicked witch “every bad little boy’s and girl’s dream of notoriety and style.”
I wonder what Waters will make of “Wicked” and its green-hued, deeply sincere heroine, Elphaba, a ready-made meme machine played by Cynthia Erivo in what becomes a showstopper of a performance. Both the character and the actress are the strongest draws in this splashy, largely diverting, tonally discordant and unconscionably long movie, which is the first installment in a two-part adaptation of the Broadway show “Wicked.” That juggernaut opened at the Gershwin Theater in 2003 and shows no signs of (ever) closing; it will presumably still be raking it in when “Wicked Part Two” is set to open in November 2025.
More...
https://www.nytimes.com/2024/11/21/movies/wicked-review.html
***
In the Broadway version of the scene, the green-hued Elphaba, a.k.a. the Wicked Witch of the West, rises above the stage atop a huge platform, its mechanical guts hidden behind an enormous black cape. Onstage, the effect is showstopping.
In Chu’s version, however, Elphaba really flies, crashing through windows and barnstorming Oz. “We’re whipping her around with C.G. monkeys and C.G. backgrounds on a physical set,” Chu said. The Wizard’s guards are rushing in, the wind is blasting, and Cynthia Erivo, who plays Elphaba, is performing the signature song live, “even though I said she didn’t have to.”
“That scene took all of us,” Chu said. “But without Cynthia, who is just a powerhouse, it would have been all for nothing.”
Directing a film adaptation of “Wicked” would be a plum assignment for any fan of American musicals. Since its debut in 2003, “Wicked” has become one of Broadway’s most beloved shows, winning three Tonys and playing to more than 63 million people worldwide, from London’s West End to Tokyo. So how did Chu, who’s done lots of movies with music, but not a whole lot of musicals, get the gig? “I really am a newbie in the musical world,” he admitted. “So I feel like I’m living the theater kid’s dream.”
More...
https://www.nytimes.com/2024/11/22/movies/wicked-jon-m-chu.html
***
Illinois special education teacher Ariane Tyler was so concerned about the threat of unapproved songbirds that she—per the Wall Street Journal—rented out a theater for a private viewing, even creating a Facebook group to communicate the rules of the event. Bathroom breaks, loud chewing, and costumes are verboten, but her harshest words are for singers. “Unless you have won a Tony,” she wrote, “no singing will be permitted.”
“I’m so serious when I talk about these rules,” Tyler told the WSJ. So serious in fact, that her children (aged 8 and 5) will not be allowed to attend the evening. She can’t trust them not to sing, she says.
If all this sounds tiresomely rigid, or like an active war on fun, theaters have a special Christmas gift just for you. Variety reported earlier this week that starting on December 25, around 1,000 theaters across North America will host “interactive showings” of the film.
If you need to break out in song a bit sooner, Elphaba and Glinda might give you a pass, even if your fellow patrons won’t. In a recent interview, Ervio (who plays Elphaba) said, “If you come the first time and you sing through, sing through. But come a second time and let us sing to you.”
More...
https://archive.ph/4W3b8#selection-1759.0-1809.0
***
VARIETY review 2003
The book by TV writer Holzman (“My So-Called Life,” “thirtysomething”) features a much higher percentage of bright lines. But too often it traffics in a kind of crude earnestness without depth that drags events earthward.
That choice falls heaviest on Menzel (“Rent’s” original Maureen), whom one can sense chafing within the confines of a “wicked” character who is never allowed to be wicked, ugly or even bitchy — just victimized.
Onstage much less, Chenoweth steals the show whole. She is allowed to be funny and is, spectacularly. Glinda’s princessy ways are priceless, from her rather superfemme body language to the pipsqueak voice that can turn a throwaway line into a show-stopper.
Butz’s hero registers very little on the personality scale, however, and the scenes with Federer’s whining Nessarose add to an overall sense of trim-inviting bloat. These parts could surely use more satirical definition.
The school scenes’ warped Victoriana look is a little too “Harry Potter,” but in general the design contributions are quite pleasing, particularly in the Emerald City scenes, where Wayne Cilento’s choreography also finds room for extra eccentricity. William David Brohn’s orchestrations are on the blowsy side, underlining the score’s own serious case of class conformity.
More...
https://variety.com/2003/legit/reviews/wicked-8-1200541131/
***
Stephen Schwartz: I heard about the book Wicked in a very random and serendipitous way, about 7 years ago, maybe eight years ago now. It was one of those completely unlooked for events. I actually was on a very last-minute and sort of capricious weekend vacation with some friends. It was unplanned and came up very quickly. The last day we went on a snorkeling trip because we were in Hawaii, and on the boat on the way back to the mainland after our little snorkel adventure, one of the people that I was with just making idle conversation said, I’m reading this really interesting book called Wicked and it’s by this guy named Gregory Maguire. It’s the Oz story from the Wicked Witch’s point of view.
More...
https://www.theschwartzscene.com/2011/03/30/stephen-schwartz-on-adapting-wicked-the-novel-into-a-musical/
***
That's when Maguire thought back to The Wizard of Oz. In particular, Margaret Hamilton's portrayal of the Wicked Witch of the West, and her brief interactions with Glinda, played by Billie Burke, towards the start of the Victor Fleming film. "I thought to myself, 'They know each other. They've crossed paths before. They went to school together!'"
Creating this scenario in his head provoked Maguire to laugh out loud. "I thought that was so funny. Because it was such a good idea."
Maguire's assumption proved to be right. Wicked's revisionist exploration of both L Frank Baum's 1900 children's novel The Wonderful Wizard of Oz and the 1939 film adaptation takes an extensive look at the life of the Wicked Witch of the West. Maguire named her Elphaba, which is a play on the initials of the original author. In the book, we see the reasons why Elphaba is considered evil, as societal perceptions and circumstances force her to act in ways that are deemed villainous.
More...
https://www.bbc.com/culture/article/20241122-wicked-author-gregory-maguire-on-the-real-meaning-of-the-story-that-captivated-the-world
*** FREE THEATER IN NYC ***
Script Club’s Holiday Radio Show
Script Club is excited to present a annual Holiday Radio Show. As we step back into time, during a time when radio plays were common. Seeing actors onstage with just the mics and their talent telling stories of holiday magic.
This winter we partnered with Alternative Stories, and with the amazing help of some amazing writers to create an original Radio Play called "The Out of Towners Club"!
Within a club of New York City transplants people seek love and togetherness against all odds during the holiday season.
SATURDAY, DECEMBER 7 2024 - 7:00 PM — 9:00 PM EST
SATURDAY, DECEMBER 21 2024 - 7:00 PM — 9:00 PM EST
Fiction Bar/Cafe
308 Hooper St
Brooklyn, NY 11211
https://script-club-nyc.ticketleap.com/holiday-radio-show/
*** RESISTING FASCISM ~ DEADLINE IS TOMORROW ***
NYCPlaywrights is looking for monologues and 10-minute plays about resisting fascism.
TOMORROW IS THE LAST DAY TO SUBMIT YOUR SHORT PLAY OR MONOLOGUE - SUNDAY DECEMBER 1 until 11:59 PM.
For more information:
https://www.nycplaywrights.org/2024/11/nycplaywrights-seeks-monologues-and-10.html
*** HUNTER COLLEGE PLAYWRITING PROGRAM ***
Study playwriting at Hunter College, a public school in the heart of New York City!
The Rita and Burton Goldberg MFA Playwriting Program at Hunter College is a rigorous and affordable two-year program looking for writers eager to develop their craft and challenge assumptions about what theatre is and will become. Students study with acclaimed theatre artists in a program that offers hands-on writing workshops and fosters a collaborative, close-knit artistic community. We offer ample networking opportunities and affordable tickets to a wide range of shows in New York City. Tuition assistance and teaching opportunities are available. Current/recent faculty includes David Adjmi, Eboni Booth, Lisa D’Amour, Chisa Hutchinson, Maria Striar, Lloyd Suh, and Anne Washburn.
Visit huntertheatre.net/mfa for more information. Applications due January 15!
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
PMRP SEEKING RADIO THEATRE SCRIPTS FOR SPRING 2025 ADVENTURE ANTHOLOGY
Our 2025 Spring show, with the working Title of "Tales of Adventure," aims to take the audience on an adventurous journey to exciting places. Danger, daring, and harrowing risks are the order of the day. The selected play(s) will be paired with headliner "The Most Dangerous Game." Your play can either be fully original or an adaptation of a public domain work of fiction. Submission is free, and playwrights can submit more than one play.
***
Seeking Scripts for “New Works New Writers” Virtual One Act Festival
Theme: Short One Act Plays or Excerpts from longer works that have never been produced before, written by playwrights that we have never produced before (note: if you have only written for us for a flash festival, but have never had other work produced by us, you may still submit).
***
Seeking Playwrights, Directors, and Actors for Abingdon Theatre Company's upcoming Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays in collaboration with AMT Theater. Abingdon Theatre Company continues to be committed to creating opportunities for all voices to be heard. With this in mind, ATC is thrilled to open submissions for their fifth annual festival of short plays; a festival shedding light on stories by people of color.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** WICKED ***
During the course of a record Thanksgiving weekend, Universal’s Wicked: Part One has become the highest grossing movie ever at the domestic box office based on a Broadway musical.
Through yesterday, the Jon M. Chu-directed, Cynthia Erivo and Ariana Grande-starring feature counts $214.3M in the midst of its second weekend, defeating the lifetime gross of Paramount’s 1978 classic Grease.
By Sunday, Wicked is expected to reach just under $263M.
Worldwide with $358M and counting by Sunday, Wicked will stand as the fourth highest grossing movie based on a Broadway musical after Mamma Mia! ($611.2M), Les Miserables ($442.7M) and Grease ($396.2M). Wicked was always perceived to be chiefly domestic-driven at the B.O.
More...
https://deadline.com/2024/11/wicked-box-office-record-broadway-musical-1236190290/
***
The 1939 film with Judy Garland, in particular, is so embedded in the American cinematic DNA that it’s inspired everyone from Martin Scorsese to David Lynch, Spike Lee and John Waters, who once called (accurately!) the wicked witch “every bad little boy’s and girl’s dream of notoriety and style.”
I wonder what Waters will make of “Wicked” and its green-hued, deeply sincere heroine, Elphaba, a ready-made meme machine played by Cynthia Erivo in what becomes a showstopper of a performance. Both the character and the actress are the strongest draws in this splashy, largely diverting, tonally discordant and unconscionably long movie, which is the first installment in a two-part adaptation of the Broadway show “Wicked.” That juggernaut opened at the Gershwin Theater in 2003 and shows no signs of (ever) closing; it will presumably still be raking it in when “Wicked Part Two” is set to open in November 2025.
More...
https://www.nytimes.com/2024/11/21/movies/wicked-review.html
***
In the Broadway version of the scene, the green-hued Elphaba, a.k.a. the Wicked Witch of the West, rises above the stage atop a huge platform, its mechanical guts hidden behind an enormous black cape. Onstage, the effect is showstopping.
In Chu’s version, however, Elphaba really flies, crashing through windows and barnstorming Oz. “We’re whipping her around with C.G. monkeys and C.G. backgrounds on a physical set,” Chu said. The Wizard’s guards are rushing in, the wind is blasting, and Cynthia Erivo, who plays Elphaba, is performing the signature song live, “even though I said she didn’t have to.”
“That scene took all of us,” Chu said. “But without Cynthia, who is just a powerhouse, it would have been all for nothing.”
Directing a film adaptation of “Wicked” would be a plum assignment for any fan of American musicals. Since its debut in 2003, “Wicked” has become one of Broadway’s most beloved shows, winning three Tonys and playing to more than 63 million people worldwide, from London’s West End to Tokyo. So how did Chu, who’s done lots of movies with music, but not a whole lot of musicals, get the gig? “I really am a newbie in the musical world,” he admitted. “So I feel like I’m living the theater kid’s dream.”
More...
https://www.nytimes.com/2024/11/22/movies/wicked-jon-m-chu.html
***
Illinois special education teacher Ariane Tyler was so concerned about the threat of unapproved songbirds that she—per the Wall Street Journal—rented out a theater for a private viewing, even creating a Facebook group to communicate the rules of the event. Bathroom breaks, loud chewing, and costumes are verboten, but her harshest words are for singers. “Unless you have won a Tony,” she wrote, “no singing will be permitted.”
“I’m so serious when I talk about these rules,” Tyler told the WSJ. So serious in fact, that her children (aged 8 and 5) will not be allowed to attend the evening. She can’t trust them not to sing, she says.
If all this sounds tiresomely rigid, or like an active war on fun, theaters have a special Christmas gift just for you. Variety reported earlier this week that starting on December 25, around 1,000 theaters across North America will host “interactive showings” of the film.
If you need to break out in song a bit sooner, Elphaba and Glinda might give you a pass, even if your fellow patrons won’t. In a recent interview, Ervio (who plays Elphaba) said, “If you come the first time and you sing through, sing through. But come a second time and let us sing to you.”
More...
https://archive.ph/4W3b8#selection-1759.0-1809.0
***
VARIETY review 2003
The book by TV writer Holzman (“My So-Called Life,” “thirtysomething”) features a much higher percentage of bright lines. But too often it traffics in a kind of crude earnestness without depth that drags events earthward.
That choice falls heaviest on Menzel (“Rent’s” original Maureen), whom one can sense chafing within the confines of a “wicked” character who is never allowed to be wicked, ugly or even bitchy — just victimized.
Onstage much less, Chenoweth steals the show whole. She is allowed to be funny and is, spectacularly. Glinda’s princessy ways are priceless, from her rather superfemme body language to the pipsqueak voice that can turn a throwaway line into a show-stopper.
Butz’s hero registers very little on the personality scale, however, and the scenes with Federer’s whining Nessarose add to an overall sense of trim-inviting bloat. These parts could surely use more satirical definition.
The school scenes’ warped Victoriana look is a little too “Harry Potter,” but in general the design contributions are quite pleasing, particularly in the Emerald City scenes, where Wayne Cilento’s choreography also finds room for extra eccentricity. William David Brohn’s orchestrations are on the blowsy side, underlining the score’s own serious case of class conformity.
More...
https://variety.com/2003/legit/reviews/wicked-8-1200541131/
***
Stephen Schwartz: I heard about the book Wicked in a very random and serendipitous way, about 7 years ago, maybe eight years ago now. It was one of those completely unlooked for events. I actually was on a very last-minute and sort of capricious weekend vacation with some friends. It was unplanned and came up very quickly. The last day we went on a snorkeling trip because we were in Hawaii, and on the boat on the way back to the mainland after our little snorkel adventure, one of the people that I was with just making idle conversation said, I’m reading this really interesting book called Wicked and it’s by this guy named Gregory Maguire. It’s the Oz story from the Wicked Witch’s point of view.
More...
https://www.theschwartzscene.com/2011/03/30/stephen-schwartz-on-adapting-wicked-the-novel-into-a-musical/
***
That's when Maguire thought back to The Wizard of Oz. In particular, Margaret Hamilton's portrayal of the Wicked Witch of the West, and her brief interactions with Glinda, played by Billie Burke, towards the start of the Victor Fleming film. "I thought to myself, 'They know each other. They've crossed paths before. They went to school together!'"
Creating this scenario in his head provoked Maguire to laugh out loud. "I thought that was so funny. Because it was such a good idea."
Maguire's assumption proved to be right. Wicked's revisionist exploration of both L Frank Baum's 1900 children's novel The Wonderful Wizard of Oz and the 1939 film adaptation takes an extensive look at the life of the Wicked Witch of the West. Maguire named her Elphaba, which is a play on the initials of the original author. In the book, we see the reasons why Elphaba is considered evil, as societal perceptions and circumstances force her to act in ways that are deemed villainous.
More...
https://www.bbc.com/culture/article/20241122-wicked-author-gregory-maguire-on-the-real-meaning-of-the-story-that-captivated-the-world
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