NYCPlaywrights May 4, 2024
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NYCPlaywrights
May 4, 2024, 5:06:36 PMMay 4
to NYCPlaywrights
Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
Compagnia de' Colombari's KING LEAR "Share-Out" & 20th Anniversary Celebration
You are cordially invited to a sneak peek “share-out” of KING LEAR on May 23 at 6:30p.m. at St. Paul’s Church (234 Congress Street in Brooklyn).
Our celebratory “paper-crown” bacchanal showcases scenes from the raw and visceral adaptation of Shakespeare's iconic work, introduces the public to the cast, staff and creative team, and explores the abundance of riches for Colombari’s 20th Anniversary Season.
Join us for a night filled with drama, laughter, merrymaking and mingling with light refreshments to commemorate Colombari's two decades of theatrical delights on stages, streets, and surprising spaces of all kinds from NYC to Italy and beyond!
This event is in anticipation of the world premiere of KING LEAR, Colombari’s latest work directed by Karin Coonrod, which debuts at the International Festival of Arts & Ideas on June 14-16 for five performances at the University Theatre (222 York Street, New Haven, CT).
https://www.eventbrite.com/e/compagnia-de-colombaris-king-lear-share-out-20th-anniversary-celebration-tickets-877724947947?aff=ebdssbdestsearch
*** NYCPLAYWRIGHTS ZOOMERS IN MAY ***
***
Not everything in Cursed Child is this handmade. There are some fancy lighting tricks — and one effect I could swear is a digital projection, but no one will confirm my suspicions — this show, after all, was originally advertised with the tag line "Keep the Secrets." But most of the on-stage magic happens on a human level. And for producers Colin Callender and Sonia Friedman, that was an important choice.
"Since our starting point was about exploring the emotional lives of these characters, and to be honest about these characters in a very immediate way, we didn't want to high-tech it," Callender says. "To be honest," Friedman continues, "we wanted sort of good, old-fashioned, as I call it Victorian magic. Victorian theater tricks. Very simple, actually."
More...
https://www.npr.org/2019/12/29/787602482/harry-potter-and-the-cursed-child-makes-its-magic-the-old-fashioned-way
***
Props and Special Effects | The Art of the Theatre
Members of the Alabama Shakespeare Festival’s prop department give a behind the scenes look at the prop shop, including making a life mask of an actor for a severed head prop.
https://ny.pbslearningmedia.org/resource/art-theatre-props/art-theatre-props/
***
Sometimes, special effects could go wrong. On 29 June 1613, the Globe burned down during a performance of Shakespeare’s Henry VIII. It was big news. It is unlikely anything this spectacular happened very often. However, many of the ingredients used to create special effects smelt very, very bad. Sulphur has a rotten egg smell, while saltpetre (made from dung) smells bad when mixed up and even worse when set alight. Both were used to make gunpowder. When the witches in Macbeth are making their spells and one of them talks about ‘the fog and filthy air’ the air inside the theatre may have been horrible to breathe in, if not actually dangerous.
More...
https://www.shakespearesglobe.com/discover/shakespeares-world/special-effects/
***
From the start, Clowdus knew he only wanted to mount Miss Saigon if he could deploy an actual UH-1, or “Huey,” every night. (The single-engine, two-bladed helicopter was used to move soldiers around the battlefield and remains a symbol of the Vietnam War.) Not having to work within the confines of a space with ceilings or walls emboldened his epic dream. And he’s a huge believer in manifesting his destiny through words and actions.
“Even before we secured the helicopter, I started telling folks, ‘We’re landing a helicopter every night for Miss Saigon,’” says Clowdus. “Everyone started talking about it, at which point I was compelled to make it happen. Whereas if I’d said, ‘Oh, we’re thinking about landing a helicopter,’ that would have given me an out and possibly sabotaged the desired outcome.”
Clowdus says he is prone to reckless abandonment, but even he knew better than to just land a helicopter in the middle of Serenbe’s wildflower field and ask for forgiveness later, so he strategized to find a knowledgeable and willing collaborator.
More...
https://www.artsatl.org/preview-serenbes-miss-saigon-big-special-effects-huey-helicopter/
***
Frozen On Broadway Different Elsas Quick Dress change Compilation | Let it Go
https://youtu.be/abqWjvZDMa8?si=NY689-KJ45FM89BT&t=1
*** FREE THEATER IN NYC ***
Compagnia de' Colombari's KING LEAR "Share-Out" & 20th Anniversary Celebration
You are cordially invited to a sneak peek “share-out” of KING LEAR on May 23 at 6:30p.m. at St. Paul’s Church (234 Congress Street in Brooklyn).
Our celebratory “paper-crown” bacchanal showcases scenes from the raw and visceral adaptation of Shakespeare's iconic work, introduces the public to the cast, staff and creative team, and explores the abundance of riches for Colombari’s 20th Anniversary Season.
Join us for a night filled with drama, laughter, merrymaking and mingling with light refreshments to commemorate Colombari's two decades of theatrical delights on stages, streets, and surprising spaces of all kinds from NYC to Italy and beyond!
This event is in anticipation of the world premiere of KING LEAR, Colombari’s latest work directed by Karin Coonrod, which debuts at the International Festival of Arts & Ideas on June 14-16 for five performances at the University Theatre (222 York Street, New Haven, CT).
https://www.eventbrite.com/e/compagnia-de-colombaris-king-lear-share-out-20th-anniversary-celebration-tickets-877724947947?aff=ebdssbdestsearch
*** NYCPLAYWRIGHTS ZOOMERS IN MAY ***
Memberships are available for NYCPlaywrights Zoomers - we meet on Zoom each Monday at 7PM to do readings of our work. Workshops are a great way to meet fellow playwrights, commiserate about the challenges of crafting a good play and celebrate victories, whether getting a full-blown production or finally getting a tricky scene to work.
Check out our website here ~ https://nycp-zoomers.blogspot.com
How do our meetings work? Find out here ~ https://nycp-zoomers.blogspot.com/2023/12/welcome-to-nycplaywrights-zoomers-some.html
Here are Frequently Asked Questions ~ https://nycp-zoomers.blogspot.com/p/zoomers-frequently-asked-questions-faq.html
You can also sit in on a Monday session for free - email na...@nycplaywrights.org to request a spot.
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
DRURY UNIVERSITY ONE-ACT PLAY COMPETITION
FIRST PRIZE: $300 TWO HONORABLE MENTIONS: $150 each
Winning plays will be considered for production by Drury University.
Competition is open to all playwrights. Scripts are to be original, unpublished, and unproduced. Staged readings or workshop productions will not disqualify a script.
***
Welcome to the CATastrophe Play Festival! We're thrilled to invite you to submit your short play for consideration.
The festival theme requires the inclusion of a cat in some form. We're seeking plays that are dramatic, absurd, comedic, or any combination of all three.
All winning playwrights will receive a $100 price.
***
The Woodward/Newman Award is an exclusive honor offered by Constellation Stage & Screen, started through the support of Joanne Woodward, Newman’s Own Foundation, and the Newman family, celebrating Paul Newman & Joanne Woodward’s tremendous history of work on stage and screen. It presents the best unpublished play of the year with a cash prize of $3,000 and a full production as part of Constellation’s Mainstage season.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** SPECIAL EFFECTS ***
“It’s 15 metres tall, it has three enormous pneumatic legs, it weighs four-and-a-half tonnes, and it has a nozzle that shoots flames,” says the musical’s production manager Stephen Nolan. “Then there are five singers, a ten-piece band, 38 string players, a 24-metre by seven-metre projection screen, a holographic screen, and a huge bridge that reaches out 20 metres into the audience. It’s a full-on show.”
In fact, says Nolan, the stage adaptation of Jeff Wayne’s Musical Version of The War Of The Worlds is so big and so technologically complicated that, once it starts, it can’t stop. The entire production – music, lighting, sound and stunning special effects – runs like clockwork to a digital metronome. Everything, from pyrotechnic explosions to computer-generated imagery, is triggered by a computer. The show can’t even pause for applause.
More...
https://populous.com/the-marvellous-world-of-stage-special-effects
Check out our website here ~ https://nycp-zoomers.blogspot.com
How do our meetings work? Find out here ~ https://nycp-zoomers.blogspot.com/2023/12/welcome-to-nycplaywrights-zoomers-some.html
Here are Frequently Asked Questions ~ https://nycp-zoomers.blogspot.com/p/zoomers-frequently-asked-questions-faq.html
You can also sit in on a Monday session for free - email na...@nycplaywrights.org to request a spot.
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
DRURY UNIVERSITY ONE-ACT PLAY COMPETITION
FIRST PRIZE: $300 TWO HONORABLE MENTIONS: $150 each
Winning plays will be considered for production by Drury University.
Competition is open to all playwrights. Scripts are to be original, unpublished, and unproduced. Staged readings or workshop productions will not disqualify a script.
***
Welcome to the CATastrophe Play Festival! We're thrilled to invite you to submit your short play for consideration.
The festival theme requires the inclusion of a cat in some form. We're seeking plays that are dramatic, absurd, comedic, or any combination of all three.
All winning playwrights will receive a $100 price.
***
The Woodward/Newman Award is an exclusive honor offered by Constellation Stage & Screen, started through the support of Joanne Woodward, Newman’s Own Foundation, and the Newman family, celebrating Paul Newman & Joanne Woodward’s tremendous history of work on stage and screen. It presents the best unpublished play of the year with a cash prize of $3,000 and a full production as part of Constellation’s Mainstage season.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** SPECIAL EFFECTS ***
“It’s 15 metres tall, it has three enormous pneumatic legs, it weighs four-and-a-half tonnes, and it has a nozzle that shoots flames,” says the musical’s production manager Stephen Nolan. “Then there are five singers, a ten-piece band, 38 string players, a 24-metre by seven-metre projection screen, a holographic screen, and a huge bridge that reaches out 20 metres into the audience. It’s a full-on show.”
In fact, says Nolan, the stage adaptation of Jeff Wayne’s Musical Version of The War Of The Worlds is so big and so technologically complicated that, once it starts, it can’t stop. The entire production – music, lighting, sound and stunning special effects – runs like clockwork to a digital metronome. Everything, from pyrotechnic explosions to computer-generated imagery, is triggered by a computer. The show can’t even pause for applause.
More...
https://populous.com/the-marvellous-world-of-stage-special-effects
***
Not everything in Cursed Child is this handmade. There are some fancy lighting tricks — and one effect I could swear is a digital projection, but no one will confirm my suspicions — this show, after all, was originally advertised with the tag line "Keep the Secrets." But most of the on-stage magic happens on a human level. And for producers Colin Callender and Sonia Friedman, that was an important choice.
"Since our starting point was about exploring the emotional lives of these characters, and to be honest about these characters in a very immediate way, we didn't want to high-tech it," Callender says. "To be honest," Friedman continues, "we wanted sort of good, old-fashioned, as I call it Victorian magic. Victorian theater tricks. Very simple, actually."
More...
https://www.npr.org/2019/12/29/787602482/harry-potter-and-the-cursed-child-makes-its-magic-the-old-fashioned-way
***
Props and Special Effects | The Art of the Theatre
Members of the Alabama Shakespeare Festival’s prop department give a behind the scenes look at the prop shop, including making a life mask of an actor for a severed head prop.
https://ny.pbslearningmedia.org/resource/art-theatre-props/art-theatre-props/
***
Sometimes, special effects could go wrong. On 29 June 1613, the Globe burned down during a performance of Shakespeare’s Henry VIII. It was big news. It is unlikely anything this spectacular happened very often. However, many of the ingredients used to create special effects smelt very, very bad. Sulphur has a rotten egg smell, while saltpetre (made from dung) smells bad when mixed up and even worse when set alight. Both were used to make gunpowder. When the witches in Macbeth are making their spells and one of them talks about ‘the fog and filthy air’ the air inside the theatre may have been horrible to breathe in, if not actually dangerous.
More...
https://www.shakespearesglobe.com/discover/shakespeares-world/special-effects/
***
Presenting a play or musical is a series of high-wire stunts, no matter how simple the production may seem on the surface. Things can and do go wrong: blown entrances, forgotten lines, technical elements misfiring, stumbles, bumbles and falls – you name it.
The Play That Goes Wrong is a celebration of all the miscues that can happen in the course of a show, blown up to insane and farcical proportions. So we thought it would be a hoot to ask some of our cast members about the times in which things have actually gone wrong in a live theatre production while they were on stage. And then the all-important follow-up question: how did they cover for the error?
JAVERT'S FAILED SUICIDE, AS TOLD BY JOHN RAPSON
I was reallllllly left hanging onstage once...and I mean that quite literally.
My first show as the unyielding Inspector Javert in the Toronto production of Les Misérables had been going very well. I was nearing my inevitable death, wherein I flung myself off a bridge with the aid of some very cool stage magic and a harness that would help me fly. When all goes well, this harness suspends you in the air for a moment as the rest of the set flies into the wings and then slowly and dramatically pulls you back into a trapdoor in the back wall. The upshot is that it looks as if you are falling and the audience is seeing you from above. It’s quite the effect.
Except on this particular night, it wasn’t.
More...
https://www.repstl.org/news/detail/the-plays-that-went-wrong-rep-actors-tell-true-tales-of-on-stage-mishaps
Presenting a play or musical is a series of high-wire stunts, no matter how simple the production may seem on the surface. Things can and do go wrong: blown entrances, forgotten lines, technical elements misfiring, stumbles, bumbles and falls – you name it.
The Play That Goes Wrong is a celebration of all the miscues that can happen in the course of a show, blown up to insane and farcical proportions. So we thought it would be a hoot to ask some of our cast members about the times in which things have actually gone wrong in a live theatre production while they were on stage. And then the all-important follow-up question: how did they cover for the error?
JAVERT'S FAILED SUICIDE, AS TOLD BY JOHN RAPSON
I was reallllllly left hanging onstage once...and I mean that quite literally.
My first show as the unyielding Inspector Javert in the Toronto production of Les Misérables had been going very well. I was nearing my inevitable death, wherein I flung myself off a bridge with the aid of some very cool stage magic and a harness that would help me fly. When all goes well, this harness suspends you in the air for a moment as the rest of the set flies into the wings and then slowly and dramatically pulls you back into a trapdoor in the back wall. The upshot is that it looks as if you are falling and the audience is seeing you from above. It’s quite the effect.
Except on this particular night, it wasn’t.
More...
https://www.repstl.org/news/detail/the-plays-that-went-wrong-rep-actors-tell-true-tales-of-on-stage-mishaps
***
From the start, Clowdus knew he only wanted to mount Miss Saigon if he could deploy an actual UH-1, or “Huey,” every night. (The single-engine, two-bladed helicopter was used to move soldiers around the battlefield and remains a symbol of the Vietnam War.) Not having to work within the confines of a space with ceilings or walls emboldened his epic dream. And he’s a huge believer in manifesting his destiny through words and actions.
“Even before we secured the helicopter, I started telling folks, ‘We’re landing a helicopter every night for Miss Saigon,’” says Clowdus. “Everyone started talking about it, at which point I was compelled to make it happen. Whereas if I’d said, ‘Oh, we’re thinking about landing a helicopter,’ that would have given me an out and possibly sabotaged the desired outcome.”
Clowdus says he is prone to reckless abandonment, but even he knew better than to just land a helicopter in the middle of Serenbe’s wildflower field and ask for forgiveness later, so he strategized to find a knowledgeable and willing collaborator.
More...
https://www.artsatl.org/preview-serenbes-miss-saigon-big-special-effects-huey-helicopter/
***
Frozen On Broadway Different Elsas Quick Dress change Compilation | Let it Go
https://youtu.be/abqWjvZDMa8?si=NY689-KJ45FM89BT&t=1
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