NYCPlaywrights June 20, 2026
24 views
Skip to first unread message
NYCPlaywrights
Jun 20, 2026, 5:08:34 PM (3 days ago) Jun 20
to NYCPlaywrights
Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
TINKERBELL LIVE
Written and directed by Lynnea Benson. Music & lyrics by Ted Zurkowski
Join Princess Snow White, Woodsman Will, Prince Dreamboat, The Evil Queen, Ringmaster Ron, and Little Rosa Riding Hood for a wacky, bilingual trip to Fairlyland.
With games, music, songs and excitement, Tinkerbell Theatre has been bringing high-quality family theatre to New Yorkers of all ages since 2009. If you love Rocky & Bullwinkle or Pee-Wee Herman, Tinkerbell Live is right for you.
Don't miss the fun of Tinkerbell Theatre! Starring Anuj Parikh, Pedro Vierre, Erica Cafarelli, Meli Ezcurra, Steven Ungar, Melisa Ezcurra, and Jonathan Reed Wexler as The Evil Queen!
Tinkerbell Theatre is appropriate for kids (and former kids) ages 4 and up.
Sunday Jun 28 at 1 PM
Clifton Place Memorial Garden & Park
1031 Bedford Avenue
Brooklyn, NY 11216
https://www.eventbrite.com/e/tinkerbell-live-at-clifton-place-memorial-garden-tickets-1991861394049
*** RHINESTONES, TIGERS & REVENGE — SHANGRI-LA-LA Comes to NYC July 25 & 26 ***
Come for the tigers. Stay for the revenge.
Shangri-La-La is a wildly funny new comedy musical inspired by a real-life Las Vegas lawsuit against Siegfried & Roy — told with rhinestones, tigers, courtroom chaos, showbiz glitter, and the wisecracking ghost of Bugsy Siegel.
Written by Mike Meier, with co-writer Peter Giambalvo, the one-hour festival version of Shangri-La-La leaves the courtroom behind and dives into the dazzling creation myth of Siegfried & Roy — two outsiders who transform themselves into Las Vegas legends through ambition, illusion, rhinestones, reinvention, and a little help from the ghosts of Sin City.
Tickets/info: https://www.eventbrite.com/e/shangri-la-la-a-comedy-musical-about-siegfried-roy-tickets-1989267183696?aff=odcleoeventsincollection
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Scenes from the Staten Island Ferry 2026
This year’s theme: Anniversary! Plays can be comedies or dramas. However, humor is always appreciated. 10-25 minutes in length and set on the Staten Island Ferry. Set in a contemporary time period. Strong priority will be given to plays with 2 characters, however, 3-character plays will be considered. No special set pieces other than benches or railings found on the Ferry, as well as limited and easily accessible props/costumes, and no unusual sound or lighting effects.
***
Eclectic Full Contact Theater Company 6th Annual Patchwork Play Festival - A One-Act New Play Festival
We are currently accepting submissions of New One-Act Plays that embody this years theme of: Alienation
A $250 Award will be presented for best production as adjudicated by a panel of Chicago Theater professionals.
A $250 Audience Award will also be presented to the festival favorite as determined by our audiences.
***
The Post-Meridian Radio Players, based in Eastern Massachusetts, is seeking original scripts of Eldritch/Cosmic Horror (in the vein of Call of Cthulhu, The Thing or similar stories.) PMRP’s work pays homage to the golden age of radio, and our productions take place as staged readings before a live audience, with sound effects performed live. Since 2005, we have brought original and public domain radio plays to life in our distinctive format, which includes script-in-hand actors and live foley artists. Submissions are free, and playwrights can submit more than one.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** HOLLAND TAYLOR & SARAH PAULSON ***
Since their relationship was confirmed in December 2015, the couple has spent the last ten years gushing about each other in public interviews, making chic red carpet appearances together, and sharing sweet glimpses into their relationship on social media. Before going public with their relationship, Taylor revealed she was dating a woman “much younger” than herself. “There’s a very big age difference between us, which I’m sure shocks a lot of people—and it startles me,” Taylor said at the time.
Despite their 32-year age difference, Paulson and Taylor’s relationship remains strong after a decade together. Ahead, a complete timeline of their enduring romance.
December 2, 2025: Holland gushes about Sarah at her Hollywood Walk of Fame ceremony. Taylor praises her “shining star,” in a heartfelt speech as Paulson is honored with a star on the Hollywood Walk of Fame.
“Sarah, the actress, is first of all a wild creature in the animal kingdom. Warm blooded, instinctive, mysterious,” Taylor says. “And Sarah is dangerous—trust me in this—not dangerous like a snake, more like a mongoose,” she continues. “You know, those darling furry, little creatures that kill snakes.”
Taylor also celebrates her partner’s acting talent, calling it “as honest as our faith and as complicated as chemistry.”
More...
https://www.harpersbazaar.com/celebrity/latest/a69381721/sarah-paulson-holland-taylor-relationship-timeline/
***
Now add a deep wound and a wicked tongue and you’re almost partway to Antoinette Lafayette, the monster played by Sarah Paulson in the blistering revival of “Appropriate” that opened on Broadway on Monday. Recalling yet somehow outstripping the thrilling vileness of theatrical viragos like Martha in “Who’s Afraid of Virginia Woolf?” and Violet in “August: Osage County,” she is the burned-out core of a nuclear family reactor, taking no prisoners and taking no blame.
But even in Paulson’s eye-opening, sinus-clearing performance, Toni, as she’s called, doesn’t sum up the outrageousness of Branden Jacobs-Jenkins’s play, which has a deep wound and wicked tongue of its own. To get all the way to its sweet spot — and Lila Neugebauer’s production for Second Stage definitely gets there — you must further multiply Toni by her brothers, each awful in his own way.
More...
https://archive.ph/4qjDl#selection-3273.0-3285.189
***
I’ve always looked forward to being old enough to play Ann Richards in a one-woman show—so imagine what happened when I saw that Holland Taylor’s Ann was on Broadway HD and running at Arena Stage, with Jayne Atkinson in the starring role.
I was eager to talk to the actor and playwright about her career, the things that led to her one-woman show and how she feels about handing it over to other actors. Taylor opened up to Ms. about how it is that Ann came to be—and what comes next.
I know you studied theater in college, so I’m guessing you knew before that you wanted to be an actor. When did you know? What drew you to the theater?
It’s always been a little mysterious to me, in a way, because I wanted to be an actress, and was set on it before I ever saw a professional production. I knew when I was 11 or 12. I don’t know how I knew. One does school plays and stuff like that, and I suppose that must’ve been it because by the time I was seeing plays I knew that’s what I wanted to do. And specifically plays, you know, I didn’t really link it to movies, and I’m old enough so that television was not really a thing when I was at a young age.
So I really don’t know how it began because it began so young, but by the time I was in high school, there was no question in mind that that was what I was going to do. Curiously and interestingly for me, my parents, who were very ordinary, conservative, upper-middle class parents, never dissuaded me from it. Maybe they didn’t think I was really going to do it! But I certainly never did anything else or looked back.
More...
https://theannrichardsplay.com
***
MOORE: So at that point, were you pretty determined that you were going to be an actor professionally?
PAULSON: Yes, and I actually got an agent when I was a sophomore, even though it was frowned upon. A substitute teacher named Alice Nagel came up to me one day and said, “I think you should be working.” We had been working on story-tale theater, and I was playing one of the evil stepsisters in Cinderella. She said, “I have an agent named Didi Rea …”
MOORE: I remember Didi Rea.
PAULSON: She didn’t know that we were discouraged from doing that. Performing Arts was not the same as Professional Children’s School down the street, which was really designed for kids who were working. We couldn’t fax our homework in.
MOORE: What’s fascinating to me is that somebody saw you like that. People sometimes ask me about seeing an actor’s ability, but the funny thing is I think you can tell whether a kid or a person can act. And in my experience, people can’t help announcing it. When you see it, you’re like, “Oh wait.” So then did you go to college or did you go straight to work?
PAULSON: All of my friends went to college and I got a job at Circle Pizza, where I worked for 24 hours. I had to call my mother four times to ask her how to spell Parmesan. I’m not kidding. I was a terrible speller. I think I was really nervous that I somehow didn’t feel right out in the world in that way.
MOORE: But you were also a kid. No one really knows what they’re doing then.
PAULSON: It was a disaster. I just never went back. I started auditioning, and the first job I ever got was understudying Amy Ryan in The Sisters Rosensweig on Broadway, directed by Daniel Sullivan. I was 18 years old. Toward the end of the run, Amy went to France, and I actually went on for two weeks. I remember feeling the temperature change the first time the curtain came up, the difference between the audience temperature and the stage temperature. I’ll never forget it. Have you ever understudied before?
MOORE: I have, but I never went on as an understudy. Going on is terrifying. So then you were off—you were a professional Broadway actress. Did you stay in New York City or did you go to L.A.?
PAULSON: I stayed in New York for a little bit. I did an episode of Law & Order, where I literally didn’t move my neck because I thought you couldn’t move your head on camera. [both laugh] I moved to L.A. and did a two-part episode of this British export show called Cracker. I kissed Josh Hartnett. I think Josh Hartnett’s first onscreen kiss was me, unfortunately.
More...
https://www.interviewmagazine.com/culture/sarah-paulson
***
There’s no shortage of tasty moments, among them Taylor’s entrance as Mrs. Grant, like a guns-blazing warship, appropriately crowned with a velvet admiral’s hat (Ann Roth did the natty costumes); and Sherie Rene Scott finds touching notes in a bleeding-heart tart protesting Earl’s fate. But the play only really starts firing on all cylinders once Lane enters, as Walter mows down any opposition standing between him and his goal with quick-thinking chicanery, a belittling put-down or a succinct “Shuddup!”
More...
https://www.hollywoodreporter.com/lifestyle/arts/front-page-940735/
***
Are there still times in which you doubt yourself as an actor, even though you’ve been working professionally since the nineties?
PAULSON: Oh God, yes. Every single time I set foot on a set! I do begin every project with the dread, “Oh my God, they’re going to find out…” Because there was a time when I would audition for every job that I got. So you would walk onto a set knowing that you really fought hard to get this; they saw a lot of people, they chose me to do this particular role. But when you are in a very fortunate position of getting offered projects without having to meet or read, then you think: “They are offering me this predicated on work I have done before. They don’t know if I am going to be able to pull this off. I didn’t have to prove anything to them prior to the beginning.”
Some actors wouldn’t consider that a problem…
PAULSON: (Laughs) Believe me, it’s a champagne problem. “Oh, I’m not sure if I can do my job.” There is always this beautiful, peaceful moment when you decide to do a job, or even before when you’ve got the script and someone says, “I want you to do this,” there is the wonderful moment where you are reading it and you are not doing it yet, but the fact that they want you to do it feels so special and validating. There is always that nice moment between saying yes and knowing that they want you to do it that I love the most because it’s the only time I feel peaceful about it.
More...
https://the-talks.com/interview/sarah-paulson/
*** FREE THEATER IN NYC ***
TINKERBELL LIVE
Written and directed by Lynnea Benson. Music & lyrics by Ted Zurkowski
Join Princess Snow White, Woodsman Will, Prince Dreamboat, The Evil Queen, Ringmaster Ron, and Little Rosa Riding Hood for a wacky, bilingual trip to Fairlyland.
With games, music, songs and excitement, Tinkerbell Theatre has been bringing high-quality family theatre to New Yorkers of all ages since 2009. If you love Rocky & Bullwinkle or Pee-Wee Herman, Tinkerbell Live is right for you.
Don't miss the fun of Tinkerbell Theatre! Starring Anuj Parikh, Pedro Vierre, Erica Cafarelli, Meli Ezcurra, Steven Ungar, Melisa Ezcurra, and Jonathan Reed Wexler as The Evil Queen!
Tinkerbell Theatre is appropriate for kids (and former kids) ages 4 and up.
Sunday Jun 28 at 1 PM
Clifton Place Memorial Garden & Park
1031 Bedford Avenue
Brooklyn, NY 11216
https://www.eventbrite.com/e/tinkerbell-live-at-clifton-place-memorial-garden-tickets-1991861394049
*** RHINESTONES, TIGERS & REVENGE — SHANGRI-LA-LA Comes to NYC July 25 & 26 ***
Come for the tigers. Stay for the revenge.
Shangri-La-La is a wildly funny new comedy musical inspired by a real-life Las Vegas lawsuit against Siegfried & Roy — told with rhinestones, tigers, courtroom chaos, showbiz glitter, and the wisecracking ghost of Bugsy Siegel.
Written by Mike Meier, with co-writer Peter Giambalvo, the one-hour festival version of Shangri-La-La leaves the courtroom behind and dives into the dazzling creation myth of Siegfried & Roy — two outsiders who transform themselves into Las Vegas legends through ambition, illusion, rhinestones, reinvention, and a little help from the ghosts of Sin City.
Tickets/info: https://www.eventbrite.com/e/shangri-la-la-a-comedy-musical-about-siegfried-roy-tickets-1989267183696?aff=odcleoeventsincollection
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
Scenes from the Staten Island Ferry 2026
This year’s theme: Anniversary! Plays can be comedies or dramas. However, humor is always appreciated. 10-25 minutes in length and set on the Staten Island Ferry. Set in a contemporary time period. Strong priority will be given to plays with 2 characters, however, 3-character plays will be considered. No special set pieces other than benches or railings found on the Ferry, as well as limited and easily accessible props/costumes, and no unusual sound or lighting effects.
***
Eclectic Full Contact Theater Company 6th Annual Patchwork Play Festival - A One-Act New Play Festival
We are currently accepting submissions of New One-Act Plays that embody this years theme of: Alienation
A $250 Award will be presented for best production as adjudicated by a panel of Chicago Theater professionals.
A $250 Audience Award will also be presented to the festival favorite as determined by our audiences.
***
The Post-Meridian Radio Players, based in Eastern Massachusetts, is seeking original scripts of Eldritch/Cosmic Horror (in the vein of Call of Cthulhu, The Thing or similar stories.) PMRP’s work pays homage to the golden age of radio, and our productions take place as staged readings before a live audience, with sound effects performed live. Since 2005, we have brought original and public domain radio plays to life in our distinctive format, which includes script-in-hand actors and live foley artists. Submissions are free, and playwrights can submit more than one.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** HOLLAND TAYLOR & SARAH PAULSON ***
Since their relationship was confirmed in December 2015, the couple has spent the last ten years gushing about each other in public interviews, making chic red carpet appearances together, and sharing sweet glimpses into their relationship on social media. Before going public with their relationship, Taylor revealed she was dating a woman “much younger” than herself. “There’s a very big age difference between us, which I’m sure shocks a lot of people—and it startles me,” Taylor said at the time.
Despite their 32-year age difference, Paulson and Taylor’s relationship remains strong after a decade together. Ahead, a complete timeline of their enduring romance.
December 2, 2025: Holland gushes about Sarah at her Hollywood Walk of Fame ceremony. Taylor praises her “shining star,” in a heartfelt speech as Paulson is honored with a star on the Hollywood Walk of Fame.
“Sarah, the actress, is first of all a wild creature in the animal kingdom. Warm blooded, instinctive, mysterious,” Taylor says. “And Sarah is dangerous—trust me in this—not dangerous like a snake, more like a mongoose,” she continues. “You know, those darling furry, little creatures that kill snakes.”
Taylor also celebrates her partner’s acting talent, calling it “as honest as our faith and as complicated as chemistry.”
More...
https://www.harpersbazaar.com/celebrity/latest/a69381721/sarah-paulson-holland-taylor-relationship-timeline/
***
Now add a deep wound and a wicked tongue and you’re almost partway to Antoinette Lafayette, the monster played by Sarah Paulson in the blistering revival of “Appropriate” that opened on Broadway on Monday. Recalling yet somehow outstripping the thrilling vileness of theatrical viragos like Martha in “Who’s Afraid of Virginia Woolf?” and Violet in “August: Osage County,” she is the burned-out core of a nuclear family reactor, taking no prisoners and taking no blame.
But even in Paulson’s eye-opening, sinus-clearing performance, Toni, as she’s called, doesn’t sum up the outrageousness of Branden Jacobs-Jenkins’s play, which has a deep wound and wicked tongue of its own. To get all the way to its sweet spot — and Lila Neugebauer’s production for Second Stage definitely gets there — you must further multiply Toni by her brothers, each awful in his own way.
More...
https://archive.ph/4qjDl#selection-3273.0-3285.189
***
I’ve always looked forward to being old enough to play Ann Richards in a one-woman show—so imagine what happened when I saw that Holland Taylor’s Ann was on Broadway HD and running at Arena Stage, with Jayne Atkinson in the starring role.
I was eager to talk to the actor and playwright about her career, the things that led to her one-woman show and how she feels about handing it over to other actors. Taylor opened up to Ms. about how it is that Ann came to be—and what comes next.
I know you studied theater in college, so I’m guessing you knew before that you wanted to be an actor. When did you know? What drew you to the theater?
It’s always been a little mysterious to me, in a way, because I wanted to be an actress, and was set on it before I ever saw a professional production. I knew when I was 11 or 12. I don’t know how I knew. One does school plays and stuff like that, and I suppose that must’ve been it because by the time I was seeing plays I knew that’s what I wanted to do. And specifically plays, you know, I didn’t really link it to movies, and I’m old enough so that television was not really a thing when I was at a young age.
So I really don’t know how it began because it began so young, but by the time I was in high school, there was no question in mind that that was what I was going to do. Curiously and interestingly for me, my parents, who were very ordinary, conservative, upper-middle class parents, never dissuaded me from it. Maybe they didn’t think I was really going to do it! But I certainly never did anything else or looked back.
More...
https://theannrichardsplay.com
***
MOORE: So at that point, were you pretty determined that you were going to be an actor professionally?
PAULSON: Yes, and I actually got an agent when I was a sophomore, even though it was frowned upon. A substitute teacher named Alice Nagel came up to me one day and said, “I think you should be working.” We had been working on story-tale theater, and I was playing one of the evil stepsisters in Cinderella. She said, “I have an agent named Didi Rea …”
MOORE: I remember Didi Rea.
PAULSON: She didn’t know that we were discouraged from doing that. Performing Arts was not the same as Professional Children’s School down the street, which was really designed for kids who were working. We couldn’t fax our homework in.
MOORE: What’s fascinating to me is that somebody saw you like that. People sometimes ask me about seeing an actor’s ability, but the funny thing is I think you can tell whether a kid or a person can act. And in my experience, people can’t help announcing it. When you see it, you’re like, “Oh wait.” So then did you go to college or did you go straight to work?
PAULSON: All of my friends went to college and I got a job at Circle Pizza, where I worked for 24 hours. I had to call my mother four times to ask her how to spell Parmesan. I’m not kidding. I was a terrible speller. I think I was really nervous that I somehow didn’t feel right out in the world in that way.
MOORE: But you were also a kid. No one really knows what they’re doing then.
PAULSON: It was a disaster. I just never went back. I started auditioning, and the first job I ever got was understudying Amy Ryan in The Sisters Rosensweig on Broadway, directed by Daniel Sullivan. I was 18 years old. Toward the end of the run, Amy went to France, and I actually went on for two weeks. I remember feeling the temperature change the first time the curtain came up, the difference between the audience temperature and the stage temperature. I’ll never forget it. Have you ever understudied before?
MOORE: I have, but I never went on as an understudy. Going on is terrifying. So then you were off—you were a professional Broadway actress. Did you stay in New York City or did you go to L.A.?
PAULSON: I stayed in New York for a little bit. I did an episode of Law & Order, where I literally didn’t move my neck because I thought you couldn’t move your head on camera. [both laugh] I moved to L.A. and did a two-part episode of this British export show called Cracker. I kissed Josh Hartnett. I think Josh Hartnett’s first onscreen kiss was me, unfortunately.
More...
https://www.interviewmagazine.com/culture/sarah-paulson
***
There’s no shortage of tasty moments, among them Taylor’s entrance as Mrs. Grant, like a guns-blazing warship, appropriately crowned with a velvet admiral’s hat (Ann Roth did the natty costumes); and Sherie Rene Scott finds touching notes in a bleeding-heart tart protesting Earl’s fate. But the play only really starts firing on all cylinders once Lane enters, as Walter mows down any opposition standing between him and his goal with quick-thinking chicanery, a belittling put-down or a succinct “Shuddup!”
More...
https://www.hollywoodreporter.com/lifestyle/arts/front-page-940735/
***
Are there still times in which you doubt yourself as an actor, even though you’ve been working professionally since the nineties?
PAULSON: Oh God, yes. Every single time I set foot on a set! I do begin every project with the dread, “Oh my God, they’re going to find out…” Because there was a time when I would audition for every job that I got. So you would walk onto a set knowing that you really fought hard to get this; they saw a lot of people, they chose me to do this particular role. But when you are in a very fortunate position of getting offered projects without having to meet or read, then you think: “They are offering me this predicated on work I have done before. They don’t know if I am going to be able to pull this off. I didn’t have to prove anything to them prior to the beginning.”
Some actors wouldn’t consider that a problem…
PAULSON: (Laughs) Believe me, it’s a champagne problem. “Oh, I’m not sure if I can do my job.” There is always this beautiful, peaceful moment when you decide to do a job, or even before when you’ve got the script and someone says, “I want you to do this,” there is the wonderful moment where you are reading it and you are not doing it yet, but the fact that they want you to do it feels so special and validating. There is always that nice moment between saying yes and knowing that they want you to do it that I love the most because it’s the only time I feel peaceful about it.
More...
https://the-talks.com/interview/sarah-paulson/
***
As his offspring, Mr. Davison and Holland Taylor are attractive as only middle-aged malcontents to the Philip Barry-manner born can be. Though Ms. Taylor's role is billed as minor - to her frustration, both in her family's priorities and in her brother's play - she still captures both the resilience and anguish of a perfect daughter, wife and mother who sublimates life's disappointments into a curious obsession with seeing-eye dogs.
More...
https://archive.ph/M44mW
As his offspring, Mr. Davison and Holland Taylor are attractive as only middle-aged malcontents to the Philip Barry-manner born can be. Though Ms. Taylor's role is billed as minor - to her frustration, both in her family's priorities and in her brother's play - she still captures both the resilience and anguish of a perfect daughter, wife and mother who sublimates life's disappointments into a curious obsession with seeing-eye dogs.
More...
https://archive.ph/M44mW
Reply all
Reply to author
Forward
0 new messages