NYCPlaywrights October 7, 2023

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Oct 7, 2023, 5:32:29 PM10/7/23
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Greetings NYCPlaywrights


by Meny Beriro
A dark comedy involving Pigeons Home Shopping and the Meaning of Life.

Sunday, October 15
The Mary Rodgers Room
Dramatist Guild
1501 Broadway
Suite 701


Hello Godot - Fresh Words - an International Literary Magazine - seeks one-act plays
The One Act Play must have GODOT (Reference 'Waiting for Godot') as a character OR motif OR there should be recurring reference of GODOT with theme/s of futile wait/absurdity of existence/inaction/circular plot etc.


We invite women playwrights to submit their work for consideration in our upcoming theatre showcase "A Funny Thing Happened on the Way to Inner Growth." Our showcase will feature comedic short plays that explore the journey of inner growth and the challenges it can bring.


New Works Festival 2024
Bay Street Theater is accepting new full-length plays for the Festival to take place in May 2024 - looking for plays that represent a broad array of voices, viewpoints, cultures, and styles.

Writers of all backgrounds are strongly encouraged to submit. We are looking for pieces that have had re-writes and development already, perhaps now in their third or fourth draft, and are at a stage where the addition of in-person creatives can be used to their full value.

*** FOR MORE INFORMATION about these and other opportunities see the web site at ***


Richard III is perhaps the most maligned king in English history, but he is also the king for whom the greatest effort has been expended on rehabilitation. The image of the cruel child-murdering monster immortalised by Shakespeare is perhaps taken with a pinch of salt these days.

Judgements on Richard III inevitably centre around his responsibility for his nephews’ deaths. Gossip persisted throughout Richard’s reign about the princes and he never tried to correct such assumptions. Yet more can be said about Richard than just his treatment of his nephews.



Thomas More – a public servant who from 1518 served on Henry VIII’s Privy Council and later became Lord Chancellor – wrote his History of King Richard III between around 1513 and 1518.

More’s account – which dramatised conflicts, provided descriptions of both body and mind, and looked for causes as well as recording facts – was popular and was incorporated into the work of other chroniclers, including Holinshed and Stow, as well as influencing dramatists such as Shakespeare.

The work survives in English and Latin versions, both unfinished, with some variation in detail between the two. More borrows freely from other Tudor accounts of Richard’s reign, such as those by John Rous and Polydore Vergil, and adds original detail from direct testimony.



There is one king who simply will not lie down quietly and stay in the past. Richard III, the English monarch with perhaps the worst image problem, keeps fighting back, aided by some determined scholars and a group of loyal international supporters.

Now, eight years after the king’s rediscovered remains were reburied in Leicester Cathedral, and more than 500 years after his death on the battlefield, the historian and best-selling novelist Philippa Gregory, author of The Other Boleyn Girl and The White Queen, has made the vilified king the subject of her first play. And she believes it could set the record straight at last.

“His story just continues to grip people,” said Gregory, revealing this weekend that her debut play, Richard, My Richard, will premiere next spring. “He has become an evil, pantomime figure, an idea that persists, although it didn’t happen like that.”

Gregory’s play opens, aptly enough, with Richard bursting up from his grave in a Leicester car park to challenge the way his reputation has been smeared. Tackling his notoriety head-on, the maligned king at last has the chance to explain his reign.



The mission of the American Branch of the Richard III Society is to bring forward a historically-accurate, balanced, and fair assessment of a controversial English king, and to support educational initiatives to interpret his times. The Branch connects Americans with the global Ricardian community through joint membership with the Richard III Society (CLG) in the UK, and with one another by organizing events that expand on our knowledge of medieval history.

The American Branch was founded in 1961 and incorporated in 1968 as The Richard III Society, Inc. In 1970, the Branch was granted status as a non-profit educational organization under section 501c3 of the IRS code.  The American Branch has nearly 350 members nationwide with chapters in Florida, Illinois, the Michigan area, the Northwest, the New York-Metro area, Virginia and Colorado.
Members of the American Branch also hold membership in the original “parent society,” The Richard III Society CLG of the UK.



The notorious monarch is one of the Bard's most iconic characters. But the truth about him is increasingly contested, as is the depiction of his disability, writes Tracey Sinclair.

Richard III has long been a figure of fascination – inspiring the play that remains one of William Shakespeare's most performed works on stage and screen, regularly staged on both sides of the Atlantic. It's a role that has been tackled by famous actors from Laurence Olivier to Denzel Washington, with Black Panther star Danai Gurira the latest high-profile figure to take the role on the New York stage.



Was Richard III — one of England’s most famous (or infamous) medieval monarchs — a hero or a villain? It really depends on who you ask.

Richard III, as portrayed in Shakespeare’s famous historical play, was most certainly a villain, scheming and monologuing his way to a well-deserved and painful end. However, other historians have taken alternate views. There is even a modern organization, the Richard III Society, dedicated to reclaiming his reputation, or at least presenting a more balanced account.

As in many cases in life, the truth about Richard III likely falls somewhere in between. In the recent biography “Richard III: Brother, Protector, King,” author Chris Skidmore takes a detailed look at this often-maligned monarch — an ambitious man living in dangerous, violent times who was likely neither saint nor complete monster, as some have argued.

To fully understand Richard III, you have to look back to England’s very complex and very messy Wars of the Roses.



YouTube trailer - The Lost King


Folger Shakespeare Library

As Richard III opens, Richard is Duke of Gloucester and his brother, Edward IV, is king. Richard is eager to clear his way to the crown. He manipulates Edward into imprisoning their brother, Clarence, and then has Clarence murdered in the Tower. Meanwhile, Richard succeeds in marrying Lady Anne, even though he killed her father-in-law, Henry VI, and her husband.

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