NYCPlaywrights December 9, 2023

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Dec 9, 2023, 5:05:57 PM12/9/23
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Greetings NYCPlaywrights


Two plays by Theresa Rebeck
Join us at the Drama Book Shop for a conversation with Theresa Rebeck.

Tuesday, December 19 · 7:30 - 8:30pm EST
The Drama Book Shop
266 West 39th Street New York, NY 10018


Sam doesn’t get out much. Actually, he doesn’t get out at all,
opting instead for the safety of his house in the company of his things—his many, many
things. But when a notice from the government arrives alerting Sam that he must clean up his property or face eviction, he’s forced to reckon with what’s trash, what’s treasure, and whether we can ever know the difference between the two.


In a dying plant shop in a dying neighborhood, Roger receives a visitor from the past: Megan, the neighborhood screw-up, just out of rehab. He wants nothing to do with this disaster. Rebeck’s signature wit, intelligence, and depth brings us a riveting play that asks—can a soul beyond saving be saved?


The EST/Sloan Project commissions, develops and presents new works delving into how we view and are affected by the scientific world. These plays examine the struggles and challenges scientists and engineers face from moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and compelling work exploring the worlds of science and technology and to challenge existing stereotypes of scientists and engineers in the popular imagination. The Project commissions new works which may go on to further development during EST’s developmental season, including one Mainstage Production, as well as workshops and readings in an annual festival called FIRST LIGHT.


Quantum Egg Theatre Company: ALGORITHM. For this anthology night in March 2024, we are looking for scripts centered around our sci-fi inspired theme.
Scripts should be no more than 30 minutes and should require no more than 3 actors (actors can multi-role). While we encourage being creative with the prompt, please keep this premise in mind while developing your stories!


Masque & Spectacle open for 10-minute plays
While traditional plays are welcome, we are particularly interested in innovative and/or interdisciplinary texts that break new ground, either in relation to their subject matter, or in how the text itself is performed/written/represented on stage.

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


In a move that echoes the radio dramas of yore, and at a moment when audio is enjoying an unexpected boom, Audible, a subsidiary of Amazon, is making a bold push into theater.

The company, which created its theater division just five years ago, has already released 93 audio theater works, and this month it added a theater tab to its app.

Along the way, it has become a big player in the theater world: commissioning new work from 55 playwrights; presenting 25 shows in person at the Minetta Lane, which it is leasing; and becoming one of the most active commercial producers in the city. In 2020, Audible took on the entire season of the prestigious Williamstown Theater Festival, remotely rehearsing and recording all seven shows when the pandemic made it impossible to stage them in person.

It also has producing credits on two Broadway shows, “Sea Wall/A Life” and “Latin History for Morons,” both of which the company also recorded and released on audio.


Audible Inc., the leading creator and provider of premium audio storytelling, today announced Audible Theater’s slate of Spring 2021 releases, which will feature performances from Tony Award winners Laura Benanti (Nashville), Tony Shalhoub (The Marvelous Mrs. Maisel), Santino Fontana (Frozen) and Mary-Louise Parker (Weeds), award-winning actress Diane Guerrero (Orange is the New Black), Primetime Emmy Award-winner Joe Morton (Scandal) and more.

The slate includes the February 11th world premiere of Tonderai Munyevu’s Mugabe, My Dad & Me starring the playwright himself; the February 18th world premiere of Audible Emerging Playwright James Anthony Tyler’s hop thA A starring Ronald Emile, Jayme Lawson, Kareem Lucas and Portia; the February 25th world premiere of Daniel Goldfarb’s Men's Health starring Tony Award winners Tony Shalhoub, Santino Fontana and Laura Benanti, award-winning actress Diane Guerrero and Tom Hollander; the March 18th release of Adam Rapp’s six-time Tony Award nominated The Sound Inside with original cast members Mary-Louise Parker and Will Hochman; and the April 29th release of Cornelius Eady’s Brutal Imagination with original cast members Joe Morton and Sally Murphy. Audible will record and release all shows as Audible Original audio plays, extending their reach to millions of Audible listeners around the world.


Looking ahead at an uncertain future, theater makers are wondering how stage entertainment will get made and experienced in the coming months — and Audible Theater is offering an initial glimpse at what might be next.

The theater division of the audio entertainment platform, which already produces plays and captures them for audio distribution (“Girls & Boys” with Carey Mulligan, “The Half-Life of Marie Curie”), recently announced a partnership with Williamstown Theatre Festival to make audio versions of WTF’s 2020 season, in lieu of the live productions that the coronavirus pandemic have now made unfeasible. On the new episode of Variety’s theater podcast, Stagecraft, Audible Theater artistic producer Kate Navin gave listeners a taste of how these shows will sound.

“There will be sound design,” she said. “Where appropriate and where possible, there will be slight adaptation to make sure it works in audio. We haven’t quite figured out all the answers.” One thing they do know: The productions won’t be recorded until it’s safe to get an entire cast together in the same studio.


2020 presented new artistic opportunities that Williamstown Theatre Festival and Audible embraced head-on in this unique collaboration. The WTF Season on Audible has been made with the spirit of invention, which has long been a hallmark of the Festival.

An office tower in this gritty Mid-Atlantic city seems an unlikely nerve center for theatrical inspiration. Yet here, in the sky-high studios of Audible, the audiobook and audio entertainment company, a new model for bringing drama to the people is taking shape.

Through the window of an Audible control booth on a recent weekday afternoon, you could watch as two highly regarded actresses, Kate Mulgrew and Francesca Faridany, stood near each other at microphones to recite the lines of a new play, Lauren Gunderson’s “The Half-Life of Marie Curie.” A few days later, just across the Hudson, in the cozy Minetta Lane Theatre, which Audible leases as its off-Broadway home, you could settle in to a performance in the six-week run of “The Half-Life of Marie Curie” — produced by Audible, too.
It’s not that plays are new to recordings, or that corporations never before invested in the stage. What is novel is how this company is commissioning dramatists to write plays for its global listener base and at the same time curating them for a narrower market of theatergoers.

You might say that Audible is assembling a digital repertory company, with platforms both on air and on legs. (Launched a quarter-century ago, Audible was acquired in 2008 by Amazon, whose chief executive, Jeff Bezos, owns The Washington Post.)


An odd fit at first glance: Why would a publishing house's audio arm help put on a big Broadway show? But New York theater has found an unexpectedly robust partner in the burgeoning audio space, democratizing a notoriously exclusionary medium and unveiling new artistic potential.

This new initiative found its wings with the entertainment company Audible. In January 2018, Audible Theater was launched via an original production of Harry Clarke, David Cale's solo show with Billy Crudup, which had opened Off Broadway the previous fall at the Vineyard Theatre. "You lose something when you take away the audience, the live experience," Crudup cautions. "But… getting new playwrights to a whole new audience was too good an opportunity to pass up." He was satisfied with the experience: "It transformed [the play] into a different kind of event."

Initially, Audible sought out solo plays to adapt for listeners. "There was a concerted effort to start there, just to make sure it's something that [could work] in audio," says Kate Navin, Audible Theater's artistic producer. Among others, she acquired Neil LaBute's All the Ways to Say I Love You, for which star Judith Light nabbed a uAward nomination (recognizing the best in solo performances). The show's director, Leigh Silverman, joined Light at Audible's studios for an exclusive recording. "A performance, for me, is a performance. It doesn't matter the venue in which I'm doing it," Light says. "If I were doing another play, I would now ask that we do it for Audible."

Light continues, "I want to share theater experiences with people who aren't able to go to New York to see them. It's incredibly important."

Light is eager to work with a cast for an audio performance, too, and there's precedent: Audible has expanded to include ensemble productions such as True West, starring Kit Harington, and Billy Crystal's Have a Nice Day. More significantly, on May 14, PRHA will release an ambitious audiobook of Angels in America — Tony Kushner's '80s queer classic that won multiple Tonys and a Pulitzer Prize — with the cast of its recent Broadway revival, headed by Andrew Garfield and Nathan Lane, kept intact. The play runs more than seven hours in total, the cast is large, and many set pieces are complex enough to pull off on stage, much less on audio. But as the Broadway show started winding down last year, producers made it work, recording it gradually over several months. "It was like making a schedule for a film," Kushner recalls. "Going scene by scene, figuring out how we could get people who needed to be in the same place at the same time."


In March (2018), Audible Inc. moved from the aural space into the physical New York theater world when it sponsored a run of “Harry Clarke” at the Minetta Lane Theater. Now, the audiobook company is formalizing its relationship with the theater: It struck a deal to produce plays, comedic shows, panel discussions and more there, starting with a solo show from Carey Mulligan in June.

The deal represents the next step in Audible’s move toward live performance. The company resurrected David Cale’s “Harry Clarke,” which closed at the Vineyard Theater in December and received a New York Times Critic’s Pick, for a secondary run. And last month, Audible announced a production of Dennis Kelly’s “Girls & Boys,” which will star Ms. Mulligan and arrive at the Minetta in previews on June 12.

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