NYCPlaywrights January 6, 2024

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Jan 6, 2024, 6:12:35 PMJan 6
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A fast-paced, 70 minute romantic comedy with sing-along sea shanties adapted from Shakespeare's "Twelfth Night."

Feral Theatre Company's second full FREE production! Enjoy a 70 minute clown show of horny faceblind bisexuals falling in love with the wrong person, making bad choices, and singing some silly songs! If you like wigs, having fun, or the ideology of mister Bertolt Brecht, this is the show for you.

January 19-20-21
Studio 45
213 Troutman Street Brooklyn, NY 11237


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 highly-selective, rigorous, and affordable two-year program looking for writers eager to develop their craft and challenge assumptions about what theatre is and will become.

Over the past five years alone, Hunter playwrights have had world premieres at MCC, Page 73, Playwrights Horizons, Roundabout Theatre Company, Soho Rep, Vineyard Theatre, and Williamstown Theatre Festival, and have landed numerous development opportunities in NYC and beyond.

Students study with award-winning writers and esteemed guest 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 faculty includes David Adjmi, Lisa D’Amour, Chisa Hutchinson, Maria Striar, Lloyd Suh, and Anne Washburn. Visiting artists for 2022-23 include Eboni Booth, Raja Feather Kelly, Aya Ogawa, and Mfoniso Udofia.

Visit for more information.  Applications due January 15!


Biennially, The Playwriting Center of Theater Emory produces Brave New Works. This festival provides theater professionals and students with the space and resources to conduct creative experimentation, create new works for the stage, and test the dramatic product on an audience. For three weeks, the Brave New Works festival of new and evolving plays gives playwrights a laboratory to work with a director and actors, revise and rewrite their scripts, and share the results with members of the Emory and Atlanta community.


Hendersonville Theatre seeks new one-act plays for our 2024 One Act Play Festival. The Festival runs August 23-25, 2024. A selection of 8-15 finalists will be performed on stage.

Hendersonville Theatre is a critically acclaimed non-professional theatre company dedicated to the support and growth of all artists who participate in the collective imagination that is theatre. Since 1966, Hendersonville Theatre has provided an inviting and nurturing environment for live theatre and high-quality, affordable entertainment for the residents of Hendersonville and surrounding areas.


Irvington Theater 4th Annual Arts Incubator Short Play Fest
For the 4th consecutive year, we are thrilled to accept script submissions for the Arts Incubator Short Play Fest, which will once again exist in a hybrid format of online events and in-person readings in and around Irvington, NY, all taking place between March 10-16, 2024. Plays should be unpublished, unproduced, and no more than 20 pages in length. Playwrights should only submit one script.

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


As Trump, Bertie Carvel rules the stage, as he must, with a physicality as intimidating as it is riveting. He easily dispenses the well-known gestures: the preening Mussolini chin thrust, the ready grin and thumbs-up sign, and the strangely toe-centric stance in which the thrusting bulk of the torso threatens to tip the whole body forward to the ground. But this is no mere impression. As Trump, Carvel—who has played everything from a philandering husband on Bartlett’s BBC series Dr. Foster to the tyrannical Miss Trunchbull in the original cast of Matilda the Musical—is the embodiment of a never-dormant need for attention of any kind. He captures the sense of completion Trump feels in front of a MAGA crowd, when every eye is on him. All he wants to do is to live his life in front of that crowd.



Trying to explain what compelled him to write his new drama, "Death and the Maiden," the Chilean novelist and playwright Ariel Dorfman tells the story of a friend who was "beaten, arrested, tortured and spent almost a year in a concentration camp" before being shipped into exile because of his opposition to the dictatorship of Gen. Augusto Pinochet.

Upon his return to Chile many years later, the friend found that, though his parents were delighted to see him, "they wouldn't talk about these things," Mr. Dorfman recalled at his home here late last month. When the former exile happened to mention that he needed to see a doctor about injuries sustained under torture in prison, his mother was baffled. "You were never in prison," she told her son.

"The parents had erased the whole incident from their memories," Mr. Dorfman said, his voice colored by a mixture of astonishment, sadness and anger. "That has happened to many people in Chile. You just turn away because, among other reasons, what are you supposed to do?"



That sort of journalistic whitewashing drove American Jewish organizations to seek dramatic new ways to expose the nature of Nazism and keep the plight of German Jewry in the public spotlight. In early 1934, the American Jewish Congress announced that it would sponsor a mock trial of Hitler before “the High Court of Humanity,” in New York City’s Madison Square Garden. Numerous prominent nonsectarian groups, including the American Federation of Labor, the American Civil Liberties Union, and Actors Equity, quickly signed on as cosponsors.

German officials were furious. Two days before the trial, German foreign minister Konstantin von Neurath summoned the American ambassador in Berlin, William Dodd, to demand that the US government intervene. Dodd said that if the Germans had raised the issue earlier, “it might have been possible for Roosevelt to dissuade the leaders from such a demonstration on the grounds of hurting relations between our two countries.” But now it was too close to the date of the event to do anything.

The trial, called “The Case of Civilization Against Hitlerism,” was held on March 7, 1934. An array of major public figures took part. A former secretary of state, Bainbridge Colby, served as presiding judge, and Samuel Seabury, a prominent attorney, was the lead prosecutor. The Nazi German ambassador to the United States, Hans Luther, was invited to appear as defense attorney for Hitler, but he ignored the invitation.



Written in 1935 during the rise of fascism in Europe, Lewis’ darkly satirical It Can’t Happen Here follows the ascent of a demagogue who becomes president of the United States by promising to return the country to greatness. In 2016, Berkeley Rep unveiled a new stage adaptation of Lewis’ prescient novel, one week after that production ended, the presidential election roiled our nation. Now, Berkeley Rep reprises that production with the same director, but this time as a radio play in four episodes, just in time for the 2020 presidential election. We’re delighted to welcome back much of the original cast including David Kelly as the candidate Buzz Windrip, and to have Academy Award nominee David Strathairn join us as the liberal protagonist Doremus Jessup.

The novel, It Can’t Happen Here by Sinclair Lewis was published in 1935 and was quickly adapted into a play and produced by the WPA's Federal Theater Project on October 27, 1936, in 21 U.S. theatres in 17 states. To honor that event and once again affirm the critical role that theatre can play in the nation's social discourse, Berkeley Rep has partnered with Center Theatre Group and over 60 theatres to broadcast this new radio play version.



Frightened by so-called rampant communism, the military high command decided to march on the capital to overthrow the president. Then came the coup, in April 1964, and the establishment of a deeply conservative military dictatorship. All political dissidence became extremely risky. In order to avoid censorship and repression, in 1970 Boal developed new ways of practicing political theatre in unofficial ways.

That's how Newspaper Theatre was born, a technique aimed to demystify the ideological content of the press, controlled by the authorities. It focused on revealing the ideological background of the media, and is a technique intended to be used by non-professionals. Common people would just read newspapers in the morning, elaborate and repeat short scenes during the day, and perform in the evening, before the police could even hear about it. For the first time, Boal elaborated a theatre technique as a method that anyone can perform, just by following the steps.



Amid the U.S. Civil War, as men took to the battlefield, two women set out to help the war effort from home… behind enemy lines in the Confederate capital of Richmond, Virginia.
Elizabeth Van Lew was a member of high society in Richmond who vehemently opposed slavery and the secession from the United States, and Mary Jane Bowser was an educated slave in the Van Lew household. Both are the central characters of a new opera called Intelligence, with music by Jake Heggie, libretto by Gene Scheer, and choreography by Jawole Willa Jo Zollar.



Yet “Cats,” with its sturdy T. S. Eliot foundation, is in truth a rather winning, if bizarre, product of the early eighties—not unlike Trump himself in his larval, less poisonous form—and one need not be a fan of operetta to see the musical as a singular accomplishment. Forging a path through this bewilderment, it seems meet, as our grandfathers might have said, to meet with the seeming subject herself, Betty Buckley, who famously sang the song that became Trump’s improbable sedative. Fans of the singer-actress know that she has long been waging a war on social media against the appropriation of her song by the Trump campaign, which has treated her demands to cease with the same contempt with which it treats every other kind of subpoena or, for that matter, other legal demands (from Tom Petty’s estate and the Rolling Stones) to desist playing music by people who presumably despise him and what he stands for.

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