Monday, March 30, 2009
Sunday, March 29, 2009
To visit the H.A.D.L.E.Y website, please click the post's title.
Saturday, March 28, 2009
Part of "The Best of 13" Festival of Plays - The 13th Street Rep produces this outstanding play for a 2nd time. Conversation with a Kleagle by Rudy Gray is directed by Kevin B. Ploth. The Executive Producer is Sandra Nordgren. Based on a true story, at the height of a lynching epidemic in the late 1920's, a black journalist, passing for white, travels to the deep South to interview a Kleagle, a recruiter for the Ku Klux Klan. When his true racial identity is discovered by the Klan he escapes being lynched, only to find that his rescuer's family paid a dear price, a price that brings the journalist back to the south to confront the Kleagle and the Klan.
The 2004 winner for the contest is Conversation with a Kleagle (recruiter for the KKK) written by an African American playwright, Rudy Gray. Mr. Gray is my only literary client and that is by choice. The show is running through March 29. I am the Executive Producer of the play. I have attached a flyer (above). Perhaps some people in the NY area would like to come see it and meet the playwright and me. It is such an extraordinary play. I am so sad to see it close though we have other theaters expressing interest in it.
New Works of Merit
511 Avenue of the Americas - #2000
New York, NY 10011
To buy tickets online, please click the post's title.
Friday, March 27, 2009
Thursday, March 26, 2009
Equity showcase. Some pay. Please e-mail pictures and resumes to Lawrence Evans at LEvans912@aol.com. Auditions will be held by appointment only on Thursday, April 9 from 11:30am-3:30pm and Friday, April 10 from 10:30am- 2:30pm. Callbacks are Saturday, April 11 from 1:00pm-5:00pm. 1st rehearsal: April 21, 2009. The show runs May 14 through May 31, 2009. Thursday-Sunday. Some Wednesday performances during latter part ofthe run. Venue: TBA.
SYNOPSIS: At 20, armed with little skills but curiosity and the need to earn a living, Cairo Biggs flees rural Mississippi for Chicago in search of the Promised Land. He obtains a job as an agent in a black insurance company, which provides an indispensable service to denizens of the South Side who are denied life insurance coverage by white companies. Young and still sewing his wild oats, Cairo becomes involved in a scheme in the office in which the black insurance agents, all older than he, give free insurance to single and married female customers, who are unable to pay the ten cents weekly premium, in exchange for sex. They barter and trade these desperate women like chattel when they tire of them, or, "someone better" comes along. Cairo, still naive, falls in love with Ruby Meeks, an illiterate, eighteen-year old single mother with a daughter born out of wedlock. Her only means of survival is her wit and her sensuality. Obsessed and jealous because Ruby refused to commit to a monogamous relationship, Cairo doggedly hounds and stalks her. Ultimately, she rejects him when she decides to return back home to Alabama becauseof an incident with cocaine in which she endangers the life of her daughter. Cairo realizes that what he and the agents are doing is morally wrong. He refuses to participate any longer in the scheme. Unable to convince the others, he quits the agency to seek his fortune elsewhere.
ALL CHARACTERS ARE AFRICAN AMERICAN. SEEKING THE FOLLOWING CHARACTERS:
CAIRO BIGGS: Young black male, early 20s --- new to Chicago from Mississippi, naïve, idealistic and vulnerable.
RUBYMEEKS: Young woman from Alabama. 18-19 years old. Sexy, outgoing and sassy, which conceals a sense of inadequacy and trepidation about the future.
ARJAY THORNTON: An insurance agent; 40s or early 50s, a family man, possessing a great sense of humor and a conscience.
TRAVIS MCKINLEY: An insurance agent; 40s; a family man, but somewhat conceited and in love with his appearance. He has strong convictions. Like Arjay, he has a sense of humor.
BOYD HENRY: An insurance agent; 40s, a wry sense of humor; opinionated, race conscious, sometimes hardheaded and stubborn.
MAE ANN BROADNECK: Early-late 30s, sensitive, hardworking, filled with guilt but without many choices in life, vulnerable.
Wednesday, March 25, 2009
As a direct result of the New Works of Merit Playwriting Contests:
“Arkadelphia” by Brett Williams was published in Best American Short Plays by
“He Came Home One Day While I Was Washing Dishes” by Christine Rusch was
published in Best American Short Plays by Applause Books.
2004 contest winner, Rudy Gray, is now a Resident Playwright of 13th Street
“Conversation with a Kleagle” by Rudy Gray was produced twice in NYC
Feb 16, 2006 – Apr 7, 2006 and also Feb 6, 2009 – Mar 29, 2009
“Ruby's Story” by Ron Osborne was produced in NYC May 13, 2004 - July 3, 2004
and will be produced again June 12, 2009 – July 19, 2009.
“Interview” by Valerie Killigrew, was produced in NYC Nov 2 – Dec 2, 2006.
“Cry Wolf” by Deborah Mulhall was produced in NYC Oct 7 – Nov 27, 2004.
“Shades” by Paula J. Caplan received a free development workshop
June 28-July 2, 2004.
Since January 2002, Sandra Nordgren, the founder of the contest, has been responsible for the offering of over 150 readings, 36 productions, 16 development workshops, and two theater playwriting residencies, all in New York City at no cost to the playwright.
As writers, we have been given a precious gift. Let us use that gift to create powerful, heartfelt new works that not only entertain, but also educate, enlighten and uplift humanity.
We look forward to receiving your script!
Merit Theater and Film Group, Inc.
The Literary Staff
New Works of Merit Playwriting Contest
Monday, March 23, 2009
Thursday, March 19, 2009
Wendy Raquel Robinson and Ted Lange Co-Chairs for the 2009 National Black Theatre Festival (Winston-Salem)
The 2009 National Black Theatre Festival is very proud to announce that celebrity Co-chairs will be Wendy Raquel Robinson (television, film, stage actress, dancer and choreographer), and Ted Lange (a prolific actor of stage and screen, director, author, and educator). Robinson is best known for her role on “The Steve Harvey Show” but her career includes many appearances on television and in film. Lange is best known for his role as Issac Washington on the long-running television classic “The Love Boat”. A graduate of London’s Royal Academy of Dramatic Arts, Lange has written seventeen plays and garnered multiple theatrical awards.
The 2009 National Black Theatre Festival (NBTF), one of the most historic and culturally significant events not only in the history of black theatre but American theatre, will once again be held in the city of Winston-Salem, North Carolina August 3 through August 8th. The festival founded by the late Larry Leon Hamlin will celebrate its 20 year anniversary. Officials say over 60,000 people are expected to attend the event. The event has more than an $8 million impact on the economy of Winston-Salem, known as Black Theatre Holy Ground!
The festival is also proud to bring back Don’t Bother Me, I Can’t Cope. This dynamic musical was performed at the first festival in 1989 and will commemorate the festival’s 20th anniversary.
Other components of the festival include workshops, a reader’s theatre of new works, a film festival, a poetry jam hosted by actor Malcolm Jamal Warner, youth celebrity project, a vendor’s market and much more.
City of Winston Salem, The Millennium Fund, Wachovia Corporation, Reynolds American, American Express, Forsyth County Tourist Development Authority, GMAC Insurance, Hanesbrands, Inc., Twin City Quarter, Bank of America, Branch Banking and Trust (BB&T), Truliant Federal Credit Union, Segmented marketing Services, Inc. (SMSi) and “The Marvtastic Society”.
NBTF is the international outreach program of the North Carolina Black Repertory Company founded by Larry Leon Hamlin. Ms. Gerry Patton is currently the Executive Director and Mabel Robinson is Artistic Director. The festival has been held biennially since 1989. The NBTF attracts thousands of national and international patrons, theatre professionals and scholars to Winston-Salem, N.C. The NBTF was named one of the top 100 events in North America. This is the only national black theatre festival in the country offering six consecutive days of professional theatre, film, poetry, workshops, seminars and shopping.
For additional information and a schedule of events, call the festival office at (336) 723-2266 9:00 a.m. – 6:00 p.m., Monday through Friday. To visit our website, please click the post's title.
SUBMISSION GUIDELINES: As New York’s premier hub for emerging artists and new work, Ars Nova is committed to developing and producing eclectic theater, comedy and music to feed today’s popular culture. To that end, Ars Nova strives to create daring collaborations, meld disciplines and give clear voice to a new generation of artists. Founded on the principle that a professional and safe environment where risk-taking is encouraged will cultivate a community of innovators, our fundamental mission is to reinvigorate the world of live performance by supporting smart, surprising new work from the next wave of emerging artists.
Unsolicited submissions are often considered. Artists can submit material for the following ongoing series (please indicate in your materials which series you would like to be considered for):
UNCHARTED: Ars Nova’s monthly concert series, featuring a wide range of composers and songwriters on the brink of being “discovered.” All styles of music are welcome, from Broadway to the Billboard 100 and everything in between. This series has quickly become a regular hot spot for music lovers and industry taste-makers.
To be considered for the UNCHARTED series, please send a CD and biographical information, as well as any press clippings or reviews you have. It’s also helpful to include information about upcoming performances we could attend.
TRAGEDY TOMORROW: This series brings the raw underbelly of New York’s alternative comedy scene to the Ars Nova stage, showcasing innovative, alternative and irreverent comedic storytelling and variety arts.
To be considered for TRAGEDY TOMORROW, please send a description of your work (no longer than one page), biographical information, any press clippings or reviews, a DVD of your work if you have one, and
directions to any online material we could watch. It’s also helpful to include information about upcoming performances we could attend.
OUT LOUD: Ars Nova’s bi-weekly play reading series dedicated to supporting the development of brand new work by emerging playwrights.
To be considered for OUT LOUD, please send a synopsis and ten-page sample of your play, along with a playwriting resume and a cover letter detailing any previous development the play has undergone. Writers are also encouraged to invite us to readings or productions of their work. Please note: full scripts will not be considered unless requested based on the ten-page sample.
Material for all the series is reviewed throughout the year. Due to the high volume of submissions and the time and attention given to each one, it can take us up to six months to respond; please be patient. If you would like your materials returned, please include a self-addressed, stamped envelope.
All materials should be sent to:
511 West 54th Street
New York, NY 10019
To visit Ars Nova website, please click post's title.
Source: The Loop
Orange Hanky’s mission is to produce original plays which raise the bar on gay theater, tackling the issues facing gay people in a truthful, raw and fresh way. OHP seeks out plays which break new ground in the representation of gay characters, plays in which simply being gay is not in and of itself the conflict. Orange Hanky’s productions present situations which are uniquely gay but are motivated by needs and fears which resonate with everyone, regardless of sexuality.
Or, to put it simply: no closet plays, please.
Submitted plays should be between one and two hours in length, and must contain significant LGBT content. Plays may have had prior readings and workshops, but must never have had a production in New York.
To apply, please email to firstname.lastname@example.org your script and, in a separate document, a cover letter, including your contact information, the title of the play, a brief (no more than one paragraph) log line, and (if applicable) the play’s previous reading, workshop and non-NY production history. Please send this cover letter as a separate attachment, not in the body of the email.
To visit OHP website, please click post's title.
Source: The Loop
Material: Full-Length Plays, Musicals and Adaptations (Agent Submission OR Letter of Inquiry). Open deadline.
Script Submission Procedure: Cincinnati Playhouse in the Park accepts submissions for full-length plays, musicals and adaptations. The materials requested for both new and previously produced works are the same. Playwrights should submit their work through established literary agents. If you do not have agent representation, send a letter of inquiry, playwright bio or resume, character breakdown, brief synopsis and ten-page dialogue sample. Please include your play’s production history, if any. Musicals should be accompanied by a tape or CD of selections from the score. Do not send sheet music or DVDs.
We will review your submission and let you know if we are interested in reading the entire script. Please include a stamped, self-addressed envelope if you wish to have your materials returned. Unsolicited scripts will not be read. We do not accept electronically submitted materials.
Please mail your submissions to:
Cincinnati Playhouse in the Park
Attn: Literary Department
P.O. Box 6537
To visit the CPP website, please click the post's title.
Source: The Loop
Wednesday, March 18, 2009
Works should focus on any topic the writer chooses to explore i.e., masculinity, childhood, friendship, love, sexuality, sex, racism, employment, fatherhood, dating, adolescence, aging, marriage, religion, college, fraternities, health, illness, abuse, infidelity, etc., or bring20something new.
Structure: scenes, monologues, ensembles pieces, spoken word/choreo poems. Serious, comedy, thought provoking, matter-of-fact, fun, real. All scenes do not have to be written by men, they do not have to include only male characters (but can).
Deadline: Submissions may begin immediately until May 30th. Submit material to:
Dr. John Shévin Foster,
138 S. Oxford St.,
Brooklyn, NY 11217
Send via MSWord attachment (Windows). Include information about yourself and your work.
InnerAct Productions/ NYC Repertory Theatre Celebrating 10 years of "Quality Theatre of Color!"
Dr. John Foster
Brooklyn Academy of Music
30 Lafayette Ave Brooklyn, NY 11217
Tuesday, March 17, 2009
The Billie Holiday Theatre is accepting submissions for WHAT WOULD JESUS DO?
Written and directed by Yvette Heyliger (www.twinbiz.com).
Producer: Marjorie Moon.
1st rehearsal: TBA.
REHEARSAL SCHEDULE: Tuesday-Friday - 6:30pm - 10:30pm, Saturday & Sunday - 11:00am - 7:00pm. PERFORMANCE SCHEDULE: Thursday-Friday at 8:00pm. Saturday at 3: 00pm & 8:00pm, Sunday at 4:00pm. The show runs April 30 - June 28, 2009 at the Billie Holiday Theatre, 1368 Fulton Street, Brooklyn, NY. You may e-mail picture and resume to Lawrence Evans at LEvans912@aol.com. Auditions by appointment only on Wednesday, April 1st.
WHAT WOULD JESUS DO? is an interfaith, intergenerational play about a God-fearing wife and mother whose exposure to HIV by her "down low" husband inspires her to take action when she asks… What would Jesus do? The surprising answer may just bring their Biblically-correct church to its knees! Live music infuses this timely and (unfortunately) still relevant story of HIV in America which challenges the faith and secular communities to do more to address the HIV/AIDS epidemic, starting with our houses of worship and our black theatres.
ALL ROLES ARE AFRICAN AMERICANS. SEEKING THE FOLLOWING CHARACTERS:
PASTOR ARTHUR HALL: Early-mid 40's. Concerned le ader of his flock. A Martin Luther King, Jr. type.
LEONTA WILSON (Understudy) : Mid-late 40's. Middle class, attractive wife and mother of two children.
JOHN WILSON, SR.: Late 40's. Attractive husband of Leonta. Middle class. Must be at least 6'2".
KIETA WILSON: 16 years old. Daughter of John and Leonta. Younger of their two children.
MOTHER WILSON: Mid-late 60's. Senior citizen, mother of John, Sr. Grandmother of Kieta. Jamaican. Lives with the family (aka Julia).
DAVID: 16 years old. Cute. Likes Kieta.
ANNE: Early-mid 30's. David's mother. Church soloist. Must be able to sing.MATTIE: Mid-late 60's. Senior citizen. Anne's mother and David's grandmother.
BROTHER JEDIDIAH: Mid-late 60's. Senior citizen. Mother Wilson' s new boyfriend and Mattie's ex-boyfriend.
DEACON BROWN: 40-50. A Christian zealot.
GERALDINE/SISTER ONE: Mid 20's-early 30's. Doubles as Women's Day committee member and guest speaker at Women's Day program who is beautiful lip-stick lesbian.
DELORES/SISTER THREE: Mid 20's-early 30's. Doubles as Women's Day committee member and as a homeless woman who speaks at Women's Day program.
MINISTER OF MUSIC: Pianist. Must read music. Some acting experience helpful.
Friday, March 13, 2009
We are looking for original two person scenes, mostly comedic, that run about 4 min. in length. If you have a killer 4 to 6 person scene, send that along as well. Most scenes aren't written for showcases; so we can edit it down to a two person scene if necessary. That brings up another important point, Editing. As a writer, you know all too well, through workshops, how scenes and plays are edited. Don't worry; we're not going to revamp your entire scene beyond the point of recognition. We might need to tweak it a little to ensure we get the full mileage out of the scene.
Your submission must be received by May 16, 2009. If you're interested in submitting your work(s), send an email to Shontelle Thrash at email@example.com to request a release form. This form must accompany your work submission. This gives us "non-exclusive" rights to use it for the purposes of the showcase. If someone sees the showcase and wants your scene; then by all means, get it to them. You retain full rights to your work. It also ensures that your work is original. Look over the two-page release form and let me know if you have any questions. If your work is selected, you will be notified via email.
There are obvious benefits to having your work seen in this showcase. Along with seeing your work being performed by some of the top actors in and around Atlanta, others might be interested in enlisting your literary skills for future gigs; and let's not forget the possibility of picking up a literary agent or manager here or there.
WHEN: July 20, 2009 at 7:30 pm. Doors open at 7:00 pm.
WHERE: Horizon Theatre, 1083 Austin Avenue, Atlanta, GA 30307
So, dust off that computer and get to typing.
Thursday, March 12, 2009
The premiere of the Play
“What happens when black women
confront sexual corruption in a black church?”
Written by Robert Johnson, Jr.
Directed by Jacqui Parker
May 27-28, 7:30p.m.; May 29-30, 8 p.m.; May 31, 2009, 3 p.m.
June 5-6, 2009, 8 p.m.; June 7, 2009, 3 p.m.
Boston Center for the Arts
539 Tremont Street
Boston, Massachusetts 02118
Robert Johnson, Jr. is Professor of Africana Studies at University of Massachusetts Boston. His most recent play, Patience of Nantucket which was selected for a reading by National Black Theatre Festival in 2005, received excellent reviews upon its premiere in Boston and Nantucket, MA. The Boston Globe wrote: “Masterful ‘Patience’ is …power packed.” The Boston Herald wrote “Johnson’s script makes Patience so real, and though 150 years have passed, he’s worked in striking contemporary political parallels.”
For more information, contact Robert Johnson at 617-899-7871 or firstname.lastname@example.org. For tickets contact www.bostontheatrescene.com; www.theatermania.com or call 617-983-8600
A reading of a new play
“CELL PHONE BLUES”
What happens when a working class black family
encounters unexpected adversity during the Obama primary in
Charlotte, North Carolina?
Written by Robert Johnson, Jr.
Directed by Jackie Davis
Thursday, April 2, 2009, 7 p.m.
University of Massachusetts Boston
100 Morrissey Blvd. Boston, Massachusetts
Robert Johnson, Jr. (Playwright) is Professor of Africana Studies at University of
Massachusetts Boston and the author of twelve plays including Patience of Nantucket, which has
been made into a screenplay. Cell Phone Blues will open on September 12, 2009 in Charlotte,
North Carolina. He is also an attorney and the author of eight scholarly books and many articles.
Jackie Davis (Director) is a member of Theatre Espresso and an Affiliate Artist of the
Providence Black Repertory Theatre Company. Directorial credits include staged readings of
“Hurry Tomorrow” by Platform writer Frank Shefton, and "The Trial of One Short-Sighted
Black Woman vs. Mammy Louise and Safreeta Mae" for Roxbury Crossroads Theatre at the
Calderwood Pavilion. She recently directed Ed Bullins’ “Judge Thom Strikes Back” for the
Black History Month Reading Series at U-Mass Boston.
For more information and to RSVP, contact 287-6794 or email@example.com.
Admission is free
The Department of Performing Arts at University of Massachusetts Boston is a proud
sponsor of this reading.
Wednesday, March 11, 2009
GUIDELINES FOR PLAY SUBMISSION
* Each script must be no more than ten pages long.
* Plays should be inspired by the theme That One Thing.
* Each playwright may submit up to two scripts.
* Previously submitted plays, plays that have received production and any unsolicited longer one-act or full-length plays are not accepted for consideration in The Seven.
* Each manuscript must include a title page with name, address, phone number, and e-mail.
The preferred way to get ‘em to us is via e-submission. We require a nominal $5 fee to offset print and distribution costs, which you can pay conveniently on-line here.
*To begin, click on the "Add to Cart" button on the website, which will place the required $5 fee in your Shopping Cart;
*Then, after you pay via credit card or PayPal, the displayed receipt will include a WWW address that allows you to upload your script. The receipt will also be Emailed to you automatically. Copy and paste this address into your web browser for a page that will permit you to upload your script(s).
*If this is your first time visiting our ticketing site, you’ll be asked to create a simple account that protects your transaction and allows us to contact you if something goes awry. All patron and artist information, including email addresses, are kept strictly confidential: FUSION never shares any information with any other organizations.
Alternatively, if this all sounds too high-tech or Big Brotherish to you, or if you don’t want to part with the $5, you may mail one copy each of up to two different submissions to:FUSION Theatre CompanyAttn: The Seven700 1st Street NWAlbuquerque, New Mexico 87102
(There is no submission fee with this option.)
DEADLINE FOR SUBMISSION IS FRIDAY, MAY 1, 2009! Whether submitted electronically by midnight or postmarked for snail mail, that’s the firm deadline.
Entries will be acknowledged by e-mail once they have been received by our literary manager. All playwrights will be informed of the FUSION’s finalist selection no later than May 8; winners will be announced by May 15th. Staffing constraints prohibit our returning any submissions. The volume of scripts submitted hampers our ability to comment individually on each work; therefore we do not offer criticism.
Again this year, theatre management has agreed to provide a Jury Prize: a flight to lovely Albuquerque, NM to see your professionally produced play! (Jury comprised of nationally prominent theatre professionals and FUSION’s own literary staff.)
Click post's title to go to Fusion's website.
Source: The Loop
Lebanon Community Theatre
Plays will be judged on content, dialogue, ingenuity, use of theme, and ability to be staged. Plays with special effects, lighting or elaborate sets cannot be produced. Previous years’ winning plays came from throughout Pennsylvania, the Mid-Atlantic area, and from across the United States and Canada.
The authors will maintain all literary rights to their own material.
All winning plays will be presented on the LCT stage on August 20, 21, 22, 2009 at 8:00 p.m. and at a Sunday matinee on August 23, 2009 at 2:30 p.m.
For further information call: Mary Lou Kelsey at (717) 274-0787 or send an e-mail message to firstname.lastname@example.org
Prizes: LCT’s Play Writing Contest Committee and the LCT Artistic Board will judge the entries. The winners will be notified by letter near the end of June, 2009. Each winner will receive:
a) a $100 cash prize; and
b) one season ticket for LCT’s 2010 season for local winners; and
c) each of the winning plays will be performed on the LCT stage; and
d) each playwright may direct and cast their own play if they wish. Playwright directors will
be assisted by committee members; and
e) a DVD of the production of the winning plays.
Theme: All plays submitted should center on a common theme, idea or concept. This year’s theme is: "Corner, Cornered, and Corners."
*All plays submitted must be the original work of the author and must comply with
guidelines of length and appropriateness for community theatre audiences.
*Plays not on theme or not written for this contest will not be judged.
*Play’s should be at least 10 minutes long, but must not exceed 20 minutes of production time.
*Plays should have no more than three scenes using limited sets, props and costumes. Only
simple on-off or fade lighting will be considered. The cast of characters must be at least two, but should not exceed eight.
*Playwrights should keep in mind that they are writing for the stage and not television or film, and must use dialogue, not stage directions, to develop their play.
*There is no limit to the number of plays each person can submit.
*Please submit two copies of your play. Submissions should be typed and double-spaced on one side only. Both copies should be unbound and stapled on the top left corner. Do not use any covers. Use a simple font such as Times New Roman or Courier.
All plays must be submitted by April 30, 2009 and must include on the title page
a short paragraph stating how your play makes use of the theme.
Mail your plays to:
P.O Box 592
Lebanon, Pa 17042
Production: Auditions for the winning plays will be held at LCT on Sunday, July 19th and Monday, July 20th, 2009 at 7:00 p.m. All winning authors who want to cast and direct their own play should be present. Playwrights are encouraged to recruit potential actors; and those auditioning will be considered for all winning plays.
Download entry form: http://www.lct.cc/PlayWriteContest.htm
Source: The Loop
Tuesday, March 10, 2009
Monday, March 9, 2009
Thank you for supporting me and believing in me...
I have a story to tell you! Yesterday, I'm laying in my bed, staring up at my ceiling fan going round and round, and I'm contemplating that maybe this playwriting thing isn't for me anymore. That I'm foolish for pursuing this career I've chosen. Thinking to myself, what sense does it make for me to continue chasing my dreams, That I should just give up. About to finish grad school and not certain where I was suppose to go from there...I was feeling like I was experiencing the darkest moment of my life.
And that's when it happened...
Right when I was about to give up faith, that I've been put on this earth so that my voice and my stories could help change and impact my community for the better, I receive a personal phone call, from an angel, in the form of Gregg Henry, the Artistic Director of the Kennedy Center-American College Theatre Festival. And he tells me, that I've been selected as the runner-up for not just one NATIONAL AWARD... BUT TWO...
That's right Reginald Edmund has been named runner-up for both the Lorraine Hansberry Playwriting Award and The Rosa Parks Playwright Award, for my newest play 'SOUTH BRIDGE'. The two awards are given for the best KC/ACTF student-written plays of the subject of the African-American experience.
This play is currently in its third major draft, and I can promise that it's going to ignite a fire in the souls of audiences when they see my thesis production of it, during the Seabury Quinn Jr. Playwrights' Festival at Ohio University. May 20-23, 2009 (Check it out: http://www.ohioplaywriting.org/ ) I gotta tell you, on top of that, OU's School of Theatre has sent me, a 2nd Year MFA director who is great. Vanessa Mercado Taylor is her name and she is going to create magic with this script. On top of that I've recently been accepted into the Prague Summer Writers Program. I'll tell you more about that some other time. In the mean time check out my website ( http://www.reginald edmund.com ) and just remember next time you are about to give up, and let go of your dreams, never let go of your faith cause that's exactly the time a blessing is going to come your way...
Congratulations, Edmund! That's great news! You have been blessed, that's for sure. Readers can follow Edmund's milestones as a playwright by clicking his name below.
Saturday, March 7, 2009
I am excited to be working with dramaturg Katie Rasor, who will be doing the costume research for the AAPEX production of MADAM - The C J Walker Musical. I asked Katie to tell us about her background and her work.
1) What role did theater and the arts play in your upbringing and childhood?
I was the oldest child in my family and in an attempt to do everything "right" and expose me to culture, my athlete mom decided to take me to see a Broadway tour of Brigadoon. I'm pretty sure she regretted that choice because from then on, no amount of swimming lessons or team sports could distract me from theater.
2) Tell us about your own evolution as an artist.
I started out singing (I think musicals are how a lot of people initially get introduced to theatre). But I'm no belter so I always got little chorus parts in the school musicals. Finally I auditioned for a straight play and was utterly relieved to discover that I could tell a story without having to sing it. When I went to college, I expected to do theater on the side but got cast as Emily in Our Town and that was pretty much it for me. The more I got into theatre, the more I realized that I still had to learn. I wasn't content to just do it peripherally. The theatre program I got involved in at Hanover College was excellent for tempering a single-minded person like me because majors weren't allowed to just focus on one emphasis. Everyone helped with every production and took a turn doing lights, costumes, stage management, and so on. This was essential to my personal as well as artistic growth because it taught me to see each project from a variety of perspectives. It showed me the artistry there is even in details that seem gritty and the importance of recognizing the gifts of the people you're collaborating with. Studying at the ART was like being taught to swim by jumping into the deep end. It is a very learn-by-doing experience. There were times that I really didn't know if I could find the information the director wanted or fulfill an expectation of a teacher, but the show had to go on and no one was asking if I felt up to it, so somehow I always found a way to do it. It was very empowering. By the time I got to the Williamstown Theatre Festival, I'd stopped second guessing myself to directors. It's a waste of their time. Between the ART and the Moscow Art Theatre, I was exposed to edgier work than I'd ever even imagined existed. They were constantly challenging my definition of theatre and broadening it. I remember going for my interview and being given tickets to see Robert Woodruff's production of Island of the Slaves complete with professional drag queens. When they put a pig mask on Karen McDonald, tied her to a wheel and threw paint at her, I knew was in over my head! I'm glad to have studied at Hanover where a barebones approach to theatre was the norm. Williamstown was a good counterpoint to ART's avante garde world too because I got to see the benefits of more accessible commerical theatre as well. I hope these places have taught me to see the value in a wide range of theatrical asthetics. My job is to help the director hone his or her best vision for a production, not my personal preferences, so it helps to have seen a spectrum and to respect as many as possible.
3) How & why did you become a dramaturg?
History has always intrigued me. As a kid, if I heard about something that piqued my interest, I couldn't think about anything else until I knew everything about it. I didn't know there was job for people like that though! I became a dramaturg by accident! I was in college, rotating through my theatrical disciplines to complete my major requirements and my turn came to work as a sound technician, but I have a bad back and couldn't get the equipment up into the sound booth! The department said "Well, you're a literature major too, right? Would you want to dramaturg this show?" I didn't even know what that meant. When I found out what it entailed, I was hooked. For awhile, I'd wanted more artistic agency in the process than I'd gotten as an actor, and this field combined so many things I loved! I knew that that was what I wanted to do. I applied to grad school with a very "se la vie" attitude though for fear of being disappointed if I didn't get in. When I did, my parents asked "You're not really going to go are you?" How could I not? I couldn't dream of a job that was a better fit for me!
4) What are your favorite dramaturgical duties & why?
I love research. I'm a very detail-oriented person and hate it when something is anachronistic or sloppy and, on the flip side, am utterly delighted by the level of detail that can be achieved through thorough study of a topic. I was taught that every single thing onstage should tell the audience something. If I can give the director a detail that makes the show more accurate or conveys a particular message, then I've been useful. Maybe only three people in the audience will notice, but for those three people, it will enhance the experience. Working on new plays is fun too. I love helping a story find its shape. I've also had the opportunity to interview people for theater articles on occasion. I'm from the Midwest and we ask a lot of personal questions to be friendly, but when I first moved to Boston, I made people uncomfortable with all my questions. Interviewing is a natural outlet for my curiousity about people and its so rare that one gets to just sit down and have a conversation with a stranger, I feel like it's such a priviledge.
5) What do you think of Madam C J Walker.
I'm sure I'll have more complex opinions about her as I get more into research, but for now, I'm really impressed by all that she accomplished. Not only did she break race and gender barriers, she did it with an utterly feminine product: hair cream. I feel like she flies in the face of all the advise/complaints that women have to be more like men to be successful.
The fifth Black Writers Reunion & Conference will be held in Las Vegas on June 18 & 19, 2009, and offers more than 25 workshops on the craft of writing fiction and nonfiction, the art of spoken word poetry, playwriting, screenwriting, blogging, public speaking, technical writing, grant writing, website tips and tricks, writing careers, and starting your own greeting card business. The conference also covers the business side of publishing and self-publishing with sessions on book deals, pitching to agents and editors, writing book proposals, media and reader relations, editing essentials, e-publishing, literary law, self-publishing, and marketing, among others.
To visit the BWRC for more information, please click the post's title.
Source: DeJuan Mason
Friday, March 6, 2009
YOLANDA – (plays late teens to early 20’s) street smart, tomboy from Brooklyn . Very pretty but unaware of her beauty. She portrays a hard exterior to cope with the death of her family. Alto/Mezzo Soprano voice
MOTHER SHAW - (plays 60’s) Aunt to Yolanda. Kind, warm and inviting Southern woman. Regarded as a leader and Mother within the church. Very prayerful. Has a rich Southern gospel/soul sound. Alto to Contralto vocal rage
BERNADETTE – ( plays 30’s) Crime boss for the Durham , North Carolina area. Conniving, Malicious, Ruthless. Heartless Diva.
JEANETTE– (plays 30’s) Subtle, sweet country girl. Slightly shy especially when it comes to her love interest, Lance Hawkins. She longs to be in a relationship but is afraid of experiencing more heartache. Mezzo Soprano
LANCE HAWKINS – (plays 30’s) Strikingly handsome. Outgoing, passionate leader within the church. Musical Director and son of Lady Hawkins. Light baritone/tenor voice
LADY HAWKINS – ( plays 50’s) Pastor. Dynamic preacher and fierce leader. Very strong woman. Mother of Lance Hawkins. Alto to Contralto vocal rage
SISTER JACUZZI – (plays 40’s) Flamboyant, boisterous, pushy. Recently became a church member but struggling to maintain Christian principal.
VELMA – ( plays 40’s) Very traditional Southern Baptist woman. Although in her 40’s carries herself much older. Loud and very excited for the Lord. Loves to eat. Sister of Wanda.
WANDA – ( plays 50’s) Outspoken, vivacious, no nonsense type of woman. Caries herself youthfully. Non traditional Christian and wife. Married to Deacon Fry.
DEACON FRY – ( plays 50-60’s) Husband to Wanda. Very funny, exuberant, highly animated.
What plays are Eligible? Entries must be full-length, unpublished, comedy plays. Previously performed plays are allowed. Entries that become published by another company prior to being chosen as the winner- are disqualified.
What do I win? $500 royalty advance! A publishing offer from Cheshire Comedy! A production of your play. See your work come to life! Being forever known as the author of The Funniest Play on Earth 2009!
What are the important dates? Entries will be accepted until April 1, 2009. A winner will be chosen and contacted by July 1, 2009.
How will the judging work? The best plays will be selected as Finalists and accepted for Publishing. The Winner will be chosen by theater companies, producers, and actors from around the country!
Any other rules? The winner agrees to be published by Cheshire Comedy (naturally).
How to Enter:
* Email (preferred) the play to: email@example.com For multiple entries, use separate emails for each play.OR...
* Mail a copy (not original) of the play to:
Cheshire Comedy Publishing
49 Congress Street, Suite 29
Nashua, NH 03062
* Plays will NOT be returned.
* HARD COPY IS NOT REQUIRED.
To visit Cheshire Comedy Publishing website, please click the post's title.
Source: The Loop
Horizon Theatre’s New South Young Playwrights Festival seeks one-act play submissions from high school and college students (full or part-time undergraduates currently enrolled.)
20 playwrights will be selected to participate in the Festival - a free week-long residency at the theatre that consists of workshops, seminars, and a reading of their works by professional actors. Submitting playwrights MUST be able to come to Atlanta June 2-6, 2009.
Two ways to enter your script:
1. Attach as 2 copies as a Word of PDF document to: firstname.lastname@example.org
2. Send 2 copies typed and securely bound via US mail to:
New South Young Playwrights Festival
Horizon Theatre Company
P.O. Box 5376
Atlanta, GA 31107
One copy of your script should include a title page with only the title of your play. The other copy must include:
name, address, phone number, email, date of birth, year in school, and school name, address, and phone number.
For more information, including questions regarding eligibility rules, contact Katy Huie at email@example.com, call 404.523.1477 x113.
To visit Horizon Theatre's website, please click post's title.
Source: The Loop
Please email scripts to Louise at firstname.lastname@example.org by March 15th. The 11:11 Theatre Company is a small, fringe theatre company in Boston dedicated to original work in intimate spaces. Our goal is to create and produce theater by and for our community, as well as making that accessible to the entire community. Since 2000, 11:11 has created and produced over thirty-five original plays.
To visit 1111 Theatre Company website, please click post's title.
Source: The Loop
*All Plays must be submitted to EVCT no later than March 15, 2009. (Must include a cover sheet with name, address, phone number and age.)
*All Plays must be suitable for children to perform for children.
*All Plays must be one hour to one hour and a half in length. (Shorter plays may be submitted but they will not be considered for production by the theatre as one of its season’s productions.)
*Plays and Musicals have not been previously performed.
*Musicals must include a copy of the music in some form either written or recorded.
Cash prizes will be given for the first, second and third place entries. The first place entry will not only receive a cash prize but also will be produced by East Valley Children’s Theatre in its upcoming season, if it meets all the criteria for performance.
Send entries to:
East Valley Children’s Theatre
P.O. Box 20514
Mesa, AZ 85277-0514
Or email them to: email@example.com.
For more information or questions call EVCT at 480-756-3828 or email firstname.lastname@example.org.
Source: The Loop
March 1 through 15, The Inkwell invites playwrights to submit un-produced full-length plays for consideration for our 2009 collaborative process! The Inkwell’s 2009 developmental collaboration includes:
· dramaturgical partnership,
· educational opportunities,
· mentorship connections,
· staged readings,
· & in-depth workshops
· with the goal of a fully-staged Inkubator production.
· for submission forms and requirements, visit www.inkwelltheater.org/submit.php
The first step in The Inkwell collaboration will take place during the 2009 Inkubator Festival August 22 through September 21, 2009 at the H Street Playhouse in Washington, DC. Selected playwrights will receive an honorarium for their participation in the full development process. Travel and housing may be provided.
The Inkwell partners with American playwrights who seek a sustained and open collaboration with The Inkwell’s playmakers, playgoers and playwrights; who create impossible worlds that push past the boundaries of Theatre As We Know It; who spin yarns in their own way, without regard to what is popular, producible or profitable.
The Inkwell produces new theatrical works that pulse with a unique internal and vital rhythm - a heartbeat driven by twists and trysts between words, sentences, conversations; that demand imaginative complicity and erupt into spectacle; that explode viscerally and psychologically off the page.
The Inkwell encourages playwrights to participate in all areas of the process – from design meetings to rehearsal to audience engagement – to develop a new play in a fully-integrated forum rarely available to emerging writers. Selected playwrights will collaborate with The Inkwell’s directors, designers, actors and dramaturgs in a sustained workshopping process, launching a long-term collaboration around the work with the goal of a fully-staged Inkubator production.
PLEASE INCLUDE IN YOUR SUBMISSION:
*a copy of your entire full-length play in pdf, Microsoft Word, or OpenOffice Write format. (Please note The Inkwell only accepts electronic submissions at this time); and
* a completed Playwright Submission Form (available at http://www.blogger.com/www.inkwelltheatre.org).
*PLAYWRIGHTS MAY ONLY SUBMIT ONE SCRIPT PER SUBMISSION PERIOD.
*Play is full-length (one-acts or ten-minutes will not be considered).
*Play has never received a full production. (A full production includes any public event centering on the script that involved a director, actors, and design elements). The Inkwell considers staged readings and academic productions exceptions to this rule.
*Plays that have received full productions, even if they have undergone significant post-production revisions, will not be considered for The Inkwell at this time.
*Play will not be performed in a professional production between time of submission and August 2009. If the play is optioned by another company, please alert The Inkwell immediately!
Source: The Loop
Thursday, March 5, 2009
Wednesday, March 4, 2009
The information is below!
See you there!
Monday March 9th, 2009 7:30pm
338 W. 23rd St. ( b/t 8th and 9th Ave)
Donations Greatly Appreciated
"Shoppin' for N.I.G.G.A.S"
by Garlia Cornelia Jones
"Shoppin' for N.I.G.G.A.S." and "Gettin' my own Obama"
Shoppin' for N.I.G.G.A.S
Guinivere answers an ad in Essence for what she believes to be Ms. Yasha’s dating service and finds “Shoppin' for N.I.G.G.A.S” a dating service insisting that every black woman needs a N.I.G.G.A.
Directed by Sarah Bellin with
LaChrisha Brown as PEDDIT
Ocarra Cash as GUINIVERE
Kiel Perry as KHADAR
Alysia Joy Powell as MS. YASHA
"Gettin' my own Obama"
Corali, distraught over her stolen cell phone and recent virtual break-up, swears off technology and decides that if she is to get the Obama she wants he can only be found in the 90s-- when the President and First Lady actually met-- and before technology ruined our one-on-on interactions.
Directed by Barrett Hileman
cast - TBA
Corali - a black female in her mid to late twenties
Serita - a black female in her early fourties
Diana - a white female in her early twenties with a british accent
Damien - a white female in his early thirties
A 20 minute talk back will follow this reading!
R.S.V.P. STRONGLY recommended. Call: 646. 861. 2253 Facebook or by email: email@example.com
Really looking forward to seeing everyone!
Garlia Cornelia Jones
Masters of Fine Arts Candidate - Playwriting
African American and African Diaspora Studies - Indiana University
Founder and Artistic Director - Black Curtain - Indiana Univeristy
Founder - Blackboard Reading Series @thecell
To learn more about the cell theatre, please click post title.