Classical Theatre of Harlem introduces The Playwright's Playground

Classical Theatre of Harlem introduces The Playwright’s Playground:

Seeking Playwrights and Actors

to take part in a twice-monthly cold reading series

What is The Playwright’s Playground?

Classical Theatre of Harlem’s (CTH) Playwright’s Playground is a cold-reading series designed to promote the work of emerging playwrights whose works are persistently under-represented on American stages. The Playwright’s Playground is especially interested in works by artists of color, women and other underrepresented artists such as immigrants, and ethnic and religious minorities. The Playwright’s Playground seeks to provide the opportunity for playwrights to hear works in early development through cold readings with professional actors, to offer them the opportunity to develop a play in a nurturing environment while helping actors hone their craft and giving them the opportunity to become familiar with new work and emerging playwrights.

How does the Playwright’s Playground work?

Starting on May 14, 2012, the second and fourth Monday of each month will be a Playwright’s Playground Monday. Interested playwrights may submit a 10- to 12-page scene from a work inprogress, and a Monday will be assigned to them. Up to six playwrights will be featured at each Playground. The night of the Playground, CTH will provide copies of the scenes and cast actors to read from those attending the Playground. • Playwrights may submit only 10-12 pages.• Play samples must be submitted as a PDF or as a Word document. • A brief synopsis of the play and a short bio may be included with the writing sample. • Please understand that The Playwright’s Playground does not present readings of full plays, only cold readings of scenes from works in progress. All Playwright’s Playground Mondays will take place from 7 – 10 pm at The Malcolm X & Dr. Betty Shabazz Memorial and Education Center, which is located at 3940 Broadway between 164th and 165th Streets.

Playwrights: Please e-mail your submissions or inquiries to Debra Cardona, Playwright’s Playground administrator at: playwrightsplayground@gmail.com

Actors: Please arrive a half-hour before the start of each Playwright’s Playground Monday and check in with administrators Debra Cardona and Pia Wilson in order to be considered for a scene.

Please click the post's title to visit the CTH website.

Classical Theatre of Harlem puts urban spin on Bill Shakespeare's ROMEO & JULIET

BY ALICIA ZUCKERMAN
Special to The Miami Herald

In the Classical Theatre of Harlem's new, modernized production of Shakespeare's Romeo and Juliet, which opened Wednesday night and runs through Saturday at the Carnival Center for the Performing Arts, director Alfred Preisser wastes no time showing us that this is not a traditional staging of the classic play.

The characters burst onto a set of scaffolding and shimmering blue, green and red cellophane curtains. They are outfitted in casual street clothes (lots of denim), including one T-shirt with the words ''Smartass University'' printed on it, and plenty of attitude.

In the Harlem of ''the near future,'' tension between the Montagues and Capulets erupts in the first of several impressively executed fight scenes, with flailing limbs, a baseball bat, a golf club, and a few effectively startling but too-loud gunshots. (They sound real, but it's a small theater, and I hope, for their sakes, the actors wear earplugs).

LANGUAGE
While Shakespeare's language is mostly preserved, iambic pentameter is tossed out in favor of the cadences of urban street talk.

The dialogue is peppered with phrases like ''Your Momma!'' and ''You go girl!'' Juliet (Robin LeMon) incorporates teenage up-speak, occasionally ending phrases so they sound like questions.

Somehow none of this feels contrived, and it's not difficult to believe, for the duration of the play, that the black youth of Harlem might actually talk in the language of Shakespeare.

Still, purists might take issue with Preisser's choice of cuts, such as Juliet's love-struck soliloquy in the second act, which was scaled down considerably from the original. But the truth is, most people probably won't miss it, and the pace of this production works well.

One of the most charming things about this production is all that teenage bravado and angst, channeled into hip-hop dance scenes and alcohol-fueled partying.

It jumps off the stage -- in one scene, literally. A laugh-out-loud moment comes when a whole menagerie of drunk partygoers, including a drag queen in a bright yellow wig and silver short shorts, stumbles through the audience looking for Romeo.

The characters and the costumes are lively and bright. But a cop wearing a pig's mask? That's as cliché as it comes and doesn't add anything significant.

SEXUALLY CHARGED
The production is provocative and sexually charged, taking every opportunity to imply a double-entendre in the existing dialogue. There is much bumping and grinding and crotch-grabbing, which overall makes for a dynamic show.

But all of this tinkering with tradition seemed to be a bit much for a handful of audience members who were so rattled they left mid-performance. In a moment of comic timing that could not have been planned, just as one actor was preparing to shoot a water gun through the legs of another, a woman in the front row stood up to leave, narrowly missing the spray of water. (Others in the audience took the hit).

Much of the action plays out against a soundtrack of hip-hop, soul and R&B, but the music worked best when a recurring guitar melody underscors the pure sweetness of the relationship between Romeo and Juliet.

Duane Allen as Romeo and Robin LeMon Juliet are adorable and sexy, and their chemistry is terrific.

Most of this production's innovations take place during the first half of the play. After that, it feels more traditional -- probably because the humor that defines the first part of the play has given way to the run-up to its tragic ending.

NEW! IS YOUR SCRIPT A FUTURE HARLEM CLASSIC?

8 scripts wanted for workshops and readings. The Classical Theatre of Harlem, in collaboration with the Fredrick Douglass Creative Arts Center and the Schomburg Center for Research in Black Culture accepting scripts for consideration in 2007/2008 Future Classic Program. E-mail to futureclassics@classicaltheatreofharlem.org. Deadline: 8/3. Source: TRU