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writemarcus · 2 years

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Joshua Harmon Announced as Honorary Festival Playwright of Samuel French's Off Off Broadway Short Play Festival

The top 30 playwrights will be narrowed down to 10-12 finalists, from which six will be selected.

by Chloe Rabinowitz Jul. 28, 2022

Samuel French's Off Off Broadway Short Play Festival has announced that Joshua Harmon (Prayer for the French Republic) is this year's honorary festival playwright.

The distinguished lineup of judges will include playwrights Dennis A. Allen II, Eboni Booth, Karen Hartman and Bryna Turner, along with Executive Director of National New Play Network Nan Barnett, dramaturg Ken Cerniglia, Artistic Director of New Dramatists Emily Morse, Artistic Director of City Theatre Miami Margaret M. Ledford, Artistic Director of Classic Stage Company Jill Rafson, Associate Artistic Director at Playwrights' Realm Alexis Williams, and Associate Artistic Director at Playwrights Horizons Natasha Sinha.

This year's top 30 playwrights were chosen from over 650 submissions around the world. They will present their plays during a week-long festival August 16-20 at the Peter Jay Sharp Theater in New York City (416 W 42nd St, 4th Floor). These will be narrowed down to 10-12 finalists, from which six will be selected to be licensed for future productions and published in an anthology of short plays that will become the 47th edition of the Off Off Broadway Festival Plays series.

Presale tickets are available through Sunday, August 14 at $20. Tickets will be available Monday, August 15 through Saturday, August 20 online and at the door for $25. The Festival will also be offering a $90 Festival Pass. This pass gains the holder access to the first four nights of the Festival, allowing them to see all 30 productions at a 55% discount. For tickets and a complete performance calendar, click here.

THE 47TH SAMUEL FRENCH OFF OFF BROADWAY SHORT PLAY FESTIVAL FINALISTS

Thank You, Porcupine by Aurora Behlke The Very Furious Kugel by Clare Fuyuko Bierman Duckass by Dan Caffrey SYZYGY by Rachael Carnes American Made by Christin Eve Cato Big Red Button by Jay Eddy Too Much Lesbian Drama: One Star by Jessie Field How My Grandparents Fell in Love by Cary Gitter Chemistry by Ben Holbrook Georgia Rose by Onyekachi Iwu Domestic Help by Julianne Jigour Blocked by Jay Koepke We Jump Broom by Mildred Inez Lewis f by Ignacio Lopez Validation by Daphne Macy Toxic Norse-culinity by Matthew McLachlan Leaf Hunters by Megan Chan Meinero Bugs by Alex Moon The Pros and Cons of Implosion by R. D. Murphy Shark Week by Erika Phoebus if all that You take from this is courage, then I've no regrets by Nicholas Pilapil Railroad Homes by Jackson Pounds We're All Girls Here by Roni Ragone Big Happy Days by Anya Richkind Wookiees in the Wilderness by Marcus Scott Beautiful People in a Living Room Doing Nothing by Alec Seymour You Will Neva Enter Our High Holy Land of Blackness-HIYA! by Cece Suazo Scary faces happy faces by Danny Tejera The Vagina Read by Amy Tofte The Black & White Minstrel Show by Wind Dell Woods

Originating in 1975, the OOB Festival is one of Samuel French/Concord Theatricals' primary initiatives to introduce the next wave of emerging playwrights. These include Audrey Cefaly, whose full-length version of her 40th OOB Festival-winning play The Gulf won 2018's Lambda Literary Award in the category of LGBTQ Drama, and Martyna Majok, whose play The Cost of Living (originally produced as part of 39th OOB Festival as John, Who's Here from Cambridge) won the 2018 Pulitzer Prize for Drama. Other notable past participants include Bekah Brunstetter, Gloria Calderón Kellett, Sheila Callaghan, khat knotahaiku, Gracie Gardner, Jeremy O. Harris, Shirley Lauro, Theresa Rebeck, Jen Silverman and Steve Yockey.

To stay up to date with all Festival information, follow @OOBFestival on Twitter, facebook.com/oobfestival, and #OOBFestival on all social platforms.

BIOGRAPHIES

SAMUEL FRENCH is proud to have served as a leader in theatrical publishing and licensing for over 180 years. Its catalog features some of the most acclaimed work ever written for the stage and titles by writers at the forefront of contemporary drama. In December 2018, Samuel French became part of Concord Theatricals. With a growing staff of unparalleled experts, Concord Theatricals continues to support and expand Samuel French's ethos of championing playwrights, innovating in the industry, and celebrating all those who create theatre around the world.

Concord Theatricals is the world's most significant theatrical company, comprising the catalogs of R&H Theatricals, Samuel French, Tams-Witmark and The Andrew Lloyd Webber Collection, plus dozens of new signings each year. Our unparalleled roster includes the work of Irving Berlin, Agatha Christie, George & Ira Gershwin, Marvin Hamlisch, Lorraine Hansberry, Kander & Ebb, Ken Ludwig, Lin-Manuel Miranda, Dominique Morisseau, Cole Porter, Rodgers & Hammerstein, Thornton Wilder and August Wilson. We are the only firm providing truly comprehensive services to the creators and producers of plays and musicals, including theatrical licensing, music publishing, script publishing, cast recording and first-class production. concordtheatricals.com

Joshua Harmon's plays include Bad Jews, Significant Other, Admissions, Skintight, and Prayer for the French Republic. His plays have been produced on Broadway and the West End; Off-Broadway at Roundabout Theatre Company, Lincoln Center Theater and Manhattan Theater Club; across the country at Geffen Playhouse, Speakeasy, Studio Theatre, Theater Wit, About Face, Actor's Express, and The Magic, among others; and internationally in a dozen countries. He is a two-time MacDowell fellow and an Associate Artist at Roundabout. Graduate of Juilliard.

#Joshua Harmon #Samuel French OOB Festival #Samuel French's Off Off Broadway Short Play Festival #Samuel French Off Off Broadway Short Play Festival #Samuel French OOB Short Play Festival #Concord Theatricals #Marcus Scott #MarcusScott #WriteMarcus #Write Marcus #Wookiees in the Wilderness #Peter Jay Sharp Theater #Playwrights Horizons

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luxebanana · 2 years

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And it’s a damn good one.ġ man, any ethnicity. Paul has a reason why he was caught with the frog in the blender. But can he prove it?ġ man, any ethnicity. Premiered at The Manhattan Project, 2015. Let the pierogies fly.Ģ Women, African-American. Her sister Cherisse is here to shut that down. Laquanda desperately wants in on Polish holiday Dyngus Day. “Coble has the most astonishingly accurate – and wicked – eye and ear on society and it’s foibles of any current writer” “Wildly funny and poetic.” - Akron Beacon Journal “Enormously entertaining and insightful” - Cleveland Jewish News “This inspiring and often mind-altering show takes the audience on a journey of soul-searching and ‘site-seeing’, and the surprising result is a sense of warmth and safety rather than one of cold and continual defeat” - Sun Press “Giddily invigorating and hilarious” – Scene Magazine “Delicious, entertaining… Writ larger, this is a play about how we as people get along in the crucible in which we find ourselves: Home.” - Cleveland Plain Dealer The pieces can be performed separately or as one full-length play. Each play is set in an iconic area (“the hospital”,”the graveyard”, “the nightclub” etc.), so that dialogue can be changed to fit any city as needed. Premiered at Contemporary American Theatre Company, 2002.Ī collection of ten 10-minute plays following a day in the life of a major city – in this case, Cleveland, OH. What could go wrong?ġ man, 1 woman, 2-3 extras. “Very funny… a suitable refuge from home life” - Columbus DispatchĪ couple. Premiered at Contemporary American Theatre Company, 2004. Two haggard businessmen stumble into their hotel room after a disastrous meeting, only to discover they’re in the middle of a televised hostage crisis.Ģ men. “Smart, funny shows that channel the neurotic anxiety of a culture crumbling onto its own ideals and convert it into humor and laughs” - NYTheatre McBuffer are happy to sell you theatre memorabilia from the gift shop… or at least Sammy is. Performed at the New York Fringe Festival, 2005. Premiered at Actors Theatre of Louisville Humana Festival 2005. “Truly moving without being saccharine… a beautiful exploration of what we all need at the end of the journey” - Scene MagazineīE ASTOUNDED by the Amazing Krispinsky in his ULTIMATE FEAT OF DAREDEVILTRY as he heroically, death-defyingly, mind-numbingly attempts his GREATEST ACT OF ESCAPE EVER! But can even he wriggle free… from… HIS OWN LIFE? Premiered at Great Lakes Theatre Festival, 2005. A song by Duke Ellington reveals a new opportunity.Ģ women. “In the whimsical, wry ‘Haunted’, Coble has created some long-needed theater ghosts, but to name them would undercut the surprise” - Columbus DispatchĪ woman stops in to see her almost comatose mother in a nursing home. Premiered at Contemporary American Theatre Company, 2006. “Coble neatly reverses gender roles in this light and tasty play” - Cleveland Plain DealerĪn actress prepares to step onstage in a tiny role, only to be visited by four very unfriendly theatrical spectres…ġ woman, 4 actors of either sex.

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“‘Writing in the style of true farce, Coble penned a hysterically funny script, full of overblown characters, each one with a secret to hide, which are revealed through slips of the tongue and acting double-takes” - Cool Cleveland Premiered at Dobama Theatre, 2009 Samuel French Off Off Broadway Short Play Festival, 2009. “You’ll shoot your eye out” takes on a whole new meaning….Ĭivilization will be undone by the seven most frightening words in the English language: “Human Resources needs to talk to you.”Ģ men, 2 women. “A CHRISTMAS STORY” (ADAPTED BY QUENTIN TARANTINO)Ī 10 minute stunningly violent, profane, and verbose retelling of everyone’s favorite pink-bunny-clad boy. Premiered at Cleveland Public Theatre’s “Station Hope”, 2017. Two people set out to have a truly deep personal discussion about race… if they can ever get through the pre-talk about talking about race.Ģ actors (male or female), one black one white.

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milesload592 · 3 years

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Unproduced script in pdf format Host Site Written By The Magazine of the Writer's Guild of America, west genre(s): Short. Terminator 2: 3-D Battle Across Time by Adam Bezark & James Cameron january 11, 1995 draft script in text format Host Site Sci Fi and Fantasy Movie Scripts genre(s): Action, Short, Sci-Fi. Jan 1, 2018 - Showing results for 'malayalam movies script pdf' in. Some UK writers format the scripts for use in the US letter size, especially when their. About The Collection. There are currently 419 movie scripts available on Screenplay DB. More will be added pretty much daily, so keep checking back! Turning it into a movie about drug running. Why can't there be a movie simply about flowers? VALERIE That's what we're thinking. KAUFMAN Like, I don't want to cram in sex, or car. chases, or guns. Or characters learning profound life lessons. Or growing or. coming to like each other or overcoming obstacles to.

Two people set out to have a truly deep personal discussion about race… if they can ever get through the pre-talk about talking about race. Co-written with Darius Stubbs.

2 actors (male or female), one black one white. Premiered at Cleveland Public Theatre’s “Station Hope”, 2017.

A 10 minute stunningly violent, profane, and verbose retelling of everyone’s favorite pink-bunny-clad boy. “You’ll shoot your eye out” takes on a whole new meaning…. 6-10 actors, any ethnicity

****************************

Civilization will be undone by the seven most frightening words in the English language: “Human Resources needs to talk to you.” 2 men, 2 women. Premiered at Dobama Theatre, 2009; Samuel French Off Off Broadway Short Play Festival, 2009.

*********************

An actress prepares to step onstage in a tiny role, only to be visited by four very unfriendly theatrical spectres… 1 woman, 4 actors of either sex. Premiered at Contemporary American Theatre Company, 2006. Winner, Best of the Fest, 2006.

“In the whimsical, wry ‘Haunted’, Coble has created some long-needed theater ghosts, but to name them would undercut the surprise” — Columbus Dispatch

*******************

A woman stops in to see her almost comatose mother in a nursing home. A song by Duke Ellington reveals a new opportunity. 2 women.Premiered at Great Lakes Theatre Festival, 2005.

“Truly moving without being saccharine… a beautiful exploration of what we all need at the end of the journey” — Scene Magazine

***************

BE ASTOUNDED by the Amazing Krispinsky in his ULTIMATE FEAT OF DAREDEVILTRY as he heroically, death-defyingly, mind-numbingly attempts his GREATEST ACT OF ESCAPE EVER! But can even he wriggle free… from… HIS OWN LIFE?? 2 actors (male or female) Premiered at Actors Theatre of Louisville Humana Festival 2005. Performed at the New York Fringe Festival, 2005.

Sammy Fullwood and his dummy Mr. McBuffer are happy to sell you theatre memorabilia from the gift shop… or at least Sammy is. 2 actors (male or female) Premiered at Actors Theatre of Louisville Humana Festival 2005. Performed at the New York Fringe Festival, 2005.

“Smart, funny shows that channel the neurotic anxiety of a culture crumbling onto its own ideals and convert it into humor and laughs”— NYTheatre

**************************

Two haggard businessmen stumble into their hotel room after a disastrous meeting, only to discover they’re in the middle of a televised hostage crisis. 2 men. Premiered at Contemporary American Theatre Company, 2004. Winner, Best of the Fest, 2004.

“Very funny… a suitable refuge from home life” — Columbus Dispatch

******************** BAGGAGE UNATTENDED

A couple. An airport. A suitcase left unattended. What could go wrong?

1 man, 1 woman, 2-3 extras. Premiered at Contemporary American Theatre Company, 2002. Winner, Best of the Fest, 2002.

********************

A collection of ten 10-minute plays following a day in the life of a major city – in this case, Cleveland, OH. Each play is set in an iconic area (“the hospital”,”the graveyard”, “the nightclub” etc.), so that dialogue can be changed to fit any city as needed. The pieces can be performed separately or as one full-length play. 3 women, 3 men. Premiered at Dobama Theatre, 2005.

“Delicious, entertaining… Writ larger, this is a play about how we as people get along in the crucible in which we find ourselves: Home.”— Cleveland Plain Dealer

“Giddily invigorating and hilarious”– Scene Magazine

“This inspiring and often mind-altering show takes the audience on a journey of soul-searching and ‘site-seeing’, and the surprising result is a sense of warmth and safety rather than one of cold and continual defeat”— Sun Press

“Enormously entertaining and insightful”— Cleveland Jewish News

“Wildly funny and poetic.” — Akron Beacon Journal

“Coble has the most astonishingly accurate – and wicked – eye and ear on society and it’s foibles of any current writer” — Cool Cleveland

*********************************************

Laquanda desperately wants in on Polish holiday Dyngus Day. Her sister Cherisse is here to shut that down. Let the pierogies fly.

2 Women, African-American. Premiered at The Manhattan Project, 2015.

***************************************

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Rob graduated from this school. Really. No, seriously. But can he prove it?

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1 man, any ethnicity. Premiered at Ohio University, 2012.

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Paul has a reason why he was caught with the frog in the blender. And it’s a damn good one.

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1 man, any ethnicity. Premiered at Geva Theatre, 2014.

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pwunion · 5 years

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Julianne Jigour

Julianne Jigour’s plays have been produced by or developed with PlayGround, MADlab, Theater Masters, Santa Clara University, Bombay Theatre Company, KCACTF, and the HBMG National Winter Playwrights Retreat.

She has received two commissions from Planet Earth Arts, one of which—BRIGHT SHINING SEA—received its premiere production with PlayGround in San Francisco, where it was a Theatre Bay Area Awards Recommended Production. Her short plays BEECH. OAK. IRIS. and DOMESTIC HELP were finalists in the 2020 and 2022 Samuel French Off-Off Broadway Festival. She has twice received grants from the Alfred P. Sloan Foundation for science-themed TV pilots and has been a finalist for the Steeltown Film Factory competition. Julianne earned her BA in English and Creative Writing from Santa Clara University, where she studied with Brian Thorstenson. She earned her MFA from Carnegie Mellon University, where she studied with Rob Handel and received the West Coast Drama Alumni Clan award for Dramatic Writing. Julianne resides in Los Angeles, where she’s a proud member of the Playwrights’ Think Tank and the Playwrights’ Union.

#playwright #xs

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spaceonryderfarm · 5 years

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Jahna Ferron-Smith is a member of the Obie Award winning playwrights collective, Youngblood. Her work has been performed at Ensemble Studio Theatre, and the Samuel French Off Off Broadway Short Play Festival. Her plays include, THE WOODS., SIR. (published by Samuel French), and SALT: A Rom Com (The Lark Jerome New York Fellowship Finalist).

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newyorktheater · 5 years

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The choices below are personal favorites; the ranking is somewhat arbitrary.

Paddy Considine as Quinn Carney (center, standing) and the company of The Ferryman

Guillaume Gallienne as the scheming Friedrich Bruckmann and Elsa Lepoivre as the ambitious widow Baronne Sophie Von Essenbeck in Ivo van Hove’s The Damned, after Sophie’s son as tar and feathered her.

Lucas Hedges and Elaine May in The Waverly Gallery by Kenneth Lonergan, directed by Lila Neugebauer.

Glenda Jackson

: Steven Skybell and Male Ensemble in “To Life” (“Lekhayim” ל ‘חיים)

Noah Robbins and Edmund Donovan in Clarkston

In the Body of the World

Dance Nation

In a political atmosphere that is at the very least fractured, and has often felt just a few steps away from something even worse, I am grateful for theater in 2018 in a way that transcends any strictly aesthetic assessment. I am grateful for: …the many shows confronting New York theatergoers with the issue of police shooting unarmed black, ranging from “Black, White & Blue” a ten-minute play by William Watkins at the Fire This Time Festival to Scraps, Geraldine Inoa’s playwriting debut Off-Off Broadway, to Christopher Demos-Brown’s American Son on Broadway …the welcome revivals of gay plays to remind us how far we’ve come and how much we could lose, especially Angels in America, Boys in the Band and Torch Song; and such Broadway entertainments as The Prom and especially Head Over Heels , which though primarily giddy musicals, seamlessly endorse of love and acceptance in all its contemporary forms, especially gay/queer/gender-fluid. …the plays and musicals that offer a glimpse into the culture, struggles and humanity of individual immigrants and immigrant communities, including Miss You Like Hell, An Ordinary Muslim, Pale India Ale, queens.

None of these specific titles are in my top 10 list, a tradition that this year seems even hoarier than usual, but that I am nevertheless putting together because it’s a proven way of getting more attention to shows that deserve it. As of this writing, there are only nine on the list below. I’m looking forward to at least a couple of shows in December that, if any live up to their promise, will be added here. There are drawbacks in putting forward a list before the very end of the year. I wrote my top 10 in 2017 before seeing “A Room in India,” devised by Théâtre du Soleil and presented at the Park Avenue Armory, which was definitely one of my favorite of the year. But Thanksgiving weekend seems the most apt time to express one’s gratitude.

1. The Ferryman

By the time “The Ferryman” has ended, we have been treated to a breathtaking mix of revenge action thriller, romance, melodrama, family saga, and a feast of storytelling – ghost stories, fairy stories, stories of Irish history and politics, stories of longing and of loss. Jez Butterworth’s play about farmer Quinn Carney and his sprawling, colorful family is rich, sweeping entertainment — epic, tragic….and cinematic. climax of “The Ferryman.” But its underlying themes (such as the wages of hatred) also add heft to what seemed merely to be the most thrilling play of the Broadway season.

2. The Damned

“The Damned,” Ivo van Hove’s intense, extraordinary stage adaptation of Luchino Visconti’s 1969 film, offered pivotal turning points in the story of the corruption, perversion and destruction of the wealthy German industrialist family at its center. Van Hove directed a remarkable cast from the 338-year-old Comédie-Français, who perform in French with English subtitles in the cavernous Wade Thompson Drill Hall of the Park Avenue Armory. The real-life events dramatized from 1933 felt like lessons not just in the creep of fascism, but in stagecraft from the avant-garde Belgian director – stagecraft that is ferociously inventive, unrelenting, and unsurpassed.

3. The Waverly Gallery

Elaine May is back on a Broadway stage after more than 50 years, and making the most of it in The Waverly Gallery, Kenneth Lonergan’s meticulously observed, funny and sad play about a woman’s decline and its effect on her family. May is not alone. She is one of five stellar cast members, notably Lucas Hedges making a splendid Broadway debut. They turn this 18-year-old play into…if not required, certainly well-rewarded viewing.

4. Three Tall Women

It is hard to imagine a better production of Edward Albee’s humorous, caustic, secretly compassionate look at a life – and a death. It felt a fitting homage to the playwright, who died in 2016. Glenda Jackson returned to Broadway after an absence of three decades The play, which debuted in 1994 Off-Broadway and revived Albee’s reputation after 20 years of critical drubbing, had never been on a Broadway stage before.

5. Fiddler on the Roof, in Yiddish

The first Yiddish-language production of the hit 1964 musical was only supposed to run (at the Museum for Jewish Heritage) for two months. It kept on getting extended, and will now transfer Off-Broadway in January. This is surely proof that the production appeals to way more than just speakers of Yiddish. (Indeed, some fluent in Yiddish have commented that the pronunciation by some of the performers needs work.) It’s as entertaining as any Fiddler I’ve seen, and it’s something of a revelation as well. This makes sense: The musical, after all, is based on the 19th century short stories by Sholom Aleichem, who wrote in Yiddish about Tevye the Dairyman, his family and his neighbors.

6. Lewiston/Clarkston

“ Lewiston/Clarkston” are two powerfully affecting plays by Samuel D. Hunter about 21stcentury descendants of the 19thcentury North American explorers Meriwether Lewis and William Clark. The plays are being presented one after the other in a single evening, separated by a communal dinner during the half-hour intermission, in a production at Rattlestick Playwrights Theater that one might consider an experiment in stagecraft. The theater has been completely reconfigured for the show, with the removal of its decades-old proscenium stage and of its raked stadium seating. Now, just 50 members of the audience sit in a row of folding chairs on either side of a plain playing space only 13 feet wide. As a result, the two dramas play out in close-up. The small playing space feels especially appropriate thematically, reflecting the circumscribed lives of the plays’ six characters, who reside in two nearby towns, named after Lewis and Clark, in what was once America’s wide-open frontier.

7. In the Body of the World

Perhaps you would have thought it chutzpah that in “In The Body of the World, Eve Ensler merged her story of her fight against uterine cancer with world crises such as mass rape in the Congo and the deadly oil spill in the Gulf of Mexico. Maybe you would have been squeamish at her graphic storytelling of her illness, treatment and recovery, during which she literally bared her physical scars, and exposed her emotional ones, which were more disturbing. You could well have disapproved of her self-defeating and dubious speculation about what might have caused her cancer – from tofu to Tab to bad reviews. You could grapple with all these reactions to Eve Ensler and her show – I certainly did at one time or another during its 90 minutes – and still have found “In The Body of the World” (as I did) eye-opening, entertaining, and one of the year’s most satisfying works of theater. Now a fan of Ensler’s, I rushed later in the year to see her play The Fruit Trilogy, which featured one of the most memorable performances I’ve ever witnessed in the theater.

8. Dance Nation

Like Sarah DeLappe’s The Wolves, and Annie Baker’s Circle Mirror Transformation, Clare Barron’s play was about something deeper than just a team of 13-year-old competitive dancers from Liverpool, Ohio aiming to win the Boogie Down Grand Prix in Tampa Bay. It was a funny, sharp and very blunt look at adolescent girls – portrayed by a terrific cast made up of actors as old as 60. For all the satirical touches, there are spot-on explorations of the sensitivities and insecurities but also boastfulness and bold curiosities of children who are developing into adults

9. The Mile Long Opera

The Mile-Long Opera: a biography of 7 o’clock,” featured 1,000 performers singing lyrics or reciting monologues along the entire 30 block length of the High Line. It was an astonishing, spectacular, moving, and deeply odd work of theater – the sort of the experiment for which you say, in wonder and in pride, “Only in New York.”

Top 10 New York Theater in 2018 to be Grateful For The choices below are personal favorites; the ranking is somewhat arbitrary. In a political atmosphere that is at the very least fractured, and has often felt just a few steps away from something even worse, I am grateful for theater in 2018 in a way that transcends any strictly aesthetic assessment.

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fountaintheatre · 6 years

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Actresses Amy Pietz, Victoria Platt, Suanne Spoke, and Sabina Zuniga Varela will combine their versatile talents to play the same lead character in a special reading of Natural Shocks, Lauren Gunderson’s funny and powerful new play on gun violence and gun control, at the Fountain Theatre on Friday, April 20th at 11:19am. Co-Artistic Director Stephen Sachs directs.

The timing is intentional: April 20 is the 19th anniversary of Columbine and the day of the National School Walkout, organized by the student activists in Parkland, Florida. The reading at the Fountain Theatre starts on April 20th at 11:19am, the date and exact time of the Columbine shooting.

“The Fountain Theatre has a long history of social and political activism,” explains Sachs. “Our celebrity reading of All the President’s Men at LA City Hall and our world premiere of Robert Schenkkan’s Building the Wall are recent examples. With Lauren’s play, I believe we need to add our voice, as theatre artists and citizens, to the national outcry of young people across the country against gun violence and advocate for gun control in this country.”

Amy Pietz has appeared in over 300 episodes of television, most recently starring opposite Jason Alexander on Hit The Road. She was a series regular on No Tomorrow, The Nine Lives of Chloe King, Aliens in America, Rodney, The Weber Show, Muscle and Caroline in the City (SAG Award Nomination for Best Actress in a Comedy). She has had recurring or guest starring roles on: You’re The Worst, The Magicians, The Office, Trust Me, Maron, How To Get Away With Murder, Dexter, Curb Your Enthusiasm, and many others. Film roles include those in The Year of Spectacular Men, Halfway, Prom, The Pact II, Autumn Leaves, Rudy, Jingle All the Way, Dysenchanted, Jell-Oh Lady, The Whole Ten Yards, and others. Her favorite theatre credits include: Stupid Fucking Bird at the Theatre @ Boston Court (Ovation Award, LA Drama Critics Circle Award), The Boswell Sisters at The Old Globe Theatre, Christmas In Naples at the Williamstown Theatre Festival, Lobby Hero at the Odyssey Theatre (Ovation nominated), Fiorello and Company (Ovation Award nomination for Best Featured Actress in a Musical). Currently producing a film on gun control called Bodyman, Amy is passionate about getting guns off of our streets.

Victoria Platt is currently in Antaeus Theatre Company’s production of Native Son. THEATRE: Jelly’s Last Jam (BROADWAY), Building the Wall and Roxy in Cyrano (Fountain Theatre), Venice (Public Theater & Kirk Douglas Theatre – Ovation Award Nom), Sammy (Old Globe), Pippin (Mark Taper Forum, Asphalt (Red Cat), Atlanta (Geffen). Select TV/FILM: Major Crimes, Bones, The Mentalist, Castle, Criminal Minds and contract roles on both All My Children & Guiding Light; H4 (adaptation of Henry IV which she co-produced with Harry Lennix & Terrell Tilford) and as Josephine Baker in HBO’s Winchell. Upcoming film: #Truth (Charles Murray dir.), The Gleaner (opp. Angus MacFadyen, Harry Lennix dir.), Interference, Framed and CW’s Lucifer.

Suanne Spoke has an extensive career in theatre, television & film, appearing in the critically acclaimed film Whiplash and starring in the feature film Wild Prairie Rose, winning multiple awards on the festival circuit. On television Suanne recurred on Switched at Birth, Famous in Love and has guest-starred on many others. She can currently be seen recurring on General Hospital. She has performed at numerous theatres and has won every major acting & producing award in Los Angeles including three-time recipient of the Ovation Award/Lead Performance by an Actress. She was most recently seen in the West Coast premiere of Athol Fugard’s Painted Rocks at Revolver Creek at the Fountain Theatre. Suanne serves on the faculty at the California Institute of the Arts, teaching acting in the Graduate Film Directing program.

Sabina Zuniga Varela, a native New Mexican based in Los Angeles, is an artist, educator and organizer committed to the path of social justice, authentic representation and storytelling. She is an award winning theatre actor with an MFA from the University of Southern. California. She also holds an MA in Special Education with a focus on twice-exceptional/gifted learning. She is currently a producing director for the LA based theatre company: By The Souls of Our Feet. Most recently she was seen on stage at The Oregon Shakespeare Festival & Portland Center Stage in the title role of Luis Alfaro’s Mojada: A Medea in Los Angeles and was seen in Season 3, Episode 3 of ABC’s American Crime.

Based on Hamlet’s “To be or not to be,” Natural Shocks is a classic Gunderson play: a 60-minute tour-de-force that bursts to life when we meet a woman waiting out an imminent tornado in her basement. She overflows with quirks, stories, and a final secret that puts the reality of domestic violence and guns in America in your very lap. The play is part confessional, part stand up, and part reckoning.

“The play is written as a solo play for one actress,” explains Sachs. “I have Lauren’s permission to have four actresses read the role, as one voice. Together, they are one woman — and all women. I think having the play read by four women adds diversity, theatricality and a stylized musicality that is worth exploring.”

“I wrote the story to continue to push the narrative away from the perpetrators of gun violence and toward the people whose lives are lost, shattered, and shadowed because of it. So many of these people are women. And there is such a tight connection between violence against women and gun violence,” insisted Gunderson.

Gunderson is right: the connection between domestic violence and gun violence is well documented. More than half of the mass shootings from 2009-2016 involved a partner or family member. Nearly half of American women who are murdered are killed by their intimate partners. American women are 16 times more likely to be killed by a gun than women in other developed nations. The presence of a gun in a domestic violence situation makes it five times more likely that the woman will be killed. In short, domestic violence and grievances against women are the “canary in the coalmine” for gun violence. Any effort to end gun violence must address domestic violence as well.

Lauren M. Gunderson is the most produced playwright in America of 2017, the winner of the Lanford Wilson Award, the Steinberg/ATCA New Play Award and the Otis Guernsey New Voices Award, she is also a finalist for the Susan Smith Blackburn Prize and John Gassner Award for Playwriting, a recipient of the Mellon Foundation’s 3-Year Residency with Marin Theatre Company, and a commissioned playwright by Audible. She studied Southern Literature and Drama at Emory University, and Dramatic Writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. Her work has been commissioned, produced and developed at companies across the US including South Cost Rep (Emilie, Silent Sky), The Kennedy Center (The Amazing Adventures of Dr. Wonderful And Her Dog!), Oregon Shakespeare Festival, The O’Neill, The Denver Center, San Francisco Playhouse, Marin Theatre, Synchronicity, Berkeley Rep, Shotgun Players, TheatreWorks, Crowded Fire and more. She co-authored Miss Bennet: Christmas at Pemberley with Margot Melcon, which was one of the most produced plays in America in 2017. Her work is published at Playscripts (I and You, Exit Pursued By A Bear, The Taming, and Toil And Trouble), Dramatists (The Revolutionists, The Book of Will, Silent Sky, Bauer, Miss Bennet) and Samuel French (Emilie). Her picture book Dr Wonderful: Blast Off to the Moon was released from Two Lions / Amazon in May 2017.

Reserve Seats to Natural Shocks at Fountain Theatre. National website

Cast announced for special reading of Lauren Gunderson’s ‘Natural Shocks’ at Fountain Theatre Actresses Amy Pietz, Victoria Platt, Suanne Spoke, and Sabina Zuniga Varela will combine their versatile talents to play the same lead character in a special reading of…

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everydayinferno · 7 years

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Glassheart Interview: Meghann Garmany, playing “Only”

GLASSHEART by Reina Hardy presented by Everyday Inferno Theatre Company

The Access Theater 380 Broadway, NYC October 19th-28th, 2017 Tickets: $5-18

“In the empty living room of a shabby apartment, a Beast is crying. There is just enough light to see that he is monstrous, and clutching something precious to him.”

Beauty never showed up. Centuries after the curse, the Beast and his last remaining magical servant are holed up in a ramshackle apartment, managed by a mysterious landlady with a suspicious taste for gingerbread. When an eligible maiden moves in next door, “happily ever after” feels agonizingly within reach, but we all know that in fairytales, nothing is exactly as it seems. Full of humor, magic, and belief in the life-altering power of love, Glassheart is a witty and decidedly adult take on a classic tale that explores the space between light and dark, and the sacrifices we make in search of an ordinary life.

What household object would you not want to live without? Truthfully, the first thing I do when I get home at night is turn on a lamp and turn off the overhead lighting. One of my dearest and oldest friends, we’ve known each other since we were six and we were college roommates, loathes over-head lighting. I do too. I don’t know if it’s a habit I picked up from her or something I’ve always done, but yeah, I really do love lamps. They make the home a better place.

What about the play are you most excited to share? There’s so much I’m excited to share, but currently I’m most excited to share the moments of magic. In the rehearsal rooms, we’ve built in these moments of magic for ourselves surrounded by folding chairs, rehearsal blocks, and fluorescents; I am so excited to explore these moments surrounded by everything the design team has created and to share these moments with an audience. The feeling of a roomful of people experiencing a moment of wonder together is palpable and so thrilling to be a part of, let alone orchestrate! Also…CANDY. I’m very excited to share candy.

What do you wish the theatre had more of? Ah, here’s my soap-box…now what do I do it with? The short version, I wish the theatre was as diverse as the world around us, and I wish it was more accessible to the world around us. The long version, the theatre could use a lot. It could use more women, people of color, LGBTQIA people, and people with disabilities. They all possess the ability to create and to produce creative work. Like the world around us, all of these groups could use more representation. I’d love to see more diverse stories, from life-experiences and identities I’ve never had. On a personal note, more queer representation and experiences would be great. I’d love to play a lesbian that gets to be happy and live their life and maybe…I don’t know…not die horribly or have something horrible happen to them. I’d love to play a lesbian in a story that has nothing to do with being a lesbian. Sometimes it happens, I’ve had theatre experiences here that have opened my mind to other cultures and experiences, pieces of history I was oblivious to or had only seen through a white perspective, or encountered a gay character in a story-line that had nothing to do with them being gay. But yeah, “more of” that. There are lots of voices and stories that aren’t just waiting to be heard, they are already there, you just have to listen.

I also think it would be great if more people could afford to go to the theatre. Perhaps if the audiences in commercial theatres began to hold as much diversity and experience as the people in the streets, the diversity and experiences on stage would begin to reflect that. I’m not sure what the answer is here, but I know it’s not found at a “discounted price” of $85. More ticket initiatives? Government funding? How do we find something that’s feasible, but also sustainable in the commercial world? I could talk myself in circles on this one.

I’ll also just go ahead and say that I’m really proud to work with Everyday Inferno. They are a very female driven company telling stories centered around women, but they also really work to take whatever steps they can towards inclusivity and affordability. It’s not a perfect check box. There will always be mis-steps and more that can be done, but to work with a company that keeps trying and to know they’re not alone in that, that other companies and artists are also trying, it keeps me hopeful.

What would your character’s Karaoke song be? I think Karaoke decisions, like many choices in life, are based on current mood and level of consumption. If Only’s letting loose and shining bright, “I Believe in a Thing Called Love” by The Darkness. If she’s on a bender and The Beast is having a particularly bad day, “Torn” by Natalie Imbruglia. But at the end of the night, as the bar begins to clear and the last drinks are poured, she makes herself a warm spotlight and shuts the place down with “I Will Always Love You” by Whitney Houston.

MEGHANN GARMANY* (Only) is a core company member of Everyday Inferno and has been seen previously in EITC productions including Reina Hardy’s A Map to Somewhere Else and the development of Nora Sørena Casey’s Dreams of Malinche and Regina Robbins’ Quicksand as part of the 2017 Access Theatre residency. Other credits include The Mask of the Jaguar King (The Schoolhouse Theatre, Croton Falls NY), Bonesetter: A Tragislasher (Spicy Witch Productions), The Woman American (Samuel French OOB Festival), and Fengar Gael’s Devil Dog Six. Meghann is an alumna of the Theatre Arts Department of Virginia Tech. She is thrilled to go on yet another magical journey with Everyday Inferno and hopes you will continue to join and support us. @MeghannGarmany (Twitter and FB), @TheGarm (Instagram), www.MeghannGarmany.com

*Denotes member of Actors’ Equity Association

#EITC2017 #Glassheart #Perception #EverydayInferno #IndieTheatre #ItTakesAVillage #NYCTheatre #ChangeTheStage #WomenInTheatre #NYC #LGBTQ

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writemarcus · 2 years

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Joshua Harmon Named Samuel French Honorary Off Off Broadway Short Play Festival Playwright; Finalists Announced

The 2022 competition, the festival's 47th, will be held in August.

BY LOGAN CULWELL-BLOCK

JULY 28, 2022

Significant Other, Bad Jews, and Prayer for the French Republic writer Joshua Harmon has been named honorary festival playwright for the 47th Annual Samuel French Off Off Broadway Short Play Festival, presented by Concord Theatricals.

The festival, set for August 16-20 at the Peter Jay Sharp Theater in NYC, will see short works from 30 finalist playwrights compete for six winning spots. The winning works will be published in an anthology of short plays and licensed by Concord's Samuel French imprint.

Judging this year's entries will be playwrights Dennis A. Allen II, Eboni Booth, Karen Hartman, and Bryna Turner, along with National New Play Network Executive Director Nan Barnett, dramaturg Ken Cerniglia, New Dramatists Artistic Director Emily Morse, City Theatre Miami Artistic Director Margaret M. Ledford, Classic Stage Company Artistic Director Jill Rafson, Playwrights’ Realm Associate Artistic Director Alexis Williams, and Playwrights Horizons Associate Artistic Director Natasha Sinha.

Tickets for the festival, which is open to the public, are available at OOBFestival.com.

Take a look at this year's finalists, selected from more than 650 submissions worldwide:

Established in 1975, the Off Off Broadway Short Play Festival aims to introduce the next generation of great playwrights. Writers internationally are invited to submit short works, which are traditionally performed in rep at an Off-Broadway venue—last year's festival was adjudicated via online readings due to the pandemic. Past participants include Audrey Cefaly, Martyna Majok, Bekah Brunstetter, Gloria Calderón Kellett, Sheila Callaghan, khat knotahaiku, Gracie Gardner, Jeremy O. Harris, Shirley Lauro, Theresa Rebeck, Jen Silverman, and Steve Yockey.

#Joshua Harmon #Marcus Scott #MarcusScott #WriteMarcus #Write Marcus #OOB Festival #Samuel French #Samuel French Off Off Broadway Short Play Festival #Off Off Broadway Short Play Festival #Samuel French Off Off Broadway Festival #Off Off Broadway Festival #OOBF #Concord Theatricals #Peter Jay Sharp Theater

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writemarcus · 4 years

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Black LGBTQ+ playwrights and musical-theater artists you need to know

These artists are producing amazing, timely work.

By Marcus Scott Posted: Friday July 24 2020, 4:56pm

Marcus Scott is a New York City–based playwright, musical writer, opera librettist and journalist. He has contributed to Elle, Essence, Out, American Theatre, Uptown, Trace, Madame Noire and Playbill, among other publications. Follow Marcus: Instagram, Twitter

We’re in the chrysalis of a new age of theatrical storytelling, and Black queer voices have been at the center of this transformation. Stepping out of the margins of society to push against the status quo, Black LGBTQ+ artists have been actively engaged in fighting anti-blackness, racial disparities, disenfranchisement, homophobia and transphobia.

The success of Jeremy O. Harris’s Slave Play, Donja R. Love’s one in two and Jordan E. Cooper’s Ain’t No Mo’—not to mention Michael R. Jackson’s tour de force, the Pulitzer Prize–winning metamusical A Strange Loop—made that phenomenon especially visible last season. But these artists are far from alone. Because the intersection of queerness and Blackness is complex—with various gender expressions, sexual identifiers and communities taking shape in different spaces—Black LGBTQ+ artists are anything but a monolith. George C. Wolfe, Tarell Alvin McCraney, Branden Jacobs-Jenkins, Robert O’Hara, Harrison David Rivers, Staceyann Chin, Colman Domingo, Tracey Scott Wilson, Tanya Barfield, Marcus Gardley and Daniel Alexander Jones are just some of the many Black queer writers who have already made marks.

With New York stages dark for the foreseeable future, we can’t know when we will be able to see live works by these artists again. It is likely, however, that they will continue to play major roles in the direction American theater will take in the post-quarantine era—along with many creators who are still flying mostly under the radar. Here are just a few of the Black queer artists you may not have encountered yet: vital new voices that are speaking to the Zeitgeist and turning up the volume.

Christina Anderson A protégé of Paula Vogel’s, Christina Anderson has presented work at the Public Theatre, Yale Repertory Theatre, Penumbra Theatre Company, Playwrights Horizons and other theaters around the U.S. and Canada. She has degrees from the Yale School of Drama and Brown University, and is a resident playwright at New Dramatists and Epic Theatre Ensemble; she has received the inaugural Harper Lee Award for Playwriting and three Susan Smith Blackburn Prize nominations, among other honors. Works include: How To Catch Creation (2019), Blacktop Sky (2013), Inked Baby (2009) Follow Christina: Website

Aziza Barnes Award-winning poet Aziza Barnes moved into playwriting with one of the great sex comedies of the 2010s: BLKS, which premiered at Chicago’s Steppenwolf Theatre Company in 2017 before it played at MCC Theatre in 2019 (where it earned a Lucille Lortel Award nomination). The NYU grad’s play about three twentysomethings probed the challenges and choices of Millennials with pathos and zest that hasn’t been seen since Kenneth Lonergan’s Gen X love/hate letter This Is Our Youth. Barnes is the author of the full-length collection of poems the blind pig and i be but i ain’t, which won a Pamet River Prize. Works include: BLKS (2017) Follow Aziza: Twitter

Troy Anthony Burton Fusing a mélange of quiet storm ‘90s-era Babyface R&B, ‘60s-style funk-soul and urban contemporary gospel, composer Troy Anthony has had a meteoric rise in musical theater in the past three years, receiving commissions and residencies from the Shed, Rattlestick Playwrights Theatre, Atlantic Theater Company and the Civilians. When Anthony is not crafting ditties of his own, he is an active performer who has participated in the Public Theater’s Public Works and Shakespeare In the Park. Works include: The River Is Me (2017), The Dark Girl Chronicles (in progress) Follow Troy: Instagram

Timothy DuWhite Addressing controversial issues such as HIV, state-sanctioned violence and structural anti-blackness, poet and performance artist Timothy DuWhite unnerves audiences with a hip-hop driven gonzo style. DuWhite’s raison d’être is to shock and enrage, and his provocative Neptune was, along with Donja R. Love’s one in two, one of the first plays by an openly black queer writer to address HIV openly and frankly. He has worked with the United Nations/UNICEF, the Apollo Theater, Dixon Place and La MaMa. Works include: Neptune (2018) Follow Timothy: Instagram

Jirèh Breon Holder Raised in Memphis and educated at Morehouse College, Jirèh Breon Holder solidified his voice at the Yale School of Drama under the direction of Sarah Ruhl. He has received the Laurents/Hatcher Foundation Award and the Edgerton Foundation New Play Award, among other honors. His play Too Heavy for Your Pocket premiered at Roundabout Underground and has since been produced in cities including Los Angeles, Chicago, Des Moines and Houston; his next play, ...What The End Will Be, is slated to debut at the Roundabout Theatre Company. Works include: Too Heavy for Your Pocket (2017), What The End Will Be (2020) Follow Jirèh: Twitter

C.A. Johnson Born in Louisiana, rising star C.A. Johnson writes with a southern hospitality and homespun charm that washes over audiences like a breath of fresh air. Making a debut at MCC Theater with her coming of age romcom All the Natalie Portmans, she drew praise for empathic take on a black queer teenage womanchild with Hollywood dreams. A core writer at the Playwrights Center, she has had fellowships with the Dramatists Guild Fellow, Page 73, the Lark and the Sundance Theatre Lab. Works include: All the Natalie Portmans (2020) Follow C.A.: Twitter

Johnny G. Lloyd A New York-based playwright and producer, Johnny G. Lloyd has seen his work produced and developed at the Tank, 59E59, the Corkscrew Festival, the Samuel French Off-Off Broadway Short Play Festival and more. A member of the 2019-2020 Liberation Theatre Company’s Writing Residency, this Columbia University graduate is also a producing director of InVersion Theatre. Works include: The Problem With Magic, Is (2020), Or, An Astronaut Play (2019), Patience (2018) Follow Johnny: Instagram

Patricia Ione Lloyd In her luminous 2018 breakthrough Eve’s Song at the Public Theater, Patricia Ione Lloyd offered a meditation on the violence against black women in America that is often overlooked onstage. With a style saturated in both humor and melancholy and a poetic lyricism that evokes Ntozake Shange’s, the former Tow Playwright in Residence has earned fellowships at New Georges, the Dramatist Guild, Playwrights Realm, New York Theater Workshop and Sundance. Works include: Eve’s Song (2018) Follow Patricia: Instagram

Maia Matsushita The half-Black, half-Japanese educator and playwright Maia Matsushita has sounded a silent alarm in downtown theater with an array of slow-burn, naturalistic coming-of-age dramas. She was a member of The Fire This Time’s 2017-18 New Works Lab and part of its inaugural Writers Group, and her work has been seen at Classical Theatre of Harlem’s Playwright Playground and the National Black Theatre’s Keeping Soul Alive Reading Series. Works include: House of Sticks (2019), White Mountains (2018) Follow Maia: Instagram

Daaimah Mubashshir When Daaimah Mubashshir’s kitchen-sink dramedy Room Enough (For Us All) debuted at the Rattlestick Playwrights Theatre in 2019, the prolific writer began a dialogue around the contemporary African-American Muslim experience and black queer expression that made her a significant storyteller to watch. She is a core writer at the Playwrights Center in Minneapolis as well as a member of Soho Rep’s Writer/Director Lab, Clubbed Thumb’s Early Career Writers Group, and a MacDowell Colony Fellow. Her short-play collection The Immeasurable Want of Light was published in 2018. Works include: Room Enough (For Us All) (2019) Follow Daaimah: Twitter

Jonathan Norton Hailing from Dallas, Texas, Jonathan Norton is a delightfully zany playwright who subverts notions of post-blackness by underlining America’s obscure historical atrocities with bloody red slashes. The stories he tells carry a profound horror, often viewed through the eyes of black children and young adults. Norton’s work has been produced or developed by companies including the Actors Theatre of Louisville (at the 44th Humana Festival), PlayPenn and InterAct Theatre Company. He is the Playwright in Residence at Dallas Theater Center. Works include: Mississippi Goddamn (2015), My Tidy List of Terrors (2013), penny candy (2019) Follow Jonathan: Website

AriDy Nox Cooking up piping hot gumbos of speculative fiction, transhumanism and radical womanist expression, AriDy Nox is a rising star with a larger-than-life vision. The Spelman alum earned an MFA from NYU TIsch’s Graduate Musical Theatre Writing Program and has been a staple of various theaters such as Town Stages. A member of the inaugural 2019 cohort of the Musical Theatre Factory Makers residency, they recently joined the Public Theater’s 2020-2022 Emerging Writers Group cohort. Works include: Metropolis (in progress), Project Tiresias (2018) Follow AriDy: Instagram

Akin Salawu Akin Salawu’s nonlinear, hyperkinetic work combines heart-pounding suspense chills with Tarantino-esque thrills while excavating Black trauma and Pan-African history in America. With over two decades of experience as a writer, director and editor, the prize-winning playwright is a two-time Tribeca All Access Winner and a member of both the Public Theater’s Emerging Writers Group and Ars Nova’s Uncharted Musical Theater residency. A graduate of Stanford, he is a founder of the Tank’s LIT Council, a theater development center for male-identifying persons of color. Works include: bless your filthy lil’ heart (2019), The Real Whisperer (2017), I Stand Corrected (2008) Follow Akin: Twitter

Sheldon Shaw A playwright, screenwriter and actor, Sheldon Shaw studied writing at the Labyrinth Theater Company and was part of Playwrights Intensive at the Kennedy Center. Shaw has since developed into a sort of renaissance man, operating as playwright, screenwriter and actor. His plays have been developed by Emerging Artist Theaters New Works Festival, Classical Theater of Harlem and the Rooted Theater Company. Shaw's Glen was the winner of the Black Screenplays Matter competition and a finalist in the New York Screenplay Contest. Works include: Jailbait (2018), Clair (2017), Baby Starbucks (2015) Follow Johnny: Twitter

Nia O. Witherspoon Multidisciplinary artist Nia Ostrow Witherspoon’s metaphysical explorations of black liberation and desire have made her an in-demand presence in theater circles. The recipient of multiple honors—include New York Theatre Workshop’s 2050 Fellowship, a Wurlitzer Foundation residency and the Lambda Literary’s Emerging Playwriting Fellowship—she is currently developing The Dark Girl Chronicles, a play cycle that, in her words, “explores the criminalization of black cis and trans women via African diaspora sacred stories.” Works include: The Dark Girl Chronicles (in progress) Follow Nia: Instagram

Brandon Webster A Brooklyn-based musical theatre writer and dramaturg, Brandon Webster has been a familiar figure in the NYC theater scene, both onstage and behind the scenes. With an aesthetic that fuses Afrofuturist and Afrosurrealist storytelling, with a focus on Black liberation past and present, the composer’s work fuses psychedelic soul flourishes with alt-R&B nuances to create a sonic smorgasbord of seething rage and remorse. He is an alumnus of the 2013 class of BMI Musical Theater Workshop and a 2017 MCC Theater Artistic Fellow. Works include: Metropolis (in progress), Headlines (2017), Boogie Nights (2015) Follow Brandon: Instagram

#Black #Black LGBTQ #LGBTQ #Playwrights #Musical Theatre #Musical Theater #Writers #TimeOut #timeoutnewyork #Marcus Scott #MarcusScott #Write Marcus #WriteMarcus #Theater

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writemarcus · 3 years

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Gingold Theatrical Group Announces 2020-'21 Speakers' Corner Writers Group

The writers are Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott.

by BWW News Desk

Nov. 19, 2020

Gingold Theatrical Group, now in its 15th Season, is continuing its new play development with the SPEAKERS' CORNER Writers Group. For the 2020-'21 season, writers Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott will develop works in response to Shaw's Arms and the Man.

Named after the corner of London's Hyde Park where George Bernard Shaw and other political speakers have delivered speeches since 1855, GTG's SPEAKERS' CORNER brings together six to ten writers each year who will spend the year exploring a specific Shaw play and writing individual new plays in response to that text and Shaw's forward thinking humanitarian ideals.

The group is led by GTG Associate Director Ilana Becker, a producer and director specializing in new play and musical development, community-driven projects, and arts education. In addition to serving as Gingold Theatrical Group's Associate Director, Ilana is The Civilians' R&D Program Director. She has served on the staff of All for One Theater, Lincoln Center Education, and Bret Adams Ltd, and spent a year as the Associate Artistic Director and Interim Artistic Director of Sun Valley Center for the Arts' Company of Fools. Ilana is a proud member of the WP Theater 2018-2020 Producers Lab, an alum of The Civilians' R&D Group, Lincoln Center Theater Directors Lab, DirectorsLabChicago, Fresh Ground Pepper PlayGroup, The Orchard Project's Liveness Lab, as well as a Playwrights Horizons Robert Moss Directing Fellow and an Emerging Leader of NY Arts Fellow. She is the creator of Argument Sessions, an ongoing series of immersive variety-theater events that weave SCOTUS argument transcripts and decisions with ensemble-driven, collaboratively developed original material, and is a member of Producing Blue.

"These six exceptional playwrights bring their unique perspectives, voices, and visions to Speakers' Corner. We are inspired by their collective compassion and humor as we hone our communal digital space for new play development. GTG's work inherently acknowledges our connection to the generations that came before us, and the experiences of those that follow. It's true a thrill to anticipate how this group of inquisitive creators and arts activists will interpret this moment in conversation with Shaw and his work (no pressure!)," says Ms. Becker.

Speakers' Corner members will meet virtually, bi-monthly, and GTG will host showings of the works that Speakers' Corner develops at the end of the season. The group's members were identified through an open application process under the guidance of Becker, GTG Artistic Director David Staller, and this season's Speakers' Corner Readers and Advisory Committee: é boylan, Stephanie Rolland, Dina Vovsi, along with Speakers' Corner alumni Hank Kim, Mallory Jane Weiss, and Lorenzo Roberts.

Kate Douglas (she/her) is a writer, composer and performer. Recent work includes The Ninth Hour, her operetta with Shayfer James at The Met Cloisters (the first performance of its kind in the Fuentidueña Chapel), her immersive play Extinct (produced with support from a LMCC Engagement Grant) and her audio experience Dandelion Story, which received an Honorable Mention from SPACE on Ryder Farm's CSArt Program. Her work has been developed at The Orchard Project, New Victory Theater, The Civilians R&D Group, SPACE on Ryder Farm, Rhinebeck Musicals and the Writer's Colony at Goodspeed. She is a Dramatists Guild Fellow and a current member of The Orchard Project Greenhouse. As a complement to her artistic practice, she is a student of herbalism, horticulture and biodynamic craniosacral therapy. www.kate-douglas.com

Aeneas Sagar Hemphill (he/him) is an Indian-American playwright and screenwriter based in NYC and DC. Weaving through many genres, his work builds new worlds to illuminate our own, investigating the ghosts that haunt our lives and communities with passion, pathos, and humor. He was a 2019 Resident Artist with Monson Arts Center and 2017-2018 Playlab fellow at Pipeline Theatre, as well as semi-finalist for the 2019 Princess Grace Award, semi-finalist for the 2019 Mabou Mines Resident Artist Program, and finalist for the 2017 Many Voices Fellowship. His plays include: Black Hollow (Argo Collective, Dreamscape Theatre), The Troll King (Pipeline), Childhood Songs (Monson Arts), The Republic of Janet & Arthur (Amios), The Red Balloon (Noor Theatre), A Stitch Here or There (DarkHorse Dramatists, Slingshot Theatre), A Horse and a Housecat (Slingshot Theatre). MFA Playwriting, Columbia University.

Divya Mangwani (she/her) is a writer and theatre artist from Pune, India, now based in New York. She examines the absurdities of the social, political and mythical. Divya was the founder and Artistic Director of Moonbeam Factory Theatre, where she wrote, directed and produced plays that were staged in India, Singapore and Glasgow. In New York, she has developed work with UNICEF, Soho Rep, New York Theatre Workshop, The Flea, Rattlestick Playwrights Theatre, Mabou Mines, Hypokrit Theatre, Project Y, Pipeline Theatre, Rising Sun, LMCC and Governors Island. Selected work: Elements of Change (UN Climate Change Week), Yes, Uncle (finalist, Leah Ryan Prize 2018), Rise of the River (semi-finalist Playwrights Realm 2019), and One, Two, Three (winner of best script, director, play and audience vote, Short+Sweet Festival). Divya was a NYTW 2050 Artistic Fellow, Hypokrit Theatre Tamasha playwright, Playlab fellow at Pipeline Theatre and is currently in the Soho Rep Writer/Director Lab.

Seth McNeill (he/him) is a New York City based playwright and theatre artist. His plays include Bastard (Dixon Place, Last Frontier Theatre Conference, Up Theater Company), we're all athletes (Amios First Draughts, Samuel French OOB Festival), and Natchetoches (Fresh Ground Pepper, Hambidge Center, JookMS). Other plays have been presented or developed with Fresh Ground Pepper, Amios NYC, Exquisite Corpse, The Barrow Group, Primary Stages, TinyRhino, The Secret Theatre, and Rule of 7x7, and he has been a semifinalist for the Shakespeare's New Contemporaries Prize and Primary Stages ESPA Drills. As a script reader and dramaturg he has worked with Theatre for a New Audience, the American Shakespeare Center, the Hambidge Center, and The Farm Theater, and he is a two-time recipient of the Vera Mowry Roberts Fellowship. Member of the Dramatists Guild. Education: Masters from Hunter College. Teaching: Hunter College. www.sethmcneill.com.

Sophie Sagan-Gutherz (they/them) is a NYC based writer, actor and singer. Their first full-length play Marked Green at Birth, Marked Female at Birth has been supported by Pride Plays (Rattlestick), the Williamstown Theatre Festival and the Tribe Theatre Company. They've written a monologue with the 24 Hour Play Festival (performed by Lea DeLaria) and have devised and performed a 10 minute solo piece Disability & Celebrity Culture (Am I Write Ladies?). They have been a finalist for the Emerging Writers Group (The Public) as well as a semi-finalist for The R&D Group (The Civilians) & PlaySpace (Pipeline Theatre Company). BFA: NYU Tisch in Drama with an Honors Thesis in Theatre Studies. sophiesagangutherz.com

Marcus Scott (he/him) is a playwright and journalist. Selected works: Fidelio (Libretto; Heartbeat Opera at Baruch Performing Arts Center, 2018; called "poignant" by The New York Times), Tumbleweed (Finalist for the 2017 BAPF; semi-finalist for the 2017/'18 New Dramatists Princess Grace Fellowship Award), Cherry Bomb (recipient of the 2017 Drama League First Stage Artist-In-Residence; 2017 Finalist for the Yale Institute for Music Theatre) and Sundown Town (Finalist for Abingdon Theatre Company's Virtual Fall Festival Of Short Plays). His work has been developed or presented by Joe's Pub, 54 Below, APAC, Dixon Place, Space on Ryder Farm, Cherry Lane Theater (DUAF), CoLAB Arts, Symphony Space, MicroTheater Miami, among others. Scott is a four-time finalist for the R&D Group at The Civilians, a two-time finalist for NBT's I AM SOUL Playwrights Residency and a 2019 finalist for the Bushwick Starr's Starr Reading Series. His articles appeared in Time Out New York, American Theatre, Playbill, Elle, Out, Essence, among others. MFA: NYU Tisch.

In addition to Speakers' Corner, GTG's on-going play development also includes PRESS CUTTINGS, which, in recognition of Shaw's career as a theatre critic, supports the development of new plays written by theatre journalists. Press Cuttings has commissioned new plays by Jeremy McCarter, Robert Simonson, and David Cote, and, in June of 2017, presented an AEA workshop of David Cote's Otherland directed by May Adrales.

Now celebrating its 15th year, Gingold Theatrical Group's Project Shaw made history in December 2009 as the first company ever to present performances of every one of Shaw's 65 plays (including full-length works, one-acts and sketches). They are now also including plays by writers who share Shaw's activist socio-political views embracing human rights and free speech, including work by Chekhov, Ibsen, Elizabeth Robins, Rachel Crothers, Pinero, Wilde, Barrie, and Harley Granville-Barker. GTG's other programs include its new play development and educational programs. For those interested in lively off-site discourses, each Project Shaw event is followed by a talk-back with cast members.

GTG continues to present star-studded monthly readings of Shaw plays online curing this global time of transition. Their highly acclaimed Off-Broadway engagement of Shaw's beloved almost historical comedy Caesar and Cleopatra at Theatre Row, hailed as a New York Times Critic's Pick, was named Best Classical Production in Terry Teachout's year-end recap of The Best Theater of 2019 for the Wall Street Journal: "David Staller and the Gingold Theatrical Group nailed it for the second year in a row with another insufficiently appreciated play by George Bernard Shaw, this time a small-scale off-Broadway staging of Caesar and Cleopatra that brought a rarely seen show to persuasive life." In his review earlier this year in The Wall Street Journal he declared "As always, Mr. Staller, who knows more about Shaw than anyone else in America, gets it right, situating the action of the play in a modern-day archaeological dig and keeping the costumes simple and the diction crisp and clear., ...all the more reason to cheer David Staller's splendid new adaptation of one of Shaw's most glittering, least Shakespearean conversation pieces. This is the third of Mr. Staller's small-scale Gingold Theatrical Group productions to be presented off Broadway at Theatre Row. It follows in the wake of his all-but-flawless 2018 Heartbreak House, an uncommonly hard act to follow, and leaves nothing whatsoever to be desired. May his Shaw stagings become annual events!"

For more information about Speakers' Corner Writers Group and all the projects of Gingold Theatrical Group, including the acclaimed Project Shaw, call 212-355-7823, email [email protected], or visit online at www.gingoldgroup.org.

#Gingold Theatrical Group #george bernard shaw #Speakers' Corner Writers Group #Speakers Corner Writers Group #Marcus Scott #WriteMarcus #Write Marcus #MarcusScott

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writemarcus · 3 years

Text

Gingold Theatrical Group  Announces the 2020-‘21  Speakers' Corner Writers Group

Posted by: Official_Press_Release 04:43 pm EST 11/19/20 Gingold Theatrical Group Announces the 2020-'21 Speakers' Corner Writers Group: Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott Gingold Theatrical Group (David Staller, Artistic Director), now in its 15th Season, continues its new play development with the SPEAKERS' CORNER Writers Group. For the 2020-'21 season, writers Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott will develop works in response to Shaw's Arms and the Man. Named after the corner of London's Hyde Park where George Bernard Shaw and other political speakers have delivered speeches since 1855, GTG's SPEAKERS' CORNER brings together six to ten writers each year who will spend the year exploring a specific Shaw play and writing individual new plays in response to that text and Shaw's forward thinking humanitarian ideals. The group is led by GTG Associate Director Ilana Becker, a producer and director specializing in new play and musical development, community-driven projects, and arts education. In addition to serving as Gingold Theatrical Group's Associate Director, Ilana is The Civilians' R&D Program Director. She has served on the staff of All for One Theater, Lincoln Center Education, and Bret Adams Ltd, and spent a year as the Associate Artistic Director and Interim Artistic Director of Sun Valley Center for the Arts' Company of Fools. Ilana is a proud member of the WP Theater 2018-2020 Producers Lab, an alum of the Civilians' R&D Group, Lincoln Center Theater Directors Lab, DirectorsLabChicago, Fresh Ground Pepper PlayGroup, The Orchard Project's Liveness Lab, as well as a Playwrights Horizons Robert Moss Directing Fellow and an Emerging Leader of NY Arts Fellow. She is the creator of Argument Sessions, an ongoing series of immersive variety-theater events that weave SCOTUS argument transcripts and decisions with ensemble-driven, collaboratively developed original material, and is a member of Producing Blue. "These six exceptional playwrights bring their unique perspectives, voices, and visions to Speakers' Corner. We are inspired by their collective compassion and humor as we hone our communal digital space for new play development. GTG's work inherently acknowledges our connection to the generations that came before us, and the experiences of those that follow. It's true a thrill to anticipate how this group of inquisitive creators and arts activists will interpret this moment in conversation with Shaw and his work ( no pressure!)," says Ms. Becker. Speakers' Corner members will meet virtually, bi-monthly, and GTG will host showings of the works that Speakers' Corner develops at the end of the season. The group's members were identified through an open application process under the guidance of Becker, GTG Artistic Director David Staller, and this season's Speakers' Corner Readers and Advisory Committee: é boylan, Stephanie Rolland, Dina Vovsi, along with Speakers' Corner alumni Hank Kim, Mallory Jane Weiss, and Lorenzo Roberts. Kate Douglas (she/her) is a writer, composer and performer. Recent work includes The Ninth Hour, her operetta with Shayfer James at The Met Cloisters (the first performance of its kind in the Fuentidueña Chapel), her immersive play Extinct (produced with support from a LMCC Engagement Grant) and her audio experience Dandelion Story, which received an Honorable Mention from SPACE on Ryder Farm's CSArt Program. Her work has been developed at The Orchard Project, New Victory Theater, The Civilians R&D Group, SPACE on Ryder Farm, Rhinebeck Musicals and the Writer's Colony at Goodspeed. She is a Dramatists Guild Fellow and a current member of The Orchard Project Greenhouse. As a complement to her artistic practice, she is a student of herbalism, horticulture and biodynamic craniosacral therapy. www.kate-douglas.com Aeneas Sagar Hemphill (he/him) is an Indian-American playwright and screenwriter based in NYC and DC. Weaving through many genres, his work builds new worlds to illuminate our own, investigating the ghosts that haunt our lives and communities with passion, pathos, and humor. He was a 2019 Resident Artist with Monson Arts Center and 2017-2018 Playlab fellow at Pipeline Theatre, as well as semi-finalist for the 2019 Princess Grace Award, semi-finalist for the 2019 Mabou Mines Resident Artist Program, and finalist for the 2017 Many Voices Fellowship. His plays include: Black Hollow (Argo Collective, Dreamscape Theatre), The Troll King (Pipeline), Childhood Songs (Monson Arts), The Republic of Janet & Arthur (Amios), The Red Balloon (Noor Theatre), A Stitch Here or There (DarkHorse Dramatists, Slingshot Theatre), A Horse and a Housecat (Slingshot Theatre). MFA Playwriting, Columbia University. Divya Mangwani (she/her) is a writer and theatre artist from Pune, India, now based in New York. She examines the absurdities of the social, political and mythical. Divya was the founder and Artistic Director of Moonbeam Factory Theatre, where she wrote, directed and produced plays that were staged in India, Singapore and Glasgow. In New York, she has developed work with UNICEF, Soho Rep, New York Theatre Workshop, The Flea, Rattlestick Playwrights Theatre, Mabou Mines, Hypokrit Theatre, Project Y, Pipeline Theatre, Rising Sun, LMCC and Governors Island. Selected work: Elements of Change (UN Climate Change Week), Yes, Uncle (finalist, Leah Ryan Prize 2018), Rise of the River (semi-finalist Playwrights Realm 2019), and One, Two, Three (winner of best script, director, play and audience vote, Short+Sweet Festival). Divya was a NYTW 2050 Artistic Fellow, Hypokrit Theatre Tamasha playwright, Playlab fellow at Pipeline Theatre and is currently in the Soho Rep Writer/Director Lab. Seth McNeill (he/him) is a New York City based playwright and theatre artist. His plays include Bastard (Dixon Place, Last Frontier Theatre Conference, Up Theater Company), we're all athletes (Amios First Draughts, Samuel French OOB Festival), and Natchetoches (Fresh Ground Pepper, Hambidge Center, JookMS). Other plays have been presented or developed with Fresh Ground Pepper, Amios NYC, Exquisite Corpse, The Barrow Group, Primary Stages, TinyRhino, The Secret Theatre, and Rule of 7x7, and he has been a semifinalist for the Shakespeare's New Contemporaries Prize and Primary Stages ESPA Drills. As a script reader and dramaturg he has worked with Theatre for a New Audience, the American Shakespeare Center, the Hambidge Center, and The Farm Theater, and he is a two-time recipient of the Vera Mowry Roberts Fellowship. Member of the Dramatists Guild. Education: Masters from Hunter College. Teaching: Hunter College. www.sethmcneill.com. Sophie Sagan-Gutherz (they/them) is a NYC based writer, actor and singer. Their first full-length play Marked Green at Birth, Marked Female at Birth has been supported by Pride Plays (Rattlestick), the Williamstown Theatre Festival and the Tribe Theatre Company. They've written a monologue with the 24 Hour Play Festival (performed by Lea DeLaria) and have devised and performed a 10 minute solo piece Disability & Celebrity Culture (Am I Write Ladies?). They have been a finalist for the Emerging Writers Group (The Public) as well as a semi-finalist for The R&D Group (The Civilians) & PlaySpace (Pipeline Theatre Company). BFA: NYU Tisch in Drama with an Honors Thesis in Theatre Studies. sophiesagangutherz.com Marcus Scott (he/him) is a playwright and journalist. Selected works: Fidelio (Libretto; Heartbeat Opera at Baruch Performing Arts Center, 2018; called "poignant" by The New York Times), Tumbleweed (Finalist for the 2017 BAPF; semi-finalist for the 2017/'18 New Dramatists Princess Grace Fellowship Award), Cherry Bomb (recipient of the 2017 Drama League First Stage Artist-In-Residence; 2017 Finalist for the Yale Institute for Music Theatre) and Sundown Town (Finalist for Abingdon Theatre Company's Virtual Fall Festival Of Short Plays). His work has been developed or presented by Joe's Pub, 54 Below, APAC, Dixon Place, Space on Ryder Farm, Cherry Lane Theater (DUAF), CoLAB Arts, Symphony Space, MicroTheater Miami, among others. Scott is a four-time finalist for the R&D Group at The Civilians, a two-time finalist for NBT's I AM SOUL Playwrights Residency and a 2019 finalist for the Bushwick Starr's Starr Reading Series. His articles appeared in Time Out New York, American Theatre, Playbill, Elle, Out, Essence, among others. MFA: NYU Tisch. In addition to Speakers' Corner, GTG's on-going play development also includes PRESS CUTTINGS, which, in recognition of Shaw's career as a theatre critic, supports the development of new plays written by theatre journalists. Press Cuttings has commissioned new plays by Jeremy McCarter, Robert Simonson, and David Cote, and, in June of 2017, presented an AEA workshop of David Cote's Otherland directed by May Adrales. Now celebrating its 15th year, Gingold Theatrical Group's Project Shaw made history in December 2009 as the first company ever to present performances of every one of Shaw's 65 plays (including full-length works, one-acts and sketches). They are now also including plays by writers who share Shaw's activist socio-political views embracing human rights and free speech, including work by Chekhov, Ibsen, Elizabeth Robins, Rachel Crothers, Pinero, Wilde, Barrie, and Harley Granville-Barker. GTG's other programs include its new play development and educational programs. For those interested in lively off-site discourses, each Project Shaw event is followed by a talk-back with cast members. GTG continues to present star-studded monthly readings of Shaw plays online curing this global time of transition. Their highly acclaimed Off-Broadway engagement of Shaw's beloved almost historical comedy Caesar and Cleopatra at Theatre Row, hailed as a New York Times Critic's Pick, was named Best Classical Production in Terry Teachout's year-end recap of The Best Theater of 2019 for the Wall Street Journal: "David Staller and the Gingold Theatrical Group nailed it for the second year in a row with another insufficiently appreciated play by George Bernard Shaw, this time a small-scale off-Broadway staging of Caesar and Cleopatra that brought a rarely seen show to persuasive life." In his review earlier this year in The Wall Street Journal he declared "As always, Mr. Staller, who knows more about Shaw than anyone else in America, gets it right, situating the action of the play in a modern-day archaeological dig and keeping the costumes simple and the diction crisp and clear., ...all the more reason to cheer David Staller's splendid new adaptation of one of Shaw's most glittering, least Shakespearean conversation pieces. This is the third of Mr. Staller's small-scale Gingold Theatrical Group productions to be presented off Broadway at Theatre Row. It follows in the wake of his all-but-flawless 2018 Heartbreak House, an uncommonly hard act to follow, and leaves nothing whatsoever to be desired. May his Shaw stagings become annual events!" Link: http://www.gingoldgroup.org

#Marcus Scott #MarcusScott #WriteMarcus #Write Marcus #Gingold Group #Playwrights

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