*** NYCPLAYWRIGHTS POLL RESULTS ***
Thanks to everybody who participated in our poll, which asked the question:
PLAYWRIGHTS ~ DO YOU HAVE AN AGENT? And the results are:
2% Yes, and it's very good for my career
7% Yes, but my agent doesn't do much for my career
1% I expect to have an agent soon
65% No, but I would like an agent
23% No and don't care about agents
*** FREE THEATER IN NYC ***
By Jerome Laurence and Robert Edwin Lee
Saturday December 3rd 1:00pm and 4:00pm
Monday December 5th at 6:00pm
Gotham Radio Theater
Bruno Walter Auditorium located in the Lincoln Center Library
Amsterdam Ave. and 65th St
*** NYWINTERFEST THEATER COMPETITION ***
BEST PLAY $2,500
Best Director, Actress, Actor and Singer $500 each
Best Musical Score $300
Best Original Play, Stage Manager and Set Designer $200.
All genres are welcome, including MUSICALS.
PLAYS OR MUSICALS BETWEEN 10 AND 90 MINUTES
ONE ACT PLAY WELCOME
Our 10th Festival Season
There is no question why NYWINTERFEST has taken the world of playwrighting festivals by storm, becoming one of the largest festival in the country in just 6 years.
FEW SPOTS LEFT IN FEBRUARY TO HAVE A CHANCE TO PRESENT YOUR WORK ON STAGE
for more info
*** PLAYWRIGHTS OPPORTUNITIES ***
NYCPlaywrights seeks monologues and 10-minute plays.
The theme is "Women in the Age of Trump."
President-elect Donald Trump has said a number of controversial things, including that he can grab women "by the pussy" because "when you're a star they let you do it, you can do anything." This is considered a description of sexual assault by some, but locker room talk by others.
NYCPlaywrights is looking for scripts about women in a time when the leader of the United States is Donald Trump.
Campfire Theatre Festival is accepting submissions
We will accept plays in two categories:
One-act: Play must be between ten and sixty pages with no intermissions.
Full-length: Play must be more than sixty pages, less than one hundred and twenty pages, and may have an intermission.
IF YOU ARE SELECTED:
Your play will be assigned a cast and director
Your play will be presented in a staged reading during our festival in Fall 2017 in Boise, Idaho
You will receive a prize of either $100 for a selected full-length play or $50 for a selected one-act
On the Air Radio Players (“OTARP”) is excited to announce our seventh annual contest for original radio plays. We are looking for writers who love the world of radio drama as much as we do, and we want your best original work to perform onstage as one of our live radio shows.
For our contest this year, we’re looking for comedies, dramas, mysteries, westerns, sci-fi…any story you want to submit. But whatever your script entails, it needs to have a scene where one character turns to another and says: “We’re almost out of gas.”
*** FOR MORE INFORMATION about these and other opportunities see the web site at http://www.nycplaywrights.org ***
*** WOMEN OF SUBSTANCE ***
Theatre's women of substance
Nancy Carroll on Joan Scott-Fowler
Terence Rattigan and Noel Coward – people you might not expect it of - produce some extraordinary writing for women. Joan Scott-Fowler in Rattigan's After the Dance, who I played at the National three years ago, has huge depth of emotion. She and her husband David belong to a well-educated, moneyed, pre-war generation that didn't have to work.
Great stage roles for grandes dames
Bad mothers, crazed lovers, histrionic queens ... Karen Fricker picks eight classic characters, as played by Helen Mirren, Kathleen Turner, Jessica Lange and others
The role is limited by the terrible misogyny of the play itself, in both its Greek and French incarnations, and the Racine version is too talky. But there are few juicier challenges than a woman driven mad by sexual desire for her stepson.
Forget the Ingénues; Cue the Grown-Ups
“On the stage there is a broader, more expansive range of age,” said Ms. Sarandon, who at 62 dons a 12-foot-long robe and a Marge Simpson hairdo eight times a week as Queen Marguerite, the prophet of doom and source of compassion in Eugène Ionesco’s “Exit the King.”
This unusually large collection of stars is partly happenstance and partly the result of Broadway’s habit of casting well-known actors to pump up sales, a tactic increasingly popular in these recessionary times. But the current number and quality of roles for actresses on the New York stage is especially noticeable at a time when Hollywood is more obsessed than ever with youth and is providing so few meaningful parts for women, no matter what their age.
Women occupy less than 40 percent of all roles in television and film, according to the Screen Actors Guild’s most recent casting data report. As for female leads, women over 40 get fewer than a quarter of them, even though their age group accounts for more than 45 percent of the nation’s women. They also have a much shorter career than their male counterparts.
It's Time To Talk About The Misogyny in Theatre
…Women write the best female characters, that is an indisputable fact. The 2015 Tony Award winner with an all female writing team, Fun Home, had three female leading roles, of different ages and types. In comparison, the 2014 Tony award winner (with an all male writing team), "A Gentleman's Guide to Love and Murder," had 2 male leads with two female ingenues, whose only function in the play was to be pretty and in love.
Strong female roles make audiences uncomfortable, says leading director
Featherstone, who directed Maxine Peake in How to Hold Your Breath earlier this year, revealed that Peake felt the press was prejudiced against her because she was a woman playing a female lead role. “We haven’t seen a female King Lear, we haven’t seen a female Willy Loman, we haven’t seen a female Hamlet. People haven’t written those plays yet. And when they do write them, or when they try to write them like Zinnie Harris [author of How to Hold Your Breath] did, people don’t receive the play very positively,” she said.
Shakespeare's largest female role might surprise you
When you think of the most significant women in the Shakespeare canon, the mind naturally goes toward the evil machinations of Lady Macbeth or perhaps the snake-bitten diva Cleopatra. But the most formidable woman in the canon is one you might not suspect – and she’s coming soon to the Denver Center Theatre Company's Space Theatre.
The female character who speaks the most lines in any Shakespeare play is Rosalind, the spirited heroine of the romantic comedy As You Like It. According to ShakespearesWords.com, Rosalind comes in first with 685 lines. Ironically, she speaks many of those lines while playing a man – and Rosalind would have been played by a boy during Shakespeare’s time anyway.
Rosalind, As You Like It. That outcome may come as a surprise to some, but there is no doubting that Rosalind is one amazing role.
“She is the engine of the play, without a doubt,” said DCPA Theatre Company Producing Artistic Director Kent Thompson. "I like her wit, her pluck and her sense of heart.”
Rosalind, who will be played in Denver by Carolyn Holding, is the beautiful daughter of the exiled Duke Senior and niece to his paranoid, usurping brother, Duke Frederick. When her father is banished from the kingdom, she takes matters into her own hands and takes herself to the Arden Forest. She figures out a way to manage things there while by dressing like a man.
Learning to Act, but Hungry for Roles to Practice
…Desiré Hinkson, a 19-year-old B.U. sophomore, called her role in “Baltimore” the most complex she had ever played. But she said a continuing discussion for her and her female friends was the fact of acting opportunities that don’t come, and how to reconcile that with belief in their own talent.
“I just see these beautiful, amazing roles that these men get to do, and I wish more women had the opportunity,” she said. “If someone doesn’t get the chance, then how are they going to be able to prove themselves, and how will people actually know?”
To Ms. Greenidge, whose play is at the University of Maryland through March 5, supplying those roles for women is partly a matter of allowing a greater variety of people a chance to work, and to show what they can do.
“Sometimes in our field we like to tell ourselves that there isn’t enough room at the table for everybody. And there is,” she said — although someone might have to shove over to make space. “The people who are already sitting are happy there, and their elbows are taking up a lot of room.”
Where Are the Plays Written By and Starring Women?
Gallagher agrees with her erstwhile writing partner: “Despite there being so much more interest and opportunity, and so many playwrights, women and men, working in every conceivable style and exploring every subject you can think of or imagine, recent studies show what we already see, that most of the plays produced are written by men.”
The fault may not lie entirely with men, however. Eaton recalls how at university she and two female friends put on Yasmina Reza’s Art as an acting exercise. In the play, three male friends discuss a painting one of them has just bought, which is a white stripe on a white background, although the show is as much about friendship as about art.
“We just changed all the ‘he’s to ‘she’s and the ‘wives’ to ‘husbands’—that’s literally all we did,” Eaton recalls. “Then we tried it and it was marvellous and it worked perfectly. None of it didn’t make sense.
“Then I remember reading an interview with the writer in which the interviewer asked what she would do if women decided to take on the play. And she replied, ‘I’d be absolutely furious. It’s a play about masculinity, no woman is ever allowed to do it—I’d never allow the rights for it.’
“And I thought, ‘What a shame that you do not understand the worth of what you’re writing and that women and men are not that different.’
“We did it and it was just as brilliant, so it’s fascinating that in her mind she had written a play about masculinity. I think that’s proof that there’s a lot of hang-ups people have got about plays about men and plays about women.”
Writing new roles, righting old wrongs
Big Ten Theatre Consortium establishes New Play Initiative to combat gender inequity in the theater
Interior Scene: A college theater classroom
Professor: Who are the first five playwrights that come to mind? Anyone?
Student: Shakespeare, Chekov, Miller, O’Neill, Beckett.
Professor: OK, and who would you say are their best characters?
Student: Iago, Uncle Vanya, Willy Loman, Hickey, Estragon…
Professor: Good—complex roles, lots of stage time. Any female characters we could add to the list?
Student: (drumming fingers on desk):Um...Lady MacBeth?
Most of us, asked to list major female playwrights and stage roles, could probably count the number we know on 10 fingers, while we’d need five or six hands to list their male equivalents.
The reason is simple, says Alan MacVey, director of the UI Division of Performing Arts and chair of the Department of Theatre Arts: “There are many more male than female playwrights in the industry, and more good stage roles for men than for women. It’s a well-known problem.”
SIX FEMALE CHARACTERS YOU REALLY NEED TO STOP WRITING
There’s been a lot of talk lately about the stereotypical “Strong Female Character,” based on the CRAZY idea that we need to start thinking of female characters as . . . characters, period. In that spirit, I offer the following six female characters we really need to stop writing.
1. “The Girl.” A big group of people in a narrative that could easily be non-gendered, and yet there’s only one girl along for the ride. It’s Our Hero, Handsome Scoundrel, Crazypants, Toughest Guy, and The Girl, who has no personality apart from BOOBS. She’s probably sleeping with Our Hero, or he wants to sleep with her, and/or she provides a reason for Our Hero and Handsome Scoundrel to have dramatic tension.