Music Theatre of Madison, a professional theatre company in Madison, Wisconsin, is seeking submissions from everywhere for our 2017 Festival of New Musicals. This will be the second year of the Festival (last done in 2015), which features readings of 3 or 4 musicals still in development as well as talkbacks with audiences. It is the only series of its kind in Wisconsin. Dates are still being determined for the 2017 festival, but it will likely take place in October-December of 2017.
Stay Awake! is accepting original 10-minute play submissions for its second Prism Festival. Selected plays will receive a full staging in New York City at Shetler Studios in The Bridge Theatre, June 2017. A panel of professional theater artists will select the final plays. We request one submission per playwright.
Plays must be no longer than ten minutes, must be original, and previously unproduced works (student productions are acceptable). We seek pieces that pose a philosophical question, confront the status quo, or somehow empower unheard voices.
Given Stay Awake!'s commitment to education, in particular, the intersection between arts and learning, we actively seek artists who affiliate with an academic institution as a student, staff, or faculty member.
FROM PAGE TO STAGE is a festival of new musical theatre dedicated to showcasing un-produced work and work in development to an audience to garner feedback and create new opportunities for the artistes involved.
We are delighted that the fifth annual FROM PAGE TO STAGE festival has been invited to Andrew Lloyd Webber's newest theatre The Other Palace.
The 2017 festival will open for submissions on November 28, 2016 and close February 28, 2017.
To submit for an application, you will need:
- Information about the piece and its writers (names, cast sizes, etc.)
- A 100 word summary of the show
- 3 mp3 song files
- a pdf of the first 20 pages of the libretto
- 1 piano/vocal sheet music example
*** FOR MORE INFORMATION about these and other opportunities see the web site at http://www.nycplaywrights.org ***
*** DRAMA AS PROTEST ***
An autocratic leader has won the vote. He has charm, yes, and smarts of a kind, but also a cruel streak. Beatings are frequent, and assassination — foreign and domestic — has become commonplace. His cultural pronouncements have had a chilling effect on the arts, theater in particular.
Take your seat for “Evening at the Talk House,” an ultra-dark comedy by the playwright and actor Wallace Shawn (“The Designated Mourner,” “Aunt Dan and Lemon”) for the New Group that begins performances at the Signature Center on Tuesday, Jan. 31. Though written years before Donald J. Trump announced his candidacy, and first produced in London in the fall of 2015, the play may strike some as oddly prescient.
Set in the course of one night, it eavesdrops on several people who worked together on “Midnight in a Clearing With Moon and Stars,” a fictitious flop from a decade ago. They have gathered for a reunion at a rundown club. As they snack and sip and reminisce, they reveal the brutality of the world outside and the ways that artists can abet it, resist it and ignore it.
The London production stoked controversy, with The Independent approvingly describing a “disturbing, balefully hilarious new play,” while many other critics attacked its tone, pace and politics. More than a year later, in the wake of Brexit and the presidential election, that controversy is likely to resonate anew.
On the morning of President Trump’s inauguration, Mr. Shawn, who also appears in the play, the director Scott Elliott and the other members of the cast — Matthew Broderick, Jill Eikenberry, John Epperson, Larry Pine, Claudia Shear, Annapurna Sriram and Michael Tucker — gathered at a rehearsal space to discuss drama as protest and whether or not to invite the president. These are edited excerpts from the conversation.
After Matthew (Shepard)’s murder in 1998, members of the Tectonic Theater Project in New York City traveled to Laramie, Wyoming, to interview residents about how the attack on Matt had affected the town. These transcripts were transformed into the play The Laramie Project, which tells the stories of real people who lived at the epicenter of one of the nation’s most heinous anti-gay hate crimes.
The Laramie Project is one of the most frequently performed plays in America, as its messages still resonate with audiences today. The Matthew Shepard Foundation supports dozens of productions of The Laramie Project and its epilogue The Laramie Project: Ten Years Later every year across the country.
Political theatre takes many forms. It can be an engrossing judicial inquiry like Bloody Sunday. It can be a family saga like Wesker's Chicken Soup With Barley. Or it can be a deeply moving personal testimony like this selection from the writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner, editor of Guardian Weekend Magazine, and performed by Megan Dodds.
In the course of 90 minutes you feel you have not just had a night at the theatre: you have encountered an extraordinary woman.
Most readers will know the bare facts about Rachel Corrie: that she was a 23-year-old American who went to aid Palestinians in the Gaza Strip and in March 2003 was killed by an Israeli bulldozer. But what comes as a shock is realising that she combined an activist's passion with an artist's sensibility. Louis MacNeice once yearned for a poet who was "informed in economics, actively interested in politics". Rachel Corrie emerges as just such a person.
Despite bearing the title Tahrir Tales: Plays from the Egyptian Revolution, the works in this new anthology, translated and edited by Rebekah Maggor and Mohammad Albakry, aren′t limited to the events of January and February 2011, nor to other uprisings that have taken place in Cairo′s iconic downtown square.
The collection paints a broad picture of revolt, looking beyond street protests and politics. So why ″revolution″? In an email interview, Maggor said she hoped ″the inclusion of the word ′revolution′ in the title will encourage readers to see these plays in a more global context, as part of broader canon of ′drama of protest.′ ″
THE story of ''The Island,'' a South African prison drama, suggests that symbolic resistance to oppression can play a role in giving birth to freedom itself.
The play's persuasiveness derives from the circumstances of its creation. ''The Island'' was written and performed in South Africa in 1973 in response to the country's racist apartheid laws. The white South African dramatist Athol Fugard had begun a theater company, the Serpent Players, to encourage theatrical collaboration between black and white artists. Together with the black actors John Kani and Winston Ntshona, he wrote a two-character play based on the experiences of an actor they knew who had been sent to Robben Island, the notorious prison where political dissidents, including Nelson Mandela, were held.
1. Never underestimate the political power of hair
“Can you tell me why you’re so uptight about having your hair cut?” a suspicious prison guard asks Woof, when the gang are arrested for crashing a dinner party held by an aristocratic New York family, and violently refuse the clippers brandished at them on the way into prison. The protest prompts the magnificent musical outburst from which the film takes its name – just try to erase the rhythmic chant of “hair, flow it, show it, long as God can grow it” from your mind after watching the song – but it’s far from simply an aesthetically motivated decision. In an era when young men were being drafted en masse to fight in what many considered to be a purposeless war in Vietnam (“the draft is white people sending black people to make war on the yellow people to defend the land they stole from the red people!” a protesting hippie announces in one memorable moment) growing one’s hair was a stamp of pacifism, not to mention a powerful symbol of gender equality. “Hair was the hippies' flag,” theatre writer Scott Miller wrote of the show’s central motif, “their ... symbol not only of rebellion but also of new possibilities, a symbol of the rejection of discrimination and restrictive gender roles.”
It’s early November and I’m sitting nervously in a huge grey conference room at the Queen Zein Al Sharaf Institute, a community centre in downtown Amman. There’s a white flip chart on an easel, as requested by our Syrian director Omar Abu Saada. It’s pretty empty – just me, Omar, co-producer Hal Scardino and a neat U-shape of corporate chairs. All I can think is: what happens if nobody comes?
This is day one of our Syria Trojan Women drama workshops: a production of Euripides’ great anti-war tragedy, with an amateur cast of Syrian refugee women in a theatre in Jordan. There are now more than 2m Syrian refugees – 10 per cent of Syria’s population – and half a million have fled to neighbouring Jordan. We hope the production will spearhead a longer-term programme of drama-therapy workshops and bring global attention to the Syrian refugee crisis. Or at least it will if the women turn up.
Yasmin Fedda, a UK-based part-Syrian documentary maker, walks in and fiddles tactfully with her camera. Itab Azzam, our Syrian producer, follows and then stares, almost paralysed, at the open door.
The Trojan Women is about refugees, set at the fall of Troy. All the men are dead and the former Queen Hecuba of Troy, her daughter Cassandra and the rest of the women are waiting in a refugee camp to hear their fate. Euripides wrote the play in 415BC as an anti-war protest against the Athenians’ brutal capture of the neutral island of Melos; they slaughtered all the men and sold the women and children into slavery.
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