*** THE NEXT PODCAST ~ CALL FOR SUBMISSIONS ***
A heads-up to members of this mailing list - the next call for submissions for the NYCPlaywrights Podcast will be on the theme of "rants and raves" and we will be looking for monologues only. More details of the call for submissions will be posted on the Podcast website in the upcoming week.
If you want to get a sense of what the podcasts are like and the kind of work we tend to select, you can check them out here:
SHARK WEEK, by Tom Misuraca for the "Midsummer Podcast":
CONTES DU CAMP CANADIAN by Vivian Lermond for the "O Canada" episode:
LOVERBOY by Michael Jalbert for "Supernatural Podcast:
NYCPlaywrights Podcast: https://www.playwrightspodcast.com?blast20181110
The Podcast is also available on:
Google Play Music:
*** FREE TICKETS: LURED ***
NYCPlaywrights is giving away a voucher for a pair of free tickets to LURED by Frank J. Avella.
As always we are giving the voucher away on a first-come, first-serve basis so email us as soon as you get this message at firstname.lastname@example.org to ask for it.
Based on factual accounts and events, LURED focuses on one particular Russian hate group's attack on a young gay man and the repercussions that follow, when his loved ones decide to take action. In this current world climate, the play could not be timelier. LURED is for mature audiences only.
LURED performance schedule is as follows: Thurs., Nov. 8th - Sun., Nov. 25th, Thurs., Fri., Sat. at 8pm and Sun. at 3pm. With added performances on Sat., Nov. 10th at 3pm and Mon., November 19th at 8pm.
For more information see https://www.luredtheplay.com
If you're too late for the free tickets you can still get discounted tickets. More details:
*** FREE THEATER IN NYC ***
Wed, November 28, 2018
7:00 PM – 9:00 PM EST
We're thrilled to welcome back this showcase of the incredible talents of Muslims in the Big Apple, hosted by the Islamic Center of NYU's Professionals Group (ICP). If the first four events are anything to go by, the evening promises to be filled with laughter, reflection and even a few tears as performers bring the event's theme 'blessings' to life through spoken word, comedy, song, and more! During these challenging times, we need to come together to celebrate who we are on our terms, beyond the headlines. Muslims Unscripted aims to do just that by creating a safe space to amplify diverse voices and experiences in our communities. You don't want to miss this event!
Housing Works Bookstore Cafe
126 Crosby St
New York, NY 10012
*** PLAYWRIGHTS OPPORTUNITIES ***
Breaking Through the Box, a Bordentown, New Jersey based Non-Profit Theater Company, is looking for plays written by up-and-coming playwrights (or new work by published playwrights) for our 2019-2020 season.
The theme of the season is “The Power of Art”, and we are looking for one to two new plays/musicals to showcase. This theme could relate to art within the story of the play, or the specific art form the play is written in (Forensic Theater, Devised Theater, Theater of the Oppressed). This play will not only be produced but also have opportunities for workshopping and feedback on the script once cast and before rehearsals begin.
Now in our third year, Corkscrew Theater Festival is a curated presentation of new work by early career artists concentrated over four weeks at the Paradise Factory Theater in the summer of 2019. This year’s festival, running July 10-August 4, will contain four fully realized productions receiving ten performances each, and four “reading slots” for work to be heard publicly for the first time. Corkscrew seeks projects that demonstrate real collaboration, especially if they are being created through innovative or nontraditional partnerships or models.
Las Vegas Little Theatre 2019 Annual New Works Competition
1. All plays must be full length (90 minutes or more). No musicals please.
2. Plays must have no more than 8 actors– doubling characters is allowed
3. The set must be simple or representational.
4. Ideally looking for subject matter that will appeal to an age range of 18 – 30.
5. Seeking new plays that have not been professionally produced or published.
6. Plays will be screened by the competition committee. The top 5 will be submitted to the judges.
7. Prizes – 1st prize = Production of the play in the Fischer Black box in May plus $150
2nd prize = $75
3rd prize = $50
*** For more information about these and other opportunities see the web site at http://www.nycplaywrights.org ***
*** THE ART OF THE TEN-MINUTE PLAY ***
Hey there, young playwright! Below you’ll find a few helpful hints to consider as you set out to write a ten-minute play. We hope you’ll find these tips useful as you imagine, write and revise.
Remember, though: these are only tips. Suggestions. That’s it. Not rules. When it comes to the world of your play, you get to pick the limits and laws of the universe. You’re the playwright—that means you’re in charge.
So: Maybe the laws of gravity don’t apply to your hero. Maybe your play takes place at the very beginning of time, or the very end. Your characters might be average, everyday people living in Kentucky at the present moment, right now. Or they might be two-hundred-year-old Argentine ghosts. Or carpenter ants. Or hallucinations, or elephants, or zombies, or trees, or talking paper clips. You decide.
Here are a few guiding principles to get you started. But after that, go crazy. Have fun. Make a mess. Scare someone silly, crack the crowd up laughing, or leave them scratching their heads. The only limits are the borders of your own imagination. We can’t wait to see what you come up with.
What’s your problem?!
There should be some sort of conflict at the heart of your play. In a ten-minute play especially, it’s important to introduce the conflict quickly—within the first three pages, probably—so there’s plenty of time to develop, explore and finally resolve it. For instance: Two monsters both want to eat the same giant cheeseburger billboard. Neither is willing to share. The purple monster called dibs, but the green monster has bigger claws...
Your characters—whether human, zombie, or superhero—should be guided by strong, clear motivations. What do they want? What’s at stake for them right now: what do they stand to lose or gain? What choices do they have to make? What obstacles do they face? Do they change during the play? How? Why?
Ten-minute plays: the most fun you can have in a theatre?
What's so great about a play that's over in the time it takes to boil an egg? Quite a lot, if Manchester's JB Shorts season is anything to go by, writes Alfred Hickling
Plays, it seems, are like wool: a fine, natural product subject to shrinkage over time. Consider how the average duration of stage drama has been whittled down since Shakespeare's time. The standard format used to be five acts, which went on all afternoon. By the beginning of the 20th century it had come down to three acts, with two intervals, to satisfy the coach parties. These days it's generally 90 minutes, with no interval, to satisfy people who've booked a nice little table somewhere. But why stop there? Why shouldn't playwrights try to say everything they've got to say in 30 minutes? Or even 10?
Writing a 10-Minute play is easy! All you have to do is come up with an ingenious idea, figure an inventive and enthralling stage mechanism, employ riveting and tender characters, serve boiling hot action, and implant sensational dialog. And get it under 10 minutes.
No problem! That’s all there is to it. So you can stop reading now.
Oh wait, sorry, when I wrote that it was easy, I meant hard. Challenging. Baffling. Rife with the potential danger of turning you into a psychotic mess.
And if you thought writing a 10-Minute Play was all this…try teaching it! Last week I twice taught a seminar on writing the 10-Minute Play. The first seminar I taught was at The Playwrights’ Center. The second session, the reprise, occurred at the Kennedy Center’s American College Theater Festival. I would gauge both sessions as not a total failure since 1) only 5 people fell asleep during my presentations, and 2) no one walked out on me. The latter maybe because there wasn’t an intermission?
I love ten-minute plays. I love them as a writer, and I love them as a teacher. Why do I love them – or more importantly, why should you be writing them? Let me count the ways:
They’re short, so you can finish them, maybe even several of them in a fairly short period of time. And finishing writing projects boosts your confidence and provides momentum and inspiration for the next project. Need proof? The next time someone asks what you’re working on, which answer will feel better:
Answer #1: I’ve been working on a screenplay, but I’m kind of stuck.
Answer #2: I just finished a ten-minute play that I’m submitting to festivals now.
Agents, producers and others you want to read your work are far more likely to do so if they only have to invest ten minutes rather than two hours. But they can’t sell ten-minute plays, I hear you cry. No – but if they like your ten-minute play they are far more likely to read your full-length work, and to read it with a positive mindset because they liked your shorter work.
Marathon runners don’t run marathons every day – they train at shorter distances and work up to them. They build muscles, stamina and technique. Writing ten-minute plays can do the same for you if your ultimate goal is to write full-length screenplays, stage plays or even long-form TV series.
I read a lot of ten-minute plays. Not only do I co-curate BUA Takes 10: GLBT Short Stories, but I run TRADE A PLAY TUESDAY and often participate myself (contrary to some beliefs, I do NOT read every play that comes in, only if I’m trading myself), as well as read for several other festivals and contests. It’s fair to say I read and/or see hundreds of ten-minute plays a year. I’ve also written nearly three dozen that have had productions around the world. As such, and even though there are great books out there on the ten-minute play (Gary Garrison’s A More Perfect Ten, for starters), I’m going to list what I feel (and as always, your mileage may vary) are the most common problems, the ones that generally preclude a play getting chosen for our festival or me recommending a play for another, and the things I find myself commenting on most often when others ask me for feedback. (And as a thorough disclaimer, these are clearly MY opinions only; I have seen any and all of these types of plays chosen and presented in festivals, but, I have to admit, I’m never sure why.)
1) It takes too long to get going. In a ten-minute play, audiences should know or at least suspect what the conflict is by page two. Very often, there is a lot of introductory and lead-up dialogue before the story actually starts on page four or five. This means it’s actually a five-minute play with a bunch of filler up front. Four or five pages in a ten-minute play is too much to waste.
Seems you can’t swing a dead cat or any other metaphorical animal these days without knocking into a ten-minute play. How the devil did this happen? Isn’t a play supposed to be at least long enough to fill up the space between dinner and bedtime? Theatre Database tells us: Although Pierre Loving published a book of "ten-minute plays" in 1923…the “official debut” of the ten-minute play as a genre is usually traced back to the Actors Theatre of Louisville’s 1977 Humana Festival of New American Plays. What began there as a quirky exercise in “Polaroid playwriting” has since evolved into nothing short of a theatrical phenomenon—an exciting and powerful new format that has altered the theatrical landscape with its possibilities. While I’ll go along with the “theatrical phenomenon” tag and the idea that the theatrical landscape has been altered, I will also note that not all phenomena and changes to landscapes are positive. For example, you could experience the phenomenon of being slimed by the ghost of TS Eliot while watching Cats (the existence of which, of course, being why TS Eliot’s ghost could not rest in peace), or you could be dealt a change in the landscape such as The Music Box Theatre being replaced by a West 45th Street Hooters, and despite the tastiness of their hot wings, this would not tip the scale in the direction of a “good outcome.”
10 minute plays are exactly what they sound like: they are plays that only last around ten minutes. Since television and the internet are becoming more popular the theatre business has, sadly, declined a little. The demand for full length plays (also known as evening-length plays, lasting usually +80 minutes) is not what it once was. Now theaters are more willing to produce collections of several 10 minute plays all at once.
Most 10 minute plays have a few things in common, such as:
10 minute plays generally do not have a lot of demands when it comes to how their stage should be set, what kind of lighting there should be, they only call for a handful of props, and don't require exotic costumes. This is because no theater wants to create an enormous backdrop for something that only lasts ten minutes, they probably have ten other 10 minute plays waiting and only a little time to get everything together to perform them.
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