*** FREE THEATER ONLINE ***
JULIUS CAESAR
by William Shakespeare
Directed by Cheryl Faraone
A Middlebury College presentation
A visceral, politically urgent thriller. Shakespeare’s study of ideology, power and populism. Who is listening?
Now streaming through Sunday, September 27, 2020 at 11:59pm on PTPNYC YouTube
This is a free event, but donations of any amount are most welcome. If you make a donation, you will receive a reminder + the link to the performance. All donations will support the ongoing work of PTP/NYC. And 10% of your generosity will support The National Black Theatre, the oldest continuously-operated Black theatre in New York City.
*** DRAMATISTS GUILD PANEL DISCUSSIONS ***
he Dramatists Guild Legal Defense Fund (DLDF) is partnering with The Dramatists Guild Political Engagement Initiative to present two online panel discussions that will highlight BIPOC writers who have previously been left out of significant cultural conversations.
Facing Censorship:
Personal Experiences on Being Banned
Thursday, October 1 at 3pm EDT
Professor Jimmy Noriega will moderate a panel of writers who will discuss their own personal experiences with censorship, the challenges they faced, and their takeaways.
Unknown Legacies:
Black Playwrights in America
Friday, October 2 at 3pm EDT
The DG and the DLDF are proud to welcome professors William Maxwell, Mary Helen Washington, and William J. Harris to discuss playwrights Amiri Baraka, Alice Childress, Claude McKay, Lorraine Hansberry, and Richard Wright, and why these eminent writers are not part of the theatrical canon as we know it today.
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*** PRIMARY STAGES ***
OCTOBER ONLINE CLASSES: Fundamentals, First Draft, and Rewriting Classes Online at Primary Stages ESPA!
Start a First Draft, keep working on Rewriting Your Draft, or learn the Fundamentals of Playwriting. NEW morning First Draft section added with WINTER MILLER (Writer, In Darfur at The Public). Faculty includes NIKKOLE SALTER (Writer, Pulitzer Prize-Nominated In the Continuum), ADAM KRAAR (Writer, Wild Terrain at EST), SUZANNE BRADBEER (Writer, Confederates) and many other award-winning writers who provide practical skills and expert guidance in a collaborative atmosphere.
Flexible, artist-friendly payment plans available.
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
21st Century Voices: New Play Festival Submissions
This year, we are seeking submissions of new plays exploring themes of mental illness, wellness and resilience. Plays on these themes should examine characters grappling with, learning about or advancing in their own mental health or the mental health of someone they love. Our intention is to shine a spotlight on mental health and to contribute to the destigmatization of mental illness.
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Lakeshore Players Theatre is now accepting submission of 10-minute plays for its 2020-2021 season's contest. The ten winners of the contest will be performed for our 17th Annual Festival, in the spring of 2021.
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The Sauk is seeking short play scripts to consider for production as part of SAUK SHORTS 2021. Scripts may be original works or published works that you would like us to consider. Scripts should have a performance time no longer than 15 minutes.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** AUTUMN PLAYS ***
AUTUMN
By preeminent playwright, screenwriter & NYU professor Richard Wesley, Autumn tells the story of Franklyn Longley, a veteran big city mayor who is in line to become the first Black governor of his state. He suddenly finds his place in history threatened when his party decides to throw its nomination behind a dynamic young politician who is also Black and just so happens to be the Mayor’s protégé. This political drama explores the conflicts that arise when aspirations collide across a generational divide marked by sharply different political agendas.
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THE BOYS IN AUTUMN
WITH the arrival of ''The Boys in Autumn,'' Bernard Sabath's new play at the Circle in the Square, the 1985-86 Broadway season has reached its official close. While this season never did produce any cutthroat competition for the honor of best play, the worst play sweepstakes is being bitterly contested right up to the final hour. ''The Boys in Autumn,'' a terminally innocuous speculation about Huckleberry Finn and Tom Sawyer in middle age, almost makes one long for ''The Boys of Winter,'' a Vietnam war drama that had been the prize 1985-86 turkey until this point. Let's be grateful that the season has ended before anyone could write ''The Boys of Spring'' or turn Roger Kahn's good book ''The Boys of Summer'' into a flop musical.
What would Huck (George C. Scott) and Tom (John Cullum) be up to when they have a surprise reunion in 1920's Hannibal? It would be cruel to divulge the evening's bombshells, although I will end obvious speculation by reporting that, pace Leslie Fiedler, the men have not opened a Missouri branch of ''La Cage aux Folles.'' Mr. Sabath has instead given the men lurid secrets that reduce two of the most beloved characters in our cultural heritage to extras in a Harold Robbins novel.
More...
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THE AUTUMN GARDEN
Most of the people in “The Autumn Garden,” Lillian Hellman’s 1951 drama of midlife malaise, have reached the age when, as W. H. Auden wrote, “mirrors might be hateful for a while.” The joy and pain of the Williamstown Theater Festival’s absorbing revival, which runs through Sunday, come from watching a top-drawer cast embody a growing, reluctant awareness of receding hair and chin lines matched by receding hopes.
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A PICTURE OF AUTUMN
Removing an aged parent or grandparent from a home that’s no longer safe or convenient is never easy. Now just imagine this scaled up a bit, so that the frail relative is clinging not to a 1950s split-level with a nagging set of stairs but to a crumbling 16th-century 18-bedroom mansion, set on 60 acres of unkempt gardens and forest. This is the problem faced by Robert, who responds to his mother’s cranky letters about caring for Winton Manor (not to mention her husband and brother-in-law) by recruiting a potential buyer for the decrepit property — only to find that his mother and clan are not as keen on downsizing as their constant complaints suggested.
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THE VELOCITY OF AUTUMN
Going gently into that good night, or going gently anywhere at all, is obviously not an option for Alexandra, the heroine of “The Velocity of Autumn,” a slight but genial new play by Eric Coble at the Arena Stage here. Although we first see her slumped comfortably in an armchair, wearing a festively colored dress and listening to a little Berlioz, the 79-year-old Alexandra, played with wonderful grit and wit by the great actress Estelle Parsons, is armed for bear.
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NEXT FALL
A flourishing member of a precious and nearly extinct species has been sighted on Broadway, looking remarkably vital and sure of itself for a creature so often given up for dead. “Next Fall,” which opened Thursday night at the Helen Hayes Theater, is that genuine rara avis, a smart, sensitive and utterly contemporary New York comedy. The question now is whether theatergoers will recognize that “Next Fall” embodies something they’ve been sorely missing, perhaps without knowing it, for years.
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AUTUMN CROCUS
Autumn Crocus is a 1931 play by the British writer Dodie Smith. It was Smith's first play written under the pseudonym of C.L. Anthony. It follows a single schoolteacher who goes on holiday to the Tyrol and falls in love with the married owner of the hotel in which she is staying.
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