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John William Tuohy lives in Washington DC

Playwright opportunities

 

 

*** FREE THEATER ONLINE ***

 

Join us for NOISES OFF, a 1982 play written by the English playwright Michael Frayn about a play within a play.

 

WHEN: Wednesday, September 30, 2020

TIME: Watch the show at 7:00 p.m. Join our Zoom social gathering at 6:30 p.m. Connect online on Zoom at 6:15 p.m. to make sure your audio and visual are working properly.

SHOW RUNTIME: 1 hour, 59 minutes

WEBSITE: https://www.youtube.com/watch?v=RmJWPGZp1-Y

 

HOW TO CONNECT

Sign up on this event page.

https://www.meetup.com/fr-FR/Thumbs-Up-Theatre-Toronto/events/273015754/

 

On the morning of the event, Amy will send attendees the Zoom link and password to enter the meeting.

Please ensure you are signed up to receive messages and event page updates. If you don't hear from Amy by 12 noon on September 30, send her a message on meetup.com and she will send you the link and password.

Please specify you are inquiring about NOISES OFF.

 

PART 1 - PRE-SHOW GATHERING: Connect at 6:15 p.m. on Zoom on your computer, laptop, iPad or cellphone. The 6:15 p.m. connect time is to give you 15 minutes (before the official 6:30 p.m. start time) to ensure your video and audio are working properly. If you don't have Zoom, follow the prompts to download it via the link sent to you.

The pre-show gathering will officially begin at 6:30 p.m.

 

PART 2 - THE SHOW: At 7:00 p.m. watch the show on your device

 

PART 3 - AFTER-SHOW GATHERING: At 9:00 p.m. (or whenever the show ends) join us back on Zoom for a post-show discussion and gathering.

 

 

*** DRAMATISTS GUILD WEBINARS ***

 

This fall, seven thought-provoking and informative webinars will be held between Monday, Sep 21 and Friday, Oct 2.

 

Banned Together

Highlighting Banned BIPOC Writers

The 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

 

Unknown Legacies: Black Playwrights in America

Friday, October 2 at 3pm EDT

 

Wait! That’s Not What I Wrote!

with Cheryl Davis from The Authors Guild

Monday, September 21 at 2pm EDT

 

Copyright Questions

with Catherine Rowland from the U.S. Copyright Office

Monday, September 21 at 2pm EDT

 

Music Copyright 101

with Sean Patrick Flahaven from Concord Music

Wednesday, September 30 at 2pm EDT

 

https://www.dramatistsguild.com/news

 

*** OPPORTUNITIES FOR PLAYWRIGHTS ***

 

Continuing our aim to develop and produce new and overlooked plays by exciting playwrights over 40, Prism Stage Company is currently seeking submissions for our ongoing Play Development Lab and future programming.

Playwrights who are BIPOC (Black, Indigenous and people of color over 40) are highly encouraged to submit.

 

***

FutureFest seeks original work (NO musicals or plays for children) that has not been published or produced where admission was charged prior to FutureFest 2021. Staged readings/workshop productions are not necessarily disqualifying factors.

 

***

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Best Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Pricilla Lopez a Drama Desk Award nomination.

 

*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***

 

*** BEN BRANTLEY ***

 

Ben Brantley, the influential New York Times theater critic, will leave the job next month. “This pandemic pause in the great, energizing party that is the theater seemed to me like a good moment to slip out the door,” Brantley said in a statement.

 

The vacancy will provide the Times with an opportunity to expand the diversity of the newspaper’s chief theater critic line-up. Maya Phillips, a woman of color, is an arts criticism fellow and frequently reviews stage works, but the chief critic job has traditionally been held by white men.

 

More...

https://deadline.com/2020/09/ben-brantley-new-york-times-theater-critic-retirement-1234574410/

 

***

 

Welcome to DidHeLikeIt.com, your official guide and translator for all the Broadway theater reviews by Ben Brantley, the chief theater critic for the The New York Times... and The World (insert evil and high pitched Ben Brantley laugh here).

We developed DidHeLikeIt.com for two reasons.

 

1. Everyone wants to know if Ben Brantley and The New York Times liked a Broadway show or not.

2. No one actually wants to read the reviews.

 

More...

https://www.didhelikeit.com/about.html

 

 

***

 

Some have asked it with urgent desperation, as if a new Times critic would be the end to their theatrical drought. (It’s so easy to blame critics when things don’t go your way – but negative reviews and/or positive reviews are never what decides your fate.)

 

I asked Ben the same question when he appeared on my podcast. Even back then, he had already occupied his important theater seat longer than most.

 

“How long will you keep doing this?”

 

His answer? He told me he was going to keep doing it and saw no reason to stop.

 

And I remember thinking . . . “Good.”

 

I know, I know, that response surprised even me, but keep reading.

 

Last week, Ben finally saw a reason to stop. On Friday, the Times announced he was stepping down from his post as the Chief Drama Critic for the New York Times. Another casualty of the pandemic.

 

Ben was a tough critic, no question. But I’m going to miss him, something I never thought I’d even think, never mind say.

 

More...

https://www.theproducersperspective.com/my_weblog/2020/09/ben-brantley-something-i-never-thought-id-see-or-say.html

 

***

Ben is a cultural omnivore, and his wonderfully wide-ranging knowledge is there in every piece he writes. That first “Summer and Smoke” review quoted a Tennessee Williams interview in Playboy magazine and name-checked Hillary Clinton, Katharine Hepburn and “Independence Day”; his latest, of “The Jacksonian,” referenced Jim Thompson, Carson McCullers and Lillian Hellman.

 

That review was of a Zoom reading of the script, a necessary adjustment with live theater largely sidelined. Yet when one Berkshires theater got the historic OK to perform before an audience again, Ben Brantley was there, notebook in hand.

“We adapt, we make do, even as we long to return to the age of the handshake and the hug,” he wrote of the experience.

 

More...

https://www.nytco.com/press/ben-brantley-take-a-bow/

 

***

 

EPISODE 63: BEN BRANTLEY: TELL ME A STORY

On this week’s episode, Jamie and Rob are joined by Ben Brantley, co-chief theater critic for The New York Times. A consummate journalist and celebrated writer, Ben talks about how he came to the Times, his tenure there since 1993, his writing process, what theater criticism means to him, and why he loves the theater. A bit later in the show, Rob gives a look into the career of experimental playwright and director Richard Maxwell through the lens of a Ben Brantley review.

 

https://broadwaypodcastnetwork.com/the-fabulous-invalid/episode-63-ben-brantley-tell-me-a-story/

 

***

 

Cast of Preschool Nativity Play Wakes Up to Scathing Review From Ben Brantley

 

MOUNT PLEASANT, S.C. — The cast of St. Joseph Preschool’s production of the Nativity scene woke up to a devastating sight this morning, as they opened their copy of the New York times and discovered that theatre critic Ben Brantley had given them a devastatingly negative review, sources close to the toddlers report.

 

“It’s a terrible feeling to read those things about your child,” says parent Janet Lobanick. I mean, Brantley wasn’t entirely off base with his assessment. The sets were shoddy and the performances amateurish. It’s the tone of his review that got to me - I mean he really seemed to revel in ripping this production a new one.”

 

More...

https://www.thebroadwaybeat.com/post/cast-of-preschool-nativity-play-wakes-up-to-scathing-review-from-ben-brantley

 

***

 

You guys, social media feuds just got a lot more highbrow. The latest celebrity to call another well-known person out for being “a little bitch” on Instagram (the message was scrawled over a photo, the modern equivalent of Mene Mene Tekel Upharsin) is not your usual breed of Real Housewife or pop star I’ve recently become too old to have heard of, but James Franco, the polyglot actor who is the only person in the history of the universe to actually do everything that artsy boy from Jewish summer camp told you he was planning to.

 

The subject of his ire is none other than Ben Brantley, the lead theater critic of the New York Times, who recently reviewed the production of Of Mice And Men Franco is currently starring in with Chris O’Dowd, with his patented brand of tepid criticism. Franco, he observed, “is often understated to the point of near invisibility. It’s a tight, internal performance begging for a camera’s close-up.”

 

More...

https://www.tabletmag.com/sections/news/articles/james-franco-directs-rant-at-nyt-theater-critic

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