*** FREE THEATER ONLINE ***
FRESH FRUIT FESTIVAL LGBTQ MONOLOGUES
The Fresh Fruit Festival, now in its 19th consecutive year, is presenting works in the following format for development in filmed virtual presentation: LGBTQ MONOLOGUES, on the THEME: “The Ache for Home," Works range from 4 to 8 minutes in performance length, and relate to the LGBTQ experience. Eight written monologues were chosen from more than 60 applicants, then later resubmitted as short videos for entry into the development program.
CHRISTMAS CANTATA
by Craig Winberry
the relationships we have with our immediate family, while exploring a coming of age for young gay men when first experiencing sexual desires. The power of using sexuality for gain and the inevitable set backs endured because of those tactics.
HOW COLD IS THE SNOW
by Nathaniel Foster
The moment we realize we are the only ones who get to be in charge of this time we are gifted to live; when we as Queer have to make the necessary sacrifices to live our lives freely and fully.
NIGEL, GUYS, AND DOLLS
by Doug DeVita
About mothers, martinis, and death. 50 year-old Nigel deals with his childhood the only way he knows how. Given his rather unorthodox upbringing, it’s a rather unorthodox sort of not-quite-eulogy.
ONE NIGHT IN LISBON
by Manuel Igrejas
There will come a time in our lives when we realize what really matters. We might even be quite far from home when it happens.
RED OR WHITE
by Rachel Herron
In the world of wine, people accept varying notes and nuances in red and white wines and don’t feel compelled to choose between the two, but when it comes to understanding her bisexuality, they don’t dive in with the same gravitas or acceptance.
STAY AS LONG AS YOU LIKE
by Sebastian Timpe
A backstory, about not knowing how to let someone into the home you’ve had to make for yourself.
UNCOVERED
by Sydney Haas
A summer evening in the park. Jesse thinks nervously as they ponder the question of their tattoo-artist-turned-lover: will they be leaving her? Where is her home?
*** PRIMARY STAGES VIRTUAL GALA 2020 ***
Streaming through October 25, 2020
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
The Sauk, Hillsdale County's Community Theatre, located in Jonesville, Michigan is seeking entries to consider for our seventh annual Plays-In-Development in 2021. We are seeking unproduced plays. These can be any style (comedy, drama, young audience and/or musical) and any length (one-act or full-length). It is understood (and expected) that changes will be made to the script between initial submission and performance.
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As we venture into our 2020/2021 season, we recognize that artist have been impacted tremendously from this Covid 19 Pandemic. It is important that we stand together as a community. It has always been The M Ensemble’s mission to promote African- American culture and experiences through the performing arts. Which is why we are so excited to give artist of color an opportunity to submit their original plays to be produced in or up and coming season!
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We seek an anthology to showcase works by playwrights examining Covid-19 in all its permutations. We are looking for short plays and monologues from diverse playwrights worldwide who have something to say about the current pandemic. The anthology will be published by FlowerSong Press in Spring 2022.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** ADVICE FOR PLAYWRIGHTS 2020 ***
By now we’ve all been invited to a Zoom event that we were supposed to attend in-person. Of course the rescheduled virtual events aren’t the same, but that doesn't mean they can’t still be entertaining. Out of all the public locations that shut down six months ago, going to the theater is what I miss the most. I decided early on that I was going to make the most out of the situation, and use the resources I had to their fullest potential.
Now, producing remote theatre for an online audience is a new endeavour for most of us. There’s certainly a learning curve, and it can be intimidating. But don’t be afraid to think outside the box. (And screen!) Theatre artists are constantly learning and adapting. So, while I hope you all strive to make each show better than the last in some way, don’t put too much pressure on yourself. It doesn't have to be perfect, but here are some guidelines to help you avoid some common missteps. The fun is in the process!
Here are ten valuable tips for theatre artists that I’ve learned this year from producing, directing, and/or stage managing over a dozen shows in quarantine. I know we’re all eager to work in live theatre again, but until then, I hope you make the most of your time spent creatively at home.
1) Expand Your Theatre Family
Now is your chance to work with people you wouldn’t normally be able to. Post your casting calls on a variety of Facebook groups to find actors and designers from all around the world. You might even be able to reconnect with old theatre friends who moved out of state. As long as you are all willing to accommodate the time differences, the possibilities are endless. This is a great way to grow your network and learn from a variety of people’s experiences. Or even host a reunion of talented artists you haven’t worked with in ages.
2) Connect With Your Audience
One of the things I miss most about live performance is the final piece of the puzzle—the audience! Since performing to a small camera doesn’t allow us to hear the crowd’s laughter, gasps, and sniffles throughout the Zoom show, we don't get the same thrill as performing on a stage. Actors crave the real-time response from the audience to share in the emotion of the story. It’s that live relationship that makes storytelling such a cathartic experience. But you can fill our need for human connection by having a talkback after your show. Have everyone turn on their cameras and microphones to chat with the cast just like they would in the lobby. It’s the best alternative to staying connected with your community of fellow artists as well as your extended theatrical family. If your show is interactive, ask your audience to participate in the chat box throughout the show to get immediate feedback and to keep them engaged.
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1. A play is just a bunch of heartbeats tangled together.
2. Never write like a director. Ever.
3. There is no random. Random can corner you.
4. Plays are fluid. They move. A lot.
5. Writing offers freedom. The theater does not. Be willing to collaborate, or else write a novel.
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