*** READERS POLL - HAVE YOU EVER HAD ONE OF YOUR PLAYS PRODUCED? ***
NYCPlaywrights has a new poll on the blog (http://www.nycplaywrights.org) - your response will be made anonymously. The poll closes September 24 at 11AM. The final results will be posted here and on the blog.
The answer options - go to the poll on the blog and select one:
(this is not multiple choice - only one answer is permitted.)
• Yes (self-production)
• Yes (produced by others)
• Yes (both self-production and produced by others)
• Not yet
• I'm not a playwright
Thanks for your participation.
*** FREE THEATER IN NYC ***
PRIDE & SENSIBILITY
An Adaptation of a Newly Discovered Non-Existent Jane Austen Book in Three Acts
By Richard Etchison
Directed by Mark Cirnigliaro
September 24 & 26 @7PM
Theater at Blessed Sacrament
152 West 71st Street (east of Broadway)
FREE (suggested donation $5)
*** NYWINTERFEST THEATER COMPETITION ***
BEST PLAY $2,500
Best Short Play $1,500
Best Director, Actress, Actor and Singer $500 each
Best Musical Score $300
Best Original Play, Stage Manager and Set Designer $200.
All genres are welcome, including MUSICALS.
PLAYS OR MUSICALS BETWEEN 30 AND 90 MINUTES
ONE ACT PLAY WELCOME BUT MUST BE 30 MINUTES OR LONGER.
Our 10th Festival Season
There is no question why NYWINTERFEST has taken the world of playwrighting festivals by storm, becoming one of the largest festival in the country in just 6 years.
for more info
*** PLAYWRIGHTS OPPORTUNITIES ***
Tree City Playhouse 10-Minute Play Competition
Cash awards of $250 for 1st place, $100 for 2nd place, and $50 for 3rd place will be presented.
Winning plays will be produced by Tree City Playhouse.
To enter please send the following items to the address below:
1. Completed entry form
2. Bio of the playwright(s) – must be 100 words or less
3. Play synopsis including character descriptions
4. Three copies of the script
National Ten-Minute Play Contest
An annual event that takes place in January, the A/I Tens consist of a bill of 8-10 world premiere ten-minute plays, fully produced at Actors Theatre of Louisville and performed by our Apprentice Company of young actors.
More information here.
Scripts should be submitted between September 1-November 1 (postmark dates).
Characters in submitted plays should be in the age range 18-28.
Between Us Productions is seeking 10 minute plays for its fifth annual Take Ten Festival running April 3-9, 2017. Though this is a self-producing festival, Between Us Productions will provide the performance space, a tech time, a sound and board op, and general festival marketing. The winner will be awarded monetary and production prizes.
*** FOR MORE INFORMATION about these and other opportunities see the web site athttp://www.nycplaywrights.org ***
*** EDWARD ALBEE 1928 - 2016 ***
Edward Albee, Playwright of a Desperate Generation, Dies at 88
Edward Albee, widely considered the foremost American playwright of his generation, whose psychologically astute and piercing dramas explored the contentiousness of intimacy, the gap between self-delusion and truth and the roiling desperation beneath the facade of contemporary life, died Friday at his home in Montauk, N.Y. He was 88.
The Paris Review
Edward Albee, The Art of Theater No. 4
Interviewed by William Flanagan
The interview happened on a scalding, soggy-aired Fourth of July in a sunny room in Albee's small, attractive country house in Montauk, Long Island. Keeping in mind his luxuriously appointed house in New York City's Greenwich Village, one finds the country place dramatically modest by comparison. With the exception of a handsome, newly built tennis court (in which the playwright takes a disarmingly childlike pleasure and pride) and an incongruously grand Henry Moore sculpture situated high on a landscaped terrace that commands a startling view of the sea, the simplicity of the place leaves one with the curious impression that the news of the personal wealth his work has brought him has not quite reached the playwright-in-residence at Montauk. Still, it is in his country house that he generally seems most at ease, natural, at home.
Albee was dressed with a mildly ungroomed informality. He was as yet unshaven for the day and his neo-Edwardian haircut was damply askew. He appeared, as the climate of the afternoon demanded, somewhat uncomfortable.
The interviewer and subject have been both friends and composer-writer collaborators for about eighteen years. But Albee's barbed, poised, and elegantly guarded public press style took over after the phrasing of the first question—though perhaps it was intermittently penetrated during the course of the talk.
One of your most recent plays was an adaptation of James Purdy's novel Malcolm. It had as close to one hundred percent bad notices as a play could get. The resultant commercial catastrophe and quick closing of the play apart, how does this affect your own feeling about the piece itself?
I see you're starting with the hits. Well, I retain for all my plays, I suppose, a certain amount of enthusiasm. I don't feel intimidated by either the unanimously bad press that Malcolm got or the unanimously good press that some of the other plays have received. I haven't changed my feeling about Malcolm. I liked doing the adaptation of Purdy's book. I had a number of quarrels with the production, but then I usually end up with quarrels about all of my plays. With the possible exception of the little play The Sandbox, which takes thirteen minutes to perform, I don't think anything I've done has worked out to perfection.
New York Review of Books Featured Subject: Edward Albee
REVIEWS OF EDWARD ALBEE'S PLAYS:
A Double Bill Off Broadway: Albee's 'The Zoo Story' and Beckett's 'Krapp's Last Tape' (January 15, 1960)
"'The Zoo Story' is consistently interesting and illuminating -- odd and pithy. It ends melodramatically as if Mr. Albee had lost control of his material."
'The Death of Bessie Smith': Intense Hour (March 2, 1961)
"Albee packs a high charge of intensity into the less than an hour required for his play, 'The Death of Bessie Smith.' What is more impressive, he goes beyond intensity to achieve illumination and compassion."
'Tiny Alice': Enigma That Runs Down (January 10, 1962)
"Undoubtedly it will become one of the winter's conversation pieces. One already hears the frequent comment, 'I don't know what it means, but I'm glad I saw it.'"
The Theater: Albee's 'Who's Afraid of Virginia Woolf?' (October 15, 1962)
". . . a wry and electric evening in the theater. . . . Although Mr. Albee's vision is grim and sardonic, he is never solemn. With the instincts of a born dramatist and the shrewdness of one whose gifts have been tempered in the theater, he knows how to fill the stage with vitality and excitement."
The Edward Albee Society is dedicated to preserving and expanding the legacy of the great playwright Edward Albee.
The purpose of the Society is to promote the study of the life and works of Edward Albee, and the drama and theatre for which his work was in large part the instigator and model. This purpose is to be carried out by forming an international organization, namely this Society, whose Members will join in the exploration of Edward Albee’s life and works by means of historical and critical writing, artistic performances on stage, film, television, radio and recordings, by the amassing of historical documentation, and by publications devoted to Edward Albee and his plays. The subjects of study shall include not only Edward Albee and his works, but all aspects of the American and World Theatre he has affected by his own work in theatre as a playwright, director and producer. Furthermore the Society will support efforts that affirm the notion of drama as literature, and encourage projects that support new dramatic work by new playwrights, as an extension of Edward Albee’s own Playwrights Unit, which he founded in 1963 with his producing partners Richard Barr and Clinton Wilder. The Society will produce an annual periodical (newsletter or journal) containing articles about Edward Albee’s life and work; maintain a website listing productions of Edward Albee’s plays around the country and world, as well as events of interest to Edward Albee fans; develop and distribute educational materials for teachers; and will organize panels and conferences to promote new literary and educational scholarship.
No homework is required before seeing Death of a Streetcar Named Virginia Woolf: A Parody. The play succinctly and hilariously sums up the original material of the four component plays—Death of a Salesman by Arthur Miller, A Streetcar Named Desire by Tennessee Williams, Who’s Afraid of Virginia Woolf? by Edward Albee, and Our Town by Thornton Wilder—for both experts and novices, distilling the plays down to their essences with a witty quip from our omniscient Stage Manager. What is important to remember—and the existence of the parody itself serves as an obvious reminder of this—is how famous these masterworks of American theatre have become.
The Metaphor of the Family as Mileu for Social Comment – A Study of Edward Albee’s The Sandbox and The American Dream
Once when asked if the American family or murdering parents and children constituted the recurring theme in his plays, Albee protested against the critical tendency to fossilize a living artist: “People are often eager to make neat packages. But I think one of the most preposterous things in the world is to examine a body of work that is growing and come to conclusions about it. If I were to drop dead I could understand an evaluation being made. This whole thing may be merely a preparation for something entirely different.”1
In the early plays, Albee satirizes the bourgeois American family and destroys the common illusions attached to it. He redicules the family’s standardized components but nevertheless implies the possibility of mutual accommodation which emerges in the later plays. The important difference between the early satires and the middle and later plays is that the family unit and the house which shelters it come to represent in both real and metaphysical terms an acceptable search for order and a place for the inherent human need for love. The family is a common metaphor through out, first, providing the agency for either disharmony or communion among individuals, and, second, embodying a recognizable entity for that peculiar Albee character which Ruby Colm has called “Albeegory”.
THE ZOO STORY
High school drama club production 2005
Edward Albee 92Y Readings
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