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tenaciouspostfun · 6 months

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Nimbus Blog

WHAT'S HAPPENIN' NEW YORK

a look inside the great white way by Broadway Bob

All American Sex Addict/Woke AF

4/3/2024

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"All American Sex Addict/Woke AF" at The Sargent Theatre of Actors is unique play. The real positive about this play is the even level of actors in this show; no one stands above the other in any noticeable way. In many off off Broadway shows one or two actors are leaps and bounds above the rest of the cast, but not here:the blend and workmanship is pretty consistent throughout the 80 minutes due to nice direction by Phoebe Leonard- Dettmann. While the female actors put forth a better performance than the male actors, the plot of the story keeps the audience locked in and we never really see any weak links.

Reminiscent of the 80's, 90's and well into the 2000's, off off Broadway had many shows like this one... raw, edgy and in your face; after Covid, however, many of the off of went the way of climate change, political and LGBTQ. It left a vacuum of what was off off Broadway and what it should be. Oddly enough, "All American" focused on the woke but in a fun way, a comical way. It poked fun at the up tightness of the politically correct, it drove a spike in a way at the heart of the easily offended. We get a debate about whether there is a such thing as a sex addict. According to Jack (Peter Buck Dettmann) there is, he has written a screen play that says so. Unfortunately, the people involved in the story are offended by the many things that Jack has to say. Jack will defend his writing by stating that there is no one more woke than himself.

As Jack is a real character, he firmly believes what he is doing and who he is doing it too is correct and justifiable. His ex girlfriend, Ashley (Shelby Allison Brown) has had it with him, she feels that Jack has not captured her in the movie. Andie (Danielle Aziza) who is pragmatic and the voice of reason tries to reel in the movie with her thoughts and comments. More insults fly when Riley (Alex Mayer) enters the play. She too is insulted at her being portrayed in a negative light. In Matt Morillo's play, we get a smattering of the absurd, and what it is like to live today in America.

Under greens, blues and cool white lighting, Maile Binion keeps the lighting basic. As in the staging, the basic lighting is unassuming and yet effective. The costumes range from creative to erotic. Where the policewoman's uniform was a comical touch, Riley's costume near the end of the performance was oozing sexuality, her dance was the creative highlight of the show.

Even though the show about an hour in gets slow for about 5 minutes, it is a worthwhile show to see. It has a bohemian edge to it as well as comedy and the PC bantering has the audience taking sides. In this small theater the audience feels like part of the action which adds to the plays allure.

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Next up is The Sign of The Times at The New World Stages. Based on a tale set in the 1960's and amid social change it features songs from that era.

Songs like Downtown", Rescue Me", and "Give me some lovin are just a few in this anticipated show. Jukebox musicals are dependent on the staging, acting and the songs that are chosen. It always helps too when the lighting hits the mark and that the costumes are believable as well.

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deadlinecom · 7 months

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treklongisland · 1 year

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Welcome Derek Tyler Attico! Derek is a science fiction author, essayist, and photographer. He won the Excellence in Playwriting Award from the Dramatist Guild of America. He is also the author of the upcoming Star Trek Autobiography of Benjamin Sisko from Titan Books.

Before meeting at #treklongisland Get to know Derek at treklongisland.com/derek-tyler-attico/ or on his website http://www.derektylerattico.com/DTA/MAIN.html

#star trek #star talk #llap #science fi #snw #scifi #star trek podcast #star trek authors #star trek ds9 #star trek discovery

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pinerscope · 2 years

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dramatistsguild · 1 year

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Conversation with Tina Howe

It's been a difficult week losing our dear Tina Howe. She served on Council at the Dramatists Guild of America for over 30 years. Here is a piece created from an interview she gave to Ruth Goetz, originally published in the Winter 1988 edition of The Dramatists Guild Quarterly (the predecessor to #TheDramatist).

#the dramatist #dramatists guild #theatre #playwright #playwriting #theater #playwrights

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honorrollplaywrights · 3 years

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Op-Ed: Sure, resolve to stage more plays by women. It still won’t make up for all we’ve lost.

The second-tier status of female playwrights was underlined when L.A.’s Center Theater Group recently announced a 10-play season at the Mark Taper Forum, pictured. Only one of the plays was by a woman.

(Al Seib / Los Angeles Times)

BY SARAH SCHULMAN

OCT. 20, 2021

[excerpted]

Almost four decades ago, I emerged as a playwright into a world of all-white, all-male seasons and white, male critics. I’ve watched generations of male colleagues enjoy a wide range of opportunities and professional growth, while women were consistently pushed to the side. I have had two plays produced Off-Broadway and one by a highly regarded regional production company, and my work has been the subject of many workshops and readings. But like most of my female peers, I have spent 10, 15, 20 years trying to get some of my plays produced — without success.

The second-tier status of female playwrights got a moment in the spotlight earlier this month when L.A.’s Center Theater Group announced a 10-play Mark Taper Forum season for 2021-22. Only one was by a woman. Many women shouted out in anger and pain, then “Slave Play” author Jeremy O. Harris responded by threatening to withdraw his play from the upcoming season in protest. It was an unprecedented act of solidarity that pushed back against the bonds of male power and loyalties built on a history of women being excluded. His bold move was such a shock to the system that it actually worked. Center Theater Group soon announced their commitment to programming the following season with work written only by women and nonbinary playwrights, and that Harris would remain in the current lineup.

The move is essential and more theaters across America must follow CTG’s lead. But this opening of the door to the full range of our voices is so overdue and, of course, far from enough. Less than one-third of the plays produced in America are written by women, according to the Dramatists Guild.

Women over 50, especially women who are BIPOC — Black, Indigenous, people of color — “who led the path for diversity we now enjoy,” the guild said in a recent mailing, “do not appear to have directly benefitted.”

But nothing can give my generation back what was taken from us: opportunity, development, experience, influence, income and growth. And without those status markers, persuading theaters to fully transform whose work is allowed to be seen and grappled with remains difficult....

Women are working together to fight back. In 2018, playwright and television writer Jacquelyn Reingold, known for the series “The Good Fight” and “In Treatment,” and some of her colleagues formed the Honor Roll, an organization that advocates for female writers over 40. It now has 1,300 members. The group has encouraged directors to advocate for overlooked women writers and published a collection of members’ short plays.

To bring more older female writers onto the American stage, theater administrators should try speaking with us. Those of us in this lost generation of women playwrights usually have to wait years for our work to be read, only to receive a cursory email rejection. We are rarely given the opportunity to discuss the work and its values with the powers that be. ...

Sarah Schulman is a novelist, screenwriter, nonfiction writer and playwright.

https://www.latimes.com/opinion/story/2021-10-20/center-theater-group-women-plays

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writemarcus · 4 years

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Black LGBTQ+ playwrights and musical-theater artists you need to know

These artists are producing amazing, timely work.

By Marcus Scott Posted: Friday July 24 2020, 4:56pm

Marcus Scott is a New York City–based playwright, musical writer, opera librettist and journalist. He has contributed to Elle, Essence, Out, American Theatre, Uptown, Trace, Madame Noire and Playbill, among other publications. Follow Marcus: Instagram, Twitter

We’re in the chrysalis of a new age of theatrical storytelling, and Black queer voices have been at the center of this transformation. Stepping out of the margins of society to push against the status quo, Black LGBTQ+ artists have been actively engaged in fighting anti-blackness, racial disparities, disenfranchisement, homophobia and transphobia.

The success of Jeremy O. Harris’s Slave Play, Donja R. Love’s one in two and Jordan E. Cooper’s Ain’t No Mo’—not to mention Michael R. Jackson’s tour de force, the Pulitzer Prize–winning metamusical A Strange Loop—made that phenomenon especially visible last season. But these artists are far from alone. Because the intersection of queerness and Blackness is complex—with various gender expressions, sexual identifiers and communities taking shape in different spaces—Black LGBTQ+ artists are anything but a monolith. George C. Wolfe, Tarell Alvin McCraney, Branden Jacobs-Jenkins, Robert O’Hara, Harrison David Rivers, Staceyann Chin, Colman Domingo, Tracey Scott Wilson, Tanya Barfield, Marcus Gardley and Daniel Alexander Jones are just some of the many Black queer writers who have already made marks.

With New York stages dark for the foreseeable future, we can’t know when we will be able to see live works by these artists again. It is likely, however, that they will continue to play major roles in the direction American theater will take in the post-quarantine era—along with many creators who are still flying mostly under the radar. Here are just a few of the Black queer artists you may not have encountered yet: vital new voices that are speaking to the Zeitgeist and turning up the volume.

Christina Anderson A protégé of Paula Vogel’s, Christina Anderson has presented work at the Public Theatre, Yale Repertory Theatre, Penumbra Theatre Company, Playwrights Horizons and other theaters around the U.S. and Canada. She has degrees from the Yale School of Drama and Brown University, and is a resident playwright at New Dramatists and Epic Theatre Ensemble; she has received the inaugural Harper Lee Award for Playwriting and three Susan Smith Blackburn Prize nominations, among other honors. Works include: How To Catch Creation (2019), Blacktop Sky (2013), Inked Baby (2009) Follow Christina: Website

Aziza Barnes Award-winning poet Aziza Barnes moved into playwriting with one of the great sex comedies of the 2010s: BLKS, which premiered at Chicago’s Steppenwolf Theatre Company in 2017 before it played at MCC Theatre in 2019 (where it earned a Lucille Lortel Award nomination). The NYU grad’s play about three twentysomethings probed the challenges and choices of Millennials with pathos and zest that hasn’t been seen since Kenneth Lonergan’s Gen X love/hate letter This Is Our Youth. Barnes is the author of the full-length collection of poems the blind pig and i be but i ain’t, which won a Pamet River Prize. Works include: BLKS (2017) Follow Aziza: Twitter

Troy Anthony Burton Fusing a mélange of quiet storm ‘90s-era Babyface R&B, ‘60s-style funk-soul and urban contemporary gospel, composer Troy Anthony has had a meteoric rise in musical theater in the past three years, receiving commissions and residencies from the Shed, Rattlestick Playwrights Theatre, Atlantic Theater Company and the Civilians. When Anthony is not crafting ditties of his own, he is an active performer who has participated in the Public Theater’s Public Works and Shakespeare In the Park. Works include: The River Is Me (2017), The Dark Girl Chronicles (in progress) Follow Troy: Instagram

Timothy DuWhite Addressing controversial issues such as HIV, state-sanctioned violence and structural anti-blackness, poet and performance artist Timothy DuWhite unnerves audiences with a hip-hop driven gonzo style. DuWhite’s raison d’être is to shock and enrage, and his provocative Neptune was, along with Donja R. Love’s one in two, one of the first plays by an openly black queer writer to address HIV openly and frankly. He has worked with the United Nations/UNICEF, the Apollo Theater, Dixon Place and La MaMa. Works include: Neptune (2018) Follow Timothy: Instagram

Jirèh Breon Holder Raised in Memphis and educated at Morehouse College, Jirèh Breon Holder solidified his voice at the Yale School of Drama under the direction of Sarah Ruhl. He has received the Laurents/Hatcher Foundation Award and the Edgerton Foundation New Play Award, among other honors. His play Too Heavy for Your Pocket premiered at Roundabout Underground and has since been produced in cities including Los Angeles, Chicago, Des Moines and Houston; his next play, ...What The End Will Be, is slated to debut at the Roundabout Theatre Company. Works include: Too Heavy for Your Pocket (2017), What The End Will Be (2020) Follow Jirèh: Twitter

C.A. Johnson Born in Louisiana, rising star C.A. Johnson writes with a southern hospitality and homespun charm that washes over audiences like a breath of fresh air. Making a debut at MCC Theater with her coming of age romcom All the Natalie Portmans, she drew praise for empathic take on a black queer teenage womanchild with Hollywood dreams. A core writer at the Playwrights Center, she has had fellowships with the Dramatists Guild Fellow, Page 73, the Lark and the Sundance Theatre Lab. Works include: All the Natalie Portmans (2020) Follow C.A.: Twitter

Johnny G. Lloyd A New York-based playwright and producer, Johnny G. Lloyd has seen his work produced and developed at the Tank, 59E59, the Corkscrew Festival, the Samuel French Off-Off Broadway Short Play Festival and more. A member of the 2019-2020 Liberation Theatre Company’s Writing Residency, this Columbia University graduate is also a producing director of InVersion Theatre. Works include: The Problem With Magic, Is (2020), Or, An Astronaut Play (2019), Patience (2018) Follow Johnny: Instagram

Patricia Ione Lloyd In her luminous 2018 breakthrough Eve’s Song at the Public Theater, Patricia Ione Lloyd offered a meditation on the violence against black women in America that is often overlooked onstage. With a style saturated in both humor and melancholy and a poetic lyricism that evokes Ntozake Shange’s, the former Tow Playwright in Residence has earned fellowships at New Georges, the Dramatist Guild, Playwrights Realm, New York Theater Workshop and Sundance. Works include: Eve’s Song (2018) Follow Patricia: Instagram

Maia Matsushita The half-Black, half-Japanese educator and playwright Maia Matsushita has sounded a silent alarm in downtown theater with an array of slow-burn, naturalistic coming-of-age dramas. She was a member of The Fire This Time’s 2017-18 New Works Lab and part of its inaugural Writers Group, and her work has been seen at Classical Theatre of Harlem’s Playwright Playground and the National Black Theatre’s Keeping Soul Alive Reading Series. Works include: House of Sticks (2019), White Mountains (2018) Follow Maia: Instagram

Daaimah Mubashshir When Daaimah Mubashshir’s kitchen-sink dramedy Room Enough (For Us All) debuted at the Rattlestick Playwrights Theatre in 2019, the prolific writer began a dialogue around the contemporary African-American Muslim experience and black queer expression that made her a significant storyteller to watch. She is a core writer at the Playwrights Center in Minneapolis as well as a member of Soho Rep’s Writer/Director Lab, Clubbed Thumb’s Early Career Writers Group, and a MacDowell Colony Fellow. Her short-play collection The Immeasurable Want of Light was published in 2018. Works include: Room Enough (For Us All) (2019) Follow Daaimah: Twitter

Jonathan Norton Hailing from Dallas, Texas, Jonathan Norton is a delightfully zany playwright who subverts notions of post-blackness by underlining America’s obscure historical atrocities with bloody red slashes. The stories he tells carry a profound horror, often viewed through the eyes of black children and young adults. Norton’s work has been produced or developed by companies including the Actors Theatre of Louisville (at the 44th Humana Festival), PlayPenn and InterAct Theatre Company. He is the Playwright in Residence at Dallas Theater Center. Works include: Mississippi Goddamn (2015), My Tidy List of Terrors (2013), penny candy (2019) Follow Jonathan: Website

AriDy Nox Cooking up piping hot gumbos of speculative fiction, transhumanism and radical womanist expression, AriDy Nox is a rising star with a larger-than-life vision. The Spelman alum earned an MFA from NYU TIsch’s Graduate Musical Theatre Writing Program and has been a staple of various theaters such as Town Stages. A member of the inaugural 2019 cohort of the Musical Theatre Factory Makers residency, they recently joined the Public Theater’s 2020-2022 Emerging Writers Group cohort. Works include: Metropolis (in progress), Project Tiresias (2018) Follow AriDy: Instagram

Akin Salawu Akin Salawu’s nonlinear, hyperkinetic work combines heart-pounding suspense chills with Tarantino-esque thrills while excavating Black trauma and Pan-African history in America. With over two decades of experience as a writer, director and editor, the prize-winning playwright is a two-time Tribeca All Access Winner and a member of both the Public Theater’s Emerging Writers Group and Ars Nova’s Uncharted Musical Theater residency. A graduate of Stanford, he is a founder of the Tank’s LIT Council, a theater development center for male-identifying persons of color. Works include: bless your filthy lil’ heart (2019), The Real Whisperer (2017), I Stand Corrected (2008) Follow Akin: Twitter

Sheldon Shaw A playwright, screenwriter and actor, Sheldon Shaw studied writing at the Labyrinth Theater Company and was part of Playwrights Intensive at the Kennedy Center. Shaw has since developed into a sort of renaissance man, operating as playwright, screenwriter and actor. His plays have been developed by Emerging Artist Theaters New Works Festival, Classical Theater of Harlem and the Rooted Theater Company. Shaw's Glen was the winner of the Black Screenplays Matter competition and a finalist in the New York Screenplay Contest. Works include: Jailbait (2018), Clair (2017), Baby Starbucks (2015) Follow Johnny: Twitter

Nia O. Witherspoon Multidisciplinary artist Nia Ostrow Witherspoon’s metaphysical explorations of black liberation and desire have made her an in-demand presence in theater circles. The recipient of multiple honors—include New York Theatre Workshop’s 2050 Fellowship, a Wurlitzer Foundation residency and the Lambda Literary’s Emerging Playwriting Fellowship—she is currently developing The Dark Girl Chronicles, a play cycle that, in her words, “explores the criminalization of black cis and trans women via African diaspora sacred stories.” Works include: The Dark Girl Chronicles (in progress) Follow Nia: Instagram

Brandon Webster A Brooklyn-based musical theatre writer and dramaturg, Brandon Webster has been a familiar figure in the NYC theater scene, both onstage and behind the scenes. With an aesthetic that fuses Afrofuturist and Afrosurrealist storytelling, with a focus on Black liberation past and present, the composer’s work fuses psychedelic soul flourishes with alt-R&B nuances to create a sonic smorgasbord of seething rage and remorse. He is an alumnus of the 2013 class of BMI Musical Theater Workshop and a 2017 MCC Theater Artistic Fellow. Works include: Metropolis (in progress), Headlines (2017), Boogie Nights (2015) Follow Brandon: Instagram

#Black #Black LGBTQ #LGBTQ #Playwrights #Musical Theatre #Musical Theater #Writers #TimeOut #timeoutnewyork #Marcus Scott #MarcusScott #Write Marcus #WriteMarcus #Theater

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pwunion · 5 years

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Sean Abley

SEAN ABLEY is a screenwriter, journalist, dramaturg, novelist, and award-winning playwright.

He has over thirty plays published by Playscripts, Brooklyn Publishers, Heuer Publishing, Next Stage Press, Stage Partners, Plays to Order, and Eldridge Plays and Musicals with titles like End of the World (With Prom to Follow), The Adventures of Rose Red (Snow White's Less-Famous Sister), Horror High: The Musical and Two-Faced: A Tragedy…Sort Of. His plays have been developed and performed at the Kennedy Center, Antaeus Theater Company, Goodman Theatre, Celebration Theatre, Write/Act Repertory, Factory Theater, Merry-Go-Round Youth Theatre, SkyPilot Theatre Company, Virginia City Players, and academically at the Playwrights Lab at Hollins University and California State University-Stanislaus. His plays for young audiences have been performed in over 300 professional and educational productions in the U.S.A., Canada, Australia, Mexico, New Zealand, Saudi Arabia, South Africa, Argentina, Belgium, Singapore, and United Arab Emirates. Most recently his play Unabridged was an official selection of the LaBute New Play Festival 2018 at St. Louis Actors’ Studio. His play Popcorn Girl was the 2nd place winner of the National Partners of the American Theatre Award as part of the Kennedy Center American College Theatre Festival 2017, and his play Absence Makes the Heart... was a national finalist for the John Cauble Short Play Award at KCACTF the same year. His short play Zombie? was a regional finalist for the Gary Garrison National Ten-Minute Play Award as part of KCACTF 2018. Before moving to Los Angeles, he was the co-founder and co-Artistic Director of Chicago’s prolific Factory Theater in 1992 (still going strong as of this writing), where his plays Bitches, Attack of the Killer B’s, Santa Claus Conquers the Martians: The Musical and Nuclear Family all enjoyed long runs. His recent Los Angeles theatrical endeavors include the world premieres of Dr. Frankincense and the Christmas Monster (Write/Act Repertory), L.A. Tool & Die: Live! (Celebration Theatre), Larva! (SkyPilot Theatre Company), the L.A. premieres of Bitches! (Magnum Players), Attack of the Killer B’s (Factory Theater West, Backstage West Garland Award winner-Best Adaptation), and Absence Makes the Heart… (SkyPilot Theatre Company.) His television writing includes multiple episodes of So Weird (Disney Channel), Sabrina, the Animated Series (Disney/UPN), Digimon and Mega Babies (both Fox Family), as well as several pilots including Bench Pressly, The World's Strongest Private Dick with Ahmet Zappa. His produced screenplays include the B-movies Socket, Rope Burn, Witchcraft 15: Blood Rose, Witchcraft 16: Hollywood Coven and Camp Blood 8: Bride of Blood. He currently serves as the TV Writing instructor at the Orange County School of the Arts in Santa Ana, CA. Sean has an MFA in Playwriting from The Playwrights Lab at Hollins University, and is a member of the Playwrights’ Union, Antaeus Theater Company’s Playwrights Lab, the Writers Guild of America, and the Dramatists Guild.

#playwright #xs

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