#lucy kirkwood

[general-dar-benn]

Maryland by Lucy Kirkwood

[will-grahams-straitjacket]

Joseph Quinn fans- you can rent a play he was in in 2017.  It’s $8 USD for 3 days.  I don’t know how long it will be available, so I’d jump on it.

[rayhaber]

İstanbul Büyükşehir Belediyesi Şehir Tiyatroları’ndan 'Gök Kubbe' Oyunu

İstanbul Büyükşehir Belediyesi Şehir Tiyatroları’ndan “Gök Kubbe” İstanbul Büyükşehir Belediyesi Şehir Tiyatroları, ünlü yazar Lucy Kirkwood’un kaleme aldığı ve daha önce Londra ile New York’ta sahnelenmiş olan “Gök Kubbe” adlı oyunu, İstanbul seyircisiyle buluşturmaya hazırlanıyor. Ali Gökmen Altuğ’un yönetmenliğinde sahnelenen bu etkileyici yapım, kadın dayanışması, adalet ve toplumsal…

[uncertainturquoise]

I had the opportunity to hear a talk with Lucy Kirkwood at my university last week! She talked about her new projects, The Witches (musical adaptation of the Roald Dahl novel) and The Human Body (play about the beginnings of the NHS). I even got to ask a question!

[pauldutu]

Bolta cerească de Lucy Kirkwood pe scena Teatrului Naţional I.L. Caragiale din Bucureşti!

Bolta cerească de Lucy Kirkwood pe scena Teatrului Naţional I.L. Caragiale din Bucureşti!

Teatrul Naţional I.L. Caragiale din Bucureşti anunţă premiera spectacolului Bolta cerească de Lucy Kirkwood, în data de 10 decembrie 2022, ora 19.30, la Sala Atelier. Piesa, regizată de Gelu Colceag, spune o poveste plină de suspans despre o condamnare în Marea Britanie a secolului al XVIII-lea, pe care autoarea o transformă într-un comentariu relevant și acut asupra societății de astăzi, asupra…

[bestmusicalworldcup]

London's National Theatre and The Roald Dahl Story Company are producing a musical adaptation of Roald Dahl's The Witches with music and lyrics by Dave Malloy and book and lyrics by Lucy Kirkwood.

It plays at the National Theatre from November 7th 2023 - January 27th 2024.

[this-is-a-dystopian-parable]

Part One!

Song-by-song synopsis and review of Dave Malloy and Lucy Kirkwood's The Witches.

Preface I guess with the fact that I enjoy a more lighthearted and spectacle based show sometimes, it can work! This show I'd say is somewhere between Matilda and Willy Wonka and the Chocolate factory in tone; they definitely wanted to make it another Matilda and though it's just as dark, it doesn't lean into the introspection as often. This doesn't feel like a Malloysical, so don't expect it to, but it's a good show nonetheless.

1. A Note about Witches (The Witches)

Like Matilda, Witches opens with an exposition song taken directly from the book! The witches tell us how they've learned to hide as nice, well-mannered ladies so that no one will suspect them. And how much they hate children, there's even a trick where a child in a cage gets turned into a dog. This song takes place in front of the curtain, and there's a big screen that features animations for a couple segments. Don't worry, you won't see much of it.

Right off the bat, the ensemble is pretty big and they're killing it. There's at least a dozen witches. This song is fun and dark, plays off of the different solo lines well and feels appropriately chaotic at times.

Favorite line: "A nudge to Mr. Shakespeare / Some hints to Brothers Grimm / In Salem we made scapegoats / And you tore them limb from limb"

2. Ready to Go (Luke, Young Company)

First real set of the show, in his house Luke argues with his parents about wanting a pet. I think the choice to include his parents in this is strange, since the book begins after they've been dead for a while and there isn't anything particularly interesting about this scene. The parents aren't really likeable so idk how to feel when they die.

Luke sings about how he's ready to grow up and be on his own and do all the stuff no one lets him do. This number is kinda fun because the ensemble are all dressed like him but with big masks representing each thing, and I like the object head vibes. But I think the additional motivation added to Luke here feels like it's trying too hard to engage the kids in the audience, or be like Matilda, and it almost never comes up again.

At the end, his parents swerve off the road and crash their car.

Favorite line: Don't have one :/

3. How to Recognize a Witch (Gran, Young Company)

With his parents dead, his Norwegian grandmother Gran comes to take care of him. She's bonkers and we love her dearly. She shows up witch crates and crates of objects (and animals) that were once children who had been victims of witches. They sing a song about all the warning signs: wigs, gloves, and pinchy shoes.

This is the first use of children popping up from inside boxes that look too small. It's fun. The costumes are kinda cheap and simple which is strange considering the ridiculous budget of the rest of the show which I will touch more on later. But the song is really fun and Gran gets really into it.

Favorite line: I love that they kept in the girl who turned into a painting. The witch trapped her inside a landscape painting in their house, not able to move, and all the parents could do was watch her as she slowly died. Dark! This is also the second use of the screen.

4. Heartbeat Duet (Luke, Gran)

Aaaaaaaaaaaa

After Luke had a run-in with a witch, Gran comes to his rescue but she has a heart attack. She's rushed to the hospital, surrounded by doctors and nurses, for an operation, while Luke has to wait outside the room.

This is such a good song. I love the way the heartbeat monitor is the defining instrumental and the movement on stage is synced to it. While Luke says that everything is happening too fast (the one time we get reference to his opening motivation) Gran sings about her heart beating too slow. The way their two experiences overlap is really beautiful, and the relationship between a little kid and his grandmother was my favorite part of the book.

Favorite line: "I'm just ten years old" "eighty-five years old" "and my heart is beating so fast so fast so fast too fast" "too soon"

5. Magnificent (Mr Stringer, Hotel Staff)

WOOoOOooOOOO

The doctor tells Luke and Gran he booked them a seaside vacation for her recovery. Which means it's time for the hotel manager, MR STRINGER. BIG HAND FOR THE HOTEL MANAGER.

Big oom-pa number welcoming them to the hotel as the set changes behind them. This song is so FUNNY it's so FUN and there's like TWENTY ENSEMBLE in it. The hotel staff uniforms are all in magenta and baby pink we are so BACK.

The second curtain raises to reveal the full depth of the set, a lavish hotel of pink marble and fancy wallpaper with turquoise trim. Right now, a concierge deck takes up the center.

Favorite line: "At the hotel where you'll never feel alone / fill the howling void of your dark and lonely soul"

6. Bruno Sweet Bruno (Bruno, Company)

While they're being checked in they meet Bruno!!!!! The perfect child. We love him. He sings a HUGE VEGAS NUMBER with TAP DANCING. Ans once again, so many ensemble members in yet another costume change.

LOOK AT MY BOY GO.

Okay this is getting REALLY long and we're not even at the act break so I'm going to split it up into multiple parts. See you soon!!

[keeleyhawesnews]

Keeley Hawes is to return to the stage for the first time in a decade with a new play at London's Donmar Warehouse. She will appear in the world premiere of Lucy Kirkwood's new romantic drama The Human Body.

Set in 1948, The Human Body will see Hawes play Iris Elcock, a GP and Labour party councillor. But the life she shares with her husband in Shropshire is disrupted by a chance encounter with George Blythe, a local boy who has made it to Hollywood.

She said, "Lucy Kirkwood has created a brilliant, complicated, inspiring role in Iris, and the play tells a wonderfully tender and human story against the backdrop of a significant moment in our country's history. I'm so thrilled to be returning to the stage, and especially to the Donmar for Michael Longhurst's swan-song as artistic director."

Keeley last appeared in stage in 2013 with the comedy Barking In Essex, exactly a decade ago.

The production, directed by Longhurst and Ann Yee, will play at the Donmar from 16 February until 13 April 2024.

[thespianinthebackcorner]

If anyone can y'all should go see the stage play The Children by Lucy Kirkwood! It's got a lot of death themes but it's actually masterful in its sound design and foreshadowing. I just saw it and skrhsidnskdjwksnejdnskrjwjsn TAKE THE CHANCE IF IT SHOWS UP

[ulkaralakbarova]

During a snowy winter in the small fictional town of Knight’s Ridge, Massachusetts, a group of lifelong buddies hang out, drink and struggle to connect with the women who affect their decisions, dreams and desires. Credits: TheMovieDb. Film Cast: Willie Conway: Timothy Hutton Tommy “Birdman” Rowland: Matt Dillon Michael “Mo” Morris: Noah Emmerich Tracy Stover: Annabeth Gish Darian Smalls: Lauren Holly Andera: Uma Thurman Sharon Cassidy: Mira Sorvino Paul Kirkwood: Michael Rapaport Gina Barrisano: Rosie O’Donnell Stanley “Stinky” Womack: Pruitt Taylor Vince Kev: Max Perlich Jan: Martha Plimpton Marty: Natalie Portman Sarah Morris: Anne Bobby Dick Conway: Richard Bright Steve Rossmore: Sam Robards Bobby Conway: David Arquette Victor: Adam LeFevre Frank Womack: John Carroll Lynch Peter the Eater: Tom Gibis Lead Singer, Afghan Whigs: Greg Dulli Ticket Agent: John Scurti Irv: Frank Anello Sharon’s Mother: Camille D’Ambrose Kristen Rossmore: Sarah Katz Chip: Martin Ruben Waitress at Moonlight Mile: Allison Levine Bartender: Earl R. Burt Michael Morris, Jr.: Trent Nicholas Thompson Cheryl Morris: Nicole Ranallo Reunion Classmate #1: Joyce Lacey Coffee Shop Waitress: Anne W. Erickson Drinker #1: Oliver Osterberg Drinker #2: Sterling Robson Bar Owner: Herbie Ade Bowler (uncredited): Tammara Melloy Woman on the Street (uncredited): Lori J. Ness High School Alumna (uncredited): Rachel Oliva Male Nurse (uncredited): Tomas Settell Film Crew: Director: Ted Demme Associate Producer: Scott Rosenberg Executive Producer: Cathy Konrad Executive Producer: Bob Weinstein Executive Producer: Harvey Weinstein Producer: Cary Woods Original Music Composer: Dave Stewart Director of Photography: Adam Kimmel Editor: Jeffrey Wolf Casting: Margery Simkin Script Supervisor: Wendy Lee Roberts Costume Design: Lucy W. Corrigan Music Supervisor: Amanda Scheer-Demme Music Editor: Todd Kasow Production Sound Mixer: James Thornton Boom Operator: William G. Flick Sound Re-Recording Mixer: Peter Waggoner Supervising Sound Editor: Stuart Levy Production Coordinator: Teresa M. Yarbrough Production Design: Dan Davis Set Decoration: Tracey A. Doyle Art Direction: Peter Rogness Co-Producer: Alan C. Blomquist Associate Producer: Joel Stillerman Executive In Charge Of Production: Meryl Poster Art Department Coordinator: Kit Barrett Stunt Coordinator: Peter Bucossi Still Photographer: Lorey Sebastian Still Photographer: Peter Iovino Assistant Costume Designer: Trina Mrnak Key Hair Stylist: Deborah Ann Piper Hairstylist: Roxanne Wightman Makeup Artist: Cindy J. Williams Dialogue Editor: Magdaline Volaitis ADR Editor: Kenton Jakub Property Master: Martin Lasowitz Stunts: Denney Pierce Movie Reviews:

[robertaimejocelyne]

NSFW de Lucy Kirkwood, première lecture publique au Théâtre du Rond Point à Paris le 27 JUIN 2024

[glennfitzgerald]

The Welkin

BY LUCY KIRKWOOD DIRECTED BY SARAH BENSON

MAY 16 – JUNE 30, 2024 LINDA GROSS THEATER

[lucianarodriguezdiaz]

"Hijas e Hijos" (The children) - de Lucy Kirkwood, dirección María Varela

[writemarcus]

Art House Productions Announces 2023-2024 INKubator Playwrights

originally published: 10/04/2023

(JERSEY CITY, NJ) -- Art House Productions has announced the 2023-2024 cohort of its INKubator Program. INKubator is a year-long generative process for a select group of 6 playwrights in residence at Art House Productions. This year's playwrights are Upasna Barath, Amanda Sage Comerford, Leo Layla Díaz, Neil Levi, Dave Osmundsen, and Marcus Scott.

Playwrights will meet monthly alongside program director Alex Tobey to share new work, receive feedback, and develop a first draft of a new play. In the spring, each writer will team up with a director and actors to present a public reading as a part of Art House Productions' INKubator New Play Festival scheduled for May 2024. Audiences who attend the festival will have the opportunity to participate in conversations with the writers, directors, and actors following each performance.

INKubator playwrights will be the first cohort to meet full-time in Art House Productions’ new theater inside the Hendrix, at 345 Marin Boulevard between Bay Street and Morgan Street. In addition to official INKubator programming, playwrights will also have the ability to utilize the space for meetings, rehearsals, and readings.

Submissions were evaluated through a process coordinated by INKubator Program Director, Alex Tobey, in partnership with INKubator alum playwrights Iraisa Ann Reilly and Micharne Cloughley, and Art House Productions’ Associate Executive Director, Anna Gundersen.

The following finalists were also honored in this year’s submission process: Phillip Gregory Burke, Lauren D'Errico, Kevin T. Durfee, Joseph Gallo, Lizz Mangan, Kyle Mazer, Frank Murdocco, and M. D. Schaffer.

Advertise with New Jersey Stage for $50-$100 per month, click here for info

Anna Gundersen, Associate Executive Director of Art House Productions, says, “This year’s INKubator cohort is an exciting group of talented playwrights who pitched unique and thoughtful plays to develop. INKubator is a program that began at Art House in 2018, and under the leadership of Alex Tobey, it continues to grow. We look forward to supporting these artists during their play development residency and in the future.”

Art House Productions is currently in rehearsal for the New Jersey premiere of Tracy Jones by INKubator alum Stephen Kaplan, which received early development during INKubator and was first presented at the 2019 INKubator New Play Festival. Tracy Jones is the first full production to be presented in Art House Productions’ new state-of-the-art theater and the first play developed in INKubator to receive a full production at Art House. Tracy Jones is a touching comedy that runs at Art House Productions from October 19 - November 5, 2023. Alex Tobey directs. Tickets are currently on sale at arthouseproductions.org.

2023-2024 INKubator Writers

Upasna Barath(she/they) is a queer South Asian writer, actress, and producer based in Brooklyn, New York, but originally from Naperville, Illinois. She began her writing career as an essayist, publishing work for Rookie Mag. In college, Upasna wrote her first play, "The Choice is Yours," which was runner-up for the 2019 Judith Barlow Prize. Her acting credits include Natalie in Lucy Kirkwood’s "Mosquitoes" (Steep Theatre) and Sarita in Sharyn Rothstein’s "Right to Be Forgotten" (West Virginia Public Theatre). She was awarded the 2020/21 Steppenwolf Theatre Literary Apprenticeship and Fellowship. Recently, she co-wrote, co-produced, and was a lead actress in her comedic coming-of-age short film "Little Sl*t," which is currently in post-production. She received a B.A. in Economics and a B.A. in Theatre from North Central College. She also has an MS in Leadership for Creative Enterprises from Northwestern University.

Amanda Sage Comerford (she/her) is a New Jersey playwright who wrote her first play about an elderly woman’s rabid dog when she was seven. Since then, her plays have had productions and readings at Premiere Stages, Luna Stage, Chester Theatre Group, Chatham Players, The Actors Studio of Newburyport, The Red Room, and Under St. Mark’s Theatre. She has also participated in CODE Red: An Evening of Monologues with TSquared Production Co. and Voting Writes with Luna Stage. Amanda received her BFA in Dramatic Writing from Purchase College.

Leo Layla Díaz (they/them) is a Jersey playwright, dramaturg, and teaching artist, a recent graduate of The New School’s BFA Drama program, and completing their MA in arts management. Their recent plays include Orbiting Something at The 24 Hour Plays: Nationals 2023 (off-Broadway, NYC), Trophy Boys at The New School and The Tank (NYC), and Roleplay in 2023 at The Chain Theatre (NYC). Díaz’s writing has also been performed at Rebel Verses (Vineyard Theater, NYC), The 24 Hour Plays: Viral Monologues (NYC), Brave New Voices (Houston & Las Vegas), Louder Than a Bomb (NJ), Performance Anxiety Inc (WI), and Berg Originals (PA). They’ve been a Dramatists Guild member since 2022. Díaz’s work focuses on identity, myth, and legend, being mediocre at Spanish, queer people who never left their emo phase, and glitter.

Neil Levi’sfirst play, Kin, won the 2015 Patrick White Playwright’s Award in Australia and was presented in a staged reading at the Sydney Theater Company. He has since written plays on such topics as ultra-leftist political violence in the 1970s, doping in competitive swimming, the Jewish community in apartheid South Africa, and inherited family trauma. He received a BA in English and Philosophy from the University of Western Australia, an MA, MPhil, and PhD in English and Comparative Literature from Columbia University. For many years he was a Professor of English at Drew University in Madison, NJ. Playwriting courses at ESPA Primary Stages and Pataphysics at the Flea. A long-time resident of Jersey City, he is thrilled and honored to be part of this year’s INKubator cohort.

Dave Osmundsen (He/Him/His) is an Autistic playwright and dramaturg whose work has been seen and developed at KCACTF Region 8, the Kennedy Center/NNPN MFA Playwrights Workshop, the Great Plains Theatre Conference, Purple Crayon Players, B Street Theatre, the William Inge Theatre Festival, the Midwest Dramatists Conference, Phoenix Theatre Company, Clamour Theatre Company, Premiere Stages, the Valdez Theatre Conference, and more. A two-time O’Neill semifinalist, he was a recipient of the Blank Theatre and Ucross Foundation’s inaugural Future of Playwriting Prize. His play Light Switch was the 2021 Distinguished Achievement recipient of the Jean Kennedy Smith Playwriting Award, an Honorable Mention finalist for BAPF 2021, longlisted for the Theatre503 International Playwriting Award, and a finalist for the 2020 Carlo Annoni Playwriting Prize. Light Switch received its world premiere at Spectrum Theatre Ensemble in 2022. His play More of a Heart will receive its world premiere at BLUEBARN Theatre in March 2024. His plays have been published by The Dionysian, Canyon Voices, Exposition Review, Fresh Words: Contemporary One Act Plays Volume 5, and Broadway Play Publishing. MFA: Arizona State University.

Marcus Scott is a playwright, musical theatre writer & journalist. Full-length works: Tumbleweed (finalist: 2017 BAPF & the 2017 Festival of New American Plays at Austin Playhouse; semifinalist: 2022 O’Neill NPC, 2022 Blue Ink Playwriting Award & 2017 New Dramatists Princess Grace Award in Playwriting Fellowship), Sibling Rivalries (finalist: Normal Ave’s NAPseries, 2021 Seven Devils Playwrights Conference & 2021 ATHE-KCACTF Judith Royer Excellence In Playwriting Award; semifinalist: 2022 Lanford Wilson New American Play Festival, 2021 Blue Ink Playwriting Award & 2021 New Dramatists Princess Grace Award in Playwriting Fellowship; long-listed: 2020 Theatre503 International Playwriting Award), There Goes The Neighborhood (finalist: 2023 New Dramatists Princess Grace Award in Playwriting Fellowship, 2023 Blue Ink Playwriting Award, the 2019 Bushwick Starr Reading Series; semifinalist: 2023 BAPF) & Cherry Bomb (recipient: 2017 Drama League First Stage Artist-In-Residence, 2017 New York Theatre Barn's New Works Series; 2017 finalist for the Yale Institute for Music Theatre). Heartbeat Opera commissioned Scott to adapt Beethoven’s “Fidelio” (Co-writer; Met Live Arts at the MET Museum, Mondavi Center at UC Davis, Scottsdale Center for the Performing Arts, The Broad Stage, Rutgers Presbyterian Church, Baruch Performing Arts Center; NYTimes Critics’ Pick! ★★★★). Scott is the recipient of the WTP Rosalind Ayres-Williams Memorial Scholarship (2022-2024). His one-act Sundown Town is published in Obsidian: Literature and Arts of the African Diaspora: Issue: 48.1.

His work has developed or presented at Concord Theatricals/Sam French OOB Short Play Festival, Queens Theatre (New American Voices series), The Fire This Time Festival, Zoetic Stage (Finstrom Festival Of New Work), Dixon Place, Feinstein's/54 Below, Abingdon Theatre Company, Downtown Urban Arts Festival, Classical Theatre of Harlem, Across A Crowded Room at Lincoln Center Performing Arts Library (NYPL), Musical Theater Factory's 4x15 Series, Space on Ryder Farm, Theatre West, New Circle Theatre Company, MicroTheater Miami, Columbia College Chicago, among others. Scott is a 2021 NYSAF Founders’ Award finalist, a 2021 Doric Wilson Independent Playwright Award semifinalist, a four-time National Black Theatre I AM SOUL Playwrights Residency finalist, and a four-time top finalist for The Civilians R&D Group. His articles appeared in Architectural Digest, Time Out New York, American Theatre Magazine, Playbill, Elle, Out, Essence, and The Brooklyn Rail, among others. BFA: State University College at Buffalo, MFA: NYU Tisch.

Art House Productions is a 501(c)(3) nonprofit organization committed to the development and presentation of the performing and visual arts in Jersey City, NJ. Art House Productions presents theater, performing and visual arts festivals, arts events, visual art exhibitions, and adult and youth art classes.

Art House Productions is generously supported by The New Jersey State Council on the Arts, SILVERMAN, The Princeton Foundation, The New Jersey Theatre Alliance, The Hudson County Office of Cultural Affairs, and the Alliance of Resident Theatres / New York.