#newplay

[blondrichclosetwitch]

That's on me, that's on me, it's all my fault

I’ll dress like your niece

Just don’t leave

(This was blond’s love song)

I lost myself, my mental health

Spun down to hell

Yeah, it was death by stereo when they dealt the final blow

I'm insane

Are you entertained?

Go awff

Gotta whole lotta people dependin' on me

I'll tell you about the Rabbit Moon and when to keep walking

I'll spare you pain, I can feel my shame creep through the floor

You're giving me reason to put trust in my fears

Now i'm chasin' a ghost

I am there while you choke on me.

Lost is a long and lonely time

Dark haired girl, too much Jack(jak is also the alter ego of my first master teacher Random, who is a 26….he was why I started the jak ran playlist)

“Someone please remind me who the hell I used to be.”

The sober side of sorry ain't a safe place to sleep

I live in a hologram with you

I'm on the case

Any objection is overruled

But there's no gambit I don't see through

“Make her wanna change his name, take her to the cleaners and devastate her. Wipe her out, humiliate her. We don't want the whole world saying they can't even win a game.”

Not a chance of you escaping from our wiles

Wear our vests

This game of chess could be around A month or so

Maybe it's a bit confusing for a game

But Rubik's Cubes were much the same

In the end the whole world bought one

Well I guess that cements who 42 is

It's wide open

I said it's wide open

Peace God - now the shit is explained

I'm takin' bitches on a trip straight through memory lane

“And introducing Stillwater”

Close ups from family snapshots

you got my name as your tattoo

Look at me and look at you

Look at what you made me do

And then there’s the tarot reader. Did you know I adored the tarot reader? Loved her, adored her, bought astrology readings for her when she was nervous about her move.

Did absolutely everything she told me to. And glorious, song of the day for *you*. Careful.

Sing for me

Grindin' your teeth

Speak for me in this big empty room

Crack that nut

“Can you keep a secret from them other people if I tell you 'bout…..” said all of them drunkenly to multiple people many times

That's the first taste

And no one will recover

Speak to me sacredly

Thick-blooded hedonists

Seduced by what we cannot resist

I'm not afraid to drown

California

There's a reason that I work so hard at this stuff

It's not for you to pick at other people who don't know what's up

All I need to know I knew so early

Get your head out from those websites

Take a risk just for yourself and wade into the deep end of the ocean

[frontmezzjunkies]

#picturesfromhomeplay #frontmezzjunkies reviews: #PicturesFromHomeBway @picturesbway a new #Broadwayplay at #Studio54 by #SharrWhite directed by #BartlettSher with #NathanLane #DannyBurstein and the incredible #ZoeWanamaker #Broadway #NewPlay #PicturesFromHome https://frontmezzjunkies.com/2023/03/05/pictures-from-home/ (at Studio 54 Theatre) https://www.instagram.com/p/Cpdcb3SuRx9/?igshid=NGJjMDIxMWI=

[kidstrendingcolors]

Funny Vehicles Build a New Play Ground for Kids | Construction Vehicles ...

[ellipsesplay]

In a couple weeks (Friday, January 20, 2023 at 7:30PM), Milky Way Theatre Company’s New Works Festival continues with the reading of THE AMERICAN ID CHANNEL: VOL 1, written by MX Hasberry and directed by Craig Jackson and assistant directed by JMonet Hill. Tickets can be found on Milky Way Theatre Company’s site for $20 each. We hope to see you at Goddard Riverside! #americanidchannel #play #newplay #playwright #theatre #theater #milkywaytheatrecompany #festival #reading #goddardriverside #community (at Goddard Riverside - Community Arts Program) https://www.instagram.com/p/CnFb6gfOC9z/?igshid=NGJjMDIxMWI=

[jminter]

Mitch and Murray Productions presents the World Premiere of Instantaneous Blue

Marking its 10th Anniversary, Mitch and Murray Productions 2022-2023 season begins with the world premiere of Instantaneous Blue at The Waterfront Theatre on Granville Island from January 6-22. The play follows Edward (Charlie Gallant) and Sara (Kate Besworth) as they navigate the journey of welcoming their first child into life while shepherding Edward’s declining parents, Judith played by Patti Allan & Bob played by Tom McBeath, out of it. Their relationship frays as they maneuver the endless challenges of a disease that is God-like in its mysterious ways. Caught between the worlds of assembling IKEA baby cribs and visiting gerontologists, between finding time for sex and searching the city for a lost mother, and between navigating professional obligations and familial disaster, Sara and Edward are pushed to the emotional brink. Will they or won’t they make it through this? Instantaneous Blue is Mitch and Murray Productions’ first original Canadian work, as well as being Aaron Craven’s first full-length play. The heartfelt script is a semi-autobiographical portrait of a family’s struggle with dementia, as both Craven’s parents simultaneously fell into decline with dementia and Alzheimer’s. His experience as a member of the “sandwich generation” – a generation of middle-aged people who raise children while parenting their parents – along with his experience as a curator of plays and advocacy work in the world of dementia was the catalyst for creating this new work.

Instantaneous-Blue ft: Patti Allan, Charlie Gallant, Tom McBeath, photo: Shimon Photo “The actress Carrie Fisher once said, ‘Take your broken heart and turn it into art’. I guess I listened,” says Craven. “This play was written to give voice to those living the dementia journey and to take the experience out of the shameful shadows and into the dignified light. There will be some laughs, some tears, and hopefully some shared catharsis.” Instantaneous Blue runs from this Friday, January 6 to Sunday, January 22, 2023 at The Waterfront Theatre on Granville Island. Tickets and more information can be found online at mitchandmurrayproductions.com Read the full article

[writemarcus]

SIBLING RIVALRIES

Scott’s satirical dark comedy-drama "Sibling Rivalries" was workshopped and developed at Egg @ Spoon Theatre’s INCUBATION SERIES alongside Alex Lin’s "Bad Chinese Daughter.”

“Sibling Rivalries” explores legacy, the crab-bucket effect, the EDI craze, blackness as a monolith, the glory and horrors of black excellence, affirmative action and validation. Thank you to everyone at Egg & Spoon for taking a big swing at supporting this epic play, thank you to this magically melanated community of storytellers who bestowed your gifts and bore your souls, thank you audience for your rawness and delightful responses, thank you stage manager Robert Cott for your service and professionalism, and thank you Dev for steering the ship and making every moment count.

...

The INCUBATION SERIES provides developmental support for Global Majority writers’ full-length plays.

This program reflects our passion for developing new plays and our commitment to building a more equitable theatre ecology.

...

[steelcityreviews]

INTERVIEW WITH JENNIE ESDALE AND FEEDBACK ON ATTENDING THE BRAVE NEW WORKS FESTIVAL

Jennie Esdale (she/her), Program Director, Outreach Development & Education at Theatre Aquarius and event organizer for the 2nd annual BRAVE NEW WORKS FESTIVAL

OUR INTERVIEW:

1. Explain what the BRAVE NEW WORKS Festival is and how it impacts and inspires artists in the Hamilton area.

JE: BNW is a gathering of artists to share work in development, to come together with each other and audiences in conversation. It is a window into the work and into the artists. It is brave, because it is so vulnerable to share yourself no matter what stage of development the work is at. I have found the most joy in seeing artists come together and to support the work of another artist, to have conversations around the process, and to see an artist really take a chance and share themselves in new and surprising ways.

2. Were you the original developer of this festival? If so, how has it influenced you and what expectations do you have set for the festival itself?

JE: I understand that there was an original Brave New Works festival some years ago at Theatre Aquarius, though I have no information from the past. I spearheaded the inaugural year last season and this year I am joined by the wonderful and immensely talented and generous Karen Ancheta and it is so excellent to work with her. We share values around artist care and the kind of work that we love, the kind of conversations we want to share in.

I think the Festival influences my awareness of the breadth of the work in our area. There are so many wonderful people and artists here, and it is very rewarding and joyous to bring people together and to celebrate in this way.

3. How do artists in the community become a part of the festival (application process)?

JE: The first two seasons of Brave New Works have been curated, though we are very excited to continue to expand the festival and meet new artists in the community. As we grow and find so much success in our second year, we plan to continue curation, but to add a submission component next season.  

4. Theatre Aquarius has undergone some significant changes in its play/musical selections as well as how it presents theatre to the community. As many theatre-lovers in Hamilton can attest, this is both refreshing and exciting. How does it feel to be a part of that change and how it reflects on an audience's desires to see new creative content in such a well-renowned space?

JE: I think it has been very profound at times, particularly when we have been able to present new work. Living, Canadian playwrights and storytellers reflecting on the moments of which we are part, make the work so very visceral and relevant. Theatre is a living thing. Having so many artists come together to take risks on new work is very exciting.

5. What happens after Brave New Works? Do these artists receive any opportunities to workshop or perform them? How does Theatre Aquarius provide support for these endeavours?

JE: There are several works in the Festival that have a relationship to the theatre- some are actively being workshopped, some are being supported in other ways, like use of development space, or Creators Reserve grants, or Company in Residence. Some of the artists are our theatre school grads, some have worked on the main stage. There is a strong sense of community and that we are part of something meaningful, that we are building together.

I hope, too, that audiences gain a window into the process of creation, and that this is interesting and maybe illuminating, or even, as I have found so many times, thrilling. It can be so thrilling to watch someone go right out of their comfort zone- to be brave- and to try, be willing to fail, and to give us access to their guts, and their toil, and their passion, their love, and the very beautiful thing that makes us human. And that we do this together- we share the room, the air, the breath.

Thank you Jennie and the team bringing this festival together for its second year.! It is so important to have these opportunities to share new works, gain feedback and watch art come to life in front of an audience.

I had the pleasure of attending the second day of the Brave New Works Festival. Once seated in the Aquarius Studio space, the audience was taken by Aeris Körper’s Sid Ryan Eilers (they/them) through their prologue (The Daydream) from Kiss the Stormy Skies, which was performed at last year’s Hamilton Fringe Festival.

Sid continues to show exquisite precision in their movements and embodying the music choice for the piece as well. After the performance, Sid led the group in a discussion about how artists workshop and collaborate. This particular group shared interesting reflections as actors, writers and dancers and then other members of Aeris Körper led the audience in a movement workshop. The participants used every part of their body to familiarize themselves with their bodies and then expanded further to feel like trees, clouds, even a pinball. The interactions were freeing and fascinating. There was a message here about the body being the receptacle for the dance journey which I found quite profound. It was a joyful experience. A wonderful thing to observe.

We then travelled to the Theatre Aquarius Director’s Lounge and were introduced to Jay Turvey and Paul Sportelli, two creatives who have been working on a musical called 33 ⅓  since 2013.

This ten year commitment has found them workshopping and presenting versions of their coming-of-age/coming out journey and we were treated to a few numbers from it. To say “I need to see this. Now” is an understatement. It featured incredible vocals from Turvey and relatable lyrics and a very catchy score from Sportelli. You can hear influences of the classic rock/pop you grew up with and there are definitely elements of Sondheim in the lyrics. I felt a delightful Jeanine Tesori (Shrek: The Musical, Fun Home, Kimberly Akimbo) vibe from the overall presentation. The songs showcase a love for music artists such as Joni Mitchell and David Bowie and the show’s overall message is about connection, changing times and acceptance. The artists continue to improve upon the book (script) and I certainly hope this is staged in Hamilton in the near future.

After a brief changeover, the audience listened to a short scene from emerging playwright Danielle Boissoneau’s work Nbwaachaa Nokomis; a one-act play about working through the alienating feelings of being an Indigenous person.  The writing has a very “day in the life” feel to it and was Boissoneau’s first time sharing this work with an audience.

The scene we watched allowed us to feel the character’s anxiety going through her day as her faceless ancestors watched over her. I am very intrigued by the dance/movement scene that was discussed only in this session. Plays such as this are a necessity. They have such power to teach and allow audiences to understand others in an impactful way. This work has a voice that deserves to be heard.

We headed back to the Studio Theatre for two more musical presentations. The first was A how-to guide for the not-yet viral, created by Michael Kras (book, lyrics) and Stephen Ingram (music, lyrics). This musical is about the current use and abuse of social media and how it reflects on society as a whole. Kras and Ingram have been working on this piece through a residency at Theatre Aquarius for the past year and presented the huge audience that turned out a 20-minute look into this hilarious and tongue-in-cheek musical.

There is notable influence from some of the great musical theatre writers/composers here and I couldn’t help hearing the delightful electro-pop influence of Jonathan Larson (tick…tick…BOOM!, RENT). Kras’ writing ability continues to shine as he pens natural dialogue between characters and effortless transitions between songs. Actor Greg Solomon particularly stands out with his song (Don’t Hold It In) which was played acoustically by Solomon himself and backed by the ensemble (including Kras and Ingram!) It was a beautiful piece that really resonated.

Having followed Kras’ work for many years now, I am eagerly anticipating a fully staged version of this musical. It has a great deal to say and, in its brief 20 minute showcase, already has the power to make audiences really pay attention. 

Our last reading/performance came from Brandon McGibbon and Co. and their piece The Nine Lives of Ross Fordham. This combination of folk music and local history was very impressive. The musical is about the unbelievable true tales of the family’s grandfather, a seemingly ordinary man, who constantly seemed to cheat Death starting from his birth back in 1927.

The songs we heard were well versed and had plenty of comedic moments. The beautiful harmonies are what really sold me. I am intrigued with how this would be fully staged and I hope there are more polished versions to come. The audience was full of family and supporters who would have stayed for the whole musical if allowed. This is a musical full of heart and stories that have the potential to live forever. Can’t wait to see what the future holds for this production.

FINAL THOUGHTS

Hamilton has always been a hub for entertainment and has a growing mandate to let all artistic voices be heard. Festivals such as Brave New Works allow artists to showcase new ideas, original stories and receive opportunities to workshop and gain feedback from their potential audience members. There is an enormous wealth of talent in our city and I cannot wait to see how these works flourish and reach more audiences in the future. A huge thank you to Theatre Aquarius and all the artists who took a chance on themselves and bravely showed their creative work to us all weekend long. It was a great experience to be a part of.

HTTPS://THEATREAQUARIUS.ORG/BRAVE-NEW-WORKS-FESTIVAL-2023/

[borninthebronx51]

Our Site Had A Makeover, But Our Motto Remains 'MakeTheaterLive'

New Website Look for Permanent Mission of KWT: Make Theater Live! Thanks, Gifford Elliott! #theater

Captive Audiences 1982: (L-R) Beth Rake, Phil Ruskin, Brendan Elliott, John McCarthy, & Georgia Harrell. Rem tene; verba sequentur.Grasp the subject, the words will follow.Cato the Elder Cato the Elder, whose other notable quote is ‘Delenda est Carthago ‘or ‘Carthage must be destroyed!’, gives good advice for playwrights here: nail the story from spine to skeleton to full body and the dialogue…

[jshsouthstreet]

Check out the Pick of the Fringe season currently on at The Playground Theatre, W10 🤩

A selection of the best shows from this year Edinburgh Fringe are on until the end of November - go see! 🎭

[thedrewdavidson]

"At one time those who worked in the theatre dictated its path, its growth. The many writers, actors, and directors who worked well and often created the theatre, and the public came and watched and loved or liked or endured or hated it. This is over; this is gone. Through a rabid and idiotic fear, the theatre relinquished its role as creator and designer and gave it to the public, which will always want what is safe and sweet and recognizable and easy. Bring me a star and something that reminds me of a better time. Do not test me. You think people wanted to do early [Tennessee] Williams and [Arthur] Miller? I'm telling you they did not, but we had smarter producers then: They trusted the artists; they listened to arguments. They weren't the wives or lovers of dentists or decorators or real-estate men. These were men and women who happened to have money and who happened to love the theatre and who happened to have their lives burnished by brushing up against talented people. They knew their place. Now the wives and lovers are running things and telling the artists what to do and how to do it. And we have a dumb, unimportant theatre. Your Aunt Sadie is dictating what gets on the stage. A minor talent with a sinecure sits for decades at the helm of a non-profit and regurgitates safe puddings for the Friends of Thirteen. Up at Lincoln Center you can walk into the circle jerk of [John] Guare, [A.R.] Gurney, and [Wendy] Wasserstein, and sink into the soft cushions of that theatre. Meatloaf theatre. Same-old, same-old. And where are the new plays? The new directors? Try breaking into that group and getting a job. It's all like the union of doormen, and you have to be grandfathered in by someone who has been beaten down by the landlords of badness." Elia Kazan/Interview with James Grissom/1993. Photo of Kazan and Arthur Miller by Inge Morath.

[blondrichclosetwitch]

Oh what does it mean? The bad things that I’ve seen

What have they done to our fair sister?

Ravaged and plundered and ripped her and bit her

Stuck her with knives in the side of the dawn and

Tied her with fences and dragged her down

I ain’t done anything wrong

I ain't no false prophet

I just said what I said

I'm just here to bring vengeance on somebody's head

And I'm coming for you!

I'm willing and you're willing, but who dares?

Tell me who dares

Because in the hotel there will be an after—

Come to me my lamb, I'll wait in the magnolia

Oh, where were you, my kind ghosts when I needed you?

My heart stops

(Just got also that this could be/ is a reference to me falling, as in i never knew when it would happen next, so I started to not trust my body; also the legs had the worst damage from being hit, seems connected )

When I think of all the things we've done

I will turn it back around

I'll be homeward bound

Oo-wee, This feelin's killin' me;

Ah shucks, I wouldn't stop for a million bucks.

Mesmerizing to…..you

Well we've known each other from other lives

But I'll prove my knowledge of what's inside when I intercept you on the astral plane

I'm gonna meet you on the astral plane

The astral plane or I'll go insane

With a joke that doesn't play

Now that's all she wrote

Every monkey'd like to be in my place instead of me

Not everyone

Am I cruel enough, for you?

Girl break you down

And they will break you down til everything is normal now, I know

You reach your hand to hold me

But I can't be your guide

Everyone becomes predictable

Christine

Close to you, Baby, in New York City

You'll see me once or maybe twice that's all you'll see of me

I left my baby on the side of the road

Mistress dread was the last song of the set, but I just …I dunno. Open to interpretation I guess

[frontmezzjunkies]

#TarragonBehindTheMoon #frontmezzjunkies reviews: #BehindTheMoon a #newplay by #AnoshIrani @tarragontheatreto directed by #AnoshIrani with #AliKazmi @thealikazmi #HuseinMadhavji #VikSahay #TarragonTheatre #Tarragon2023 #BehindTheMoonPlay #TheaTO #TorontoTheatre https://frontmezzjunkies.com/2023/03/04/tarragon-theatre-behind-the-moon/ (at Tarragon Theatre) https://www.instagram.com/p/CpdQM0rOD3O/?igshid=NGJjMDIxMWI=

[jay-michaels-public-relations]

Callie Stribling thought the show was "killer"

The World’s Most Boring Murder Hilarious hijinks and morbid mysteries abound in Fernando Buzhar Segall’s newplay at Players Theater. The World’s Most Boring Murder is anything but boring; it’s amadcap farce offering plenty of laughs and loads of entertainment. In a small, quiet town where not much ever happens, Inspector Wagner(Sheridan Stevens) is delighted to find an actual brutal murder has…

[kedarstha]

हामीले नाटक ‘गुलाफः यशोधराको जागरण यात्रा’को आवरण यस्तो बनायौं । तपाईंलाई कस्तो लाग्यो कुन्नि ? यो एउटा आवरण, पोस्टर मात्र होइन एउटा भाव र भङ्गीमा पनि हो।

👉पुस ११ देखि २२, सोमबारबाहेक हरेक दिन ४ बजे, मण्डला नाटकघर, थापागाउँमा । शनिबार दिउँसो १ बजे पनि । आउनुस् है । 🙏

#gulaf #TheRose #newplay #physicaltheatre #nepalitheatre @ Mandala Theatre Nepal

[whatindarnation]

Seeing Tambo & Bones by the amazing @staydancingdave | may 5 2022 #goseeplays #theatre #newplays

[trascapades]

🎭#ArtIsAWeapon #TheaterLovers #TheaterDiscounts

The Public Theater @publictheaterny presents THE HARDER THEY COME, - a new musical adaptation by

Pulitzer Prize-winning playwright Suzan-Lori Parks @suzanloriparks365 of the iconic 1972 Jamaican film, February 16 - March 26, 2023. Read below for more info and a discount ticket offer from @walktallgirl!

Reposted from @walktallgirl Access $30 no-fee tickets with code MARCIA23

(Reg. $95)

Performances begin February 16.

To Purchase Tickets:

Online: www.publictheater.org/productions/season/2223/the-harder-they-come/ | Call: 212.967.7555 | In-Person: The Public Theater Box Office, 425 Lafayette Street (at Astor Place) | NYC

Beginning February 16, The Public Theater brings to life a new musical adaptation of the Jamaican iconic movie, THE HARDER THEY COME.

Celebrating its 50th anniversary, the breakthrough film, produced and directed by Perry Henzell and co-written with Trevor Rhone, tells the story of Ivan, a young singer who arrives in Kingston, Jamaica, eager to become a star. After falling in love and cutting a record deal with a powerful music mogul, Ivan soon learns that the game is rigged, and as he becomes increasingly defiant, he finds himself in a battle that threatens not only his life but the very fabric of Jamaican society.

Featuring Grammy Award winner Jimmy Cliff’s hits, “You Can Get It If You Really Want” and "Many Rivers to Cross" and a book by Pulitzer Prize-winning playwright Suzan-Lori Parks, former Artistic Director of Berkeley Repertory Theatre Tony Taccone directs this new musical, with co-direction by Tony Award winner Sergio Trujillo and choreography by Edgar Godineaux.

#TheHarderTheyCome #JimmyCliff #NewPlay #Musical #Theater #BlackPlaywrites #SuzanLoriParks #BlackGirlTheaterGeeks