NYCPlaywrights October 13, 2018

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Oct 13, 2018, 5:11:57 PM10/13/18
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Greetings NYCPlaywrights

*** FREE THEATER IN NYC ***

Monday, October 15, 2018
7pm
FemTales
Come support Infinite Variety Production’s first community event FemTales! FemTales will be an on going reading series where a play based on women in history will have a staged reading, followed by a discussion about the play, then an opportunity for writers and creatives to share their ideas and challenges, hopefully leading to the opportunity to collaborate.

The even is free, though donations are welcome.

The first play to kick us off is Setting the Sky On Fire.
From 1943-1945, women from all over the country followed their husbands to a secret compound in the middle of New Mexico, with the promise that they would have a hand in ending the war abroad. In the early hours of July 16th, 1945, five women sit on a porch in Los Alamos, looking towards the southern horizon, waiting to see... something.

Karin Theater
85 E4th St
New York, New York 10003



*** WRITING POETIC, POLITICAL PLAYS at PRIMARY STAGES ESPA ***

Instructor: STEFANIE ZADRAVEC 
(Writer, THE ELECTRIC BABY at Two River Theatre Company)
November 10 & 11 from 11:00am – 3:00pm 

Does your play say what you think it’s saying? Through a series of guided exercises and discussion, spend this 2-day workshop breaking open your play and tuning your sense of how a play “lands” on its ear. Perfect for writers who want to create work that is theatrical, impactful, ecstatic, poetic, or political. By the end, you’ll feel that you can write fearlessly and leave your mark.

Payment plans available. 


*** PLAYWRIGHTS OPPORTUNITIES ***

New Play Reading Series at Penn State Abington
Plays about these issues/topics are sought:
• Indigenous vs Colonial Culture
• Mass Incarceration
• Immigration
• Sustainability
• Opioid Addiction
• Educational Equity

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Theatre Suburbia, Northwest Houston's longest running all volunteer playhouse, is looking to produce a new Summer Mellerdramer in 2019.

The scripts should contain asides (in mellerdrammer fashion) for the characters. The villain should have the most, followed by the hero and heroine, and remaining cast should have a few. The asides help generate the audience responses for the main characters - boos and hisses for the villain, oohs and ahs for the heroine, and of course cheers for the hero.

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The Downtown Urban Arts Festival (DUAF) is currently accepting play submissions that reflect urban life for its 17th annual season to be held during April and May of 2019 in downtown New York City.

DUAF will accept up to 16 theatrical works (plays, musicals, and solo works) with running times up to 70 minutes. Each work is performed only once during the festival. There will be a $1,000 award in the category of Best Play, Best Short and Audience. There is no submission of participation fee and each playwright will receive a $300-$500 monetary stipend during the festival to defray some of the production costs of presenting their work.

*** For more information about these and other opportunities see the web site at http://www.nycplaywrights.org ***

*** SUBSTANCE USE & ABUSE ***

The Marijuana-Logues is an Off-Broadway comedy show in New York City. Arj Barker, Doug Benson and Tony Camin are the creators and performers. It is a four-man stand-up comedy show, with the majority of the humor centered on the drug marijuana. The show's title is a play on the long-running Broadway show The Vagina Monologues. The show began its run in March 2004. There is also an original cast recording released in 2004 by Comedy Central, and a book. When the show toured, actor Tommy Chong became part of the tour for two cities. His legal concerns, including that audience members were actually smoking marijuana at some of the shows early in its tour, and pressure from his probation officer ultimately caused him to leave the show.[1]

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Drug Story Theater (DST) takes teens in the early stages of recovery from drugs and alcohol, teaches them improvisational theater, and helps them craft their own unique stories into a play about their seduction of, addiction to and recovery from drugs and alcohol. They then perform this play to middle, high school and college audiences so “the treatment of one becomes the prevention of many.” Incorporating brain science with slides in between scenes, DST teaches how young people get addicted and how the adolescent brain is neurologically wired for addiction. 

Drug Story Theater is an innovative, evidence-based, peer-to-peer treatment and prevention program. Surveys show that after seeing a 40-minute play, the audience overwhelmingly believes marijuana is addictive, and that drugs and alcohol have an adverse effect on relationships and the ability to succeed in school. In the talk back portion of a show, one of the main points Dr. Joseph Shrand (the creator of Drug Story Theater and a leading expert in adolescent addiction) addresses is how marijuana is a gateway drug to opioids.

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"Over-the-top" and "larger-than-life" are but two of the descriptive phrases that may be used in reference to both director Jason Lewis and his latest theatrical project Reefer Madness the Musical - and, in both instances, they are equally justified. In all honesty, who else better than he to helm a production of the thoroughly madcap and deliciously campy musical now onstage at Darkhorse Theater through this weekend as the final show of ACT 1's 2016-17 season?

With his resolute focus and encyclopedic knowledge of pop culture, Lewis - along with his collaborators musical director Rollie Mains and choreographer Stephanie Jones-Benton - creates a veritable camp classic from the pages of the script by Kevin Murphy and Dan Studney, based upon the potboiling film of the same name that atte

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The Vortex is a play in three acts by the English writer and actor Noël Coward. The play depicts the sexual vanity of a rich, ageing beauty, her troubled relationship with her adult son, and drug abuse in British society circles after the First World War. The son's cocaine habit is seen by many critics as a metaphor for homosexuality, then taboo in Britain. Despite, or because of, its controversial content for the time, the play was Coward's first great commercial success.

The play premiered in November 1924 in London and played in three theatres until June 1925, followed by a British tour and a New York production in 1925–26. It has enjoyed several revivals and a film adaptation.

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A Philippine youth theater club staged a musical at a Manila park on Sunday, challenging President Rodrigo Duterte’s bloody war on drugs.

The 20-minute show features a casket salesman whose funeral parlor is doing brisk business as corpses pile up.

But the salesman and his friends end up as statistics, falling to vigilante-style killings that have gripped the Southeast Asian nation and alarmed the international community.

“The play talks about the problem in the community with the war on drugs and the irony of it, that a few earn money amid this war and all the killings,” artistic director Jessie Villabrille told Reuters.

More than 8,000 suspected drug addicts and dealers have been killed since Duterte took office on June 30, some in police operations but many others in mysterious circumstances.

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The doors outside About Face & Justin Brill's production of METHTACULAR! should warn audiences of the show's nudity.

OK, not nudity nudity, but after seeing the utter openness and vulnerability in Steven Strafford's one-man production of his "drug addled, sex crazed life," the word 'bare' certain comes to mind. Currently opening About Face's 2014-2015 season, Strafford puts it all out there for everyone to see in this emotional roller coaster, and the result is a highly entertaining and cathartic evening.

Born and raised in New Jersey, the majority of performer and playwright Steven (Michael) Strafford's story of sex, methamphetamine addiction, and connection in the gay community takes place in Chicago in the early 2000's. 

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THERE are few theatrical experiences more exhilarating than watching a talented young artist fulfill his promise. That experience is now to be had at the American Place Theater, where the performer Eric Bogosian, a downtown fixture for almost a decade, has put together an airtight 80-minute show in which his gifts for acting and social satire collide to their most incendiary effect yet. ''Drinking in America'' is the evening's title, and, like such past Bogosian efforts as ''FunHouse'' and ''Men Inside,'' it is a breakneck, hair-raising comic tour of the contemporary American male psyche, with its creator playing all the roles. But if this is the funniest and most shapely of Mr. Bogosian's shows, the edges of his humor have not been smoothed out: ''Drinking in America'' leaves a hangover of outrage that a theatergoer can't easily shake.

The demographically diverse men on view include, among others, a grasping show-biz hustler; a latter-day Willy Loman on the road; a ghetto junkie, and a gyrating heavy-metal rock star. While many of the characters are indeed intoxicated - on cocaine, Quaaludes or heroin as well as alcohol - ''Drinking in America'' charts a more pervasive spiritual malady. The men we meet are gluttons for power, money and sex as well as for chemical stimulants; they have pigged out on the American way. Although Mr. Bogosian hardly approves of a neo-Nazi television evangelist who appears late in the show, he does seem to share the preacher's conviction that ''the Devil seduced us with a life of plenty and invited us into hell.''

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Weed Shop the Musical was created by Becca Grumet and Madelyne Heyman in 2016, and has since had a successful extended run at the Eclectic Company Theatre in North Hollywood.
The show follows Alicia, a cheerful doctor with a brand-new medical marijuana practice in town, and Dave, an enthusiastic dispensary owner, as they search for love in Los Angeles. While weed-friendly, this show is for everyone, touching on universally heartwarming themes of love, self-expression, and identity with a hodgepodge of musical styles from classic Broadway tunes to funk.


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