Before you go out to Vote in November, go out and see this exciting world premiere of Seattle playwright Vince Delaney (Kuwait and The Robeson Tapes) and directed by Rita Giomi. It opens Friday night September 26th and runs until October 19th.
On the night of her failed reelection bid, an ambitious female senator is confronted by a shrewd young aide. Right in time to coincide with the countdown to the national election, Vince Delaney (Writer 1272, Kuwait) offers SPT the West Coast Premiere of his biting political drama. Do we ask women who run for office to be something more than human?
Also, there will be special panels/talk-backs immediately following the Sunday matinee performances on September 28th and October 5th with Vince Delaney with Seattle City Councilmember Sally Clark and University of Washington (UW) professor Dr. Lance Bennett.
For more info and to buy tickets,, check out Seattle Public Theater website .
Wednesday, September 24, 2008
Tuesday, September 16, 2008
Driftwood Players "FIRST DRAFT" program
Driftwood Playwers in Edmonds is now developing plays with actors and looking for playwrights to be involved.
For more info, check out their webiste here.
They will be having a staged reading of the play "Single Mother, Abe Lincoln" by Angela Ziska this Wednesday the 17th at 7pm at the Wade James Theatre at 950 Main Street, Edmonds, WA.
It's FREE so come check it out!
For more info, check out their webiste here.
They will be having a staged reading of the play "Single Mother, Abe Lincoln" by Angela Ziska this Wednesday the 17th at 7pm at the Wade James Theatre at 950 Main Street, Edmonds, WA.
It's FREE so come check it out!
Monday, September 15, 2008
Flower City Theatre Co. Submission
Flower City Theatre Co.
Rochester, New York
Flower City Theatre Co. seeks short plays (5-8 min, standard format) for
winter production.. No fee. Previous production
fine. Irreverent, staid, edgy, solemn - we'll read
it all. No sketches please. Small honorarium for
playwrights. May submit up to 2 scripts.
email submissions to: flowercitytheatre@yahoo.com
Submission deadline: October 31, 2008.
Rochester, New York
Flower City Theatre Co. seeks short plays (5-8 min, standard format) for
winter production.. No fee. Previous production
fine. Irreverent, staid, edgy, solemn - we'll read
it all. No sketches please. Small honorarium for
playwrights. May submit up to 2 scripts.
email submissions to: flowercitytheatre@yahoo.com
Submission deadline: October 31, 2008.
Ecodrama Playwrights Festival & Symposium
Earth Matters On Stage:
>
>
> Ecodrama Playwrights Festival & Symposium
>
>
> May 21~ 31, 2009 ~ University of Oregon
>
>
> CALL FOR SCRIPTS
>
> First place Award: $2,000 and workshop production
> Second place Award: $500 and workshop production
> Honorable mentions: public staged reading
>
> The mission of this Festival is to call forth and
> foster new dramatic works that respond to the
> ecological crisis, and that explore new
> possibilities of being in relationship with the
> more-than-human world. The Festival is ten days of
> readings, workshop performance/s, and discussions of
> the scripts that are finalists in the Playwrights'
> Contest. Some readings and workshops will be
> followed by facilitated talk-backs with the
> playwrights. In addition, a symposium of speakers,
> panels and discussions will advance scholarship in
> the area of arts and ecology, and help foster
> development of new works.
>
> Play Contest: At the core of the Festival is a
> playwright's competition carrying a cash award and
> workshop production. The Guidelines attached
> describe the kinds of new plays that may be
> submitted. Plays will be accepted from February
> through October 2008. The winning plays will be
> chosen by a panel of distinguished theatre artists
> from the USA andCanada, including:
>
>
> * Martha Lavey, Artistic Director, Steppenwolf
> Theatre Co., Chicago
> * Timothy Bond, Artistic Dir. Syracuse Stage; former
> Assoc. Artistic Dir. Oregon Shakespeare; faculty
> Syracuse University, NY.
> * Olga Sanchez, Artistic Director, Teatro Milagro,
> Portland
> * Diane Glancy, Playwright, Native Voices Award,
> faculty Macallister College
> * Jose Cruz González, Playwright, Cornerstone
> Theatre; founder Hispanic Playwrights Project;
> faculty Cal State LA
> * David Diamond, Headlines Theater Co, Vancouver BC
> * Marie Clements, playwright, founder Urban Ink, BC
>
>
>
>
>
>
> Guidelines for Playwrights
>
>
> What kind of theatre comes to mind when you read the
> term "ecodrama"? Political plays that advocate for
> environmentalism, or educational theatre about
> recycling? While these examples would fit, please
> let your imagination soar beyond them.
>
> Ecodrama stages the reciprocal connection between
> humans and the more-than-human world. It
> encompasses not only works that take environmental
> issues as their topic, hoping to raise consciousness
> or press for change, but also work that explores the
> relation of a "sense of place" to identity and
> community.
>
> Help us create an inclusive ecodrama that
> illuminates the complex connection between people
> and place, an ecodrama that makes us all more aware
> of our ecological identities as a people and
> communities; ecodrama that brings focus to an
> ecological concerns of a particular place, or that
> takes writer and audience to a deeper exploration of
> issue that may not be easily resolved.
>
> While many plays might be open to an ecological
> interpretation, others might be called "ecodrama,"
> Examples are diverse in form and topic: Ibsen's An
> Enemy of the People, in which the town's waters have
> become polluted and a lone whistle blower clashes
> with powerful vested interests; Schenkkan's The
> Kentucky Cycle, the epic tale of a land and its
> people - Indigenous, European, African - over seven
> generations; August Wilson's Two Trains Running that
> bears witness to the loss of inner city
> sustainability; Moraga's Heroes and Saints, about
> the embodied impact of industrial agriculture; Marie
> Clements' Burning Vision, which documents the impact
> of Canadian uranium mining on first nations
> communities and land; Giljour's Alligator Tales, a
> one-woman play by a Louisiana Cajun native about her
> relationship to her neighbors, the weather, the oil
> rigs off the coast and the alligators on her porch;
> Norman's Secret Garden that consoles a child's
> grief; Albee's The Goat, or who is Sylvia, that
> confounds human species taboos; or Murray Schaffer's
> Patria Project, in which the landscape becomes a
> player.
>
> When we leave the theater are things around us more
> alive, do we listen better, have a deeper or more
> complex sense of our own ecological identity?
>
>
>
> We need your voice, so does the theatre, so does our
> world. Imagine! Write! Submit!
>
> The Ecodrama Festival encourages submissions of
> full-length plays (30min. minimum, no max.) in
> English that do one or more of the following:
>
>
> * Put an ecological issue or environmental
> event/crisis at the center of the dramatic action or
> theme of the play.
> * Explore issues of environmental justice.
> * Interpret "community" to include our ecological
> community, and/or give voice or "character" to the
> land, or elements of the land.
> * Theatrically explore the connection between people
> and place, human and non-human, and/or between
> culture and nature.
> * Grow out of the playwright's personal relationship
> to the land and the ecology of a specific place.
> * Theatrically examine the reciprocal relationship
> between human, animal and plant communities.
> * Offer an imagined world where the characters'
> society is one that is more in harmony with
> principles
>
>
> Ecodrama Playwrights Festival & Symposium
>
>
> May 21~ 31, 2009 ~ University of Oregon
>
>
> CALL FOR SCRIPTS
>
> First place Award: $2,000 and workshop production
> Second place Award: $500 and workshop production
> Honorable mentions: public staged reading
>
> The mission of this Festival is to call forth and
> foster new dramatic works that respond to the
> ecological crisis, and that explore new
> possibilities of being in relationship with the
> more-than-human world. The Festival is ten days of
> readings, workshop performance/s, and discussions of
> the scripts that are finalists in the Playwrights'
> Contest. Some readings and workshops will be
> followed by facilitated talk-backs with the
> playwrights. In addition, a symposium of speakers,
> panels and discussions will advance scholarship in
> the area of arts and ecology, and help foster
> development of new works.
>
> Play Contest: At the core of the Festival is a
> playwright's competition carrying a cash award and
> workshop production. The Guidelines attached
> describe the kinds of new plays that may be
> submitted. Plays will be accepted from February
> through October 2008. The winning plays will be
> chosen by a panel of distinguished theatre artists
> from the USA andCanada, including:
>
>
> * Martha Lavey, Artistic Director, Steppenwolf
> Theatre Co., Chicago
> * Timothy Bond, Artistic Dir. Syracuse Stage; former
> Assoc. Artistic Dir. Oregon Shakespeare; faculty
> Syracuse University, NY.
> * Olga Sanchez, Artistic Director, Teatro Milagro,
> Portland
> * Diane Glancy, Playwright, Native Voices Award,
> faculty Macallister College
> * Jose Cruz González, Playwright, Cornerstone
> Theatre; founder Hispanic Playwrights Project;
> faculty Cal State LA
> * David Diamond, Headlines Theater Co, Vancouver BC
> * Marie Clements, playwright, founder Urban Ink, BC
>
>
>
>
>
>
> Guidelines for Playwrights
>
>
> What kind of theatre comes to mind when you read the
> term "ecodrama"? Political plays that advocate for
> environmentalism, or educational theatre about
> recycling? While these examples would fit, please
> let your imagination soar beyond them.
>
> Ecodrama stages the reciprocal connection between
> humans and the more-than-human world. It
> encompasses not only works that take environmental
> issues as their topic, hoping to raise consciousness
> or press for change, but also work that explores the
> relation of a "sense of place" to identity and
> community.
>
> Help us create an inclusive ecodrama that
> illuminates the complex connection between people
> and place, an ecodrama that makes us all more aware
> of our ecological identities as a people and
> communities; ecodrama that brings focus to an
> ecological concerns of a particular place, or that
> takes writer and audience to a deeper exploration of
> issue that may not be easily resolved.
>
> While many plays might be open to an ecological
> interpretation, others might be called "ecodrama,"
> Examples are diverse in form and topic: Ibsen's An
> Enemy of the People, in which the town's waters have
> become polluted and a lone whistle blower clashes
> with powerful vested interests; Schenkkan's The
> Kentucky Cycle, the epic tale of a land and its
> people - Indigenous, European, African - over seven
> generations; August Wilson's Two Trains Running that
> bears witness to the loss of inner city
> sustainability; Moraga's Heroes and Saints, about
> the embodied impact of industrial agriculture; Marie
> Clements' Burning Vision, which documents the impact
> of Canadian uranium mining on first nations
> communities and land; Giljour's Alligator Tales, a
> one-woman play by a Louisiana Cajun native about her
> relationship to her neighbors, the weather, the oil
> rigs off the coast and the alligators on her porch;
> Norman's Secret Garden that consoles a child's
> grief; Albee's The Goat, or who is Sylvia, that
> confounds human species taboos; or Murray Schaffer's
> Patria Project, in which the landscape becomes a
> player.
>
> When we leave the theater are things around us more
> alive, do we listen better, have a deeper or more
> complex sense of our own ecological identity?
>
>
>
> We need your voice, so does the theatre, so does our
> world. Imagine! Write! Submit!
>
> The Ecodrama Festival encourages submissions of
> full-length plays (30min. minimum, no max.) in
> English that do one or more of the following:
>
>
> * Put an ecological issue or environmental
> event/crisis at the center of the dramatic action or
> theme of the play.
> * Explore issues of environmental justice.
> * Interpret "community" to include our ecological
> community, and/or give voice or "character" to the
> land, or elements of the land.
> * Theatrically explore the connection between people
> and place, human and non-human, and/or between
> culture and nature.
> * Grow out of the playwright's personal relationship
> to the land and the ecology of a specific place.
> * Theatrically examine the reciprocal relationship
> between human, animal and plant communities.
> * Offer an imagined world where the characters'
> society is one that is more in harmony with
> principles
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