Our next meeting will be Monday, February 16th, at 7 PM, at the Lowell Center, corner of Langdon and Frances Streets, Madison. Check kiosk for room.
Parking: Parking on street is free after 6 PM. The closest ramp is between Lake and Frances. The parking lot in the back of Lowell is reserved for guests of the hotel upstairs.
City of Madison Parking Website: www.cityofmadison.com/transportation/parking.cfm
Our après meeting watering hole is Porta Bella on Frances between University and State.
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Starting around 7:10 we will read:
“Starring Richard Burton as Marshal Tito” ………… by Brendon Smith :15
Tax Revolt! or, Captain Shays’ Rebellion (scene).. by Larry Reed: 15
A Wounding (scenes) …………………………………….. by Gary Kriewald :20
“Click and Clack See a Play” …………………………… by Nick Schweitzer :05
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We took January off.
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Get into the scene late, get out of the scene early.
– DAVID MAMET, The Paris Review, spring 1997
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ANNOUNCEMENTS and OPPORTUNITIES
Six playwrights engaged in a pilot program to help, encourage, and improve their writing. We met about twice a month, two and one half to three hours each session, for a period of three months. Two works in progress of about 30 pages each were read followed by constructive feedback from the other members. The manuscripts were made available at least seven days prior to the meeting. We paid two actors to read at each session. At the completion of the pilot, we met to evaluate our experience. It was so positive that the six writers decided to go forward with another six week experience. If there is interest, I would be willing to help another group get started. To learn more, contact Russ Tomar.
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For immediate Release: January 15, 2015
Contact: Coni Koepfinger, director
“AirPlay with OnAir Players”
– weekly radio theatre –
http://www.onairplayers.com
Producer : Rachel Love
Hosts : Coni Koepfinger & Joe Izen
On Air Players Hosts: Lani Cataldi & Jim Hetrick
Created and directed by Coni Koepfinger
Core Creative team :
Joe Izen, Lani Cerveris, Jim Hetrick and Rachel Love
Mission & Vision:
To light the way for changing perspectives that may solve the problems that plague society at large and challenge our prosperity and joy by carving a new path for the creative process in these new virtual landscapes of social media.
At Airplay– we do development with new drama by reading scenes in a virtual studio .
No boundaries….here’s how it works:
typically we allow the writers to chose one or two scenes and then give the play to actors to read with focus on those specific scenes.
We schedule one rehearsal which is recorded for immediate playback to see what we need to amend for clarity then we follow up with one recording session.
After the scene is read, there is an optional talkback with our “OnAir Players ” host, Lani Cerveris – this is not rehearsed but a short preliminary discussion is helpful. The discussion is prepped but not tightly scripted.
The broadcast :
Our producer, Rachel Love, was so excited about our inaugural program that she bought and built a website for us. www.onairplayers.com
The shows will also be linked with other sources as well, like FutureVision in L.A.
For actors :
Experimental Collaboration is not only essential but fun- and it is nice to meet and work briefly with other actors from all over the globe… Like in one show we have a cast that spans totally across the country from NYC to Kansas to L.A. Also actors get to explore their range of imagination and play outside their type because it’s radio so physicality matters not! Great exercise – Pilates for the actors mind and voice!
For playwrights:
It’s an amazingly strong tool to test character, plot and theme- even in a short scene when you breathe life into it and hit playback it seems to give it that page to stage rush to infuse the work even for a brief time.
For society;
Airplay is the world’s first virtual public library for the living word. Therefore it is a volunteer project – no one is compensated financially but actors and writers come away with a product that they can use for their own self-promotion… Again we are building a living anthology of new drama that will help raise the consciousness of humanity today –and we are putting it out there for public scrutiny!
The last section of our program includes our “new view review” – here we bring in critical analysis by all sorts of professionals in various fields – from theatre, of course and psychology and physics and philosophy and others.
If you would like to join us, please feel free to contact Coni Koepfinger.
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The Edgewood Theater Department has offered to make its new black box theater available for public readings of plays that have been read at P.I. meetings and that are ready for the stage. If you have a work that you want to have considered, and if you are willing to do most of the work of casting, rehearsing, and producing, contact Nick Schweitzer, who will act as liaison with Edgewood.
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MEMBER NEWS
If you are in a show, directing a show, have written a show being produced somewhere, let me know and I’ll put it in the newsletter and you may post it on our Facebook page.
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CONTESTS AND SUBMISSION OPPORTUNITIES
Thanks, Suzan Kurry
http://www.womenarts.org/funding-resources/theatre-ongoing-calls/
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40th Annual Samuel French Off Off Broadway Short Play Festival
Attention playwrights! The time has come to unpack your short plays and get them ready to submit to the OOB Festival.
We are looking for playwrights from the furthest corners of America and beyond. In years past the OOB Festival has hosted professional writers, performance artists, hobbyists, students, and many more. The only prerequisite to be selected in the OOB Festival is to have written a great short play. Applications and information about submitting can be found at the OOB Submit Page, and the submissions window will close on February 14th, 2015 at 11:59pm, with no exceptions.
continue reading: http://oob.samuelfrench.com/index.php/2014/12/40th-annual-oob-festival-now-accepting-submissions/
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Another resource. Thanks, Betty Diamond:
Welcome to The Playwrights’ Center’s Writer’s Opportunities listings, the nation’s best collection of information for working dramatists. We do the research so our member playwrights can spend more time focused on writing. This extensive database of information contains information on contests, theaters, publication and submission opportunities. We add opportunities and search categories weekly to keep the information up-to-date and easy to search.
http://www.pwcenter.org/members-opportunities.php
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BBC Radio Dramas:
http://www.bbc.co.uk/radio/programmes/genres/drama/player
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The Playwrights’ Center
2301 East Franklin Avenue
Minneapolis, MN 55406-1099
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Playwrights Foundation
http://www.playwrightsfoundation.org/
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The Playwrights Project
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dmoz, open directory project
http://www.dmoz.org/Arts/Writers_Resources/Playwriting/
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Playwriting Opportunities
http://www.playwritingopportunities.com/Playwriting_Theatre_Resources.htm
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Written and Edited by Lindsay Price
Marketing Your Play
https://www.theatrefolk.com/spotlights/marketing-your-play
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http://www.kennedy-center.org/education/vsa/programs/playwright_discovery.cfm
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Articles and Reviews
A Civil War Story With a Twist
A Review of ‘The Whipping Man’ in New Brunswick
By KEN JAWOROWSKI NYTFEB. 6, 2015
The whole is not as powerful as the best parts of “The Whipping Man” at the George Street Playhouse in New Brunswick. Here, you’ll sit through intense scenes and inert sections, in a production that is both laudable and lackluster.
To continue reading:
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Review: ‘Everything You Touch,’ a Brash Examination of Self-Image
By ALEXIS SOLOSKI NYTFEB. 12, 2015
The work of the playwright Sheila Callaghan is not exactly ready-to-wear. Her plots don’t progress along expected lines; her characters don’t stick to a single style. There’s a lot of color and a lot of pattern and some pretty crazy layering. to continue reading:
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Review: ‘Rasheeda Speaking’ Finds a Chilling Place to Work
By CHARLES ISHERWOOD NYTFEB. 11, 2015
Office politics are a headache for anyone working in the land of cubicles, copiers and water coolers, but they rarely rise to the four-alarm-fire levels of tension on view in “Rasheeda Speaking,” an incendiary but improbable play by Joel Drake Johnson that rather ham-handedly raises ever-topical (sigh) questions about the prevalence of ingrained racism in America. to continue reading:
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THEATER | THEATER REVIEW
Fusillades Piercing a Fog of Dementia
‘Visitors,’ Barney Norris’s Play About Alzheimer’s
By CHARLES ISHERWOOD JAN. 2, 2015
LONDON — For Edie and Arthur, an English couple who have lived together on a farm for some 40 years, life’s final horizon seems to have reared up with an alarming suddenness. The days and years have passed by uneventfully for this contented and very settled pair, for whom even holidays were rare events. But now Edie’s mind has begun to falter. She can’t move very well, but more distressingly, words don’t come as easily as they once did, and when they do, they may not be the ones intended.
[…]
First seen here early last year, the play has been remounted with the director, Alice Hamilton, and the superb original cast intact at the Bush Theater, one of London’s fertile incubators of new playwriting. To continue reading:
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A Big-Minded Playwright Pares Down
Moira Buffini on ‘Dying for It’ at Atlantic Theater
By ALEXIS SOLOSKIDEC. 27, 2014
Between matinee and evening performances of the comedy “Dying for It” at the Atlantic Theater, the British playwright Moira Buffini slouched in a plush seat with a cup of milky tea and squinted up at the ramshackle set. She’d flown into town only the day before to help steer the play, which opens on Jan. 8, through previews. Already she’d hit a roadblock.
“I have to take all the swearing out,” she said. “I think it sounds wrong.”
In Britain, she explained, obscenities are just “salt and pepper” enlivening everyday language. But here, “swearing is really shocking.” (Shh! No one tell David Mamet.) To continue reading:
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The Best Movies of 2014
BY RICHARD BRODY
http://www.newyorker.com/culture/cultural-comment/best-movies-2014?intcid=mod-most-popular
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(stories from previous months)
We Call That Failure Art
BY TONY KUSHNER
The following is quoted by Kushner in a speech the author gave at the Whiting Writers’ Awards on October 21, 2013.
It is not a derogation but only a definition to say that workable theatricality is the measure of successful playwriting. In the theater the test is not: Is this true to the realities of human experience? Instead the test is: Is this fictitious representation satisfactory to the artificial conditions of the theater? With luck—or with genius—a play may pass both tests, but it must pass the second, and if they are in conflict, the first must yield. The theater is under many limitations: the exigencies of space and time; the dictation of the literal, which requires an actual Peter Pan to swing through the air on an actual wire in the presence of practicable props; and especially the necessary conditions of people meeting together as an audience, the lowered intelligence, the lulled critical faculty, the enhanced emotionalism and suggestibility of a group, the substitution of emotional accord for the desire to experience and understand that is fed by other forms of literature. Under all these limitations, the theater succeeds in its own terms. They are the terms of the momentarily effective, not the permanently true or the permanently illuminating. Only small and superficial portions of human life can be honestly and thoroughly represented in such terms and under such limitations. Quite properly, the theater does not care: where honest and thorough presentation of life makes available material, the theater will use it; where it does not, the theater must and will cheerfully depart from it for the sake of the theatrical values. They, the theatrical values, are concerned with something else. To continue reading:
http://www.newyorker.com/books/page-turner/we-call-that-failure-art
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Just Saying
The anti-theatrical theatre of Annie Baker.
BY NATHAN HELLER
Wh
o goes to the theatre these days, and why? For decades now, serious stage work has been regarded tenderly as the spotted owl of American art—brilliant and nimble, breathtaking in flight, but unlikely to be found beyond a few scarce habitats. Every time we watch a trite blockbuster, fall asleep in front of bad TV, or click through to a YouTube video of yawning pandas, it’s said, our capacity for theatrical attention dies a little more. And yet, for all that, the theatre has proved strangely resilient, selling (even selling out) cascades of seats and claiming more college degrees than film and clinical psychology combined. Something is going right. Perhaps the question isn’t why some give up on the form but why others keep falling in love. What can the theatre do that books and screens can’t?
To continue reading:
http://www.newyorker.com/magazine/2013/02/25/just-saying
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Movie Review:
Swinging Seventies
“Inherent Vice.”
BY ANTHONY LANE
The new Paul Thomas Anderson film, “Inherent Vice,” comes from the 2009 novel of that name, by Thomas Pynchon. The adaptation alone deserves an award for valor. Nobody has ever turned a Pynchon book into a movie before, for the same reason that nobody has managed to cram the New York Philharmonic into a Ford Focus. If you really have a mind to write a screenplay based on “Gravity’s Rainbow” (1973), go right ahead, but be warned: you won’t have a mind by the end of it. So, what possessed Anderson to approach “Inherent Vice”?
To continue reading: http://www.newyorker.com/magazine/2014/12/15/swinging-seventies-3?intcid=mod-most-popular
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When the Script Is Screaming for Blood Audiences See Red at ‘Tamburlaine’ and Other Plays
By LAURA COLLINS-HUGHES
NOV. 13, 2014
The director Michael Boyd had plans for a small lake of blood. Onstage at the Polonsky Shakespeare Center in Brooklyn, during a break in rehearsal for “Tamburlaine, Parts I and II,” he pointed with his foot to the spot where he wanted a hole drilled. Through it, blood would be pumped from beneath the stage. If all went well, it would gradually creep up the skirt of a character standing there. “We’ve designed a costume that’s very absorbent,” he said. To continue reading:
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Why the Theater Next Door Isn’t Fit for a Queen
Producers of ‘The Audience,’ With Helen Mirren, Won’t Move
By PATRICK HEALY, NOV. 11, 2014
How badly did the Broadway producers of “The Audience,” a coming play starring Helen Mirren, want their first-choice theater, the Schoenfeld? Enough to brush off rival producers who were prepared to pay them $400,000 for dibs on the house. To continue reading:
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Real Gone Girl
Young Jean Lee’s identity plays.
BY HILTON ALS, THE NEW YORKER, NOVEMBER 3, 2014
A musty late-spring evening in Manhattan, 2012. The voluble and irrepressible playwright and director Young Jean Lee swiveled in her seat to take in the audience. The Korean-born Lee, who is now forty and has made a considerable name for herself on the downtown theatre scene, was far from her professional home. She was, in fact, on Broadway, at the Walter Kerr Theatre, on West Forty-eighth Street, waiting for a performance of Bruce Norris’s Pulitzer Prize-winning hit “Clybourne Park” to begin. Looking over all the middle-aged, suit-jacketed men and their well-heeled lady companions around her, Lee sort of shivered and said, “But everyone’s so old.” Although Norris’s play about convention, class, and race touched on themes that Lee had broken down and pieced back together at odd angles in her own work, his relatively traditional naturalism was a far cry from her irreverent, essayistic, collagist approach to storytelling, which makes her, for a range of theatre critics and audiences, a troubling, necessary presence. To continue reading:
http://WWW.NEWYORKER.COM/MAGAZINE/2014/11/03/REAL-GONE-GIRL?INTCID=MOD-YML
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Young Jean Lee Tackles ‘Straight White Men’
BY ELIZA BENT
After a recent pre-opening run-through of Young Jean Lee’s Straight White Men at Columbia University, the playwright and director, sporting distressed jeans and a leather jacket, posed questions to her audience. “Did you know what that character’s problem was?” she queried from a chair onstage. As onlookers replied, she listened intently and rapidly typed out responses on her laptop. “Did you think and feel beyond the family stuff? What did that scene make you question?” Lee pressed for answers with dramatic flair. At one point, an audience member was caught off-guard mid-response. “Forgive me,” said the accomplished monologist and veteran performer Mike Daisey. “I’m not used to dissecting a play in this way.” To continue reading:
http://americantheatre.org/2014/10/there-is-no-escape-for-or-from-young-jean-lee/
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‘Recipe’: Playwright salutes older women in political farce
By Chad Jones
San Francisco playwright and actor Michael Gene Sullivan had a compelling reason to create his play “Recipe,” which receives its world premiere from Berkeley’s Central Works: “I wanted to create roles for women of a certain age,” he says.
Sullivan points out that women rule in the theater, both in the audience and onstage, and yet women of that certain age — let’s say 50 and beyond — see onstage opportunities dwindling or being limited to the nutty aunt, the annoying granny or the lady who types a letter for the lawyers. to continue reading:
http://www.sfgate.com/performance/article/Recipe-Playwright-salutes-older-women-in-5825423.php
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Playwright speaks out about play canceled at local school
CATAWBA COUNTY, N.C. —
The playwright of one of the most performed plays in high schools across the country defended his storyline Thursday after learning a performance was cancelled at a Catawba County high school.
“Almost, Maine” is a romantic comedy that tells multiple love stories, including one between two men. to continue reading:
http://www.wsoctv.com/news/news/local/playwright-speaks-out-about-play-canceled-local-sc/nhkyB/
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‘Zealot’ at SCR continues playwright’s topical work
By Michael Miller
October 16, 2014 | 5:02 p.m.
Given how quickly circumstances change around the globe, Theresa Rebeck’s new play may evoke some unplanned responses when it premieres at South Coast Repertory.
But if it does, Rebeck has been there before — and so has Marc Masterson, the Costa Mesa theater’s artistic director. to continue reading:
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Creating a Supply Chain of Work by Female Playwrights
Group Called the Kilroys Releases List of Plays by Women
By PATRICK HEALYJUNE 16, 2014
All but daring American theaters to put on more new plays by women, an advocacy group of female writers and producers released a list of 46 such works on Monday that have been recommended for production by dozens of other playwrights, dramaturges and artistic directors. To continue reading:
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Resources :
The National New Play Network is an alliance of leading nonprofit theaters that champion the development, production and continued life of new plays. NNPN strives to pioneer, implement and disseminate ideas and programs that revolutionize the way theaters collaborate to support new plays and playwrights.https://webmail.matcmadison.edu/owa/redir.aspx?C=14e851730e6549fe921ebf8e4f57bbad&URL=http%3a%2f%2fwww.nnpn.org%2fabout_mission.phpThe
http://www.nnpn.org/ about_mission.phphttps://webmail.matcmadison.edu/owa/redir.aspx?C=14e851730e6549fe921ebf8e4f57bbad&URL=http%3a%2f%2fwww.nnpn.org%2fabout_mission.phpThe
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E-Plays available for download from Sam French
Winning Writers Website: More for fiction and poetry writers, but all kinds of good, well-paying contests.
Winning Writers
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The Dramatists Guild of America was established over eighty years ago, and is the only professional association which advances the interests of playwrights, composers, lyricists and librettists writing for the living stage. The Guild has over 6,000 members nationwide, from beginning writers to the most prominent authors represented on Broadway, Off-Broadway and in regional theaters.
The Guild is governed by a Board of Directors elected from its membership, and which currently includes such writers as Stephen Sondheim ( West Side Story, Gypsy, Into the Woods ), Edward Albee ( Who’s Afraid of Virginia Woolf, A Delicate Balance ), Marsha Norman (‘ night, mother ), Tony Kushner ( Angels In America ), John Patrick Shanley ( Doubt ), John Guare ( Six Degrees of Separation ), Lynn Nottage ( Intimate Apparel ) and Rebecca Gilman ( Spinning Into Butter ). The current president of the Guild is Stephen Schwartz ( Wicked, Pippin, Godspell ). Past presidents have included Richard Rodgers, Oscar Hammerstein, Moss Hart, Alan Jay Lerner, Robert Sherwood, Robert Anderson, Frank Gilroy, and Peter Stone. Past Guild members have included Eugene O’Neill, George S. Kaufman, Arthur Miller, Lillian Hellman, Frank Loesser, Frederick Loewe, and Tennessee Williams.
The Dramatists Guild of America was established for the purpose of aiding dramatists in protecting both the artistic and economic integrity of their work. The Guild believes that a vibrant, vital and provocative theater is an essential element of the ongoing cultural debate which informs the citizens of a free society. The Guild believes that if such a theater is to survive, the unique, idiosyncratic voices of both men and women who write for it must be cultivated and protected.
To that end, the Guild maintains model contracts for all levels of productions, (including Broadway, regional and smaller theaters) and encourages its members to use these contracts when negotiating with producers. These contracts embody the Guild’s overarching objectives of protecting the dramatist’s control over the content of his work, and ensuring that the dramatist is compensated for each use of his work in a way which will encourage him to continue writing for the living stage.
In addition to its contract services, the Guild acts as an aggressive public advocate for dramatists’ interests and assists dramatists in developing both their artistic and business skills through its publications, which are distributed nationally, and the educational programs which it sponsors around the country. Through a variety of activities, the Dramatists Guild of America works to ensure that theater in America will continue to flourish and that the voices which give it life will continue to reflect and celebrate the richness and diversity of the American experience.
A note to Guild Members: A re-imagining of the Members-only portion of our site is currently in development and will be made live in stages, beginning with public Member profiles in early 2011. All Guild Members and Associate members will be notified via email the moment each new portion of the site becomes available. In the interim, any information you require can be obtained by phoning the Guild offfices at: (212) 398-9366.
http://www.dramatistsguild.com/
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Play Publishers:
Below is a short list of play publishers. Browse their online catalogs to see if your play will be a good fit before querying. I’ve noted the ones that have contests or other special instructions. Click the publisher’s name to go the submission guidelines page.
Baker’s Plays – e-queries OK, has a contest for high school students, markets to religious institutions, regional theatres, universities, high schools and children’s/family theatres.
Broadway Play Publishing, Inc. – e-queries OK, full-length plays only.
Brooklyn Publishers – e-queries OK, NO musicals, markets mainly to middle, junior high and high schools.
Dramatists Play Service, Inc. – NO e-queries or submissions, all plays/musicals must have a production history.
Pioneer Drama Service – e-queries OK, has a contest, markets to schools and “family-oriented theatres.”
Samuel French, Inc. – NO e-queries or submissions, has a contest, markets to amateur and regional theatres, prefers plays/musicals appropriate for family, junior and high school markets, though will consider plays with more adult themes if they have had successful productions.
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The History of Playwrights Ink can be accessed and read at the Madison Public Library (main branch) on 201 West Mifflin St. in the Local Material File (Pamphlet File ) on the first floor. The file lists Associations alphabetically.
You may also access Playwrights Ink History and read it at the University of Wisconsin Memorial Library, 728 State St. It is cataloged so people will know it’s available and can be found and used there in the Madison Archives.
Should you have any problem locating our files, speak to a librarian. No material may be removed from these libraries regarding the History of Playwrights Ink. Please return info exactly where you found it.
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Playwrights Ink Participation: Anyone is welcome to attend Playwrights Ink monthly meetings (second Monday, 7PM). If you want a play or scene read, you must pay the $10 annual dues and contact Bob Curry to get it in the schedule. If you have any issues or concerns about the group’s activities or governance, would like to post an item in the monthly newsletter, or want help finding actors to read your play at the monthly meeting, contact Nick Schweitzer.
Playwrights Ink 