Showing posts with label new plays. Show all posts
Showing posts with label new plays. Show all posts

Wednesday, April 23, 2014

Reflection on the Madison Young Playwrights Program from Dania Ramos

About a month ago, Playwrights Theatre concluded the 28th annual Madison Young Playwrights Program with in-school assemblies of student-written work at the participating schools. The plays at one school contained the right character combinations where we could put a cast of all female actors into place with director Dania Ramos. We asked Ms. Ramos to reflect upon this unique presentation and are happy to include her thoughts below. Enjoy!
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Cast and playwrights onstage at Torey J. Sabatini School.
Today (March 20) I had the pleasure of directing four delightful scripts written by student playwrights who attend Torey J. Sabatini Elementary School in Madison. The staged readings were presented as part of the 2014 Madison Young Playwrights Program.

For those of you unfamiliar with how a Playwrights Theatre assembly works, here’s a quick run down. A director and a company of four to six actors are given the students’ scripts a few days before the performance. We meet the morning of the readings for about four hours of rehearsal. Then we show up at the school in the afternoon and the actors perform script-in-hand readings for the student playwrights, their classmates, teachers, and parents. No props. No costumes. No set.

The scripts featured in today’s assembly had a nice balance of humor and poignancy. In Rising From the Pitts by Charlotte Sullivan, a girl unexpectedly bonds with her grandmother after learning she was once a contestant on Star Search. In Benji van der Hulst’s untitled script, three brothers anxiously await the arrival of a special package in the mail. Sassyfrass Sisters by Keira Munter shows high drama between three girls at summer camp. Finally, in The Stapler’s Revenge by Artha Abeysignhe, a pair of staple removers, an exotic pen, and a ruler work together to defeat an evil stapler.

Today was the first Madison Young Playwrights Program cast to be comprised of only women. Natalie Bailey, Rosemary Glennon, Brittany Goodwin, and Summer Hortillosa are all versatile, generous actresses with a sincere enthusiasm for performing material by and for children.

People familiar with the New Jersey Young PlaywrightsContest might recognize Summer Hortillosa as a winner of the 2007 New Jersey Young Playwrights Contest in the High School Division. I remember watching (and loving) the reading of her script seven years ago. It was moving to watch Summer take the stage today and offer a new generation of young writers the opportunity to see their work come to life.  (Editor note: You can find guest posts from Summer Hortillosa on the blog: advice to young playwrights here and reflection on her experience as a NJ Young Playwright here.)

Recognizing the playwrights after the performance.
Perhaps my favorite moment of directing a Playwrights Theatre assembly is meeting the playwrights after the readings. It’s always fun to match a student’s face to script and to see each of their reactions when an entire auditorium applauds their hard work and creativity.

My Favorite Lines

Rising From the Pitts by Charlotte Sullivan
EMILY:  Star Search, what the heck is that?
SOPHIE:  It was sort of like American Idol back in the olden days.

Untitled by Benji van der Hulst
DOODLE: No…maybe…possibly…ok! Fine! It was me!

Sassyfrass Sisters by Keira Munter
LUCY:  Let’s get you cleaned up. Not everyone gets a dress from Paris.
CAROLINE: You mean, a specially-designed dress from Paris.

The Stapler’s Revenge by Artha Abeysignhe

JERSLISS: Rulers, because of their name, are rulers. It’s kind of unfair, but that’s just how it is.

Dania Ramos is a writer and a theatre professional. She has directed student work for the NJPAC’s Young Writers Workshop and PTNJ’s Young Playwrights Festivals and Language-in-Motion Assemblies. She's also a program coordinator for Montclair State University’s College of the Arts, Office of Education and Community Outreach. Dania's play Hielo (developed through PTNJ's New Jersey Emerging Women's Project) was recently named runner-up in Repertorio Espa ñol's 2013 MetLife Nuestras Voces Competition. She holds an MA in Creative Writing from Wilkes University and a BFA in Theatre Performance from Montclair State University.

Monday, April 7, 2014

Announcing the 2014 New Jersey Young Playwrights


Congratulations to the 2014 New Jersey Young Playwrights! (Plays are listed alphabetically by the playwrights' last names)

HIGH SCHOOL (grades 10-12)
- Hurricane Season by Alexa Derman
- Mechanical Advancement by Emily Donegan
- Ink Never Dulls by Talia Green
- Enter Banquo's Ghost by Miranda Hoyt-Disick

JUNIOR HIGH SCHOOL (grades 7-9)
- My Life, My Family, Not My Wallet by Christopher Frick
- Accounting for Change by Elizabeth Hendy
- An Underdog Story by Morgan McCauley

ELEMENTARY (grades 4-6)
- So Let's Get Cooking by Lily Bauer
- Zoe Verrazano's Big Adventure by Katie Dore
- A Good Story, A Beautiful Life by Ashley Jiang
- I Beat the Bully by Amanda Kefalas

An announcement regarding the REVOLUTIONARY PLAYS division will be coming soon.

Plays from the Elementary and Junior HS divisions will be presenting as readings on Monday, June 2.

Plays from the High School division will be presented as staged readings on Tuesday, June 3.

High school playwrights will also receive a 2014 New Jersey Governors Award in Arts Education at a special event in Trenton on Thursday, May 1.

For more information about the Festival, or the playwrights, please visit our website at http://www.njypf.org

Congratulations to the playwrights whose work was selected for the Festival and to all of those who submitted a script!

Monday, March 10, 2014

Guest Post from NJYPF reader Guleraana Mir

Today's guest blog post is from Guleraana Mir, a theatre practitioner and writer, who read plays for the NJ Young Playwrights Festival in both the first and second rounds. Based in London, Guleraana works with young people from around the world to create new works for the theatre. We thought it would be interesting to hear her perspective on the characters and themes that she sees in this work and how plays by New Jersey young playwrights compare. Enjoy!

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Working as a teaching artist with young people in New York, London and South America, I have come to realise that teenagers are essentially the same all over the world. Sure, cultures vary, political landscapes are vastly different and young people experience a number of socio-economic climates, but it seems they are moved to write, to create art not by what surrounds them, but by what they feel. I don’t say this to perpetuate stereotypes of shallow, angst-ridden beings steeped in the Hollywood notion of high-school cliques, but because it inspires me that sometimes, what is outside of the teenage bubble is just not interesting enough.

In Brazil, working with students from the favelas, I expected tales of drug lords, in the East End of London I presumed my first-generation immigrant families would regale me with stories of how they came to be in this bustling metropolis, in deepest Brooklyn I waited for recollections of gunfights on doorsteps. What I actually received could easily have been transplanted from one area to another.

Young people write about struggles in love and friendship, they write about relationships with their families, they write about school, about being human. There are linguistic differences, the towns and cities they describe are worlds apart but the themes remain the same. I’m always struck by the honesty that teenagers portray in their dialogue, not yet realising that we don’t always speak the way that we think we do. They pay particular attention to colloquialisms and often demonstrate a blissful naiveté that adult writers are too jaded to find.

This year I read the plays for NJYP alongside a number of full-length plays for a producer friend of mine searching for a new project in London. I can honestly say that I would rather have pitched her a number of the short plays written by junior-high school students than the over-ambitious, poorly executed plays I was forced to reject.

Schemes like the NJYP nurture creativity when it is as it’s brightest. The imagination and enthusiasm is apparent in the writers’ words and I’ve been wholly inspired this year. I look forward to seeing the shortlist of winners and reading the strongest plays in the competition. To all the young people who submitted, well done, and please, continue writing. The future of engaging and exciting theatre experiences is in your hands!

Guleraana Mir is co-founder of London Playwriting Lab, a brand new script development initiative created for writers, by writers. She was previously Artistic Director of First Foot Theatre Productions in New York City. Guleraana currently delivers a mixture of curriculum enrichment through drama, applied-theatre, and nutrition workshops whilst desperately trying to finish her first full-length play. Her writing credits include:

Merry ******* Christmas- Drayton Arms, London, December 2013
Dossier- Camden Peoples’ Theatre, London, November 2013
If I had a Hammer- Camden Peoples’ Theatre, London, February 2013
Betty- Pless Hall Black Box Theatre, New York, NY, March 2010
Mannequin Mount Carmel Theatre Company, Brooklyn, NY, March 2010
Voodoo Child Pless Hall Black Box Theatre, New York, NY, September 2008

Wednesday, February 19, 2014

More advice for young playwrights

Today on Twitter I connected with Lin-Manuel Miranda (In the Heights, Bring It On: the Musical) while he was online and asked if he had any advice for young playwrights:


Friday, January 10, 2014

5 Questions with Philip Peker

Our next playwright from 2013 is Philip Peker.

Philip Peker
11th grade, Livingston Senior HS
1. What inspired you to write Blues-Berries?


Blues-Berries is heavily based on my relationship with my grandparents. In fact, Blues-Berries is quasi-auto-biographical play. Being that I spend the majority of every day with both my grandparents, their ever-presence in my life has really influenced me. My grandma and grandpa are the central inspiration for writing Blues-Berries. 

2. What did you enjoy most about writing this play?

This was the first play I have ever written, so everything felt new and different to me. I really enjoyed seeing the words that I punched out at home by my computer literally come to life on stage. The transition between "written word" and "performed word" is terribly fascinating, especially when the work is your own. However, the thing I most enjoyed about writing this play, is that I continue to "write" this play everyday. The scenes in the play are almost exact replicas of what goes on in real life at the dinner table with my grandparents. Seeing my life acted out by actors on a stage, and then coming back home and seeing almost the exact same things being said by the people that the characters are framed after is a very surreal experience. I guess that's the beauty about writing; you can create parallel universes and different copies of yourself through writing. 

3. In your bio you mention that you are a classically trained guitarist who has delved into other musical genres. What are some of your favorites?

Oh man, well, I listen to practically anything that makes sound. However, for the past few years, I have been heavily vested in the Jazz genre. Every single thing about Jazz is terribly exciting. The spontaneity, the brilliance of the instrumentation, and the rawness of it really make it incredibly appealing to listen to and play. At the moment, my musical interests branch from the Jazz genre. I have started listening to tons of soul, funk, and old-school hip hop, and then also I continue to listen to a lot of classical, world, and gypsy music. I grew up listening to Russian folk music, and so that gave me a huge base for appreciating all types of musical genres. Oh, and dance music can be pretty sweet, if the occasion is right. I can go on for hours talking about music; darn you for asking this question! 

4. You also have a band, Castles, and compose your own music. What kind of music do you play? What musicians or musical movements influence your work?

Ah yes. Well, we tend to play most of our songs as "jams," and keep them as raw and natural as possible. As genres go, however, we tend be categorized as progressive or math rock. We incorporate tons of different styles, from hard rock/blues, to jazz and funk. For us, music is whatever sounds good, so we tend to throw definitions and genres out the window when we play. As a band we were originally influenced by groups like  King Crimson, Pink Floyd, ELP, and Yes, but we also really dig a lot of modern stuff like Portico Quartet, Minus the Bear, BBNG, Pat Metheny, E.S.T,  and the Mars Volta. 

5. What is your favorite flavor of ice cream?

Mocha Chip!

You can find Philip's bio, as well as bios for the other high school playwrights from 2013, on the NJ Young Playwrights Festival at http://www.ptnj.org/miscpage/2013-new-jersey-young-playwrights-high-school-bios

Thursday, January 9, 2014

5 Questions with Kelsey Garrett

The second playwright from the 2013 Festival is Kelsey Garrett.

Kelsey Garrett
11th grade, Middletown HS South
1. What inspired you to write Mirror?

The primary inspiration for writing Mirror came from daily life; the books, tv shows, the conversations with friends, and the mirror in front of me. I think it's so easy to fall into this trap of comparing yourself with every body else and no matter what finding reasons why you simply don't measure up. Look at any campaign marketed to a teen demographic, you'll read taglines like "how to lose 10 pounds in three weeks" or "how to get the guy" or "how should you dress for your body shape?" It's so destructive. We're inherently telling our girls that they are not good enough in their natural state, and that they have to spend money and time and effort to make themselves attractive. Intelligence and virtues aren't talked about it, it's all about the looks. Confidence is only talked about in terms of how it relates to sex appeal.  So one night, I couldn't bring myself to pick out an outfit for school because nothing looked right, and I could not stop putting myself down. I grabbed my laptop and just started writing down every typical battle friends have told me about, or that I've had while picking out clothes, and I put in it the form of two different characters. That's what it feels like, when you have this low moment and you're staring at your reflection, trying to justify why it's okay to eat junk food or wear something tight against the angry tirade of this inner voice explaining that your legs aren't long enough for that skirt, your stomach looks huge in that or that maybe you should just stay home because you'll be the ugliest girl at the party. Writing it all down helped me realize how absurd, how hateful I can be to myself, and sharing it with others made me realize I'm not alone with this, nearly every girl and woman who's talked to me about it can relate to at least one line. It's both relieving and terrifying. 

2. Which do you prefer most: acting or writing?

The fantastic thing about acting is that you can explore a whole new realm of emotions and experiences that you may never actually explore any other way. As tough as a decision as that is, writing not only lets you explore this new realm, it lets you create it. Writing is an expression of acting in itself, so I'd definitely pick writing.

3. In your bio you talk about taking your first dance classes when you were nine years old. Do you still dance? What styles of dance do you enjoy?

I stopped taking dance classes in my freshman year, but I still continue to dance in school productions. My experience with dance classes definitely contributed to every one of my performances. I couldn't really narrow down a favorite. Musical theater allows you to experience so many different types of dance and merges them together to create something incredible, that the type of dance doesn't matter nearly as much as the effect the performance has. 

4. You have an impressive record of volunteer and community service. Please tell us a little about the programs with whom you work.

I primarily volunteer with my youth group, Saints by the Sea. We strive to help our communities in different ways, but we mainly work with donating food to our church's food kitchen and sending school supplies to needy children. The experience is absolutely incredible, it's so gratifying to watch a group of people come together with bags of bread and cold cuts or boxes of pencils and notebooks and then a couple hours later be able to pack 50-100 sandwiches in lunch bags and deliver them or receive a letter from a teacher explaining that the school children were thrilled by their new coloring books. 


5. If you could tour with any band or celebrity, who would it be?

Scarlet Johansson. She's just an incredible role model and actress. At ComicCon one year, an interviewer was bombarding the males of the Avengers cast with questions concerning redemption arcs and character development, and the reporter turns to Scarlet and asks her about her workout regime and how much weight she had to lose, and she simply refused to answer, saying to her fellow castmate "How come you get the really interesting existential question and I get the like, 'rabbit food' question?" I love that she refuses to release her weight or her diet plan because she wants to encourage confidence rather than a two-week plan. To see a woman like that, who is respected in Hollywood and across the country and still able to shut down anything suggesting sexism or promoting weight loss for the sake of weight loss, isn't exactly common. I'm a huge fan of her, and I'd love to see more men and woman follow in her example.


You can find Kelsey's bio, as well as bios for the other high school playwrights from 2013, on the NJ Young Playwrights Festival at http://www.ptnj.org/miscpage/2013-new-jersey-young-playwrights-high-school-bios

Thursday, January 2, 2014

National Playwriting Competition at Young Playwrights, Inc. in NYC

If you haven't done so yet, be sure to submit your play to the national young playwrights competition produced by Young Playwrights, Inc in New York City. For more info, click the image below.

Happy writing!

Monday, November 25, 2013

Call for Readers and Actors

We're looking for READERS and ACTORS for the upcoming young playwrights festivals at Playwrights Theatre of NJ. Please contact us if you are interested via the following online survey: https://www.surveymonkey.com/s/2014FestivalParticipation

Any questions? Send an email to njypf@ptnj.org.

Thanks!

Friday, November 15, 2013

An excerpt from About to Pop! by Ben Muzi (2009)

Some inspiration from About to Pop! by Ben Muzi (NJYPF 2009).

About to Pop! follows Andy, a high school senior, whose excitement about the future as expressed through a class project are gravely misinterpreted by the adults in his life. Below is the poem that sparks the controversy that almost derails Andy's plans. He speaks this poem at the end of the play.

Exploring

Searching for a life.
Discovering & imagining.
Building my concerto.
Keeping on the map.
Free to touch
briefly upon the mosaic.
Ready to go-
Because I am about to pop!
Andy (Jeff Ronan) sharing his poem with the audience at the end of About to Pop! (2009)


Saturday, November 9, 2013

Get going!

Originally posted on the blog: July 17, 2012.

You may not be a wrestling fan, but the phrase is probably familiar to you: “Let’s get ready to rumbllllllllllllllllle!” Today we’re just a little under six months until the submission deadline for the 2014 New Jersey Young Playwrights Festival and its time to get writing. Specific dates and details about the 31st anniversary installment of the Festival will be posted in the coming months, but for now the best thing to do if you’re thinking about submitting a play is to get started!

There may be some of you who have an idea and are ready to dive right in, but there are others of you who may be struggling to get started. Maybe you have a lot of ideas and don’t know which to choose. Or maybe the opposite is true and you just can’t think of a thing. These are common blocks that affect every writer at some point in time. The important thing when you are struggling is to pick something and start writing. You don’t necessarily need to start with the play itself – just put pen to paper or fingers to keyboard and let the ideas flow.

No matter where you are with an idea it may help to jot down a few ideas in a list, or an outline, or a synopsis. What are you interested in? What ideas come to mind when you think about a story? What kinds of plays do you like to see – OR – what kinds of stories do you like to read? Do you have an idea for a plot, or a character? (or both?) What do you want to say about the world, or to the world? What is important to you? Whatever you have in mind, wherever your brain takes you, get those ideas down on paper and see what happens. Before long you may find that you are developing an idea for a play that you feel passionate about – something that moves you deeply.

Over the next few months, I will share some ideas for writing your play from beginning to end. I hope that some of these suggestions will be helpful to you as you write, but please know that not everything that is mentioned here may work for you. There is more than one way to write a play and it is important that you figure out what works for you and what works for the story that you want to tell. I encourage you to share your ideas and your progress by commenting on the posts as we go. I can also be reached at njypf@ptnj.org if you have any comments that you don’t want to share publicly, or to answer any questions that you might have.

I look forward to getting started with you and to seeing the finished pieces in January.

Happy writing!

Thursday, November 7, 2013

NJ Emerging Women Playwrights Project

Recently, Playwrights Theatre of NJ launched the NJ Emerging Women Playwrights Project "to provide meaningful support" to playwrights through a long-term commitment that emphasizes the needs of the individual writers in the development of their work. The pilot season was staged in 2011-2012 with Lia Romeo, Carrie Louise Nutt, Dominique Cieri, and Dania Ramos as the playwrights-in-residence. For the current season, PTNJ will develop new works by EM Lewis, Claire Porter, and Yasmine Rana.

For general information about the NJ Emerging Women Playwrights Project visit the website at this link.

For regular updates about the program, visit the new blog at this link.

Thursday, October 24, 2013

Revolutionary Plays

We've just recently updated the guidelines for the 2014 New Jersey Young Playwrights Festival with information about a new division for this year: Revolutionary Plays!

For the 2014 season of the New Jersey Young Playwrights Festival (NJYPF), Playwrights Theatre of New Jersey (PTNJ) will commemorate the 350th anniversary of the founding of the state of New Jersey with a special submission category called “Revolutionary Plays”. 

The Revolutionary Plays category will be open to NJ students grades 4-12. Script submission and formatting guidelines are the same as the general categories of the NJYPF, with the exception that the subject matter relates to specific people, places, and events from New Jersey’s role in the American Revolution. For the purpose of this project, we will consider the Revolutionary period to be from 1765 to 1787. 

Submissions to the Revolutionary Plays must be inspired by New Jersey’s Revolutionary War history. While we are interested in unique takes on historical plays, historical drama is certainly encouraged, but not required, for submission. 

Playwrights should research their subject and, if possible, conduct on-site research at an historic Revolutionary area site in New Jersey and/or to speak with an interpreter or historian. The website of The Crossroads of the American Revolution (http://www.RevolutionaryNJ.org) will be a helpful tool in discovering historic sites in the various regions of the state. You also may find information through the National, State, and County Parks websites. 

We recommend visiting sites that host interpretive and encourage you to check with area libraries for artifacts with local significance that they might have in their collections.   

Submission and Selection Process Scripts should be submitted online via the NJYPF website (http://www.njypf.org) by the January deadline. Script readers from PTNJ will adjudicate the Revolutionary Plays for artistic merit in accordance with the general procedure for the contest. Select scripts will get a second look by additional readers from the theatre and historical communities who may determine the winners.   

Performances Winning plays will be given staged-readings during the annual NJ Young Playwrights Festival in spring 2014. Additional plans to stage readings of plays at historical sites are also possible, given the subject matter or setting of the winning plays.   

The winning playwrights in the Revolutionary Plays division will each receive a $100 Savings Bond, and the students’ schools will receive a $50 Gift Card towards the purchase of books for their school library.

Wednesday, August 21, 2013

Summer playwriting

Our summer playwrights are back at it during these final two weeks of August. I'm working with two young playwrights on their new one-act plays, which have quickly taken off from ideas to multiple pages in a few short days. Looking forward to getting full drafts by the start of next week and to involving some actors in the revision process.

Oh, and we're working on some exciting news about the 2014 NJ Young Playwrights Festival. Details coming soon!

Thursday, January 31, 2013

Tuesday, January 15, 2013

Junior HS and Elementary plays due today

Arrived this morning to find that we've received half the number of scripts that were submitted to us last year, which is very exciting! Please keep them coming in...

A reminder that today is the deadline for play submissions from students in grades 4-9. Scripts must be received by 11:59 pm in order to be eligible for this year's contest. See the website for the two-step submission process: http://www.njypf.org/

Monday, January 14, 2013

High school plays due today

Today is the deadline for play submissions from students in grades 10-12. Scripts must be received by 11:59 pm in order to be eligible for this year's contest. See the website for the two-step submission process: http://www.njypf.org/

(Students in grades 4-9 you have until 11:59 pm tomorrow!)


Sunday, January 13, 2013

One day more!

One day more until the first submission deadline for the NJ Young Playwrights Festival (grades 10-12 only; those of you in grades 4-9 have until Tuesday).

A little inspiration from the Les Mis 10th Anniversary cast in concert at Royal Albert Hall in London.

http://youtu.be/jPsy5ChXGHI

Wednesday, January 9, 2013

Advice for young playwrights, Part 6

The final installment of our advice series comes from playwright/teacher/NJYPFestival script reader, Kelby Siddons. Enjoy!
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What makes a strong play?

At least two of the following, usually all three: compelling characters, strong structure, poetic language and/or action.

What types of characters do you like to write?

I like to write characters in a state of becoming, which leads me to teen characters who are smart, funny, caring, and driven but have doubts, (in)experiences, and relationships that challenge them.

What do you look for when choosing a play to work on?

As a director, I look for a play that fascinates and rewards me, and by extension, the audience. Sometimes the reward is big laughs, sometimes it's important, unresolved questions. I'll always gravitate more towards the play that gives me both those things.

Please describe the best experience that you had working on a play.

I directed an ensemble in Shakespeare's As You Like It, and it was wonderful because of how clearly complicated things become and the fact that each actor had an integral role to play in all those comic complications. In terms of structure, Shakespeare is the ultimate to borrow from.

Please describe the worst experience that you had working on a play.

As a Kangaroo in  Peter Pan, I was completely expendable. To paraphrase Jose Rivera, write parts that actors want to play.

What advice would you give to a young playwright currently working on a new play?

Ask yourself where the Fear and Love are in your play and your characters' lives. If you have one without the other, there's no conflict. Drama is created when these two dance.