National Tell a Fairy Tale Day - Jersey Devil

It's National Tell a Fairy Tale Day and we're sharing a post from the Crossroads of the American Revolution National Heritage Area about the Jersey Devil. This would be an interesting writing prompt for a future play. Any takers?

https://www.facebook.com/RevolutionaryNJ/photos/a.10150877871156325.418615.81672091324/10153486422081325/?type=3&theater

The Woman Who Knows Everything

This morning we began our final session of the Creative Arts Academy Summer Theatre Camp, which includes a very eager and energetic group of seven young playwrights. My last playwriting session brought a number of new activities, approaches, and ideas that I look forward to trying with this new group of students. I also was pleased by the serendipity that graced our usual first day writing routine as I gave the playwrights the following prompt:

"In 20 seconds, someone is going to walk through the door and truthfully answer any question you may have. What is that question?"

Without prompt or prior planning, just a few moments later into our classroom walked Brittany Goodwin who is assisting with the acting class across the hall. Brittany had a procedural camp question for me, but her timing was perfect to actually answer some of the questions from the group.

Brittany Goodwin is the Woman Who Knows Everything

What followed was a great example of how improvising with actors can help inspire story ideas and help get playwrights past a period of writer's block. The group loved Brittany's ideas so much the first time that they requested her again a little later in the day. It was a happy circumstance that brought about some interesting initial ideas for writing. Now, I need to find a way to incorporate it into future writing classes!

Accepting "works-in-progress" for 2015 NJYPF

You may have heard that the submission deadline for the 2015 NJ Young Playwrights Festival is one month earlier this year than it has been in the past. We realize that the new December 15 deadline may be too early for some playwrights who are writing their scripts in a school classroom, or residency program, so we're accepting partial script submissions for this year only.

Playwrights who may not finish in time for the December 15 deadline need to send us whatever draft they are currently working on and identify their play as a "work-in-progress" on the submission form. That indication, along with some additional information about the play, will help our readers better understand the play as you intend it.

If you have any questions about the work-in-progress submissions, please contact the PTNJ Education office at 973-514-1787, ext. 21 or via education@ptnj.org.

Happy writing!

Building a national young playwrights database

Since the fall, Jim DeVivo (PTNJ's Director of Education) has led a small team of interns to compile a list of young playwrights programs across the United States as a first step in Playwrights Theatre's initiative to build a national database of these programs. We will collect information through a form on SurveyMonkey, which was sent to about 56 organizations who run contests, festivals, workshops, publications, or other opportunities for young playwrights (typically aged 18/19 or younger). We look forward to compiling the results and sharing a first draft of this database on the NJ Young Playwrights Festival website by the end of 2014.

If you are the administrator for a young playwrights program and did not receive this link, please contact Jim at jdevivo@ptnj.org.

You can follow the action on social media as we've asked those who share their information to announce the news of their participation under the hashtag #youngplaywrights.

Summer playwriting classes at Playwrights Theatre of NJ

This summer, prepare your play for the 2015 NJ Young Playwrights Contest & Festival (NJYPF) by attending one of our Playwriting Workshops for students entering grades 6-12. Classes will be taught by our Director of Education, Jim DeVivo who has 20 years experience mentoring young artists including 12 years as the program director for the NJYPF. Details on our website!

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.

Staging student-written work during Theatre in Our Schools month

We're very busy with young playwrights' work this week! Spent yesterday rehearsing for two school assemblies that will be presented today as part of the Madison Young Playwrights Program. There is another assembly on Thursday and a final presentation late next week.

In the middle of all of the work on Madison, there will also be a meeting of the Selection Panel for the NJ Young Playwrights Festival this Friday. The four of us will meet to select up to 10 scripts from the 33 that advanced to this final round of judging.

To reiterate, we will spend the rest of March contacting and confirming details with the selected playwrights. Results will be posted here in early April.

In the meantime, we hope that you are enjoying Theatre in Our Schools Month and will consider attending a play tomorrow, March 20 for the World Day of Theatre for Children.

Entering the Final Round!

Both the Elementary and High School divisions have now entered their respective final rounds of judging. The Junior HS division, always the largest of the three, is going to take a little more time before it is ready. However, I will meet with the Selection Panel on March 21 to discuss each of the finalist scripts and to select the plays from each division that will be presented at the 2014 NJ Young Playwrights Festival in June.

Stay tuned!

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:

Advice to Young Playwrights Revisted!

Reposting one of our all-time most popular entries today. This debuted on the blog December 1, 2012 with some thoughts from a few of the actors and readers who have worked on the New Jersey Young Playwrights Festival.

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What makes a strong play?
A strong play has great characters and a moving/interesting plot.

A strong play is not necessarily a traditional story, but like any good story, it has a reason for being told here and now. A play's sole purpose can be entertainment, but that does not diminish the importance of the question: Why this play now?


What types of characters do you like to portray/write?
I love to play the comic relief most of the time. The character that can do no wrong and everybody loves him. Though playing a villain is also fun… playing a character that is not who I am.

I like to portray characters that are complicated. In real life, people are not stock characters. Real people have different layers to their character and sides of themselves that they don't always show the public, but are still inside. Stock characters are great in some genres of theatre (such as Commedia dell'arte), but realistic characters are complicated.

I find the most success writing characters whose actions are firmly based in the circumstances of the play. I always try to make sure that a character's actions spring from his/her surroundings or from other characters. Every action should be justifiable, even if it isn't logical (or sane).


What do you look for when choosing a play to work on?
I look for a play that has strong character relationships and a great conflict that those characters encounter.

I look for a play with language that makes the room buzz when it's read aloud. This can be dialogue in the form of a fierce, biting argument, or monologue in the form of a soulful soliloquy. This language seems to come from sincere and causal circumstances.


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

To keep a positive and open mind. Believe in your work and give it your all.

Writing a play can be difficult, but it does not have to be sequential. Writing the last scene first, a middle scene last or a random scene with no definite place can ease the difficulty of writing scenes in order. Write the part you're dying to write!

Be open-minded. It is perfectly fine to have a clear vision for what you wish to accomplish with your piece, but be open to new ideas from people who haven't been working tirelessly on the script for months. Sometimes outsiders can offer ideas that you never would have thought of before! Try some ideas out and if they don't work, there's nothing wrong with scrapping them.

Rethinking "Write What You Know"

Whenever I log in to the blog for a new post, I like to see which older posts have been viewed and what our "all-time" top entries are. One of our most popular entries is one entitled "Write What You Know", which originally premiered on October 20, 2008 and was re-posted last August 27, 2012. You can link to those entries by clicking the dates, but before you do, I wanted to share something else about the idea of "what you know" that has been brewing in my mind for the past few days.

Students often are told "write what you know", which seems simple enough, but a number of young playwrights in our workshops feel pressured by this advice. Sometimes they want to write about a topic, an event, place, or person that they know very little about. This knowledge can be gained by a little reading and research, of course. However, one thing that I always ask young writers to keep in mind is that, even if it is based in reality, or history, what they are writing is also a piece of fiction. That fiction stems from their imagination (something that we don't often connect with knowledge) and I believe that if you can imagine it, then you know it. An example of this may be with a science-fiction, or fantasy play. That world exists in a writer's mind and the writer needs to know a lot about it and how it works in order to accurately share it with an audience. Again, the advice is "write what you know", but a little less pressure involved.

Not everyone wants to write a sci-fi/fantasy play, of course. No matter what the genre, it is helpful for playwrights to know about themselves - their background, sure, but also things that spark their imaginations and emotions. The older posts that I have linked above include a self-reflection tool that our young playwrights have found useful when first thinking about their plays, or looking for some inspiration during revision. Give it a look and see what ideas might be sparked in you as you begin, or continue, your writing.

We can't wait to see the results...

Happy writing!

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)

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!

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.

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.

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!

Former NJ Young Playwright is Valedictorian

Congratulations to Emma Hathway, a 2012 winner in the high school division of the NJ Young Playwrights Festival. She is a Valedictorian of her class at Bergen County Academies!

http://www.northjersey.com/news/210357361_Valedictorians__Emma_Hathaway.html

Final judging begins this week!

The 2013 NJ Young Playwrights Festival has moved into the final round of judging today. Of the 328 plays received, 33 have been forwarded to our Selection Panel for their consideration. Panelists will read those plays over the next few weeks and winning playwrights will be contacted by the end of the month.

However, our sincerest congratulations to everyone who wrote a play and submitted it to the Festival. Congratulations on your excellent work!

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.

Advice to young playwrights, Part 5

Continuing our advice series with comments from playwright and NJYPFestival script reader, Kirk Woodward. Enjoy!
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What makes a strong play?

For me the most important element of a strong play is a good idea. A solid idea makes everything else possible. A weak idea means the writer is constantly playing catch-up.

What types of characters do you like to write?

The answer to this question varies with the play, of course, but I like characters with spunk. Also, as a male playwright I set myself years ago the challenge of writing at least as many female as male characters, and I like that.

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

I know this comment is terribly subjective, but it has to excite me. There are many excellent plays that will do better if someone else writes them or directs them, because they don’t stir my imagination.

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

I once wrote the entire score for a musical for children during one working day, while sitting at my desk. (Didn’t get much other work done, however.) That was fun!

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

Fairly typical: I worked a long time on a draft of a play, and when I finished it I re-read it and realized it was a total bomb from beginning to end. NOTE: if that happens, you have to either rewrite it entirely, or discard it. Don’t try to breathe life into a dead play. You’ll write others. If you don’t like it, no one else will, that’s for sure.

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

Don’t listen to advice too much. When it comes down to it, your job is to write. Let other people do the evaluating. Write what you feel you’re called to write.