NYCPlaywrights July 2, 2022
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NYCPlaywrights
Jul 2, 2022, 5:38:25 PM7/2/22
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
EMMA
Jane Austen
Adapted to 1950s Newport
June 30th - July 24th
Thursdays - Sundays
All performances begin at 6:30pm
Based on the novel by Jane Austen and adapted by Susane Lee, this production of Emma is set in 1950s Newport, Rhode Island in this new, comedic adaptation about a young, spoiled woman whose greatest amusement is playing matchmaker.
The Soldiers' and Sailors' Monument
on the North Patio, Behind the monument.
W. 89th St. & Riverside Drive, in Riverside Park
Cushions will be provided to sit on the stairs of the monument.
There is very limited room if you bring your own chair.
Please arrive no later than 6:20pm. There will be no late seating.
We Do Not Take Reservations. No tickets in advance. We ask for donations after the show.
Actors' Equity Association requires audience members to be masked at all times.
Proof of Vaccination Required.
https://www.hudsonclassicaltheatercompany.org/index.php
*** DISCOUNT TICKET CODE ~ WHAT THE RAIN FORGIVES ***
Two strangers running from their past meet in a church on a rainy night. What follows will force them to confront vengeance, fate, and the true meaning of love.
A story that rebels against traditional notions of crime and punishment, What the Rain Forgives offers a unique point of view that promises to leave you breathless.
What the Rain Forgives runs at the Players Theatre from July 7th - July 24th, 2022.
Tickets available with a $20 discount at:
https://web.ovationtix.com/trs/pr/1125606/prm/PLAYERS20
*** OPPORTUNITIES FOR PLAYWRIGHTS ***
The Ten-Minute Musicals Project 2022
Stories 1.0 is the full-length musical comprised of works selected in the first several rounds. Several works in Stories 1.0 were workshopped in San Francisco, New York City, Miami, and Nashville over the years. Individual segments have been independently workshopped in Dallas, Chicago, London, and Boston.
SEEKING: Complete original stage musicals which play between seven and twenty minutes. Works which have been previously produced are acceptable, as are excerpts from full-length shows, if they can stand up on their own.
***
Fresh Words-An International Literary Magazine is accepting submissions for Special One Act Play Anthology 'Hello Godot!'. The One Act Play must have GODOT (Reference 'Waiting for Godot') as a character OR motif OR there should be recurring reference of GODOT in the work.
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The Decameron Project - LA, in partnership with International Arts Media, LLC, is seeking new one minute plays and screenplays for in-person and virtual presentations.
A 100 x1 min play festival is being planned for fall 2022 in Los Angeles, while some plays will be presented virtually.
*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***
*** MOLIERE'S 400th BIRTHDAY ***
Jean-Baptiste Poquelin, better known as Molière, was born on January 15, 1622. Born into money, he spent years working as an actor in Paris, before picking up a pen to create some of the best-known plays in French history. Borrowing elements from the Italian Comedia dell’arte, Molière’s plays lovingly poke fun at the French aristocracy, and were so beloved by French society that they earned him patronage from nobility and royalty, even King Louis XIV and his brother, Philippe I, Duke of Orléans. He is often thought to have invented the “comedy of manners,” a dramatic genre which satirizes the artificial cult of courtesies constructed by the well-heeled. The playwright remains so influential, long after his death in 1673, that French is often referred to as “the language of Molière.”
Some of Molière’s more famous works include Tartuffe, about a vagrant who fakes divine wisdom in order to be taken into the home of a wealthy family; and The Misanthrope, about an aristocrat who struggles to reject the hypocrisies of his mien while still falling prey to their attractions. These and many more will be brought back to the stage this year as France celebrates the playwright’s 400th birthday.
At the center of this project is the Comédie-Française, one of the only state theaters in France, and the oldest active theater company in the world, dating all the way back to 1680. Since 1799, the troupe has been housed in the Salle Richelieu, which was originally built in 1790 to be an opera house, and is located in Paris’s central 1st arrondissement.
More...
https://frenchly.us/france-goes-wild-for-molieres-400th-anniversary-with-months-of-plays/
***
If there’s a playwright every French-speaking student has studied, it’s Molière! It’s impossible to not have read the plays Les Fourberies de Scapin (“The Impostures of Scarpin”) or Le Médecin malgré lui (“The Doctor in Spite of Himself”): They’re on the syllabus at every school! And for good reason: The name Molière is deeply connected to the French language, to the point of being considered its greatest ambassador. But who was he? On the occasion of Molière’s 400th birthday, let’s revisit his life, his works and the heritage he left to posterity.
More...
https://www.babbel.com/en/magazine/is-french-still-the-language-of-moliere
***
The Molière quarrel is immediately keyed by the celebration of his four-hundredth birthday, or more exactly the four-hundredth anniversary of his baptism—as with Shakespeare, that’s the first date we have for him—this past January 15th. Last year, the actor Francis Huster passionately made the case for the reinterment of Molière within the Panthéon, Molière’s remains having had a long and slightly hair-raising cultural history of their own. Denied burial by the Church with any pomp upon his death—which occurred on an evening when, on stage, during a production of “The Imaginary Invalid,” he had portrayed a man faking his death, a joke only he could have written—as punishment for being an actor, his remains were discreetly interred in a church graveyard in Paris. Then, during the Revolution, hard as it is to believe, Molière’s coffin was dug up and, it is said, shown off in Paris, as a kind of morbid celebration of his modest origins and as a rebuke to the Church for its previous persecution of him.
More...
https://www.newyorker.com/culture/cultural-comment/moliere-to-the-pantheon
***
But Molière is not just any playwright, and his failure to be inducted into the Panthéon is not just any fait divers. During the 17th century, the Parisian-born and bred Jean-Baptiste Poquelin, who took the stage name Molière, reeled off an improbably long run of impossibly knee-slapping (and often heartbreaking) plays, ranging from Tartuffe, or the Imposter and The Misanthrope to The Miser and The Bourgeois Gentleman. His works have been so widely translated and performed that just as English is known as the “language of Shakespeare,” French is called “the language of Molière.” (So much so that, a few years ago, several regional governments in France imposed French as the principal language of communication at all public work sites. The law, contested by the European Union and struck down by the central government, was dubbed “la clause Molière.”)
More...
https://slate.com/news-and-politics/2022/01/moliere-pantheon-honor-macron-denial.html
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Unfortunately, one of the disadvantages of having your statue literally placed on a pedestal in the center of your country’s capital city is that your theatrical output will inevitably be regarded with solemn reverence and with the utmost seriousness, leading to productions that try to squeeze every drop of tragic import from each scene. I have seen many a turgid production of Molière’s theater in France, where the audience has maintained a mournful silence, seemingly not even daring to laugh, just in case their laughter might be mistaken for frivolity. Luckily, in recent years, theater directors have begun to recognize both that Molière’s plays are hilarious and that laughter and profundity are not mutually exclusive.
More...
https://www.parisupdate.com/moliere/
***
TARTUFFE
Tartuffe, comedy in five acts by Molière, produced in 1664 and published in French in 1669 as Le Tartuffe; ou, l’imposteur (“Tartuffe; or, The Imposter”). It was also published in English as The Imposter.
Tartuffe is a sanctimonious scoundrel who, professing extreme piety, is taken into the household of Orgon, a wealthy man. Under the guise of ministering to the family’s spiritual and moral needs, he almost destroys Orgon’s family. Elmire, Orgon’s wife, sees through Tartuffe’s wicked hypocrisy and exposes him.
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