A new play, by Stephen Sachs, now at the Fountain Theatre through March 21.
MOCKINGBIRD, by Julie Jensen, Nominated for 2 Helen Hayes Awards
MOCKINGBIRD, adapted by Julie Jensen from the book by Kathryn Erskine, has been nominated for two Helen Hayes Awards. One for Outstanding Original Play or Musical Adaptation, and one for Outstanding Production, Theatre for Young Audiences. See the full list of nominees here.
Interview with Tammy Ryan: Her Life as a PLONY (Playwright Living Outside of New York)
Tammy Ryan born and raised in Astoria, Queens, left to go to college, and, despite having New York roots, officially became a #PLONY when she wrote her first play as a theater major at the University at Buffalo (UB) and had it produced in the back room of Nietzsche’s bar…
If you were in school for theater, what made you write a play?
I wasn’t being cast in the plays they were doing, which were restoration comedies and I had a thick New York accent and a lisp and something of an attitude. Plus, I’d never even seen a play before I went to college. I came from this big dysfunctional Irish American family and my uncle was an actor, and it seemed like an exotic life so I kind of latched onto that. I lived in New York City; you’d think we would have gone to plays. My mother was a Girl Scout leader, and we went to the Statue of Liberty and Central Park, but not plays.
Read the full interview from Donna Hoke’s blog here.
A Look into Empty The House at The Curtis Institute of Philadelphia
Below are some photos of Anya Klepikov‘s work from EMPTY THE HOUSE at The Curtis Institute of Philadelphia.
Sure, ‘Hamilton’ Is a Game-Changer, But Whose Game?
Lamentably, however, much of the acclaim that has and will accrue to Hamilton brands it as one of the first pieces of theatre to successfully incorporate hip-hop elements and sensibilities. That’s like someone thinking they’ve discovered rap music after hearing Eminem’s song “Stan” (coincidentally, and arguably, another white narrative). This is unfortunate; it not only ignores the 20-plus year legacy of hip-hop theatre in the U.S.—Idris Goodwin, Eisa Davis, Psalmayne 24, Hip-Hop Theatre Junction, Teo Castellanos, Will Power, Universes, Marc Bamuthi Joseph, etc. It also, more disturbingly, ignores LMM’s own In The Heights, a hip-hop-infused musical with a contemporary story about Latinos in a changing neighborhood that ran on Broadway for 3 years, won 4 Tonys and recouped its money after just 10 months. Yet we’re still in a cultural landscape where In The Heights and other hip-hop generation stories will never be celebrated to the extent that Hamilton will be, simply by virtue of who the show is about.
-April 23, 2015 – Excerpt from a piece by Danny Hoch for American Theatre. Read it all here.