StageSource's New England New Play Anthology has been released at last, thanks to the tireless efforts of a wide range of artists and administrators, especially editors Patrick Gabridge and Laura J Neill. The anthology includes 8 plays that were presented in Boston over the last 5 or so years, including my one-act "Hell By Fire, Hell By Ice". I back ordered a box of 'em and am selling copies for the cover price ($25). E-mail firstname.lastname@example.org to get yours!
An excerpt of my play Two Below Zero (aka Frigid Bitch) will be featured as the theatrical response at the Greenovate Forum on Monday, May 1st from 6:30 - 8:30pm at the Lyric Stage Company of Boston. I'm framing this as a "preview" of the play which I'm hoping to make available on request because of how portable and scrappy it is. Amie Gem Lytle plays Cali and Gigi Watson plays Zara. RSVP to the event here.
"Right Justified", a 10-minute play that I wrote with Alexa Mavromatis for the 2015 Fresh Ink / Interim Writers Mad Dash is one of the selected plays for Boston Playwrights' Theatre's upcoming Boston Theatre Marathon on Sunday, 14 May. The full list of selected plays lives here.
Last year's productions of The Launch Prize and That Time the House Burned Down have earned several nominations for the upcoming IRNE (Independent Reviewers of New England) and ArtsImpulse awards.
The Launch Prize for the IRNE for "Best New Play" (Small Stage). As for Arts Impulse, The Launch Prize and That Time the House Burned Down are both nominated for "Best New Work" (Small Theatre); The Launch Prize is nominated for "Best Play" (Small Theatre); and Noah Simes is nominated for "Best Lead Actor" (Small Theatre) for his turn as And A Half in The Time the House Burned Down.
The IRNE Awards are Monday, April 24th, at 7:30 pm in the Ballroom of the Holiday Inn Brookline, and the ArtsImpulse Awards are at OBERON in Cambridge on Monday, April 3, 2017.
I will be leading a presentation called "Melting in the Spotlight: Securing Antarctica's Place in Popular Media" as part of the APECS (Association for Polar Early Career Scientists) International Online Conference -- and therefore streamable wherever internet is readily available at 3:15pm (New Zealand time, of course, which is 9:15pm EST). My abstract is below for your titillation:
As Antarctic research yields increasingly urgent warnings about our planet and major political powers embrace climate-change denial, we are called upon to seek new methods of communicating those concerns and rise above the fray. Meanwhile, popular media demonstrate themselves as effective and palatable methods of shaping popular consciousness, so much so that we’ve repurposed the word “binge”. It is necessary to turn to the next generation of media makers to ensure that lessons learned in Antarctic research have voice.
This presentation suggests innovative academic methods that would enable and inspire researchers and students within Antarctic studies to forge a connection with students and graduates within the arts. By referring to my familiarity with Emerson College’s unique interdisciplinary offerings, I will propose methods of collaboration with the goal of developing persuasive and informative media content meant to elevate the presence and impact of Antarctic stories and research through tools including fiction, television, interactive games, drama, etc. I will describe action items that I integrate into my own teaching and creative pursuits, and that may be of use to instructors, faculty members, and granters of research fellowships pertaining to arts and/or science.
Young artists and writers are often waiting impatiently for their next gig; Antarctic researchers have an opportunity to employ their talents as a platform for amplifying their own perspectives. Working across disciplines offers an opportunity to raise the alarm for climate change in a way that will make the public listen and act.
My good friend Travis Amiel founded "Emerson Playwrights Collective", and invited me to present a Masterclass with them, which went swimmingly well on 28 February. I led ten student playwrights through a series of playwriting and character-building exercises-- some of them were tried and true, others were experiments. My takeaway: "teaching" writing really is more ushering learning than anything; it is definitely not a tangible skill like knitting.
Since September 2016, I've been serving as an Affiliated Faculty of Writing for Film & Television in Emerson College's Visual & Media Arts Department. In this role, I'm teaching VM 220 "Writing the Short Subject", which centers on writing screenplays for short films, and advising a directed study, "Writing Web Series". This has easily been the most fulfilling challenge of my (money-earning) career.
"Peggy's Properties" was presented as part of Losing and Finding, a ten-minute play festival presented by Chameleon's Dish from September 23-24 at the Democracy Center in Cambridge, MA. The play was directed by Phoebe Roberts and featured Allyson Condrath as "Peggy" (pictured).
The Launch Prize was honored with the 2016 Elliott Norton Award for Outstanding New Script at the ceremony on Monday. Here I am at the after party with my good friend, Bridge Rep Producing Artistic Director Olivia D'Ambrosio.
In a perfect case of life imitating art, The Launch Prize has been nominated for two Elliot Norton awards: Outstanding Production by a Fringe Theater, and Outstanding New Script.
The award ceremony is on Monday, May 23.
The Boston Metro offered this feature on my 15-minute play "Teddy" which was presented by Nick Medvescek one night only in my 2007 Toyota Corolla featuring Chelsea Ruscio and Will Madden. Check it out here!
Bridge Repertory Theater of Boston (a company that I am a Founding Artistic Associate of) has just announced its third season, including Oscar Wilde's Salomé directed by Olivia D'Ambrosio, my play The Launch Prize directed by Tiffany Nichole Greene, and Marisa Wegrzyn's Mud Blue Sky directed by Bridget O'Leary. Click here to learn more about the season!
The Launch Prize is the new title for the play originally titled The Da Vinci Commission which was presented by Can't Wait Productions. Click here to learn more about the play.
That Time the House Burned Down has been selected alongside It's Not About My Mother by Lizzie Milanovich and The Housekeeper by Ginger Lazarus for full production in Fresh Ink Theatre's 2015-16 season. The season will also include readings of Vow Keepers by David Valdes Greenwood and Rabbit Rabbit by Katie Grindeland.
A "first look" reading will be presented on 2 June at the Boston Public Library, directed by Stephanie LeBolt.
Click here to learn more about Fresh Ink's season.
I've stepped in as the faculty advisor for RareWorks Theatre Company, a student-run theatre organization at Emerson College which I served on the E-board for back when I was a student. Hence, full circle! Learn more about RareWorks by clicking here.
Kate Snodgrass and Erbulace restaurant are hosting a reading of My Grandson the Power Bottom on Sunday 11 January @ 7pm. Reservations must be made directly through the restaurant, or by contacting me. Erbulace is at 69 Church Street in Boston.
Benny and his widowed grandmother Constance enjoy a placid living arrangement together until he brings home Darius, a one-night-stand he meets online. When Darius introduces himself to Constance under false pretenses, Benny is forced to face his own insecurities and risk losing the little family he has left.
Boston Teen Acting Troupe is holding auditions for its Summer 2015 season which includes my new full-length drama i don't know where we're going but i promise we're lost. Click here for details about auditioning. We are looking for young actors to play the following roles:
DEVON FLEETER - 18, M.
His hot temper is second only to his fierce loyalty to his brothers. If he were in a band, he'd play bass.
JOSH FLEETER - 16, FTM.
A bit of a brat - but ultimately far more mature than he lets on. If he were in a band, he'd play guitar.
TY FLEETER - 12, M.
Wide-eyed and impressionable. Monkey see, monkey do. If he were in a band, he'd play drums.
ANNIE MASTERSON - 19, F.
There's a quality about her that seems she's somehow already lived an adulthood's worth of complications. If she were in a band, she'd play back-up guitar. And write all of the lyrics. And book the gigs.