Thank You! HERSTORY 2018 Wrap Up

Thank you to everyone who came out and supported HERSTORY last weekend. You all help make this work possible. We had a full house on Friday night and a sold out show for Saturday! We can’t wait to celebrate more amazing women and female artists over the rest of 2019!

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Ladies First October 2017

LADIES FIRST is a list of new productions, workshops, readings, and publications by female playwrights. Our goal is to create greater gender parity in theatre by highlighting the works of female writers and the organizations that promote and produce their works.

PRODUCTIONS:

Hello Stranger by Sharon Yablon

Produced by Theater of N.O.T.E.

The play is about a man who returns to his hometown after many years away to come to grips with a dark secret about his mother. Along the way he meets ghosts and other odd characters from the landscape, who are part of the Day of the Dead festival. October 13th- November 18th.Los Angeles, CA.  www.theatreofnote.com.

The Fear Festival 

The Fear Festival returns to New York October 20th through 22nd. Join us at the Roebuck Theater for three nights of chilling and thrilling plays written by Allie Costa, Aoise Stratford, J. J. Steinfeld, Jimmy Lovett, Maximillian Gill, Sean McGrath, and Susan Goodell, directed by Alice Camarota.

Tickets – Cast A:
https://www.eventbrite.com/o/the-fear-festival-cast-a-11407546743

Tickets – Cast B:
https://www.eventbrite.com/o/the-fear-festival-cast-b-11407581988

READINGS:

La Broads 

Broads’ Word Ensemble, in partnership with the Los Angeles Female Playwrights Initiative (LAFPI), announces LA Broads: a staged reading festival of original 15-minute plays and short excerpts of original full-length scripts from Los Angeles based female playwrights. Each play is partnered with a female director to tell a woman’s story with at least 50% female cast.

Join us for an evening of perseverance, recovery, and unconventional podcasts as we explore the roles women play in their own stories. Stories that range from dramas about difficult choices regarding bringing a child into the world and struggles over honoring the memory of loved ones to comedies involving a time traveler who can change a tire and the tension of family secrets revealed.

Playwrights: Nayna Agrawal, Tiffany Cascio, Allie Costa, Aja Houston, Uma Incrocci, and Starina Johnson
Directors: Elkin Antoniou, Lesley Asistio, June Carryl, Allie Costa, Gloria Iseli, Rachel Manheimer, Rasika Mathur, and Desiree York

Broads’ Word Ensemble’s Executive Director Tara Donovan serves as producer. The production team is rounded out by Broads’ Management Team: Danielle Ozymandias, Artistic Director; Sylvia Loehndorf, Managing Director; Dana DeRuyck, Social Media Director; Lacy Altwine, Literary Manager. Sound Design by Suze Campagna with Heatherlynn Gonzalez as Stage Manager.

To submit to the November issue of LADIES FIRST, email natalie.noplays@gmail.com before the end of the month. Send us your name, the name of your play, the name of the theatre producing your work, a sentence or two about the play, the where and when, and an image. Thank you to everyone who participated in this month’s LADIES FIRST newsletter.

THANK YOU!

HERSTORY 2: WE RISE was a success thanks to YOU! We had over 40 members of the community come through the doors of the Silk Road Art Gallery this weekend. Whether you braved the cold to see the show, asked a thought-provoking question during the Q & A, or made a donation to our theatre, YOU helped make this our best production yet. THANK YOU!

Thank You To Our Sponsors!

HERSTORY 2: WE RISE is tomorrow night! We’re looking forward to a great weekend of new plays and want to take a moment to thank all of our supporters who made this event possible.

Thank you to the following businesses for their generous donations:

We would also like to give special thanks to the following:

The Silk Road Art Gallery
The Dramatists Guild
Dan Li
Sandra Jack
Chris DeFillip
Rainbow Gardens
Cloud 9 Day Spa
The Canvas Patch
Brittney Garth
Lynn R. Lichtig
Lauren Gray

And to all of you for visiting our website!

HERSTORY 2: WE RISE won’t be possible without the support of each and every one of you!

Playwright Danielle Winston Discusses Her New Play and Female Solidarity

Danille Winston’s new play Ida and Leonor will be featured along with four other plays in HERSTORY 2: WE RISE. In this interview with Artistic Director Natalie Osborne, she discusses the lives of Ida Lupino and Leonor Fini, as well as the importance of solidarity among women on the path to discovering our true potential. You can see HERSTORY 2: WE RISE, March 10th and 11th at the Silk Road Art Gallery in New Haven. 

pink-sweater-danielle

1.) Have you written plays for 365 Women a Year before?

Yes. Last year I wrote a one-act play called, Stitches In Time about the former slave folk artist, Harriet Powers. I hadn’t heard of her until I was assigned to write her story. Harriet was a natural storyteller who wove elaborate tales into her quilts. Today her bible quilt hangs in the Smithsonian. Unlike my play, Ida & Leonor, Stitches was a recreation of an actual event that occurred in two women’s lives. There was a staged reading of the play in Harlem this past summer, and Stitches was well received.

2.) Tell me more about what drew you to Ida Lupino and Leonor Fini?

I chose Ida Lupino and Leonor Fini because I wanted to learn more about them. In addition to being a writer/director, I’m also an artist myself. Often I write stories about artists, and/or paintings are featured somehow. A while back, I attended an art exhibit about little known female surrealist painters at Sotheby’s in Manhattan. It was mind-expanding… The works were so imaginative and unique! Yet, it felt tragic that many of us had never heard of these artists. I was struck by Leonor Fini’s work. Many of her images were half-animal, half-woman. They were sensual, vibrant and supernatural… I had to know more about the woman who created this world. The 365 Women a Year project seemed like the right opportunity to begin.

As a woman filmmaker, I’m in awe of Ida Lupino, and grateful for what she did to pave the way for women in the film industry. She’s a true unsung heroine. Many know her as a stage and film actress. They don’t realize how radical she was, writing and producing films about subjects other people weren’t touching with a fifty-foot pole. Imagine, in 1949, she co-wrote a film about a young woman who considered having an abortion! Let that sink in… Even now that subject is pretty taboo. And that film, Not Wanted, turned out to be the first film that Lupino directed. She’s such an important woman in film history, a real role model. And proof that you can be in charge and not surrender your femininity. I’ve been wanting to write about her for a while.

3.) One thing I found interesting about this play is that this is a fictional conversation, so what inspired you to put these two women in a room together? 

Well… To be honest, part of that was, I had a deadline for 365 Women a Year. I was working on my other scripts, a feature screenplay and full length play. Suddenly my deadline for 365 Women was approaching and I had three historical women to write plays about! Since Ida and Leonor were alive at the same time, it seemed reasonable they could have crossed paths in their theatrical circles. I began to think of what might happen if they had met: how each woman might influence the other…  And I loved the idea of such intense strong-willed creative women meeting at pivotal times in their lives. Sparks began to fly in my mind as I heard their voices talking to each other. I see Ida & Leonor as the start of something bigger. I truly appreciate the opportunity to have this play in Herstory Festival. It’ll be the first time the play is read before an audience.

4.) Ida Lupino was one of Hollywood’s first female directors, can you tell me more about that? 

There were very few female directors. Alice Guy-Blanche in 1896, Louis Weber is credited as the first American woman film director at the turn of the century, Dorothy Arzner in the 20’s, there were more I’m sure, unfortunately we rarely hear about them. However, Ida Lupino is credited as the first director, male or female, to have ever directed themselves acting in a film for The Bigamist (1953). Two years earlier she had actually directed, On Dangerous Ground (1951) also.  Because it occurred out of necessity when her director Nicolas Ray had a nervous breakdown, she took over but was never credited. Think about how difficult it is to direct and act… to see through the camera lens, the entire world of the film, shape the performance of each actor, and at the same time also embody a character yourself. Personally, I think it’s one of the hardest things to do well.

Before the term, “glass ceiling” existed, Ida Lupino didn’t ask for permission to make her films. She created meaningful pictures, took on a massive amount of so-called “men’s work” and was an unstoppable cinematic force. Ida was a writer, producer, and eventually a film and television director. Her passion for telling the kinds of stories she wanted to see, naturally led her to directing, which is touched on in my play, Ida & Leonor. She was constantly evolving creatively, and an expert on the individual parts that go into making a film. Woman or man, that kind of ability is rare, even today.

5.) Leonor Fini was an immigrant, as well as a bisexual woman, I feel those are two groups that aren’t represented often in the media or on our stages, can you tell me more what it was like writing her as a character? 

In America, unless we’re American Indians, we are all descended from immigrants. Born in Argentina, raised in Italy, and living in Paris as an adult, Leonor Fini was multicultural in every sense. As a woman who didn’t stay stagnant in any one place, her heritage made me understand her nonconformist ways and wildly original way of seeing the world, reflected in her art.

Leonor seemed to have a fluid sexuality, involved with both men and women and was often polyamorous; Like Ida, Leonor was a woman who wasn’t playing by anyone else’s rules, inventing life as she went along, doing the unimaginable.

In my films and plays, I usually write about fictional characters so writing real people is an intriguing challenge. My stories are very psychological though… so with Leonor and Ida, I learned about each woman’s life and tried to imagine her motivations and feelings. My process is part fact, part imagination… It merges on the page and becomes a kind of new discovery.

6.) What does it mean to have stories about women like Ida and Leonor, who are outsiders and groundbreakers, told given our country’s current political climate? 

As a woman it’s easy to feel triggered by our current leadership for obvious reasons. It sometimes feels as though we’re in a time machine going backward. Instead of shriveling up and becoming weak, women are banning together. In turn, our voices are growing more powerful, which is inspiring. I was interviewing a writer/producer recently and she was talking to me about this uprising of female energy and power… And It’s clearly happening now in massive numbers. Women are refusing to be complacent which is a beautiful/powerful thing.

51% of the human race is female and yet, so little of how women changed the world is known to us, that there needs to be a term called, “Women’s History.” That’s pretty wild! Women need to discover other women of influence and power so they can emulate them. Seeing stories like Ida & Leonor, and the ones in HerStory and 365 Women a Year, I hope will inspire women to make their own voices heard.

Ida & Leonor is about two women who don’t realize their own power, until each woman becomes a kind of mirror that brings the other’s strength to light. When we see stories about women doing miraculous things, we have a chance to identify with these women. Not only do we gain role models, but something clicks in our heads and we think, “well, if she can do it, maybe I can too!”

7.) What do you see your role as a writer and a theatre-maker being in America today? 

I’m working on plays and screenplays now that feature juicy, wildly complex roles for women and men. It’s my goal to direct and continue to write stories driven by exciting unconventional women that reach a wide audience. Thats the best way I know to challenge and hopefully change female stereotypes.

8.) What role do female friendships fill, both in your play and in the world today? 

Ida and Leonor illustrates how a spontaneous friendship between two women can alter each one’s destiny.

The female friends you surround yourself with can teach you to become your truest self. There are women who embrace their own strength and uplift their female friends. That creates the best kind of growth… In a perfect world this would always be the case. However, some women feel threatened by other women’s successes, which in turn depletes their own energy and creates weakness and deprivation. Now, more than ever, I think it’s essential to empower and uplift the women in your life. It’s the only way to become stronger and experience happiness. Widening your circle of female friends is a way to do that. Also, social media, if used positively, creates a tapestry of interconnectedness.

9.) Is there anything else you would like to share? Any advice for your fellow writers and theatre makers? 

Tell your stories however you can. Plays are great because unlike films, you don’t need a fortune to stage them. And one-acts are a safe way to explore seeds of stories you may want to expand later on. I’ve written feature films and TV pilots from stories that began as one-act plays. For women… Make your voices heard. View your friend’s success as yours. Read your friends stories, listen to them. Listening is severely underrated and essential for creative growth. One last thing: we need more women working in theatre and film. Women, hire other women to work with on your creative projects. It’s incredibly important!

To learn more about Danielle Winston and her work, please visit  www.daniellewinston.com.

If you would like to support HERSTORY and NOplays efforts to bring women’s stories onto our stages, please consider making a donation. Remember to check our blog for more interviews with our playwrights!

LADIES FIRST FEBRUARY 2017

This is a list of new productions, workshops, readings, and publications by female playwrights. Our goal is to create greater gender parity in theatre by highlighting the works of female writers and the organizations that promote and produce their works.

PRODUCTIONS:

The Skirtz Festival.

 Roebuck Theater.

skirtz

Includes plays written by Allie Costa, Anne Flanagan, Nancy Gall-Clayton, Regina Robbins, Ronald Micci, and Stanley Toledo. NYC February 16th, 17th, and 18th. Tickets are available for series A and series B.

Don’t Shoot the Messenger Pigeon, written by Allie Costa. 

Produced by Barrington Stage Company 10×10 New Play Festival.

floridapigeon

Running February 16th through March 5th in the Berkshires. In this dark comedy written by Allie Costa and directed by Julianne Boyd, a mafia messenger in a career crisis meets his match while out on assignment.

class=”m_3041194484150028213edited-link-editor” href=”http://barringtonstageco.org/10×10-new-play-festival-2017/” target=”_blank”>View the festival lineup and get tickets!

http://barringtonstageco.org/10×10-new-play-festival-2017/

Cut and Run by Allie Costa.

Produced by This is Water Theatre in Texas. 

cutandrunthisisad

World premiere February 8th through February 18th at This is Water Theatre in Texas. At this hair salon, it’s live and let dye. This is Water has selected eight plays for the festival, all related to the themes of risk and vulnerability.
Full lineup + tickets:

http://thisiswatertheatre.com/current-show

The Fast & Furious Festival. 

Produced by Spokane Stage Left. 

fastfurious

February 10th-12th. This is Stage Left’s fourth annual staged reading of super-short plays. This fast-paced event features 35 new comedies and dramas that are sure to chase away the winter blahs. The lineup includes Anniversary by Allie Costa.

http://tktassist.com/Tix/?u=StageLeft&eventID=FF

Where Do We Go From Here?

Produced by Goblin Baby Theatre Co. 

wheredowegofromhere

The Bread & Roses Theatre in London February 12th & 13th. The festival showcases new works reacting to the UK referendum and the US election. The lineup includes Party of Two written by Allie Costa, directed by Su Gilroy.
http://www.goblinbaby.com/where-do-we-go-from-here.html

READINGS:

One Acts and Snacks. 

Casa de Beverly. 

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February 18th, Brooklyn. Featuring Baby by Emma Goldman Sherman, Menage A Quois by Julie Richardson, and A Bigger Fire by Cecilia Copeland.

 

To submit to the March issue of LADIES FIRST, email natalie.noplays@gmail.com before the end of the month. Send us your name, the name of your play, the name of the theatre producing your work, a sentence or two about the play, the where and when, and an image. Thank you to everyone who participated in this months LADIES FIRST.

Happy 2017!

NOplays New Logo

Here at NOplays we’re excited to be continuing our mission to produce and promote new works by women and other underrepresented voices!

Due to a lack of submissions, The Milford Young Playwrights Festival will be postponed to later in the year.

We’re looking forward to HERSTORY Part 2 in March and to The Masks of the Goddess later in Spring, as well as other events to promote women in theatre.

Thank you again for your continued support!