Women in the Age of Trump: NIGHTMARE by Cassandra Lewis

NIGHTMARE by Cassandra Lewis is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

CASSANDRA LEWIS is an award-winning playwright. Her plays have been produced in New York, London, Dublin, Chicago, San Francisco, Los Angeles and a few other places and published in several Best Of anthologies. More information can be found on her website: www.CassandraLewis.com.

Thanks to Cassandra Lewis for allowing NYCPlaywrights to publish this excerpt from her monologue NIGHTMARE.

I’m in second grade the first time I’m sexually assaulted – an older boy pushes me against the lockers and claws at me, where breasts hadn’t yet formed. In seventh grade, I’m at another new school where the boy who always sits behind me on the bus yells, “Suck my cock!” over and over. I ignore him until he smacks my head into the window. Something snaps. I dive over the seat and punch him until his
face is covered in blood and the bus driver has to pull over. 

That’s the only time I really fight back. 

As I grow older, harassment and assaults become frequent. I learn to live with them, not accept them, but survive despite them. I learn to ignore or worse—laugh off—sexual discrimination. I quit many jobs. I never file charges. Why would I when prospective employers ask if you’ve ever done so? 

I’m a new mother and it takes almost two days for my right nipple to accommodate my nursing baby because it’s so badly injured from a sexual assault that happened sixteen years earlier. But the baby and I keep trying and eventually she finds nourishment. She gains weight and is healthy. She can be anything she wants - a woman is about to be president. She goes with me to vote. And then to protest.

NOW TAKING SUBMISSIONS FOR THEATREGASM TURNS 10

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If you write short plays, this is your chance to see these plays come to life as part of our 10th anniversary edition of Theatregasm.

Two rules:

1. Submissions must be sent before January 15 to be considered for Theatregasm 2017.

2. Shows should be roughly 10-minutes long or shorter. Now, we're not going to sit there with a timer and calculate length down to the second so there is some flexibility, but please refrain from submitting full lengths. Very short scripts (similar to Too Much Light Makes The Baby Go Blind) are also welcome.

We do accept all genres: comedies, tragedies, theatre of the absurd, you name it.

Please send all submissions to info@theatredart.org

At this time, we are unable to provide a stipend as this is an all-volunteer company.

Women in the Age of Trump: DEMONSTRATION

DEMONSTRATION by Monica Hileman is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

MONICA HILEMAN's stories have appeared in journals such as Arts & Letters, The Baffler, and the Chicago Tribune’s Printers Row Journal. There are times when she tries her hand at plays. Her website is monicahileman.com
Thanks to Monica Hileman for allowing NYCPlaywrights to publish this excerpt from her play DEMONSTRATION.

   ALICE

I’ve had to change jobs three times in the past five years. Not because I wanted to. I worry what’s going to be there for my little girl when she grows up. What kind of world she’s going to be living in.

   GUS

I tell ya, this job is not for everyone. We get dropped in the middle of things and try to do the best we can. I know some guys have an attitude, but you find that in any group. Like your friends that trashed those storefronts last night.

   ALICE

(Annoyed) 

Not my friends.

   GUS

Pretty stupid. And dangerous with all that glass flying.

   ALICE

   (Her shoulder hurts and her foot has gone to sleep) 

I’m gonna start screaming if you don’t take these off.
   GUS

   (Smirks like she’s being ridiculous)

   ALICE

(Loud, full-throated scream) AAAAAHHHH!!!!

   GUS

(Drops cigarette and jumps to his feet)

   ALICE

TAKE. THEM. OFF!

   GUS

All right. Christ!

(He stands behind her, bends down.)

   ALICE

(Emotional) I asked you nicely. (Nearly in tears) Didn’t I?   

   GUS

I said all right. Hold still. (Removes the plastic cuffs)

   ALICE

   (Brings her hands around and rubs her wrists, moans with relief)

   GUS

   (Remains standing behind her, pulls another strip of plastic off his belt)

Okay.

   ALICE

   (Wipes her nose on her sleeve)

Okay what?

   GUS

I have to put on another one.

   ALICE

Noooo.

   GUS

It won’t be as tight.

   ALICE

What, you think I’m gonna try and escape?

   GUS

I don’t want to have to use force to put these on.

   ALICE

   (Hunches over, keeping her hands in her lap)

Why don’t you go arrest some muggers.

   GUS

Cause I’m here with you, stupid. 

(Nudges her shoulder)

   ALICE

(Takes deep breath) Okay. 

(Puts one arm behind her, then the other)

   GUS

(Puts on cuffs and goes back over to lean against the wall, takes a deep breath)

   ALICE

(Starts crying quietly) The way thing are I had to do something. (snivels) It builds up and you start to get numb. I don’t want that (snivels) Being here, with other people who feel the same way, who care about this country and what’s happening to it, at least I know I’m not alone.

   GUS

   (Under his breath) 

This is definitely not why I became a cop.

Women in the Age of Trump: COURAGEOUS COWARD

COURAGEOUS COWARD by Andrew Maikovich is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

ANDREW MAIKOVICH develops training for Colorado judges on violence against women issues. He wrote this play, which is based on an actual case, to promote discussion on the issues of domestic violence. He has written one unproduced play, Lady of the Chimney Corner (www.ladyofthechimneycorner.com).


Thanks to Andrew Maikovich for allowing NYCPlaywrights to publish this excerpt from his play COURAGEOUS COWARD.

   LARRY 

I know. (BEAT). Michelle, if you don’t mind, let’s review what happened on Friday.

   MICHELLE

Okay.

   LARRY

You were talking to Dave in the kitchen. How did the argument begin?

   MICHELLE

I knew that I was going to confront him; and I knew he’d have a strong reaction. So I was scared. I mean, I did everything I could to not let him see me tremble; hide that my heart was racing. 6

   (DAVE walks over to MICHELLE and begins gently rubbing her arm. MICHELLE’s arm flinches ever so slightly. She bites her lip. DAVE pulls his hands back and puts them in the air in anger.)

   DAVE

Jesus, what’s with you? Excuse me for trying to be nice.

   ALTER EGO

God I hate it when he touches me. Even when it’s not violent, I feel violated when he ignores my body language, my squirming away from his hands, my body stiffening…

   MICHELLE

I’m…I’m sorry.

   DAVE

Oh yeah; you look like you’re sorry.

   ALTER EGO

There’s the hurt puppy look again. Don’t feel guilty for defending your boundaries.

   (Note: After this line, ALTER EGO will slowly move backward to the chair or cot at the side of the stage. The scene will move there shortly.)

   LARRY

   (speaking to Michelle)

So is that what set him off? Your rejection when he touched you?

   MICHELLE

   (speaking to Larry)

No; no that wasn’t it. And this is where Dave’s story and mine appear to be two separate incidents.

   DAVE

This is where my daughter told a lie. A bald-faced lie. Okay, I admit that I lost my temper and could have handled it better. But she needed to be confronted. I’m her dad.

   MICHELLE

   (speaking to Dave)

Dave, Samantha said you gave her a massage yesterday after she came home from school.

   DAVE

Yeah.

   MICHELLE

She told me it made her feel uncomfortable.
   (LONG BEAT as Dave processes the statement.)

   DAVE

And just what the fuck is that supposed to mean?

   MICHELLE

Dave, don’t get angry; we’re just talking…

   DAVE

I asked you what that is supposed to mean?

   MICHELLE

I’m just asking you why she might have felt that way.

   DAVE

(BEAT) Why that little cunt.

   MICHELLE

Dave, take it easy.

   DAVE

Is she in her room? Is that that bitch in her room?

Leah Ryan's Fund for Emerging Women Writers

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All women who consider themselves emerging playwrights (as distinct from fledgling or mid-career playwrights) are eligible to apply for the 2017 FEWW Prize. Playwrights from all over the world are encouraged to apply, but the play must be written in English. Eligibility does not require that a submitted work adhere to the traditional three-act structure. One-acts, two-acts (even four-, five-, six- acts), monologues, adaptations, and any other wild (or deceptively tame) format will be considered with equal seriousness. The only absolute requirement is that the submitted text be a completed full-length work for theater.

The winner will be chosen by a committee selected by the board members of Leah Ryan's FEWW, and will be presented her award as part of the 2017 Lily Awards, which honors the work of women in American theater.

The winner will also receive a cash award of $2,500 as well as a staged reading of her play hosted by FEWW at a theater in New York City. In addition, a stipend of up to $700 for travel and accommodation may be provided by FEWW if necessary.

The deadline for submissions for the 2017 FEWW Prize is Monday, January 9th, 2017 at 11:59pm EST.

Finalists will be contacted in early March and will have one week within which to submit their full play.

Women in the Age of Trump: FIVE TRIPS TO MORRISTOWN

FIVE TRIPS TO MORRISTOWN by Hal Corley is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

HAL CORLEY has developed his plays with major companies (Seattle Rep, Syracuse Stage, Walnut Street, Premiere Stages, Adirondack Theater Festival). Three full-length scripts are published by Samuel French; his one-acts are in Playscripts' Great Short Plays Volume 10, and Applause’s Best American Short Plays of 2014-2015. https://newplayexchange.org/users/3114/hal-corley

Thanks to Hal Corley for allowing NYCPlaywrights to publish this excerpt from his play FIVE TRIPS TO MORRISTOWN.

4. Thursday

   (THE CONDUCTOR moves uneasily into an empty car.)

   CONDUCTOR

Denville, next, Denville. Tickets please. Tickets.

   (The YOUNG WOMAN appears, opposite, coming from the front; same dress, but heels, lipstick; THE CONDUCTOR's relief fades:)

   YOUNG WOMAN

Morning.

   CONDUCTOR

Tickets, all tickets.

   YOUNG WOMAN

So unfriendly. I could report you for that. Don't you want to know what I did yesterday?

   CONDUCTOR

Just hope you had a pleasant day.

   YOUNG WOMAN

What's that mean? Do they teach that, useless repartee, in Conductor Training?

   CONDUCTOR

Denville next, Denville. All tickets.

   YOUNG WOMAN

I walked in the rain. Multiple trips around that square. Without going in it. They call that something, don't they? Repetitive actions for some pathological purpose? What?

   CONDUCTOR

Really couldn't tell you, / Lady.

   YOUNG WOMAN

OCD. Did't include that in like your special ed I.E.P, huh? So I walked around the square thirty-seven OCD times. Finally this cop with dreds and one gold tooth stops me, all up in my face. “Something I can help you with?” “Yeah, bitch, get outta my way.”

   CONDUCTOR

My guess is, she didn't laugh.

   YOUNG WOMAN

You “guess?” Then she's like, “Got a problem, Miss?” I go, “Have I broken any law?” She goes, “Not yet.” Then follows me, on my tail halfway back to the train station, totally reeking of some “essential oil.” And I'm not even sure she was a cop, no badge on her tattooed tit, just an off-duty “security gua—“

   (THE YOUNG MAN has come through, reading his iPhone.)

Heeeey.

   (The CONDUCTOR watches YOUNG MAN start to sit; sotto voce:)

   CONDUCTOR

Y'know the quiet car is open. You might prefer that.

   YOUNG WOMAN

Heard that. That a dig? At me? Hey. Was that crack about me? / Hey!

   CONDUCTOR

If I were you, I'd take a seat in the forward part of the train.

   YOUNG WOMAN

To get away from me? Are you even allowed to give that kind of advice?

   YOUNG MAN

Why would I need to get away from you?

   YOUNG WOMAN

Look at you, Mark Jacob jacket? What kind of brief case is that, Kenneth Cole? Do all those fine accessories attract the little hot mamas? The maids, on the way to scrub toilets in Short Hills? Only girls you can actually hook up with, on a regular basis?

Monday Theatre Company seeks plays

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Monday Theatre Company is a New York City-based theatre company that celebrates diversity in gender, race, and sexuality. We aim to tell stories that challenge traditional narratives, and give opportunities to underrepresented and undiscovered theatre artists.

MTC is seeking both short and full-length play submissions for it's 2017 season. We are also looking to expand our creative team and meet with interested directors and collaborators.

Playwrights: send a cover letter and an attachment of your work (PDF) to mondaytheatreco@gmail.com.

Submission due date: Monday, January 9th.

Arundel Festival 2017 Writers’ Competition

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The Arundel Festival Theatre Trail, conceived and presented by Drip Action Theatre Company, is now in its seventeenth year.

It performs at the end of August, on each of the Arundel Festival’s eight days, eight short plays at eight different venues all over Arundel – for example, in a community hall, a restaurant, a football club or Arundel Jailhouse. An audience of over 2,000 came to see the eight 2016 Theatre Trail plays.

The Trail is firmly established as one of the major components in the Festival and is a great showcase for both new and established writers, both from the UK and beyond.

THEATRE TRAIL WRITERS COMPETITION 2017:

Writers are invited to submit plays for next year’s Trail from November 2016.

Plays should be between 30 and 40 minutes long, with practicable casting, props and effects.

All entries should be submitted to Drip Action Theatre Trail 2016

c/o Arundel Festival
Town Hall
Maltravers Street
Arundel
West Sussex
BN18 9AP

Entries must be received by 31st January 2017. There is no reading fee.

One play only per entrant, in hard copy (not e-mail).

Please enclose an SAE if you’d like your play returned.

Our reading committee will select the plays that will be performed, with the best submitted script receiving the Joy Goun award of £250 at our Theatre Trail launch in May 2017.

Each successful playwright will receive a £150 writer’s fee.

For further information call 01903 885250 or email info@dripaction.co.uk

Women in the Age of Trump: TOUGH COOKIES

TOUGH COOKIES by Brett Hursey is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

BRETT HURSEY's comedies have appeared in over two hundred and fifty theaters across the country including venues in Boston, Washington DC, Chicago, Los Angeles, San Francisco, Hollywood, as well as internationally in England, Belgium, Luxembourg, Romania, Australia, South Korea and Canada.  He's also had over fifty off/off-off Broadway productions in Manhattan.

Thanks to Brett Hursey for allowing NYCPlaywrights to publish this excerpt from his play TOUGH COOKIES.

   CHAZ

No -- I paid for a fortune -- and I want a fortune.    (Throwing down the slip of paper) 

Not this lame crap!

   WAITRESS

Ooooo-kay. No problem. I’ll be right back.

   (WAITRESS quickly exits stage right.)

   ROXANNE

Don’t you think you’re overreacting a little?

   CHAZ

Look, all I want is a fortune cookie with an actual fortune inside. Is that asking too much?

   ROXANNE

OK, fine. Calm down -- you’re making a scene.

   (WAITRESS enters stage right.)

WAITRESS

   (Placing a plate on the table) 

Here we go -- new cookies for everyone…

   CHAZ

   (To ROXANNE) 

You go first.

   ROXANNE

You sure? I mean, I wouldn’t want to stand between you and a fortune you’ve already paid for…

   CHAZ

Ha, ha. Very funny.

   ROXANNE

   (Opening the cookie -- reading) 

“Your smile is a sunrise on dark horizons.”

   CHAZ

(Hurriedly) 

Great. 

(Opening his cookie-- reading) 

“Whew -- it’s about time I got out of that lousy cookie.” 

   (Throws the slip of paper down) That sucks! I want another one!

   WAITRESS

Alright! Give me a second.

   (WAITRESS runs off right.)

   ROXANNE

Come on, Chaz…

   CHAZ

No! No way! I’m not taking this…

   ROXANNE

Taking what, Chaz? They’re just cookies…

   CHAZ

Says the girl who gets all the good fortunes -- for free…

   ROXANNE

Jesus, you really are a jerk-face…

   (WAITRESS enters stage right and places one cookie in front of ROXANNE and one in front of CHAZ.)

  ROXANNE

   (Opening her cookie -- reading) 

“Watch your step -- love is right around the corner.”

   CHAZ

   (Opening his cookie -- reading) 

“You will be hungry again in another hour.”

Women in the Age of Trump: HATE MALE

HATE MALE by Daniel Guyton is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

DANIEL GUYTON has won numerous writing awards for his stage plays and screenplays, including the Best Horror Screenplay Award from the Los Angeles Film & Script Festival, two playwriting awards from the Kennedy Center/ACTF Festival, and many others. His stage plays have been produced over 300 times around the world, and he has received over 40 publications. www.danguyton.com.

Thanks to Daniel Guyton for allowing NYCPlaywrights to publish this excerpt from his monologue HATE MALE.

These bars can't hold me in. These walls can't shackle me. I am transcendental. I am existential! I am anti-matter, ectoplasm, plant destroying phytoplasm. I will melt into the floorboards, delve into the ether, I will eat the ground beneath my feet, and swallow up asbestos. I will rise up on the other side, a thousand times larger than I am right now, and I will cut you while you’re sleeping. I will fuck your family, and I will eat your goddamn dog for dinner! That is – assuming that you have one. Do you have a dog there, Mr. Guard? Mr. Doggy Guard? Or are you just a pussy man like I think you are? 

   (Small pause) 

Don’t even look at me. Don’t even breathe near me. Every particle of air you spew is like a toxin. Every sound you make is … 

   (She spits at him) 

Just get away from me.

Nominations sought for the James Tait Black Prize for Drama

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A £10,000 prize celebrating innovation in playwriting

Nominations are sought for the James Tait Black Prize for Drama. The £10,000 award is bestowed to the best original new play produced from 1 January - 31 December 2016.

Submissions must be made from agents or the original producing company, and the nominator must have permission from the playwright before making a submission.  The production must have had a full production by a professional company using professionally contracted personnel.

Deadline: 20 January 2017

Playwriting Competition Call for Submissions

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The Princeton Theatre Group invites submission of scripts to be considered for the 2017 New Works Festival

Two categories
One-Act Scripts and Ten-Minute Plays

Winners will receive a staged reading by professional actors during Festival 56, Illinois’ largest summer theatre festival. The New Works Festival will also include a playwrights’ reception and opportunities to receive feedback of the winning works. No entry fee — No cash prizes

Timetable

Submission deadline: 1 March 2017
Winners will be notified by 1 May 2017

Production dates: August 4 and 5 2017

Competition Rules

Only complete scripts will be considered; no excerpts from longer works.

Scripts must be original, unpublished, and not previously produced.

Each playwright may submit only one script per category. It is possible for a playwright to win in both categories.

Competition is open to adult playwrights around the English-speaking world. No juvenile writers.

Target audience: adults, including young adults.

Genre: comedy, drama, tragedy, farce, hybrid; theatrical storytelling. No monologues, children’s plays, adaptations, or musicals.

Cast may contain any number of characters of any race, ethnicity, or gender.

Theme and subject matter are open; however, excessively strong language is discouraged.

Winners will grant Festival 56 and Princeton Theatre Group first production rights. Playwrights retain copyright.

At least one One-Act and up to six Ten-Minute scripts will be selected for staged readings. Total number of winners will depend upon the number and range of submissions.

The decision of the judges is final. Judges will not provide any written or verbal critiques.

• Winning playwrights are strongly encouraged to attend their readings, although attendance is not a requirement for winning. If the playwright is present, a talkback with the audience and actors will immediately follow the reading of each script.

Criteria for selection

Well developed storyline within a short work

Natural and creative dialogue

Quality of writing and dramatic structure

Ability of script to connect with an audience

Submission Guidelines

Type script with 1-inch margins on all four edges, using a 12-point serif type such as Times New Roman, Palatino, or Courier.


Use standard script format including cast of characters, setting, etc.

Do NOT put your real name on your script! On the first page of the script, under the title, put a pen name of your choice.
Use the script title as the name of this document.

Create a separate document giving your real name, address, email, phone, the title of your script, and either your real age or the statement “I am over 18.”
Use your pen name as the name of this document.
This document will not be opened until after winners have been selected.

Attach both the script document and the identifying document to an email as a Word doc, Pages doc, or PDF.

Send One-Act entries to Festival56oneact@gmail.com by 1 March 2017. 

Send Ten-Minute entries to Festival56tenmin@gmail.com by 1 March 2017.

For a list of winners, see the Festival 56 website after 1 May 2017.

Princeton Theatre Group Grace Performing Arts Center 316 South Main Street Princeton IL 61356

The First Draft at Primary Stages

Write THE FIRST DRAFT of your next play this spring at Primary Stages ESPA. You’ll receive concrete deadlines, constructive feedback, and a collaborative environment that will encourage you to get your ideas on the page. Whether it's your first play or your hundredth, this class will give you the tools and support you need to complete a full first draft.

THE FIRST DRAFT

• Monday mornings with Leah Nanako Winkler (Writer, Kentucky at EST) This class will be a collaborative environment where you are encouraged to bring in unfiltered pages and give and receive feedback from classmates in a safe space.
• Monday evenings with Michael Walkup (Producing Artistic Director, Page 73): In this class, the room will be run in the spirit of a dramaturg running a workshop for playwrights.
• Tuesday evenings with A. Rey Pamatmat (Writer, House Rules at Ma-Yi Theatre Company; Co-Director, Mi-Ya Writer's Lab): Rey teaches this class as a workshop where you create a safe enough peer group that people can write whatever they want without worrying that it'll be good or bad.
• Wednesday mornings with Winter Miller (Writer, In Darfur at The Public): Winter sees the class as being part of a sacred team, all working to elevate the work. She will seek for you to be an active participant in your own development as a writer.
• Wednesday evenings with Crystal Skillman (Writer, Geek and Rain and Zoe Save the World): This is a class of the IMAGINATION. It will be very much focused on what you are passionate to write a full length about and what is theatrical – and what MUST be a play.
• Sunday mornings with Eddie Sanchez (Writer, Barefoot Boy with Shoes On at Primary Stages): Eddie's class is all about being a safe place to try things. One week you may bring in a scene that totally slays, the next week, not so much. But this is the room where you can try.

Not in New York? Want more flexibility? This class is also offered online!

ONLINE CLASS: THE FIRST DRAFT

With Caridad Svich (Writer, 2012 OBIE Winner for Lifetime Achievement)

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

We provide students easy and convenient payment plans to break up tuition. Primary Stages ESPA is a home for all artists, in all stages of their careers. For more information, call 212.840.9705 x211 or email espa@primarystages.org.

Women in the Age of Trump: EVICTED

EVICTED by Bob Coles is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

BOB COLES, since 2012, has written two one-act plays, both given staged readings by the DC Black Theatre Festival. His co-written, full-length play is on You Tube: Paul Robeson in Berlin (The Robey Theatre Company Presents), 2014.


Thanks to Bob Coles for allowing NYCPlaywrights to publish this excerpt from his play EVICTED.

   LYDIA

If you felt that way about it, why did you organize this protest? Why are we here about to get evicted?

   CARMEN 

It’s the same reason why I dropped out.

   MADDY 

No Carmen it’s not the same thing. You did what you did ’cause you were hurt and needed love which you thought you couldn’t get, but all you did was harm yourself and ruin your life. I’m here out of principle. We know the police are comin’. They told us so, and when they come they’ll force us out. 

   LYDIA 

We don’t know that yet Mom. Our resistance might stop them—

   MADDY

They have to. They have a court order.

   LYDIA

Then everything we’re doing here is futile? Hopeless?

   MADDY 

I didn’t say that. I’m saying I’m here not only to fight back against the oppressor, but to stand up and defend myself when I get abused or exploited, no matter the odds or consequences. You never let anyone do that to you. If you let it happen once, it will happened your entire life, and then you might as well be dead! You should know that by now Lydia. That’s what your father believed. That’s what he stood for.

   LYDIA 

But what do you gain if it’s a lost cause?

   MADDY

Your dignity. Your humanity. Your ability to wake up every mornin’ and go to sleep at night.

   CARMEN 

That sounds fine Mom when you young. I can take gettin’ arrested and goin’ to jail. Ain’t no big thing. I been there befo’. But you and even Lydia who spent her life sheltered in school.

   MADDY 

No matter. When war comes and bombs drop, no one asks how old you are when they explode. No one asks if your cause is won or lost . . .

(The sound of feet are running up the stairs. JEWEL bursts into the room.)

   JEWEL 

THE POLICE COMIN’. I saw them down the block!

   CARMEN 

Calm down honey. Where exactly did you see ’em?

   (Before she can answer the question, Jewel turns around and runs out the door.)

Jewel. Come back here! COME BACK.

   (Carmen runs after her. Lydia follows Carmen but Maddy grabs her arm and holds her back.)

   MADDY

Stay with me Lydia.

   (They both go to the window and look out.)

   MADDY

I don’t see anything. Do you?

  (Both of them are straining to see.)

   LYDIA 

No nothing . . . Wait a minute!

  (She gasps.)

Over there on the left. One two, three, four vans . . . Looks like they brought an army!

   MADDY 

Those men have rifles.

   LYDIA

That’s SWAT.

Palm Beach Dramaworks

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Palm Beach Dramaworks has revised its submission criteria for out-of-state (Florida) residents by welcoming plawrights without represenation to submit a brief synopsis of their play along with their bio to The Dramaworkshop Manager for consideration. 

In addition, the Dramaworkshop has expanded its reach to include graduating MFA Playwriting candidates.

The Dramaworkshop submission period for new, unproduced plays for its developmental lab is open now through January 31, 2017. 

The selected plays may receive any or all of the following: workshops, staged readings, and developmental productions. Interested playwrights can find guidelines and submission links on PBD's website,palmbeachdramaworks.org/dramaworkshop.

PBD has been delighted by the quantity and quality of submissions since The Dramaworkshop was launched in 2014. Scripts are read by a company of resident artists, who choose a select few for development and remain involved throughout the process. Last year, four plays went on to various phases of development including Jennifer Fawcett's Buried Cities, which received a full developmental production. 

 
The ultimate goal of The Dramaworkshop is to produce new work for PBD and stages all over the country.

Palm Beach Dramaworks is a non-profit, professional theatre and is a member of the Theatre Communications Group, the South Florida Theatre League, Florida Professional Theatres Association, and the Cultural Council of Palm Beach County.

Women in the Age of Trump: PLEASE DONATE SO KAYLA CAN MEET PRESIDENT TRUMP

PLEASE DONATE SO KAYLA CAN MEET PRESIDENT TRUMP by Paul Defilippo is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

PAUL DEFILIPPO is a senior year student at Queens College in Queens, NY, currently completing undergraduate degrees in both Drama and English. He has acted and/or assisted behind the scenes of a handful of productions, including Who's Afraid of Virginia Woolf?, Cloud Nine, and The Cherry Orchard. He will also be performing in Twelfth Night and Damn Yankees in the near future.

Thanks to Paul Defilippo for allowing NYCPlaywrights to publish this excerpt from his monologue PLEASE DONATE SO KAYLA CAN MEET PRESIDENT TRUMP.

   KAYLA 

Hi! My name is Kayla and I’m six years old. And I’m SO happy ‘cause on Election Day my mommy went out to vote and she prayed and she prayed and she prayed…

   (She stops for a breath.)

… and she prayed so hard for us to get a new President, because she said President Obama was re-tired and whenever I’m re-tired my mommy puts me to bed and tells me a story and I fall asleep. So I’m so happy we have a new President because now Obama can finally get some sleep. I can’t imagine staying awake for eight years straight ‘cause I haven’t even been alive for eight years. My mommy was really happy too, because when she watched the election, she started crying! I couldn’t believe it ‘cause my mommy never cries! And my other mommy was so excited she said we’re gonna go on vacation to Canada! I’ve never been there but I love tacos. But, the reason I’m making this video is ‘cause I wanna go to the in-aug-ur-a-tion so I can see President Donald Trump become the President, but I can’t go because my mommy who says we’re going to Canada says we’re not white soup reminisces. But I really wanna go, so I’m asking the Internet to send money so Kayla can go to the inagration. And if I go, I’ll take pictures of everything in Washington D.C. and I’ll go to every restaurant and take pictures of all the food and post them so you can all see.