Tuesday, October 13, 2009

Plays and Playwrights 2010: First Announcement

Friends, colleagues, readers -- today I am very excited to announce the forthcoming publication of NYTE's 11th annual anthology of new works from the world of indie theater: Plays and Playwrights 2010. We are now in production for this volume, with an expected release date of February 1, 2010.

Plays and Playwrights 2010 will include ten plays, culled from the hundreds of new American plays that premiered in NYC's indie theaters from September 2008-September 2009. Here they are, in the order they appeared on stage:
  • The Invitation by Brian Parks: This is a scathing, vitriolic, and surprising dark comedy from one of the masters of contemporary comedy of manners. In it, a dinner party among five old friends goes horribly awry.
  • Flip Side by Ellen Maddow: This play from The Talking Band contrasts two opposite worlds--one drab and predictable, the other fast-paced and dynamic. It's an exploration of symmetry, balance, and harmony--in our lives, and in theatrical style.
  • Any Day Now by Nat Cassidy: A modern epic tragicomedy about a family coping with their daily lives...and an epidemic of zombie-ism. Nat's play The Reckoning of Kit and Little Boots was recognized last month at the New York Innovative Theatre Awards.
  • The Spin Cycle by Jerrod Bogard: As the title suggests, this is a cycle of short plays about the notion of "spin" in contemporary America. Jerrod's "green" musical for children, Jack and the Soy Beanstalk, is currently playing at the Algonquin Theatre.
  • Suspicious Package: Rx by Gyda Arber and Aaron Baker: This interactive "iPod" play premiered at the Brick's Antidepressant Festival. It embraces Web 2.0 technology in a dazzlingly innovative way.
  • Our Country by Tony Asaro and Dan Collins: A new musical about a country & western singer who is inadvertently outed following a tryst with a cop in a public men's room. Full of heart and vigor, this show premiered at the brand new Planet Connections Theatre Festivity.
  • Maddy--A Modern Day Medea by Will LeVasseur: This is a contemporary re-telling of the legend of Medea, set in a Southern trailer park. Its exploration of the cosmic forces invoked in the story bowled me over.
  • Al's Business Cards by Josh Koenigsberg: The format of La Ronde is freely adapted here into a hilarious farce about circumstance and coincidence and miscommunication and misunderstanding.
  • The Songs of Robert by John Crutchfield: A one-man musical about a young man growing up in Appalachia. This smart and sensitive piece debuted in the New York International Fringe Festival.
  • MilkMilkLemonade by Joshua Conkel: A parable about growing up queer in the American heartland, by a young playwright who has made a big name for himself within the indie theater community in a very short period.

I'll be posting about the new book every so often between now and its release, to keep you apprised of our progress and, more importantly, to introduce the plays and playwrights to you. I am proud to be working with these 12 distinguished artists, and thrilled to present their work to a wide audience in Plays and Playwrights 2010.

3 comments:

RLewis said...

Only 1.5 of the 10 best plays in indie theater last year were written by women? Is there something to be learned here given the recent interest in gender parity?

R. K. McAllister said...

I can't wait to see the latest book- always diverse, full of plays worth reading- as for the gender parity issue, I've discovered more up and coming, and deserving of praise, female writers thanks to nytheatre than I ever have through supposedly "with it" companies like Playwrights Horizons, The Public, etc.

Gyda said...

As one of the women honored to be included, I have to say, at least in my experience in the Indie Community, female playwrights are, unfortunately, a minority. I know probably 5x more men than women who consider themselves playwrights. And I don't even really consider myself one, I've been forced into the role in order to see my artistic visions become a reality (which has been possible thanks to the encouragement of the likes of Martin, everyone at The Brick, and all those male playwrights I know).