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Submissions are now being accepted for one-act plays by young writers for the NEW VOICES category in the 2015 NEXT ACT! New Play Summit 4!

Accepting 15-Minute one act plays by students ages 13-22
(must be enrolled in school at the time of submission)

Multi-cultural and ethnically diverse pieces encouraged.

Comedy and Drama welcome!

New Voices, which received a pilot run in last years’ summit, reflects the theatre’s dedication to providing theatrical opportunities to students from Elementary School through College. New Voices is an event within NEXT ACT! that is dedicated to new works from the next generation of playwrights, and will include 3-5 readings of one-act plays by student playwrights.

The NEXT ACT! New Play Summit 4 will take place October 31 - November 2, 2015 with New Voices as one of the weekend’s special events.

ELIGIBILITY

-Eligible plays must be 15 minutes in length and should have no more than 7 characters.

-Plays previously submitted to NEXT ACT! will not be considered for this years’ Summit.

-Playwrights must be enrolled in school at the time of submission.

-Playwrights may be from anywhere in the United States.

Submission Deadline: END OF DAY – Monday June 1, 2015

 

HOW TO SUBMIT

-Playwrights should submit a short one-paragraph synopsis that illuminates the plays entire plot including its ending; character descriptions and the complete script, along with a photo and bio (which should include the school you are currently attending).

-Email your submission to Margaret E. Hall, assistant to the artistic director, at nextact@capitalrep.org with NEW VOICES SUBMISSION in the subject line.

-Electronic submissions preferred.

 

PLAYS SELECTED

-Three to five plays will be selected to have readings during the annual 3-day summit, which takes place October 31 – November 2, 2015. 

-A limited travel allotment is provided.

 

theREP is a professional LORT D theatre, established in Albany in 1981.

by Greg Haymes, Nippertown
 
"But the smart, witty “Souvenir” isn’t really about the humiliation of a delusional wanna-be opera singer. Structured as a series of flashbacks by her longtime pianist Cosme McMoon (Jonas Cohen) 20 years after her death, there’s an undeniable warmth to the two-character play, as the audience experiences McMoon’s initial trepidation and shock gradually develop into a protective and loving working relationship."
 
by Richard DiMaggio
didyouweekend.com
 
"As with all productions at Capital Rep, the casting is superb, and acting is second to none. Cohen and Osborne are crisp in their delivery of humor and song. You will laugh from start to finish, but this show interjects humor and mixes it with real musical talent. That is hard to do, but successfully carried out with the expert direction of Maggie Cahill."
 
 
By Matthew G. Moross 
The Daily Gazette
 
"There is something hysterically thrilling about Steven Temperley’s play 'Souvenir: A Fantasia on the life of Florence Foster Jenkins.' It raises so many questions as it entertains. Is it a play about artistic determination, or about freeing oneself from the shackles of criticism to embrace art? Or is it a lost Monty Python sketch? It is a built to tickle, and it does so in spades, but with the tease comes a twinge of guilt. Should we truly be laughing? I say yes! Kick any guilt to the curb and embrace the obvious: Schadenfreude can be fun!"
 
by Will Gallagher
Discover Albany
 
"Souvenir, Capital Rep’s current production, tells the story of socialite turned performer Florence Foster Jenkins. Florence is loud, strict, horrendous, tone-deaf , and absolutely wonderful. If you don’t love this show by the end of act one something’s wrong. If you haven’t fallen in love by the end of the show, then call the Grinch for your heart back."
 
‘Souvenir’ deserves an encore at Capital Rep
 
By Steve Barnes, senior writer, timesunion.com
 
"While often hilarious to listen to and watch — kudos to costume designer Thom Heyer for Jenkins’ Carnegie Hall costumes — the production elevates the tone-deaf diva beyond a mere figure of fun or mockery."
 
by The Staff
metroland.net
 
Stephen Temperley’s comedy Souvenir: A Fantasia on the Life of Florence Foster Jacobs, opening this week at Capital Repertory Theatre, takes a sympathetic view of the songbird with more heart than talent. Georga Osborne will play Jenkins, while Jonas Cohen will be her accompanist, Cosme McMoon.
 
“Souvenir,” coming to Cap Rep, tells the story of notoriously untalented opera singer
by Joseph Dalton
timesunion.com
 
 
"Souvenir" is, of course, a comedy. Cohen says there are always lots of laughs, but they're not entirely at the expense of dear old Florence Foster Jenkins.
"I don't think you can have laughter without open hearts," he says.
 

ALBANY, N.Y.—JAN. 21, 2015—Murder, music, men on the moon. Life lessons, politics, pole dancing. And a true American classic. It’s going to be a heckuva season at Capital Repertory Theatre.

Today, Capital Repertory Theatre announces its 35th season, ripe with world premieres, regional premieres, and re-imaginings of old favorites.

“What a mix we’ve got,” crows Producing Artistic Director Maggie Mancinelli-Cahill. “This season will really take patrons to new places. Murder for Two is coming here straight from its New York run. Benj Pasek and Justin Paul, who premiered Edges with us, are back in spirit with A Christmas Story: The Musical and Amy Herzog’s 4000 Miles has won just about every award it can. We’ve got Horton Foote’s masterful The Trip to Bountiful, too, and The Blue Sky Boys is a romp through the route that took America to the moon. Wow, just wow.”

The God Game playwright Suzanne Bradbeer also returns, with another darkly funny new play, Naked Influence.

“In just the space of a few years,” Mancinelli-Cahill says, “our NEXT ACT! New Play Summit, in partnership with Proctors, has become an incredible breeding ground for new works. Suzanne Bradbeer’s The God Game went from a reading to a world premiere production and now it’s making the rounds of regional theatres. We expect her new work, Naked Influence, which was read at last year’s summit and is making its staged premiere this year, to do the same.”

What better way to welcome a new season than with a hilarious musical whodunit? Murder for Two (July 10–Aug. 9) is a new musical comedy that features the perfect blend of music, mayhem and murder! Written by funnymen Joe Kinosian and Kellen Blair, the show delighted New York audiences and critics alike with the story of a small town policeman investigating the mysterious death of the great American novelist. Two performers play 13 roles—not to mention piano—in this witty and winking homage to old-fashioned murder mysteries.

4000 Miles, a dramatic comedy about a 21-year-old concluding his cross country bicycle trip with an unannounced visit to his 91-year-old Jewish grandmother’s Greenwich Village apartment, reaped accolades for playwright Amy Herzog. The play (which makes it regional premiere at theREP Sept. 25–Oct. 18) received the Obie Award for Best Play; was a finalist for the 2013 Pulitzer Prize for Drama; and was named #1 Play of the Year by Time Magazine. The script is rich with life lessons from Leo’s outspoken, feisty, activist grandma, Vera; over the course of a month, they infuriate, bewilder, and ultimately change one another forever.

Edges: The Musical was an audience favorite when it made its world premiere at theREP in 2007, launching young composers Benj Pasek and Justin Paul. And the dramatic adaptation of Jean Shepherd’s holiday favorite A Christmas Story was a huge hit for theREP in 2010. With A Christmas Story: The Musical! (making its regional premiere Nov. 27–Dec. 27, under Mancinelli-Cahill’s direction), Pasek and Paul work their magic by creating wonderful new songs for the sturdy tale of Ralphie and his Official Red Ryder carbine-action 200-shot Range Model air rifle. Yes, Ralphie’s here, along with all your other favorite characters and a rich, vibrant score that will bring smiles to the entire family!

Naked Influence (Jan. 22–Feb. 14, 2016, also directed by Mancinelli-Cahill) takes us into the world of politics, pole dancing and damage control.  Here, playwright Suzanne Bradbeer conjures the bristling high stakes atmosphere of The God Game, but spins things even darker, when a power broker gets involved with a stripper simply trying to make ends meet. A thoughtful, funny and tense world premiere. Adult subject matter.

How did Buck Rogers, Galileo and the Red Baron help NASA land a man on the moon? Deborah Brevoort has all the details in Blue-Sky Boys (March 11–April 3, 2016), an exhilarating romp through the minds of the maverick engineers—the brilliant, preposterous, awe-inspiring space race brain trust—who stopped at nothing to get a man to the moon and back! Join the first Apollo team and experience the outside-the-box thinking that helped America take that one great leap for mankind.

From its 1953 TV debut to its 1985 film adaptation and a hailed 2013 Broadway revival, Horton Foote’s The Trip To Bountiful (April 22–May 15, 2016)—the inspiring story of a woman’s pilgrimage to her Texas birthplace—has remained a classic. Carrie Watts’ is a charming, aging widow who escapes her controlling daughter-in-law and son’s three-room Houston apartment to go home one more time. Along the way, Miss Watts befriends fellow travelers, sharing her wisdom and courage on this once-in-a-lifetime journey to renew strength and dignity for all.

 

Murder for Two July 10–Aug. 9, 2015
4000 Miles Sept. 25-Oct. 18, 2015
NEXT ACT! New Play Summit 3   Oct. 31-Nov. 2, 2015
A Christmas Story     Nov. 27–Dec. 27, 2015
Naked Influence  Jan. 22–Feb. 14, 2016
The Blue Sky Boys      March 11–April 3, 2016
The Trip To Bountiful April 22–May 15, 2016

New subscriptions, starting at $120, will be available beginning late March.
 
Capital Repertory Theatre, 111 N. Pearl Street, Albany, N.Y. For tickets and information, call TICKETS BY PROCTORS, (518) 445-SHOW (7469) or visit capitalrep.org.
 
 

By Joseph Dalton

“What attracts me to this play are the motives and psychology of giving,” he says. “I see in New York City there’s not a night of a week where there’s not a different fundraising event cloaked in a guise of a concert or dinner. It’s awesome that it raises money but what are the real incentives for people who have the ability to give money?”
 
The atmosphere of a nonprofit arts organization, namely a theater like Capital Rep, seems as good a forum as any to explore such matters.  Rose seems to agree, saying, “We have a new play by an American playwright tackling a question that’s really timely.”
 

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