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“MARVA KING”
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“RETURNING TO THE STAGE” - MARVA KING BY: Dr. Tonya Merriweather Gipson While perhaps best known for her starring role as Helen in the Tyler Perry’s 60 plus mega-million dollar grossing DVD “Diary of a Mad Black Woman”. She also spent 4 years as a vocalist, dancer & percussionist with Prince and the New Power Generation, Marva King is a true multi-media sensation whose talents and ambition continue to expand with every new creative endeavor. Today, King prepares for the release of her long awaited 2018 solo CD titled “Soulicious.” It embodies R&B, Funk, Rock & Soul, and Dance Music from the Old & New Skools. Collaborating with Jesse Johnson formerly with The Time, producer, composer and 1 of the greatest guitar players in music history, who along with Prince help establish what listeners for 4 decades have deemed the “Minneapolis sound.” King's new music will be released Independently on her Marvalous Works Entertainment label. She is also general manager and a featured performing artist in the band “consisting of former New Power Generation members for the new “Prince Rogers Nelson Family Records label. Look for an Original Music CD giving homage to Prince, created by former NPG band members plus 3 new members fall 2018. The multi-talented producer, singer/songwriter and recording artist conceptualized, cowrote & produced her last single “Steppin” in 2012 featuring rapper Alpha Red & Christopher Williams. It rose quickly on the Top 20 U.K. R&B charts. King sang with and for Michael Jackson, Prince, George Duke, Stanley Clarke, George Howard, 2Pac, Stevie Wonder, Phil Collins, Whitney Houston, Yolanda Adams, Anita Baker, Will Downing, Norman Connors, Ronald “Mr. Biggs” Isley of The Isley Bros. just to name a few. Her upcoming (untitled) cd slated for release 2nd quarter 2017 is a melodic & grooving 10 tracks that further establish King’s virtuosity as a solo artist after her career as a backing & featured vocalist. Marva; “The key to the success of this project is that I’m expressing myself with total authenticity,” King says, “musically as well as emotionally and spiritually. I’m sharing my beliefs and some of my innermost 7 secret feelings and thoughts about myself and the world around me.”
Blessed with a dynamic vocal range and a multitude of influences, King’s recordings include elements of R&B, soul, funk and reggae. “Soulicious” is focused on a range of music genres, as her mentor Prince did in his successfully illustrious career. Her previous Indie solo recordings include The One (2010), Grown & Sexy (2007), Soul Sistah (2005) and Light of Day (2003), while Soul Sistah enjoyed rave reviews by the British, Asian and European music critics. The album entered the Top 30 charts at #5 and quickly rose to #2, surpassing Indie Arie, Teena Marie, The Isley Brothers and Donnell Jones, among others. King's most noted recordings is her Solo debut album Feels Right on Electra/Planet Records 1981, produced by Richard Perry.
MARVA KING
A native of Flint, Michigan, Marva King has been performing nonstop since the age of four. In addition to her vast resume as a session singer—which also includes recordings by Lionel Richie, Whitney Houston, Jimmy Cliff and Chaka Khan—she co-wrote The Whispers’ single “Innocent,” which debuted at #4 on the Billboard Hot Singles Chart and sold more than one million units worldwide. King also wrote the lyrics & melody for ”A piece of Love” on Lionel Richie’s CD “Louder than words.” Over the years, she has performed live with Lenny Kravitz, Seal and Will.I.am and toured with many 8 affiliated hit makers.
King’s mesmerizing delivery inspired Larry Flick to write in Billboard, “Marva King is a supreme diva, and her name will go down in history as one of the best.” In 1997, Prince took her on the road, under his wing, and made her a member of his group, New Power Generation (NPG)—a stint that included recording on his New Power Soul album. In 2007, recorded Shania Twain’s Hit song “Still the one” which Prince re-titled “Ure still the One”. Marva reunited with Prince for another series of arena and intimate venue concerts, which included the record
Other career highlights include Stevie Wonder hiring King as an eager teen; performing on “Natural Wonder,” a double album recorded live in Osaka and Tel Aviv in the mid 90’s. King thanks American Idol’s Randy Jackson for her first production jobs at Sony in the early ‘90s, a stint that made her one of the few female producers at that time in the music industry.
MARVA KING
breaking “21 Nights Concerts” at the 02 Arena in the UK, as well as recording on his Lotus Flower recording in 2009; she also made several appearances in his bestselling coffee table book “21 Nights.” King managed 15 shows of her own in between the Prince dates. “Those two years were intense,” she says. “I was exhausted the entire time, yet it was so exciting. I learned a lot about performing from Prince.”
Reflecting on her journey, King says, “One of the things I have learned from acting is the importance of communicating your “truths” with people, no matter how apprehensively uncomfortable you may feel to expose your deepest emotions. I’m doing that more with my recordings. Cooking is King’s secondary passion. Marva creates & modifies many culturally popular dishes & cocktails. She maintained a 3.6 GPA as a Culinary student at the prestigious Arts Institute. Look for “something Artsy” reflecting this undeniable skill!! 9
Special Addition Interview with “Marva King” BY: Dr. Tonya Merriweather Gipson
What inspired you to be an actress? Acting choose me....I say that because my first love has always been music. Since I can remember I have always heard music. As a kid my family was into music and I can remember growing up singing in the choir. Music is a part of me and I love it. Now acting on the other hand as I stated it chose me. I moved out to Los Angeles to purse music and in my pursuit of music many of the agents that I encountered within the talent industry would say to me take some acting classes. So I took their advice and stepped out on faith and tried it and landed a few commercial gigs. Then I was presented with the Tyler Perry’s Play (Diary of A Mad Black Woman in the role of Helen). I accepted the role not realizing that I would be involved in a pivotal, monumental, and industry wide gamechanger for urban theater. The Video of the stage play Diary of A Mad Black Woman with me in the role of Helen grossed millions of dollars and the stage play was produced into a full featured film that grossed more than 50 million dollars.
Would you say that the role of Helen in the Tyler Perry’s play was your breakthrough as an actress? I think it was, because I had no clue going in to this that the play would take off the10way it did ... I really enjoyed working with Tyler Perry and I am grateful for the opportunity.
MARVA KING What’s Next for Marva King? Well, right now I’m preparing for a Music Tour in Europe as well as returning to the stage in The Stage Play “Can A Woman Raise A Man” by playwright Q. Allen King. This is an amazing time for me in my life and I am very excited about what is to come.
What is something your fans may not know about you that would surprise them? Well a lot of people would not believe that I am a chef... I mean I can throw down in the kitchen and will be releasing my own line of Cookware. I am also, working on opening a resturant that features live entertainment.
I have so many interest you never know where I will be from the stage to the kitchen to the stage.
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PHOTO CREDIT: GOOGLE PHOTO
Mr. Calvin Broadus or Snoop Dogg has made an incredible living just being his best and most authentic self. Before it was popular or fad he wore his neighborhood and gang affiliation all the way to top of the charts. From the first time we heard his rhythmic cadence with Dr. Dre on his debut record Deep Cover to his new gospel debut with Rans Allen and Uncle Charlie, Snoop has always been uniquely himself. The Snoop Brand has been comprised of authenticity and incredible storytelling. It is no surprise, that he would make an almost seamless transition into urban theater in one of the top grossing urban stage plays of the season. " Redemption of a Dog" grace stages across the country selling out theater and arenas, with the unique flair and candor that only the dounle Oh Gee can provide. It is said that true acting is not acting all. It is the ability to immerse one self so deep in a character, that the reality portrayed is simply believable and moves the audience in a unique and palpable way. Fortunately for Snoop his best attribute is being himself, being the unique blend of gangster and humanitarian that only the original west side ridah can be. Snoop has againade history and no doubt opened up the Urbam theater genre for many in his industry. For years urban theater has law at mirrored and marched hand in hand with the Gospel and inspirational industries, it appears that now thanks to Snoop Hip Hop while be taking center stage as well.
Jerod Taylor, The Creative Genius
Jerod Taylor, writer, director, producer, playwright and actor is nominated for the 2019 Play Magazine Director of the Year Award. Additionally one of his hit stage plays These Church Folks, is nominated for Play of the Year by Play Magazine. As the CEO of JT & The Family Productions based out of central Florida, Mr. Taylor, has been writing, directing and producing plays for over the past twelve years. Joining him as Executive Producer is his lovely wife of three years and mother of their adorable son, Jerod Jr., Mrs. Stephanie Taylor tag teams with him on and off the stage, bringing his work to life.
How did you get your start?
Writer: Stephanie Taylor Photo credit: Kenneth Davis
At a young age Jerod realized that he had a very creative imagination. Enrolled in performing arts school as early as middle school, Mr. Taylor began to develop what he refers to as “6th sense”. In 2007, he wrote and produced his first stage play “Girl yo man aint who you think he is” and realized he truly had a gift from God to not only write but to also to direct.
What motivates you every day to continue what you do? Knowing that my creativity is a gift from God, is my biggest motivation. This is more than a career its my ministry. With so much emotion in his voice Mr. Taylor expressed how he prides himself on being a family man; stating that “my wife and I are striving to leave a legacy for our son.”
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Jerod Taylor, The Creative Genius continued… What projects are you working on? April 27, 2019 we will kick off our ten city tour. We will be touring four different stage play across Florida, Georgia and Alabama. In addition, June 2019 the newest Jerod Taylor production will be released; Mr. Taylor will launch his web series ISSUES. The web series will start out being presented on his You Tube channel, but plans to venture out after the first season has completed.
Who are some of your mentors or people who inspire you? With no hesitation at all, Mr. Taylor simply stated “my family, they are my biggest inspiration.”
Tell me something our reader would be surprised to find out about you? If you see me act in any of my shows, or cut loose during rehearsals, people would have a hard time believing me, but I am actually very shy.
Any upcoming collaborations? During our 2019 tour I am excited to work with Sunday’s Best, Jessica Reedy, at one of our Georgia tour stops. I look forward to working with Tracey Braxton in the filming of my first movie, These Church Folks. I would love to work with Jennifer Lewis as well.
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TIPS FOR PUTTING ON URBAN THEATER IN A HIGH COST ECONOMY By Q. Allen King
Todays cinematic and entertainment playing field is as broad and open as ever. Technology is making it easier and easier to become a viral hit. However, for theater especially black and urban theater this does not hold true. As inflation and the cost of living rise so does the cost of production for all goods but especially those associated with theater. If you are not a major Broadway house or have ton of backing what do you do? How do you pursue your dream of stage as a writer producer. How do you pay for talent stage hands, wardrobe. What does it take and how can you make it all work? Well here are 5 tips for the playwright with a lot creativity, a great script but not a lot of Capitol! 1) While many local theater stages and performance venues can be astronomical in cost, city venues such as schools, libraries often are state of the art and still affordable. They even give breaks to non profit and have ready capable staff to assist 2) Actors Pay! While this is always a challenge we suggest you allow your actors to work with you and not for you. Let them determine there worth. Provide a low cost ticket that meets your production need and budget and then allow them to upscale! Yes let them market to the friends a family a perceived value for their performance. Since this ticket is for friends and family they won't mind paying a little extra to support. For example if your bottom-line general admission is $20 allow cast member to claim a section and sale their seats at there desired price, keeping anything over the baseline $20 . So if they sale their section for $35 dollars 17 they make $15 per ticket.
TIPS FOR PUTTING ON URBAN THEATER IN A HIGH COST ECONOMY continued‌ BY: Q. Allen King
3) Barter ! Barter ! Barter! Maybe you need graphics, the graphic designer radio station needs someone who can write good copy edit! Exchange services as often as you can and save cost. 4) Be Thrifty! With good costume descriptions and a little creativity you can wardrobe almost any production for a couple hundred bucks or less. Also their are many beauty college students who need hours who will be a great make up team and will be under the watchful eye of an instructor the whole time! 5) Go for sponsors! How make it very attainable having packages for $25 to $99 makes it possible almost everyone in cast in crew to provide a sponsor or several. It has worked really well when we let them keep A part of what they bring in. If you start early you can definitely go after the big fish. However a lot of little guppies still make a great meal. Offering things like business card in the play program or $50 to $99 dollar vending tables add up very quickly. Well we hope this tips work and set you on your way to an amazing production. Stay focused let nothing stop you and remember money is just object not and obstacle don't let anything stop you from achieving your dream.
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WHEN THE CREATIVE IS EMPTY BY: Q. Allen King
PHOTO CREDIT/GOOGLE PHOTOS
For the young or new playwright living up to being the next Tyler Perry can be a daunting task. Even more what if that's just not your style? What is the marker? What is the benchmark? Well the answer is easy. Success for the creative is Empty. That's right being and becoming empty. Empty means getting out of you that unique creativity that only you can produce. Placing on a platform big or small, but most of all getting it out! That's right, shrink your audience and find success in release, in beginning and finishing. The power of knowing you have released your creativity to the universe can be amazing. Whether it reaches 50 or million it always super satisfies the ultimate office of one. To be successful you must be empty. You must be willing to pour out all your creativity and gifting and see it replenished and satiated with the satisfaction of completion. Empty out and you will find even more ready to come out of you, and you will know doubt find that Success you been looking for! 19
From PRISON TO PLAYS – LOVAIL LONG “THE GIZ”
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From PRISON TO PLAYS – LOVAIL LONG “THE GIZ” BY: Kristen Woodruff
What do you do? I am a playwright, producer, and a guy that is a natural born hustler. So you are a playwright. How did you get your start? I was incarcerated for selling drugs. So, it’s 3 of us: Vernon O. Williams III, Salahuddin Mahdi and myself. Salahuddin was my bunk mate and he used to write all the time. He asked me to read his work. He would write a book and everyone would be excited about reading them. One day, Salahuddin asked me to read one of his books. I refused at first but then I finally read it. I found out it had a “gansta” twist to it. I didn’t want to continue to read it because it brought back so many negative memories from my past. That’s when I came up with the idea to do something different. I asked Salahuddin what he thought about doing the Go Go version of the Wizard of Oz. I called Big G, otherwise known as Anwan Glover, who is not only in movies but acts on the The Wire. Once I talked to him, he was so excited because he said the Wiz was his favorite. I had an illegal phone in prison so I would look up directors and people who were doing theatre in DC. I eventually contacted Williams and told him about my idea for the Giz. We met to discuss the play details. I did all the background research on how to write a script. After finishing the first 3 scenes, I contacted him and he was confident that it would be a hit. It was approved by Williams himself. It took me two weeks to write the entire script. What inspired you to write it? My motivation to write this script was to give me something positive to focus on so I wouldn’t go back to prison and repeat what I just came out of. When did you realize that the play was making a huge impact on the community? Well, there were a few other plays before the Giz. We did Stranger in my House which Williams had already started. So many celebrities were apart of that project 22 such as Traci Braxton,
LOVAIL LONG PHOTO CREDIT/GOOGLE PHOTOS
Anwan Glover, Tray Chaney and more. It sold out. Then, we did a play called What your Man Won’t Do. Y’Anna Crawley from Sunday’s Best, Raheem DeVaughn, Anwan Glover and more were apart of that production. After the plays, people on social media would rave about how much they liked them. Local celebrities would come out and invite their people which created a lot of buzz. I have many relationships with a lot of people around the metro D.C. area, by the way, so that helped with promoting our work as well. What motivates you to do what you do? -What motivates me is that I now have a new perspective and God has given me a second chance. I’m so thankful. I am not going to mess that up because I want to impact the community and make a difference. What’s something our readers would be surprised to know about you? People would be surprised to know that I was never educated to do theatre. I never even had an interest in doing in theatre. I woke up one day and said I want to try theatre. I was inspired by Salahuddin and being around Williams. What projects are you currently working on? I’m working on Captivate which is my new theatre branding and marketing company. I’m also working on another production called Chocolate City Records which will premiere in October 2019 and it will be an all female cast. We talked about bringing The Giz back in 2020. We are also looking to host the Mumbo Sauce Cruise in June 2020 since D.C. is known for its Mumbo sauce! What’s on the horizon for you? The next project is Confessions of a Side Chick. The name, inspired by Williams, came about when he made a post on social media about side chicks and where they belong. The post became popular and 23 we decided to come together
Williams and I, to create the production, Confessions of a side Chick. I really want this to be a five city tour. The script is already written and we are expected to start touring in June 2019. Really. What cities will you tour? At this time, we are looking to tour the production Confessions of a Side Chick in Richmond, Va, Washington D.C., Charlotte, NC, Atlanta, GA and Baltimore, MD. What doors has this play opened up for you? We have been interviewed by Fox 5 news in DC, and WPGC-DC Radio and DISH Nation. In August 2018, The Giz was the first stage play to grace the stages at the MGM in D.C. We sold out all 3000 seats. People started labeling our productions as the D.C. Black Broadway.
What are other ways you connect with the community? Honestly, doing the footwork. I went out in the community, interacted with people in metro stations, government buildings, schools, in the streets--you name it. People respected that. I also did a few speaking engagements with troubled youth at elementary schools, high schools and just by talking with them on the street. How is your personal story helping our youth today? I love being able to motivate and support inner city youth. See, I’m a street guy and everyone knows that. I sold drugs for a living. Williams, on the other hand, is a Christian guy. For me and him to have this much success together, especially coming from completely different backgrounds, proves the world wrong. It shows youth that you can be successful and not sell drugs for a living. God redeemed me and I’m grateful. Now, I’m in the streets but in a completely positive and legal way. I’m motivating others to stay away from what landed me in prison. I believe in God but I wasn’t 24 raised in the church. But when God tells me to walk, I walk. It’s been one incredible journey.
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Who are your mentors or someone who inspires you? The guys from the street and prison who are rooting for me. They inspire me. I know people look up to me since they know my history. All the men in my family were thugs and losers. I felt this was all I could do. My mom is a known to be involved with drugs (he said dope head) so I didn’t have anyone to look up to. I became a boss in the streets as a known drug dealer and had major clout. People respected me because I was well known around D.C. They all love what I’m doing, so I’ll keep on doing what I’m doing.
Are their people who are trying to get you caught up in the stuff that you were in before? Of course. Family and friends don’t want to support me. Guys that are educated to do this don’t feel good around me because I’m getting so much praise for something that I didn’t even study or train to do. They are wondering how did I get to be so successful. No one who has done what I’ve done in the last year and a half in regards to the amount of productions I’ve released and with this much success. I’m not supposed to be here. There are people wishing I get locked up again, mainly family and friends. What are some reflections you want to share with us?- Theatre is about imagination. You can hold people’s attention in theatre. I never imagined that being locked up would free me. Now, I’m able to take care of my family, I’m living in peace and not having to look behind my back. I am pursuing my purpose in life. God gave me another chance. Collaborations- Right now, I’m focusing on new business ventures. I’m definitely thinking about 25 doing a few collaborations but after the tour.
From PRISON TO PLAYS LOVAIL LONG “THE GIZ” BY: KRISTEN WOODRUFF Is there anything you would like for our readers to know? If people don’t see your vision, get away from them. People are naysayers. Even if you don’t have the background or experience, so what. If you have passion about something, go with it. Visionaries see the vision. A lot of people will tell you can’t do it. Lots of people told me that I couldn’t do it. Look at me now. I’m being interviewed. I ain’t supposed to be here, Salahuddin or myself. You never know when opportunity may present itself so just be ready! Now, I answer all numbers that call me. You just never know. My city knows where I’ve come from. They see me out here. Now, I’m getting awards, accolades, interviews. It all required patience. How can we keep in touch with you? Definitely. You can find me on Facebook and Instagram at Lovail Long and you can also visit our website at www.dcblackbroadway.com. You can email us at DCblackbroadway@gmail.com and lmlongsr@gmail.com
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Don’t Count Me Out Stage Play Bishop Harry Fernandez 39
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BEAUTY AND BRAINS SPOTLIGHT
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William Shakespeare once wrote that All the
world’s a stage, And all the men and women merely players. There is
no doubt, both metaphorically and realistically, that Shakespeare’s words ring true. There seems DR. BERNARD GRENWAY to be a connective tissue, of sorts, that serves as an anatomical linkage between the roles that one plays on stage and the actions that one takes in life. What is of interest to me, however, does not lend itself to the actors or the acting. Don’t get wrong, weather we like it or not…we are all actors…but to solely place our collective attentions on the fact that we are actors is problematic for a myriad of reasons; the most pressing of which is that to do so highlights our myopic selfishness. It focuses only on the “us” of the equation. Egoistic Megalomania at its worst. You see, dear reader, what Shakespeare is trying to convey is that while a very small cross-section of us are most definitely on the stage…. most of us are actually in the audience. It is the audience that matters. It is the audience that breathes life into the show. It is the audience that invigorates the actors on the stage. It is the audience that cultivates energy…that permeates the souls of men. In the end, an actor on stage is nothing…. if he or she is performing to an empty space just as a human being is nothing if he or she is not surrounded by loved ones. In the end, we are living our lives for those that love us, that surround us, and hang on our every word. Without an audience…we are nothing. 51
BASIC PHOTOGRAPHER APERTURE BY: EARL JOHNSON Before I speak on anything first I’d like to say and emphasize that your camera is your baby, so are the lenses, and any other equipment that you may use. If you take care of your baby, your baby will take care of you too . Now that's out of the way let's get down to business & let's learn some of the basics of photography When I started taking pictures, I would get so frustrated because the pictures would not come out like the pictures I would see in the magazines or online. There were so many things I had to learn and many questions I had so I began by researching “Why are my pics so blurry? & Why are my pics light/dark?”. By researching, I discovered I was considered what they call a “lazy photographer”. I was letting the camera do all the work because honestly I didn’t know any better. Everything was on automatic because I didn’t know how to manage the settings in the camera. With time I learned how to properly use the camera and now, it’s my pleasure to educate you on avoiding common mistakes.
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BASIC PHOTOGRAPHER APERTURE BY: EARL JOHNSON Aperture, iso, and shutter speed are some basic concepts that you will need to learn since you will hear them often. Each element has its own level of importance however, the Aperture holds the most importance. Aperture, simply put is the opening of the lens. The Aperture works exactly like yours pupil in term of how it reacts to light; the brighter the light, the more the pupil constricts. When it is dark, the pupil widens to allow more light to enter. “How is Aperture measured?” you may ask. Aperture is measured through an F stop scale. The F stop indicates how wide you’d like the Aperture to be. When taking pictures, the Aperture can have a significant effect on the end result of the photo. It effects the exposure as well as the depth of field of the photo. The higher the F stop, the narrower the Aperture and vice versa therefore, when the F stop is lower, the Aperture will then appear to be wider. A large exposure or a wide opening of the lens will give you a brighter photograph, a small aperture will give you a darker picture. In terms of Depth of Field, this is the equivalent to the amount of shot that will be in focus. The shallower the depth of field, the wider the Aperture and the narrower the depth of field, the deeper the Aperture appears to be. I want to remind you that there are many other factors that can affect the Aperture in addition to things that the Aperture can affect. With the little bit of information I shared with you today should guide you in the right direction.
Thank you for allowing me to share!!
-EJ
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DIFFERENT THEATER SPACES BY: PLAYWRIGHT TOOLKIT
Not every theater space is the same, and it pays to be aware of the types of spaces in which your play might be produced. Often, plays work better in some spaces than others. Keeping in mind that many theater spaces are hybrids, here are the basics: Proscenium Effectively, the actors perform with the audience sitting in front of them. Either the stage is raised above the level of the audience (for example, in many high schools) or the seats in the "house" are raked (in other words, the farther away from the stage your seat is, the higher up you get). Most theaters - everything from Broadway to high schools - are prosceniums. Thrust Imagine a tongue thrusting into a proscenium-style audience and you have a thrust configuration. In this configuration, though this may not be true of the extreme upstage area, the actors will have audience on three sides. In the Round The actors are in a central playing area, and the audience surrounds them on all sides. Actors may have to enter and exit through the aisles.
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DIFFERENT THEATER SPACES BY: PLAYWRIGHT TOOLKIT (CONTINUED)‌ Black Box A black box is a performance space that is exactly what it sounds like: a black-painted square or rectangle. A true black box - that is, one with no fixed seating - is the ultimate in flexibility, because the theater can configure the audience arrangement to match the staging needs of your play, rather than staging your play around the audience. Touring A "touring" space isn't a kind of space at all, but if your show needs to tour - (e.g. to schools) that means it could be performed in anything from a giant proscenium auditorium to a densely packed classroom - it's a good idea to observe some common sense guidelines: 1.No sets, or sets that can be installed and taken down in minutes, and transported in a deep trunk or a van. 2.Props and costumes that can be packed into a large box for easy transport. 3.No lighting cues beyond "lights up" (if that), and only sound cues that can be done from a boombox. 4.Small cast (anything larger than four is begging for trouble). 5.Forty to forty-five minutes running time (for high schools, and fewer for younger children), to fit into one class period.
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PLAYWRITING 101 BY: PLAYWRIGHT TOOLKIT The Play's the Thing The stage is a magical place. Live actors and a live audience make for an immediacy no other art of the written word can duplicate. The ancient Greeks and Romans believed that the dramatic "poet" (that's us) had the power and the duty to "teach and to please," and it's a tradition that lives on to this day. Sounds great. But how do you do it? Before your play can teach and please anyone, you have to write it, rewrite it (probably over and over again), submit it to theaters and hope that one of them will want to produce it. It can be a long road, particularly because now more than ever, plays tend to get plenty of development (I.e. readings and workshops) before getting fully produced. Good playwrights typically have patience and perseverance to spare. Types of Plays Plays come in all shapes and sizes. Here are the most common ones: Ten-Minute Plays Ten-minute plays have become very popular in recent years with the advent of The Actors Theatre of Louisville contest. A good ten-minute play is not a sketch or an extended gag, but rather a complete, compact play, with a beginning, middle and end. It typically takes place in one scene and runs no more than ten pages. In fact, because many contests disqualify entries with more than ten pages, it's a good idea to adhere to that page limit religiously. One-Act Plays One-acts can run anywhere from fifteen minutes to an hour or more. While technically, the one-act gets its name from having only one act (however long that might be), it's more commonly thought of as a play that isn't long enough to constitute a full evening. Arguably the most popular length for one-acts is around a half-hour. At this length, a play can fit on a bill with a pair of other one-acts, and if your play is suitable for high school production, thirty minutes is a good length for a competition play. 59
(CONTINUED)‌ A good one-act focuses on one main action or problem; there's not time to get into complicated layers of plot. And for practical reasons, it's a good idea to keep your play to one set and as few scenes as possible. Why? Let's say that your one-act is on a bill with two other one-acts, a common scenario. Let's further say that your one-act has two distinct settings, requiring two different sets and a set change in the middle of an already short play. Not a good thing. Each of the other one-acts already has its own set requirements, so suddenly the theater is faced with building four different sets for one evening. Not likely to happen. Another common situation is that a one-act precedes a play that's not quite long enough to be an evening unto itself. My play The White Pages opened for Steve Martin's Picasso at the Lapin Agile and had to make use of largely the same set, with canvases painted like bookcases and a desk brought on to make it look more like a bookstore. So the moral of the story is to write your one-act with the most minimal set and technical demands possible. Full-Length Plays Full-length plays are also called evening-length plays, because they're long enough to be their own evening. How long is that? Anywhere from around seventy or eighty minutes and up. How up is up? These days, with TV shrinking our attention spans, you'd better have a very good reason to keep an audience in the theater for much longer than two hours. And it's always a good idea to write your play so that it can be produced, if necessary, with minimal set and technical requirements. This doesn't mean that an ambitious designer can't go to town on your script if that possibility exists, but if producing your play requires eight set changes or filling the stage with water, most theaters will not be able to afford you. Musicals Musicals can run the gamut in length from ten minutes (though these are rare, because it's not very cost effective to assemble a band to play for only ten minutes) to three hours. Again, the middle ground - somewhere between ninety minutes and two hours, is probably the one to shoot for.
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