MIDTOWN INTERNATIONAL THEATER FESTIVAL LAUNCH PARTY

John Chatterton presents

The Eleventh Annual Midtown International Theatre Festival

Midtown International Theatre Festival
Eleventh Anniversary Season

LAUNCH PARTY!

Monday, June 28, 2010 at 7:30pm



PLEASE JOIN US:
Monday, June 28, 2010 at 7:30pm

The Midtown International Theatre Festival (MITF) presents their Eleventh Anniversary Season LAUNCH PARTY on Monday, June 28, 2010 at 7:30pm (doors open at 6:30pm) at Sweet Caroline's, 322 W. 45th Street, NYC. Tickets are $10 and are available at http://www.midtownfestival.org/. or by phone at 866-811-4111.

MITF's LAUNCH PARTY will feature previews of upcoming shows in the MITF, including three musicals and one international show. There will be food and full bar. The jazz band Ham & Eggs will perform live. The evening will include raffles for show and event tickets, theatre memorabilia, goods and services, and more. Scenes and musical numbers from the following shows will be performed:


Alice and Elizabeth's One Woman Show, By Alice Barden

Can two forty-something BFFs finally "have it all," without succumbing to the evil forces of plastic surgery, married people, or even their own bodies turning on them?

Scene: "Loving Susan Sarandon"


Asian 'Belle, By Michelle Glick, Directed by Christine Renee Miller

The daughter of a Vietnamese war bride spends her youth aspiring to be a Southern Belle....a funny, touching and true solo show.


Civil War Voices, By James R. Harris & Mark Hayes

Produced by Jim Harris - Rough & Ready LLC

Songs and memoirs of five extraordinary lives.


Conspiracy: A Love Story, Book and Lyrics by Victor Lesniewski, Music by Ronnie Reshef, Directed by Elizabeth Carlson, Produced by TrackTwelve Productions

July 14 - 21, The June Havoc Theatre, 312 W. 36th Street, 1st floor, NYC

Paranoia At First Sight!

Musical Number: "Just Not Lucky"


Etty, By Susan Stein, Directed by Austin Pendleton, Produced by ettyplay inc. / Susan Stein

A portrayal of one woman's struggle to sustain humanity in the face of Nazis' brutality.

Wrestling Scene.


The Gospel According to Josh

By Joshua Rivedal, Directed by Joshua Gaboian, Produced by Joshua Rivedal/Small Pond Entertainment

A thirty character, twelve song, comedic tour de force of a one man show.

The Maury Povich scene.


Gray Matters, By Jacques Lamarre, Directed by Joshua Lee Ramos, Produced by Emerson Theater Collaborative/Camilla Ross

No memory. No insurance. No opportunities. What's an actor to do?

The Audition Scene: Oscar Wilde's "A Woman of No Importance"


The King of Bohemia: The Life and Times of Franz Kafka,

Written and Produced by Jeffrey Boles

An inside account of the deception that led to an icon.


Most Likely To: The Senior Superlative Musical

Book, Music and Lyrics by Michael Tester, Directed by Abbe Gail Cross, Produced by Broadway Clubhouse.com

It's the Glee Club vs. The Jocks in a Senior Superlative Showdown.

Musical Number: "Most Likely to Survive"


Never Norman Rockwell, By Kyle Baxter, Directed by Anthony Gargano, Produced by The Collective Objective, With Elizabeth Allerton, Sarah Barry, Paul Bellantoni, Dan Belmont, DR Mann Hanson, Austin Mitchell, & Michael Selkirk

July 16 - 31, The Beckett Theatre, Theatre Row, 410 W. 42nd Street, NYC

It's the day before the wedding and the best man is coming out!

Song: "The Morning Haze"


Peking Roulette, By Ben Thompson, Directed by Anna Grace, Produced by Anna Grace, With Jim Williams, Kristen Hung

A quirky look at the life (and love) for an aging expat in Beijing.


ResurGENTS: The Reappearance of Hope, By Damion Sanders & Lawrence Floyd, Produced by Obsidian Media Group

A new millennium choreopoem from the male perspective.

Scene: "Myself"


The Tragedie of Cardenio, By Ben Bartolone

Produced by Brain Trust Productions/Ben Bartolone

The lost play of William Shakespeare has turned up...in the hands of an idiot.



Raffles will include the following prizes:
Show tickets to The 39 Steps and others; discount offers from our friends at The Commercial Theatre Institute and neighborhood restaurants; and more!

The MITF's 2010 Season runs from
July 12 - August 1, 2010 at

the Beckett Theatre, Theatre Row, 410 W. 42nd Street, NYC;
the June Havoc Theatre, 312 W. 36th Street, 1st floor;
the Dorothy Strelsin Theatre, 312 W. 36th Street, 1st floor;
the Main Stage Theater, 312 W. 36th Street, 4th floor; and
the Jewel Box Theater, 312 W. 36th Street, 4th floor.

The Midtown International Theatre Festival, now in its eleventh year, celebrates the diversity of theatre. The MITF welcomes theatrical storytelling across a broad spectrum of genres, forms, identities, cultures, and appetites. The MITF seeks to nurture these new ideas, perspectives, and stories on its stages, with an eye set on guiding these productions toward future success and longevity. The festival, traditionally held in summer, represents a fantastic, often paradoxical, adventurous and intriguing cross-section of the forefront of the theatre world. The MITF proudly hosts production companies from across the country and around the globe, uniting talent in one of the biggest theatre capitals in the world.

Mr. Chatterton created the MITF, a Midtown alternative to other theatre festivals, in 2000 as a way to present the finest off-off Broadway talent in convenience, comfort, and safety. In 2008, the Festival added two 99-seat theatres and inaugurated the Commercial Division for upwardly mobile shows with commercial ambitions. The MITF's artistic emphasis is on the script itself and therefore the Festival requests minimal production values.

For more information, visit http://www.midtownfestival.org/.

New Season: PRIMARY STAGES

PRIMARY STAGES
http://www.primarystages.org/

JUL 27, 2010 - SEP 04, 2010
Secrets of the Trade
By Jonathan Tolins
Directed by Matt Shakman

SEP 21, 2010 - OCT 30, 2010
In Transit (a musical)
By Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth
Directed by Joe Calarco

JAN 25, 2011 - MAR 5, ,2011
Black Tie
By A. R. Gurney
Directed by Mark Lamos

BENEFIT TONIGHT WITH (ALMOST) EVERYBODY... FOR THE ACTING COMPANY

KRISTIN CHENOWETH * LINDA LAVIN * CAST FROM SOUTH PACIFIC

plus

Exit the King’s LAUREN AMBROSE *
Light in the Piazza’s VICTORIA CLARK *
Company’s RAUL ESPARZA *
Chicago’s JAMES NAUGHTON *
A Little Night Music’s AARON LAZAR *
Sondheim on Sondheim’s NORM LEWIS *
South Pacific’s KELLI O’HARA *
The Good Wife’s MARY BETH PEIL *
42nd Street’s BILLY STRITCH *
Curtains’ KAREN ZIEMBA

Some of the most beautiful and memorable music of the Broadway stage comes from one family of magnificent musicians …

Join MARY RODGERS and ADAM GUETTEL celebrating songs sung by Broadway’s most talented stars …

At The KAYE PLAYHOUSE
East 68th Street between Park and Lexington Avenues

MONDAY, JUNE 21 at 7PM
GREAT ORCHESTRA SEATS AT $125 from Box Office: 212-772-4448

FOR MORE INFORMATION:
http://www.theactingcompany.org/involved/events.html

Coming: YOU'VE GOT HATE MAIL

YOU'VE GOT HATE MAIL

A comedy of broadband errors
from the playwrights Billy Van Zandt and Jane Milmore.

You've Got Hate Mail is Billy Van Zandt and Jane Milmore's comic answer to A.R. Gurney's Love Letters. In You've Got Hate Mail, love "bytes" all when an extra-marital affair goes horribly wrong, thanks to a juicy e-mail left sitting on a desktop.

The story is told entirely in e-mails from laptop computers, although the play still manages to have an unforgettable chase scene - thanks to Blackberries and SideKicks.

The team of Billy Van Zandt and Jane Milmore are among the most produced playwrights in the world, with at least 24 plays published by Samuel French and gazillions of film and TV credits; they've garnered multiple film and TV awards for their work as stage actors, producers, and writers.

TWO PERFORMANCES ONLY!

Friday, June 25 at 7pm
Monday, July 12 at 7pm

*Contains Adult Language

http://www.smarttix.com/show.aspx?showcode=YOU33

RIGHTS TO WHAT THE PLAYWRIGHT WRITES

It has never been easy (unless you have a super-hit) to make a living from writing plays. (To make a living, a playwright often has a day job, a College position, or writes films, or... ???) One problem for the playwright has been that the theater company (or producer) who puts together the inaugural production of the play also takes a hefty chunk of the subsidiary rights.

There have been a number of recent changes to make it easier for playwrights to earn more from their plays.

The Public Theater has made a very important contribution to the ability of its playwrights to benefit from the subsidiary rights to what the playwright writes.


The Public Theater and Dramatists Guild of America
Announce Groundbreaking Revision
of The Public's Subsidiary Rights Agreements

The New Model Provides
Greater Financial SupportFor Playwrights

From The Public Theater:

"We are excited and proud to announce that we are restructuring our subsidiary rights agreement, effective immediately, to provide playwrights with greater financial opportunities to profit from their plays. The Public Theater and the Dramatists Guild began discussions more than a year ago when it became clear that The Public was intent on finding a better way to encourage and invest in the writers they were producing. Under the new agreement, The Public will not collect any subsidiary rights from a play until the playwright has earned a minimum of $75,000 in licensing fees following its Public Theater premiere. The new agreement allows a playwright 10 years to earn that minimum amount from a play; if the playwright has not earned $75,000 during that time period, the agreement will expire and The Public will not earn any subsidiary rights income from the play.

"The Public is here to support the American playwright, not the other way around. We're pleased that this new arrangement reflects the core values of The Public and is one small step in making the American theater a better home for artists," said Public Theater Artistic Director Oskar Eustis and Executive Director Andrew D. Hamingson in a joint statement.

"The Public's new policy represents a dramatic departure from traditional subsidiary rights agreements, in which theaters immediately begin collecting a portion of profits from subsequent licensing of a playwright's work. This revised agreement which will be retroactive back to 2008 for all Public Theater main stage shows will allow playwrights to earn substantial income from their work before the theater profits from subsequent productions of a play.

"The Dramatists Guild hopes this new model will be a trumpet call for theaters to realize that, in most cases, these revenues contribute relatively little to the theater's bottom line but could be the difference for an author between paying rent or having to leave the industry.

"The Dramatists Guild commends The Public Theater for continuing to be one of the most supportive and nurturing of all American theaters to playwrights," said Dramatists Guild President Stephen Schwartz. "We greatly appreciate their openness to hearing the Dramatists Guild's advocacy for our members, and we applaud this new policy which will allow more playwrights to be able to make a living writing for the theater."