Archive for category News
My 10-play play THE DEBATE AT BOSWORTH FIELD just got a very nice review on the New Play Exchange:
“A delightful historical romp! Like Monty Python meets the History Channel – What fun characters, and cracking dialogue. Yancey’s imaginative set-up finds us out on Bosworth Field – the declarative WIN for Lancaster over York, duh – in this all-too-relevant satire. Thank you to this bold author for stuffing a short play with tons of characters! It’s hilarious, with all the farcical strings pulling in criss-crossing dimensions. You can say a ten-minute play can only have 2-3 characters, but then you wouldn’t have this epically hilarious gem! No wonder it was recently selected for a competitive festival. It’s a hoot.”
— Rachael Carnes
The festival she references is the Fight Like a Girl festival in Manchester, Great Britain in August (it’s a fund-raiser for cancer research). Here’s a synopsis:
THE DEBATE AT BOSWORTH FIELD
Imagine if Richard III and Henry Tudor had met in a campaign-style debate instead. This time, Richard wins. Cast: 8 – 5 male, 2 female, 1 non-gender.
My 10-minute play THAT PLAY ABOUT THE GURGLING MUD PIT has gotten this nice review on the New Play Exchange:
“We’re not sucking the audience into a gurgling mud pit.” Yancey wholeheartedly embraces his meta concept and, in doing so, shines the spotlight on crucial theatrical positions in a very appealing way. It’s a scream as we learn more and more about the gurgling mud pit play, and the crew reacts to each bit of new information. A very good way to inform the audience about the hidden heroes who bring shows together, and an excellent way to celebrate all that goes into a production. ”
— Matthew Weaver
THAT PLAY ABOUT THE GURGLING MUD PIT
A director tries to explain a new play to the crew. Opinions vary. A meta-play about theatre. Cast: Five – all non-gender.
* Scheduled to be produced by The 10-10 New Plays Festival, Chagrin Valley Little Theatre, Chagrin Falls, Ohio, June-July 2019.
Here’s a photo of the staged reading of my one-act THE RING at Geneva Theatre Guild in Geneva, New York in April 2019. That same script is also having a staged reading in Louisiana in both April and May.
Sixty years after a close call in a state championship girls basketball game, the star of the losing team still can’t reconcile herself to losing — so she breaks into the home of the star player on the winning team, hoping to steal her championship ring. A poignant story about regrets and sportsmanship. Cast: Two senior females.
* Produced by Haylofters, Burlington, Wisconsin, May 2014; took second place in audience vote at one-act festival.
* Staged reading by Readers Repertory Theatre at San Pedro, Los Angeles, February 2015.
* Staged reading by Geneva Theatre Guild, Geneva, New York, April 26-28, 2019.
* Staged reading by The Itinerant Theatre, Lake Charles, Louisiana, April 27-28, May 3-4, May 24-26, 2019.
This month (May 2019), my ten-minute play CHEF PIERRE DOES NOT DO SIMPLE is being produced in Kaiserslautern, Germany by KMC Onstage Studio Shows (which is affiliated with the U.S. Army; I believe this is at an Army base there).
This makes the 13th country in which my work has been produced.
The full list, in alphabetical order:
1. Australia (including one full-length script)
5. Great Britain
8. New Zealand
9. The Philippines
11. South Africa
12. South Korea
13. The United States (including seven full-length scripts)
Paris Junior College in Paris, Texas is producing my short one-act VERONICA’S DOLLS, along with five other scripts of mine (!). VERONICA’S DOLLS involves some dolls coming to life to rescue their now-teenage owner, who has overdosed in a suicide attempt. One of the dolls uses the girl’s cellphone to call 911. If you’re using humans to play dolls, then you need a phone scaled accordingly. And director Lisa Martin has created one!
My play EXTRACTED was a semi-finalist in the Southwest Theatre Productions competition in Austin, Texas. Six plays were finalists, so in theory my play could have finished as high as seventh. This marks the second time this play has gotten some recognition (just no productions yet). Earlier a theatre in New York passed on the script but sent word that “We quite enjoyed the play’s precise comic sensibility and symbolic meditation on contemporary America.”
Here’s the synopsis of the show:
A dark allegorical tale about modern politics and immigration. An American truck driver sleeping in his cab at a truckstop in southern California is awoken by two teenage girls, Sam and Libby. He thinks they’re truckstop prostitutes and tries to run them away. Instead, the one explains that she has rescued her sister from drug gangs in Los Angeles and is trying to take her home to safety in New York. The rescued sister is our allegorical Statue of Liberty. In fact, she has not been rescued; she has been drugged against her will, for reciting — and practicing — the poem at the statue’s base: “give me your tired, your poor . . . ” As the roadtrip across North American unfolds, we see that the older sister is not, in fact, a protector and rescuer, but rather her kidnapper, who is trying to brainwash her. Along the way, the keep running into another truck driver, who is taking the same route across the country, and a mysterious woman. In the climactic scene, Sam has hired a tattoo artist to blot out “The New Colossus” poem that Libby has tattooed on her. Just then the two mystery figures burst in — revealing themselves to be special agents for the Royal Canadian Mounted Police, who are mounting a hostage rescue and extraction to take Libby to safety in Canada. They are joined by a Mexican intelligence agent, as well, who they had previously met along the way at a truckstop. Cast: Eight — Five female (including who can pass for teens, and one Latina adult), three male.