Posts Tagged royalty-free scripts
New York playwright Larry Rinkel has posted a nice review of my full-length play GOD OF A DEAD UNIVERSE on the New Play Exchange:
” Yancey’s themes are clear – the destructive effects of climate change, here applied in a parable-like manner to Mars rather than earth. And his characters are clear as well rather than being rounded – the intrepid investigative reporter, the courageous scientist imprisoned for speaking unpalatable truths, the pompous but corrupt empty suit of a president. But what makes the play work is its skillful fast pacing and well-written dialogue. A good choice for theaters looking for a cautionary tale on climate change.”
He also had nice things to say about the short play THE MATH LESSON, which began life as a stand-alone short but was later incorporated into one scene of GOD OF A DEAD UNIVERSE.
GOD OF A DEAD UNIVERSE
A dark look at the last days of life on Mars. The Martian civilization has mismanaged its resources and is now running out of water. The rival political factions appear to have come together to install a new government, one that has embarked on a massive canal project to bring water from the poles. A newspaper reporter covering the canal project notices a discrepancy, though, and he/she begins investigating. The reporter suspects embezzlement. When the reporter confronts the chancellor, the chancellor freely admits to siphoning off money, but not for personal use. Instead, it’s to build a giant underground library in which to store Martian artifacts. The chancellor confesses that the canal project is merely a diversion to keep people busy – there’s no way it will work. The planet will run out of water long before it’s completed, and the underground library is an attempt to save at least some remnant of Martian life in case other intelligent beings ever discover it. Cast: 12 or 13, all non-gender.
New York playwright Larry Rinkel has posted a nice review of my short play THE MATH LESSON on the New Play Exchange:
“Skillfully alternating between the perspectives of two girl students and their teacher who is being grilled by her institutional higher-ups, the play creates a parable about climate change by situating the action on Mars. All characters – the stooges at the top of the school’s hierarchy, the teacher who cleverly provokes political conclusions based on irrefutable facts, and the girls caught in the middle – are well-drawn, allowing us to see each one’s point of view while clearly siding with the teacher. (This short play is clearly adapted from Yancey’s exciting full-length “God of a Dead Universe.”
It joins one from another New York playwright, Scott Sickles.
THE MATH LESSON
A math teacher at a Martian school for girls teaches a forbidden subject – how to compute the rate of evaporation of the planet’s last, dying ocean. Cast: Five – one adult female, two non-gender adults, two teen-age girls.
The Canadian playwright Christine Foster has posted this nice review of my one-act THE FIRST VAMPIRE IN TORONTO on the New Play Exchange:
“A very entertaining piece on a very unusual asylum seeker who wants to stay in Canada. A witty romp with great dialogue and lots of zany action, a truly funny “interview with a vampire.”
THE FIRST VAMPIRE IN TORONTO
A comedy about a vampire who turns up in Canada and is interviewed by the Royal Canadian Mounted Police. Cast: Five – one female, four non-gender. Note: Three of those non-gender actors play a variety of roles. Some are male, some are female, some are gender-flexible. The traditional breakdown there would be one female, two male to accommodate certain scenes but directors should feel free to cast these parts however they wish.
The Canadian playwright Christine Foster has posted this nice review of MY 10-minute play THE UNOPENED VALENTINE on the New Play Exchange:
“This is such an intriguing piece on memory and regret. Do you really want to know what you don’t know?
Will the discovery only make your emotional state more painful? If you don’t investigate the mystery now, could you leave it for another time or is it better to destroy the possibility (and the knowledge) now and get it over with? One of the lovely things about the play is the resolution of this puzzle, which fully engages the audience’s imagination.”
THE UNOPENED VALENTINE
A grumpy widow with a tendency to worry is packing up her things to move into a smaller place .Her enthusiastic granddaughter is helping her, when the granddaughter opens an old schoolbook to find a valentine her granddaughter had never opened. The granddaughter wants to open it; the grandmother worries about what it might contain, and whether the course of her life would have changed if she’d opened it when she received it. Note: There also are five-minute and one-act versions of the same story. Cast: Two females — one senior, one teen-ager. Running time: Ten minutes.
My 10-minute play THE FERRYMAN’S APPRENTICE popped up randomly as the featured script of the day on the New Play Exchange on May 27, which generated a whole bunch of nice reviews:
“ An eerie, haunting tale set in Greek mythology. For a ten-minute play, it sure packs an emotional punch.”
— Kate Danley
“ Dwayne Yancey bookends “The Ferryman’s Apprentice” with Greek mythology, but I was emotionally moved by its core: a story of grief, guilt, and the impossibilities that death brings. This 10-minute play also is about perspective and acceptance, the kind that people will never have while alive. And, oh, it’s bitter to realize that.”
— Steven G. Martin
“ Touching, haunting, and raw, this elegiac fable is a masterwork of the short play form. The only thing better than reading it would be to see it performed ”
— Doug DeVita
“ Having just recently been through the loss of my father, this play struck me deeply. But it did not hurt; in fact, the wisdom and comfort of the story is to realize that death is more than just the ending of one life, but the continuation in another way: memories, cherished moments, even unremarkable times spent together. Dwight Yancey uses the Greek myth of the River Styx and Charon the boatman and inspiring poetry to tell a universal tale of loss, regret, understanding, and love. ”
— Philip Middleton Williams
“Losing a parent is devastating. But to suffer that loss as a child can be soul crushing. And if you were culpable in their death? Unimaginable. Dwayne Yancey takes us to the River Styx in this ten-minute Greek tragedy packed with hubris, catharsis, and choral wailing that will undoubtedly haunt ”
— Greg Burdick
“I highly recommend reading this around with English accents! The raw elegance of the language almost requires it. Yancey provides a fresh take on Orpheus as a son bargains for passage to the Underworld to bring back his father. The dialogue is jaunty and the negotiations clever. The use of a choir enhances the classical feel of the proceedings. Most importantly, there’s so much love, regret, and forgiveness between father and son, the reader can easily envision the richness of their life together and the magnitude of its loss. There’s also a mythical inevitability that intensifies the suspense. Terrific piece!”
— Scott Sickles
On May 16, I held a reading via Zoom of my play A MAPLE LEAF ON THE WIND, a romantic comedy in which half the characters are non-human and one is non-corporeal. I also did it with a cast from Canada.
Stage Directions: Arlene Thomas (Kitchener, Ontario)
Veronica: Ella Kennedy (Hamilton, Ontario)
The Wind: Emily Bolyea-Kyere (Hamilton, Ontario)
Tex: Owen Lapsley (Hamilton, Ontario)
Rex: Mason Micevski (Hamilton, Ontario)
A MAPLE LEAF ON THE WIND
A quirky international love story. The Wind tries to play matchmaker between a lonely Canadian girl on the prairie of Manitoba and a lonely American boy in Texas. There’s also a talking chicken. Cast: Four – two male, two female.
* Finalist, Best Medicine Rep, Gaithersburg, Maryland, 2018.
Canadian playwright David Elendune has left this nice review of my one-act THE WEIRD SISTERS GO WEST on the New Play Exchange:
Clever… Funny… If Terry Pratchett wrote Blazing Saddles 2.
THE WEIRD SISTERS GO WEST
The three witches from Shakespeare’s Macbeth turn up in a western town and quickly bring order to the Old West, with a few complications along the way. Cast: Eight – four female, three male, one-non-gender.
Little Theatre of Norfolk in Norfolk, Virginia hosted a Zoom reading of my play RED MOON RISING IN THE EAST on May 13, 2020. This is a one-man play based on the story of Sergei Korolev, the father of the Soviet space program. He was a force of nature who almost single-handedly willed the Soviets into space, battling both the odds and his own government. However, his name was a state secret in the Soviet Union so he’s still little-known in the West, even though all the big firsts — the first satellite, the first satellite to the moon, the first man in space, the first woman in space — were all his doing. Bill Armstrong performed this role in 2009 at 40th Street Stage in Norfolk, then again in 2010 at The Venue in Norfolk. Here he is again.
Here’s a link to previous productions of this show.
Bonus: At the end of this video is a Q&A with with actor and playwright.
On May 2, I held a reading via Zoom of TRUE NORTH with an all-Canadian cast. Here ’tis.
Stage directions: Robin Bennett (Guelph, Ontario)
Aurora: Ella Kennedy (Hamilton, Ontario)
Gordo: Shawn Vincent (Kitchener, Ontario)
Canadian Translator: Arlene Thomas (Kitchener, Ontario)
Ursula: Emily K. Bolyea-Kyere (Hamilton, Ontario)
Vursula: Samantha Devries (Beamsville, Ontario)
Wursula: Sundance Nagrial (Toronto, Ontario)
North Star: Mason Micevski (Hamilton, Ontario)
A quirky love story, of sorts. The North Star has abandoned his post in the sky, tired of all the pressure. He just wants to have fun. He is pursued by three Arctic mermaids, guardians of the northern realms, who want to persuade him to return to the sky. They pop up in the backyard hockey rink of a teenage girl in rural Manitoba and persuade her, however reluctantly, to go after the North Star. After all, mermaids don’t have legs and now that the North Star is inland, they’re unable to do much. The girl agrees, but only because the mermaids promise to leave her backyard hockey rink, which they have punched through. Meanwhile, a neighbor boy has a crush on the girl, which appears to be unrequited. They often play hockey, which always ends with her knocking his teeth out. In the end, the girl and the mermaids devise a plan to persuade the North Star to return to the sky, and it all comes to fruition at a Winnipeg Jets hockey game. Lots of unusual costuming opportunities and physical humor. Cast: Seven – 2 male, 4 female, 1 non-gender.
South Walton High School in South Walton, Florida produced three of my ten-minute plays as part of an eight-play festival: THE FOUR HORSEMEN OF THE INTERNET, THERE’S A REASON THEY CALL IT FALLING and TROUBLESHOOTING. Here’s a copy of the poster, and a scene from TROUBLESHOOTING, courtesy of director Carissa Groves.