A smattering of new works and creative
inklings currently in development —
This is a technicolor play.
Conceived and Staged by John Kurzynowski
This is a play about melodrama.
Or rather a play that explores melodrama.
That incites melodrama.
That interrogates the subject of melodrama from within the form of melodrama itself.
A play that is clinically melodramatic.
A play that seeks to better understand the activation of melodrama in film.
And how that cinematic form of melodrama can be activated in theatre.
In live performance.
A play that observes melodrama from within and above its own melodramatic structure.
This is also a play about technicolor.
About the melodramatic flair of technicolor cinema.
About the over-saturation of melodramatic storytelling.
A play that over-saturates its own melodramatic content.
A work of theatrical over-saturation that points to its own theatricality.
That interrogates the artifice of this over-saturation in performance.
This is also a play about queerness.
About the queerness of melodrama.
Or rather a theatrical meditation on the queer histories of melodrama.
A meditation on the queerness of melodramatic storytelling.
The queerness of technicolor dramas.
A play that interrogates the queerness inherent in technicolor melodramas.
A play that pays homage to the queer storytellers of melodramatic cinema.
If you are interested in learning more or would like to support the further development of this project, please contact me.
Or rather a play that explores melodrama.
That incites melodrama.
That interrogates the subject of melodrama from within the form of melodrama itself.
A play that is clinically melodramatic.
A play that seeks to better understand the activation of melodrama in film.
And how that cinematic form of melodrama can be activated in theatre.
In live performance.
A play that observes melodrama from within and above its own melodramatic structure.
This is also a play about technicolor.
About the melodramatic flair of technicolor cinema.
About the over-saturation of melodramatic storytelling.
A play that over-saturates its own melodramatic content.
A work of theatrical over-saturation that points to its own theatricality.
That interrogates the artifice of this over-saturation in performance.
This is also a play about queerness.
About the queerness of melodrama.
Or rather a theatrical meditation on the queer histories of melodrama.
A meditation on the queerness of melodramatic storytelling.
The queerness of technicolor dramas.
A play that interrogates the queerness inherent in technicolor melodramas.
A play that pays homage to the queer storytellers of melodramatic cinema.
If you are interested in learning more or would like to support the further development of this project, please contact me.
This play takes place seated around a dining room table.
Written and Staged by John Kurzynowski
Six actors are seated around a dining room table, talking amongst themselves, as the audience enters.
A stage manager walks onstage and gives the actors “ten”.
Then “five”.
Then “places”.
At which point, Actor 1 enters and takes a seat at the very end of the table.
He is seated in front of a soundboard and a laptop.
There is a microphone on a microphone stand positioned next to him.
He adjusts the microphone methodically and adjusts some nobs on the soundboard while checking the laptop, demonstrating a certain level of expertise and authority.
With his hands still on the soundboard, Actor 1 clears his throat and speaks into the microphone —
This play takes place seated around a dining room table.
There are seven actors.
Eight chairs.
One table.
A tablecloth.
Wine glasses.
Plates and silverware.
Several scripts.
Two jars of pencils, pens and highlighters.
A large Persian rug or two.
A soundboard and laptop.
A microphone and mic stand.
Multiple speakers.
Lighting equipment.
Dressing rooms.
Costume racks.
A stage manager.
A technical crew.
An audience.
Dramatic interactions.
Melodramatic conversations.
Occasional bursts of laughter.
Awkward movement sequences.
Musical interludes.
The conjuring of evil spirits.
Three planned accidents.
Two unavoidable interruptions.
And one false ending.
The lights fade to black.
The lights fade back up.
Was that a planned accident?
Or a false ending?
If you are interested in learning more or would like to support the further development of this project, please contact me.
A stage manager walks onstage and gives the actors “ten”.
Then “five”.
Then “places”.
At which point, Actor 1 enters and takes a seat at the very end of the table.
He is seated in front of a soundboard and a laptop.
There is a microphone on a microphone stand positioned next to him.
He adjusts the microphone methodically and adjusts some nobs on the soundboard while checking the laptop, demonstrating a certain level of expertise and authority.
With his hands still on the soundboard, Actor 1 clears his throat and speaks into the microphone —
This play takes place seated around a dining room table.
There are seven actors.
Eight chairs.
One table.
A tablecloth.
Wine glasses.
Plates and silverware.
Several scripts.
Two jars of pencils, pens and highlighters.
A large Persian rug or two.
A soundboard and laptop.
A microphone and mic stand.
Multiple speakers.
Lighting equipment.
Dressing rooms.
Costume racks.
A stage manager.
A technical crew.
An audience.
Dramatic interactions.
Melodramatic conversations.
Occasional bursts of laughter.
Awkward movement sequences.
Musical interludes.
The conjuring of evil spirits.
Three planned accidents.
Two unavoidable interruptions.
And one false ending.
The lights fade to black.
The lights fade back up.
Was that a planned accident?
Or a false ending?
If you are interested in learning more or would like to support the further development of this project, please contact me.