Category Archives: Risk Theatre Modern Tragedy Competition

2nd Annual Risk Theatre Modern Tragedy Competition – Jurors Start Reading

Hello Fellow Risk Takers!

Up to a few days ago, it was questionable if we’d break 100 entries in year 2. Maybe it was the coronavirus. Maybe everyone had become a Zoom hologram. Maybe there was tragedy fatigue. But with 2 days to go, a flood of entries came in that nearly washed me and Michael away. It’s awesome to say that, this year, 135 playwrights from Australia to Brazil and from the USA to the UK participated in this global competition. Go playwrights of the world!

What’s happened from last year to this year? My impression is that more playwrights are writing specifically for the competition. They are using the form of drama to explore the impact of the highly improbable. TERRIFIC! In this time of risk, I believe we have a moral imperative to come to an understanding of how low-probability events shape both the stage and life. It’s so rewarding to see theatre practitioners coming to the forefront of a worldwide drive to tame chance and uncertainty. By dramatizing risk, we tame risk.

To everyone who’s spreading the word about this unique, one-of-a-kind competition: THANK YOU! And a heartfelt THANK YOU to Michael Armstrong, Michelle Buck, Keith Digby, and the entire team at Langham Court Theatre. To all the playwrights who have participated—both this year and last year—THANK YOU. Stay tuned for more exciting news. Our international team of jurors from Australia, Canada, and the USA will name the semifinalists in late July and finalists in August. Like last year, we’ll reveal who the jurors are at the conclusion of the competition. For now, all I can say is that they are a top-notch crew.

You can find updates right here or at the competition website (see link below). If you’re interested in finding out more about the risk theatre theory of tragedy, here are YouTube links to presentations made last week at the National New Play Network (NNPN) and the Classical Association of the Middle West and South (CAMWS) AGM.

https://www.youtube.com/watch?v=-2MOP5C2Th8&feature=youtu.be

https://www.youtube.com/watch?v=5WMQUIETWAY&t=4s

All best,

Edwin Wong

Blog: https://melpomeneswork.com/

Play Competition: https://risktheatre.com/

Facebook: https://www.facebook.com/edwincharleswong/

Twitter: https://twitter.com/TheoryOfTragedy

LinkedIn: linkedin.com/in/edwinclwong

Until next time, I’m Edwin Wong, and I’m doing Melpomene’s work.

April 2020 UPDATE – RISK THEATRE MODERN TRAGEDY COMPETITION

Stats, stats, stats!

THANK YOU assiduous playwrights for entering! 70 plays have come in from three continents (North American, Oceania, and Europe) and eight countries (USA, Australia, Canada, UK, NZ, Italy, Ireland, and Portugal). The competition website is at https://risktheatre.com/. Here are the country breakouts:

USA 58

Australia 4

Canada 2

United Kingdom 2

New Zealand 1

Italy 1

Ireland 1

Portugal 1

Of the American entries, 41 are from the east and 17 are from the west. There is a concentration of dramatists in New York (18 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. Canada finally awoke. There’s a long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 46 men and 24 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know only a handful of female tragedians: Elizabeth Cary (The Tragedy of Mariam the Fair Queen of Jewry, 1613), Hannah More (Percy, 1777), and Joanna Baillie (various plays and a theory of tragedy based on the emotions, nineteenth century). The times, they are a changing! Thank you to assiduous reader Alex for writing in about More and Baillie.

Last month the https://risktheatre.com/ website averaged 40 hits a day. The top five countries clicking were: US, Canada, UK, Australia, and Ireland. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 17,937 and growing. So far, so good for this grassroots competition!

My book THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED hit the bookshelves in February 2019 (also available in audiobook format, narrated by Greg Patmore of Coronation Street). To date, it has sold 1185 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book is a winner in the Readers’ Favorite, CIPA EVVY, National Indie Excellence, and Reader Views literary awards as well as a finalist in the Wishing Shelf award.

Please ask your local library to carry this exciting title. To date, the book can be found at these fantastic libraries: Brown University, Palatine Public, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, Okanagan College (Penticton), Concordia University, University of British Columbia (UBC), University of London, Wellesley Free, Tigard Public, Herrick Memorial, Gannett-Tripp, Charles J. Meder, Westchester College, Cambridge University, Fordham University, SUNY Cortland Memorial, Russian State Library, SUNY New Paltz, SUNY Binghamton, Glendale Public, Benicia Public, Santa Clara County Public, Glendora Public, Cupertino Public, Milpitas Public, St. Francis College, Noreen Reale Falcone Library, Southern Utah University, Daniel Burke, Manhattan College, Humboldt County Public, Santa Ana Public, and Westchester Community. Let’s get a few more libraries on board! Reviews of the book can be found here:

http://theelementsofwriting.com/wong/

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

https://doi.org/10.1080/14452294.2019.1705178

MARCH 2020 UPDATE – RISK THEATRE MODERN TRAGEDY COMPETITION

Stats, stats, stats!

THANK YOU assiduous playwrights for all your entries! Here are the vital statistics since the 2nd annual competition began nine months ago. Fifty-nine plays have come in from three continents (North American, Oceania, and Europe) and five countries (USA, Australia, Canada, UK, and NZ). The competition website is at risktheatre.com. Here are the country breakouts:

USA 51 entrants

Australia 3 entrants

Canada 2 entrants

United Kingdom 2 entrants

New Zealand 1 entrant

Of the American entries, 35 are from the east and 16 are from the west. There is a concentration of dramatists in New York (17 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. Canada finally awoke. There’s a long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 38 men and 21 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know only a handful of female tragedians: Elizabeth Cary (The Tragedy of Mariam the Fair Queen of Jewry, 1613), Hannah More (Percy, 1777), and Joanna Baillie (various plays and a theory of tragedy based on the emotions, nineteenth century). The times, they are a changing! Thank you to assiduous reader Alex for writing in about More and Baillie.

Last month the https://risktheatre.com/ website averaged 24 hits a day. The top five countries clicking were: US, Canada, UK, Australia, and Germany. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 16,562 and growing. So far, so good for this grassroots competition!

My book THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED (ISBN 978-1-5255-3756-1) hit the bookshelves in February 2019. To date, it has sold 1103 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book is a winner in the Readers’ Favorite, CIPA EVVY, National Indie Excellence, and Reader Views literary awards. The audiobook, performed by Greg Patmore of Coronation Street, will be released next month.

Please ask your local library to carry this unique title. To date, the book can be found at these fantastic libraries: Brown University, Palatine Public, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, Okanagan College (Penticton), Concordia University, University of British Columbia (UBC), University of London, Wellesley Free, Tigard Public, Herrick Memorial, Gannett-Tripp, Charles J. Meder, Westchester College, Cambridge University, Fordham University, SUNY Cortland Memorial, Russian State Library, SUNY New Paltz, SUNY Binghamton, Glendale Public, Benicia Public, Santa Clara County Public, Glendora Public, Cupertino Public, Milpitas Public, St. Francis College, Noreen Reale Falcone Library, Southern Utah University, Daniel Burke, Manhattan College, Humboldt County Public, and Westchester Community. Let’s get a few more libraries on board! Reviews of the book can be found here:

Edwin Wong on Risk and Tragedy: The Literary Power of High-Stakes Gambles, One-in-a-Million Chances, and Extreme Losses

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

Drama Australia National Journal (NJ) Reviews THE RISK THEATRE MODEL OF TRAGEDY

FEBRUARY 2020 UPDATE – RISK THEATRE MODERN TRAGEDY COMPETITION

Stats, stats, stats!

THANK YOU assiduous playwrights for all your entries! Here are the vital statistics since the 2nd annual competition began eight months ago. Forty-four plays have come in from two continents (North American and Oceania) and three countries (USA, Australia, and Canada). The competition website is at risktheatre.com. Here are the country breakouts:

USA 40 entrants

Australia 2 entrants

Canada 2 entrant

Of the American entries, 25 are from the east and 15 are from the west. There is a concentration of dramatists in New York (13 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. Canada finally awoke. There’s a long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 31 men and 13 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know of one tragedy written by a woman. That play is The Tragedy of Mariam, the Fair Queen of Jewry, written by Elizabeth Cary in 1613. The times, they are a changing!

Last month the https://risktheatre.com/ website averaged 30 hits a day. The top five countries clicking were: US, Canada, UK, Ireland, and Germany. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 15,810 and growing. So far, so good for this grassroots competition!

My book THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED (ISBN 978-1-5255-3756-1) hit the bookshelves in February 2019. To date, it has sold 1015 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book won in the Readers’ Favorite Awards and the CIPA EVVY Awards. The audiobook, performed by Greg Patmore of Coronation Street, will be released next month.

Please ask your local library to carry this unique title. To date, the book can be found at these fantastic libraries: Brown University, Palatine Public, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, Okanagan College (Penticton), Concordia University, University of British Columbia (UBC), University of London, Wellesley Free, Tigard Public, Herrick Memorial, Gannett-Tripp, Charles J. Meder, Westchester College, Cambridge University, Fordham University, SUNY Cortland Memorial, Russian State Library, SUNY New Paltz, SUNY Binghamton, Glendale Public, Benicia Public, Santa Clara County Public, and Westchester Community. Let’s get a few more libraries on board! Reviews of the book can be found here:

http://theelementsofwriting.com/wong/

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

JANUARY 2020 UPDATE – RISK THEATRE MODERN TRAGEDY COMPETITION

Stats, stats, stats!

THANK YOU assiduous playwrights for all your entries! Here are the vital statistics since the 2nd annual competition began seven months ago. Twenty-seven plays have come in from two continents (North American and Oceania) and three countries (USA, Australia, and Canada). Here are the country breakouts:

USA 23 entrants

Australia 2 entrants

Canada 2 entrant

Of the American entries, 16 are from the east and 7 are from the west. There is a concentration of dramatists in New York (11 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. Canada finally awoke. There’s a long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 18 men and 9 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know of one tragedy written by a woman. That play is The Tragedy of Mariam, the Fair Queen of Jewry, written by Elizabeth Cary in 1613. The times, they are a changing!

Last month the https://risktheatre.com/ website averaged 18 hits a day. The top five countries clicking were: US, Canada, UK, Brazil, and China. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 14,933 and growing. So far, so good for this grassroots competition!

My book THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED (ISBN 978-1-5255-3756-1) hit the bookshelves in February 2019. To date, it has sold 965 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book won in the Readers’ Favorite Awards and the CIPA EVVY Awards.

Please ask your local library to carry this unique title. To date, the book can be found at these fantastic libraries: Brown University, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, Okanagan College (Penticton), Concordia University, University of British Columbia (UBC), University of London, Wellesley Free, Tigard Public, Herrick Memorial, Gannett-Tripp, Charles J. Meder, Cambridge University, Fordham University, SUNY Cortland Memorial, and the Russian State Library. Let’s get a few more libraries on board! Reviews of the book can be found here:

Edwin Wong on Risk and Tragedy: The Literary Power of High-Stakes Gambles, One-in-a-Million Chances, and Extreme Losses

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

Until next time, I’m Edwin Wong and I’m doing Melpomene’s work.

DECEMBER 2019 UPDATE – RISK THEATRE MODERN TRAGEDY COMPETITION

Stats, stats, stats!

THANK YOU assiduous playwrights for all your entries! Here are the vital statistics since the 2nd annual competition began six months ago. Twenty-one plays have come in from two continents (North American and Oceania) and three countries (USA, Australia, and Canada). Here are the country breakouts:

USA 18 entrants

Australia 2 entrants

Canada 1 entrant

Of the American entries, 14 are from the east and 4 are from the west. There is a concentration of dramatists in New York (11 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. Canada finally awoke. There’s a long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 16 men and 5 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know of one tragedy written by a woman. That play is The Tragedy of Mariam, the Fair Queen of Jewry, written by Elizabeth Cary in 1613. The times, they are a changing!

Last month the https://risktheatre.com/ website averaged 9 hits a day. The top five countries clicking were: US, Canada, UK, China, and France. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 14,374 and growing. So far, so good for this grassroots competition!

My book THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED (ISBN 978-1-5255-3756-1) hit the bookshelves in February 2019. To date, it has sold 959 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book won in the Readers’ Favorite Awards and the CIPA EVVY Awards.

Please ask your local library to carry this unique title. To date, the book can be found at these fantastic libraries: Brown University, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, Okanagan College (Penticton), Concordia University, University of British Columbia (UBC), and the Russian State Library. Let’s get a few more libraries on board! Reviews of the book can be found here:

http://theelementsofwriting.com/wong/

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

NOVEMBER 2019 UPDATE – RISK THEATRE MODERN TRAGEDY COMPETITION

Stats, stats, stats!

THANK YOU assiduous playwrights for all your entries! Here are the vital statistics since the 2nd annual competition began five months ago. Twenty plays have come in from two continents (North American and Oceania) and three countries (USA, Australia, and Canada). Here are the country breakouts:

USA 17 entrants

Australia 2 entrants

Canada 1 entrant

Of the American entries, 13 are from the east and 4 are from the west. There is a concentration of dramatists in New York (11 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. Canada finally woke. A long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 15 men and 5 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know of one tragedy written by a woman. That play is The Tragedy of Mariam, the Fair Queen of Jewry, written by Elizabeth Cary in 1613. The times, they are a changing!

Last month the https://risktheatre.com/ website averaged 12 hits a day. The top five countries clicking were: US, Canada, Australia, UK, and China. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 14,374 and growing. So far, so good for this grassroots competition!

My book: THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED (ISBN 978-1-5255-3756-1) hit the bookshelves in February 2019. To date, it has sold 940 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book won in the Readers’ Favorite Awards and the CIPA EVVY Awards.

Please ask your local library to carry this unique title. To date, the book can be found at these fantastic libraries: Brown University, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, Okanagan College (Penticton), and the Russian State Library. Let’s get a few more libraries on board! Reviews of the book can be found here:

http://theelementsofwriting.com/wong/

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

There are the haters as well. Here’s a review that absolutely skewers risk theatre:

https://ormsbyreview.com/2019/11/28/670-goldfarb-wong-a-new-theory-of-tragedy/

Until next time, I’m Edwin Wong, and I’m doing Melpomene’s work.

LA THEATRE BITES Interviews Edwin Wong on the Risk Theatre Model of Tragedy

I sat down with Patrick Chavis, founder of the LA Theatre Bites podcast, to talk about my new book: The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected (Friesen Press 2019). Thank you to Patrick and LA Theatre Bites for this fantastic opportunity to talk about risk theatre, a bold and engaging way to both interpret yesterday’s plays and create tomorrow’s classics.

Here’s the link to the half hour podcast. Sit down, grab a coffee, and enjoy! We talk about the playwright competition based on risk theatre (https://risktheatre.com/), last year’s winning play (IN BLOOM by Gabriel Jason Dean), how risk functions in drama, compare risk theatre to other theories of drama, and even attempt a risk theatre read of one of Chavis’ favourite movies: Star Wars. It’s one action-packed interview!

http://latheatrebites.com/interview-with-edwin-wong-the-writer-of-the-risk-theatre-model-of-tragedy-gambling-drama-and-the-unexpected/

Patrick Chavis / LA Theatre Bites Blurb

Patrick Chavis is the creator, designer, podcast/writer and head editor at LA Theatre Bites since its inception in 2016. Because of the massive size of the Los Angeles area and its large theatre presence. Patrick decided to create short review podcasts instead of the traditional written review format allowing reviewers to see more shows and connect more authentically with theatre fans. LA Theatre Bites is consistently ranked as a top ten theatre podcast.

Edwin Wong / Risk Theatre Blurb

In 2018, Edwin Wong founded the Risk Theatre Modern Tragedy Playwright Competition with Langham Court Theatre–one of the oldest and most respected theatres in Canada–to challenge conventional Aristotelian, Hegelian, and Nietzschean theories of tragedy. Visit https://risktheatre.com/ for details.

The centrepiece of the competition is Wong’s book The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected. Instead of looking at tragedy as the interplay between the Dionysian and Apollonian (Nietzsche), the collision between irreconcilable ethical forces (Hegel), or a process to achieve catharsis (Aristotle), Wong’s drama manifesto argues that each dramatic act in tragedy is also a gambling act where heroes place delirious bets at the no-limit tables. These heroes, by going all-in, trigger unexpected and devastating outcomes. Tragedy is a theatre of risk.

With numerous examples from well-known plays such as Macbeth and Death of a Salesman to lesser known gems such as Aeschylus’ Seven Against Thebes, Wong demonstrates how protagonists wager their human assets from dignity to “the milk of human kindness” to achieve their aims, whether it be the American Dream or a Scotch crown.

From emerging playwrights to Emmy Award winners, in the first year of the Risk Theatre Modern Tragedy Playwriting Competition over 180 entrants from 11 countries have taken up the challenge of reinventing an ancient art for a modern era. The Risk Theatre Model of Tragedy is the book that launched an important and exciting new international art movement.

Wong is an award-winning classicist with a master’s degree from Brown University, where he concentrated in ancient theatre. His other research interests include epic poetry, where he has published a solution to the contradiction between Homeric fate and free will by drawing attention to the peculiar mechanics of chess endgames. He lives in Victoria, Canada and blogs at https://melpomeneswork.com/.

Until next time, I’m Edwin Wong and I’m doing Melpomene’s work.

BookLife Review of Edwin Wong’s THE RISK THEATRE MODEL OF TRAGEDY

Wong’s hardy debut book of literary criticism succeeds in presenting a challenge to the famous playwrights of yesteryear while providing a compelling framework for today’s storytellers. Inspired by Nassim Nicholas Taleb’s Fooled by Randomness: The Hidden Role of Chance in Life and in the Markets and drawing on examples from Sophocles, Shakespeare, Ovid, and several other venerated writers, Wong depicts risk—not sorrow or regret—as the peak point of all tragic stories, arguing that setting up one’s own downfall through a misjudged gamble is, in fact, the greatest tragedy of all. Much of the book is devoted to retellings of classic stories, leading to the redefinition of the tragic theater art form. Wong goes beyond considering characters’ risk-taking to examine factors such as meddling from outside forces, external authorities, passion, and the supernatural.

The book’s appeal lies in its novel premise and attention to detail. Readers opening it in hopes of a quick explanation of tragedy in drama may find it initially slow going, but they will be satisfied by Wong’s complete and thorough explanation of a new perspective from which one can view the masterworks of tragic theater. Wong concludes by challenging modern playwriting, viewing it both as a form of art and as a way that playwrights themselves take risks.

Tragedy has long been seen as essential to literature and drama, and much ink has been spilled about what makes it work; the idea of conscious risk-taking being the real source of tragic emotion feels genuinely new and exciting. Though the language is dry, dense, and highly technical—leavened only by the occasional humorous quotation—this is nonetheless an excellent compilation of arguments that will stimulate creative minds.

Takeaway: Playwrights and philosophers will completely devour this deep dive into the idea that tragedy stems from the misjudged gamble.

Great for fans of Eric Bentley, Simon Shepherd, Neil Verma.

Production grades

Cover: B

Design and typography: A

Illustrations: –

Editing: A

Marketing copy: A+

The Risk Theatre Model of Tragedy Cover

The Risk Theatre Model of Tragedy Cover

October Update – Risk Theatre Modern Tragedy Competition

Stats, stats, stats!

THANK YOU assiduous playwrights for all your entries! Here are the vital statistics since the 2nd annual competition began four months ago. Sixteen plays have come in from two continents (North American and Oceania) and two countries (USA and Australia). Here are the country breakouts:

USA 14 entrants

Australia 2 entrants

Of the American entries, 11 are from the east and 3 are from the west. There is a concentration of dramatists in New York (10 entrants). Go New York! Australia is also off to a good start, already exceeding last year’s entries. A long way to go to hit the 182 entries from 11 countries from last year.

The breakdown between male and female entrants stands at 13 men and 3 woman. While the balance may seem to tilt towards male writers, in a historical context, the numbers are quite progressive: prior to the twentieth century, I only know of one tragedy written by a woman. That play is The Tragedy of Mariam, the Fair Queen of Jewry, written by Elizabeth Cary in 1613. The times, they are a changing!

Last month the https://risktheatre.com/ website averaged 16 hits a day. The top five countries clicking were: US, Canada, Australia, UK, and China. Most clicks in a day was 196 back in June 2018 when the contest launched. Best month was March 2019 with 2372 hits—that was when we announced the 2019 winners. All time views stand at 13,920 and growing. So far, so good for this grassroots competition!

My book: THE RISK THEATRE MODEL OF TRAGEDY: GAMBLING, DRAMA, AND THE UNEXPECTED (ISBN 978-1-5255-3756-1) hit the bookshelves in February 2019. To date, it has sold 916 copies. THANK YOU to everyone for supporting the book—all proceeds help fund the competition. The book won in the Readers’ Favorite Awards and the Colorado Independent Publishers Association Awards.

Please ask your local library to carry this unique title. To date, the book can be found at these fantastic libraries: Brown University, Pasadena Public, Fargo Public, South Texas College, University of Bristol, University of Victoria, Greater Victoria Public, Richmond Public, Smithers Public, University of Colorado (Denver), Denver Public, McMaster University, Buffalo and Erie County Public, Rochester Public, Wheaton College, South Cowichan Public, Vancouver Public, Hillside Public (Hyde Park, NY), Scarsdale Public (NY), Indianapolis Public, and the Russian State Library. Let’s get a few more libraries on board! Reviews of the book can be found here:

http://theelementsofwriting.com/wong/

https://www.kirkusreviews.com/book-reviews/edwin-wong/the-risk-theatre-model-of-tragedy-gambling-drama-a/

https://www.broadwayworld.com/westend/article/Book-Review-THE-RISK-THEATRE-MODEL-OF-TRAGEDY-Edwin-Wong-20190626

https://www.forewordreviews.com/reviews/the-risk-theatre-model-of-tragedy/

Until next time, I’m Edwin Wong and I’m doing Melpomene’s work.