Tag Archives: risk theatre modern tragedy competition

Risk Theatre Modern Tragedy Competition – January 2019 Update

Happy New Years, it’s time to ring in 2019 with the latest press release from assiduous competition manager Michael Armstrong!–

Exciting New Playwriting Opportunity!

page1image1682896

December 28, 2018. Victoria, BC, Canada

Hello fellow playwrights and theatre artists,

The Risk Theatre Modern Tragedy Competition is an exciting new playwriting competition dedicated specifically to the creation of contemporary tragedies. The competition is hosted by the Langham Court Theatre in Victoria, BC, Canada, and is sponsored by critic, Edwin Wong. We received our first submission on June 4, this past summer, four days after we opened the competition.

To date, we have already received over fifty plays from around the world. From Australia to Ireland, from New York to Los Angeles, from Toronto and London. As we move closer to our deadline of March 29, 2019, we expect the pace of submissions to pick up. We are well on our way to exceeding our expectations for this first iteration of our unique competition. Three judges, one each from England, the United States, and Canada, successful writers and critics in their own right, are looking forward to reading your plays.

If you have not yet entered our competition, we invite you to check us out at risktheatre.com for more information about our competition. Prizes include $8000 for first place and four runner-up prizes of $500 each. The winning playwright will also receive a stipend of up to $1000 to travel to Victoria, British Columbia, Canada, for a professionally led workshop at Langham Court Theatre (our host) that will culminate in a staged reading. We have also approached several significant theatres in the US, Canada and England towards an agreement to read our finalists. More on this later.

In addition, all of the playwrights that enter the competition will receive a copy of our sponsor’s book The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected by Edwin Wong, which is due out this February.

Thank you for your interest and support of the Risk Theatre Modern Tragedy Competition. Happy writing, wherever you are!

Yours truly,

Michael Armstrong. Playwright, Actor, Director.
Competition Manager
tragedycompetition@gmail.com

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

Risk Theatre Modern Tragedy Competition – December 2018 Update

Stats, stats, stats!

Thank you assiduous playwrights for all your entries! Here are the vital statistics since the competition began seven months ago on June 1, 2018. Fifty-one plays have come in from three continents (North American, Europe, and Oceania) and five countries (USA, Canada, UK, Australia, and Ireland). Here’s the country breakdown:

USA 43 entrants

Canada 4 entrants

Australia 1 entrant

England 2 entrants

Ireland 1 entrant

Of the American entries, 29 are from the east and 14 are from the west. There is a concentration of dramatists in New York (nine entrants) and Chicago (four entrants) and LA (three entrants). Write away New York, Chicago, and LA!

The breakdown between male and female entrants stands at 37 men and 15 women. 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!

The risktheatre.com website is averaging 16 hits a day this December. Most hits in a day was 196 back in June 2018 when the contest launched. That month also saw 2000+ hits. December 2018 is on pace for 500 views. So far, so good!

The inaugural competition will conclude on March 29, 2019. Three months left. My book The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected is due out February 2019. This coincides nicely with the March date. Complimentary copies will be going out to all the hardworking playwrights who have sent in their scripts. Keep up the good work and thanks for contributing to the success of this one of a kind competition. The book isn’t necessary for the competition: the judges will be scoring plays based on the parameters found in the ‘Guidelines’ section of the risktheatre.com website.

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

Risk Theatre Modern Tragedy Competition – September 2018 Update

Stats, stats, stats!

Thank you assiduous playwrights for all your entries! Here are the vital statistics since the competition began a little over three and a half months ago on June 1, 2018. Thirty-five plays have come in from three continents (North American, Europe, and Oceania) and five countries (USA, Canada, UK, Australia, and Ireland). Here’s the country breakdown:

USA 30 entrants

Canada 2 entrants

Australia 1 entrant

England 1 entrant

Ireland 1 entrant

Of the American entries, twenty-one are from the east and nine are from the west. There is a concentration of dramatists in New York (six entrants) and Chicago (four entrants) and LA (three entrants). Write away New York, Chicago, and LA!

The breakdown between male and female entrants stands at 25 men and 10 women. 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!

It’s harder to differentiate between ethnicities by looking at names (but it is possible. Take Edwin Wong. If you had guessed I was Asian, and, more specifically, Chinese, you’d be correct). Just by taking a look at names, I’d guess that there’s 33 Caucasian entrants, 1 Asian, and 1 Middle Eastern. Tragedy, which started in sixth century Greece, has been traditionally a western art. But tragedy rebooted as risk theatre can transcend the east/west dichotomy. The risk of low-probability, high-consequence events can take place anytime, and anywhere. As a theatre of risk, the art of tragedy knows no bounds.

The risktheatre.com website is averaging 16 hits a day this September. Most hits in a day was 196 back in June 2018 when the contest launched. That month also saw 2000+ hits. September 2018 is on pace for 500 views. So far, so good!

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