MICHAEL SILVERSTONE
| Nationality: | USA |
| Literary Agent: *: | n/a |
| Email: | |
| Website: | n/a |
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Plays by Michael Silverstone
All About Him (In Public) |
| 1st Produced: | - | - | ||||
| Company: | - | |||||
| 1st Published: | - | ISBN/ASIN | - | |||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||||
| Genre: | - | Play/Drama | Parts: | Male | 2 | Female | - |
| Parts Other: | - | |||||
| Notes: | Created by Frank Boyd and Michael Silverstone | |||||
| Synopsis: | - | |||||
Insect God, The |
| 1st Produced: | - | |||||
| Company: | - | |||||
| 1st Published: | - | ISBN/ASIN | - | |||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||||
| Genre: | Short Drama | One Act | Parts: | Male | 5 | Female | 7 |
| Parts Other: | - | |||||
| Notes: | Inspired by the short story by Edward Gorey, developed by the ensemble, with songs by Matthew O'Hare. | |||||
| Synopsis: | - | |||||
This Time Tomorrow |
| 1st Produced: | Duryea Presbyterian Church, 262 Sterling Place (Brooklyn), NY | 02 Nov 2010 | ||||
| Company: | - | |||||
| 1st Published: | - | ISBN/ASIN | - | |||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||||
| Genre: | - | Piece | Parts: | Male | 3 | Female | - |
| Parts Other: | - | |||||
| Notes: | created by Abigail Browde and Michael Silverstone | |||||
| Synopsis: | Performed in a church basement, this uncommon work brings together three people, a barren space, and a room of unwittingly involved spectators to construct an outrageous, unruly landscape of possibilities and dilemmas. This Time Tomorrow is an experiment in blending set, choreographed material with live and unscripted events. Tables are overturned, a king arrives, phones ring, and alliances are formed and broken; but no two performances are the same, as the performers follow rigid formulas that require them to navigate a shifting relationship with each new crowd, the material and each other. The ultimate effect is the stretching of mundane reality into theatricality—and the transformation of the dilapidated and everyday into the joyful and spectacular. - nytheatre.com | |||||