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Dinner for the Queen
Mark Makes Art

	MEGHAN E JONES
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	Literary Agent: n/a

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Plays by Meghan E Jones

Dinner for the Queen

1st Produced:		45th Street Theatre (formerly Phil Bosakowski Theatre) 354 West 45th Street, New York, NY 10036			04 Dec 2011
Company:		The Shelter
1st Published:		I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.		ISBN/ASIN:	-
Music:		-			doollee no	#134278
To Buy This Play:		If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies
		abebooks.com abebooks.co.uk	stageplays.com	amazon.com	amazon.co.uk	amazon.ca
Genre:		short play
Parts:		Male		-	Female	-
Parts other:		-
Notes:		inspired by the French fairy tale Donkeyskin by Charles Perrault
Synopsis:		part of Fairy tale. Five short plays inspired by classic fairy tales. Each play explores the fundamentals of fairy tales, diving into their exotic worlds and finding inspiration in their rich archetypes and shadowed psychologies. The playwrights have re-imagined these elements in a grown-up world, and in doing so, expose the fears and joys which have driven fairy tales to become deeply ingrained into global culture. Ranging in genre and style, the plays are funny, sad, gruesome, touching, strange and fantastical... everything a fairy tale should be. The five plays are: Michael Bernstein's Kate (inspired by the French fairy tale Donkeyskin by Charles Perrault) directed by Meghan E. Jones; Andy Hassell's R.I.P. Captain Wendel (inspired by Washington Irving's short story Rip Van Winkle) directed by Beth Jastroch; Jonathan Ashley's Terror on Haxos 9 (inspired by Brothers Grimm fairy tale Hansel and Gretel) directed by Belle Caplis; Beth Jastroch's Three Sisters and a Carney (inspired by the Norwegian fairy tale The Three Billy Goats Gruff) directed by Michael Kingsbaker; and Meghan E. Jones' Dinner for the Queen (inspired by the Brothers Grimm fairy tale Snow White) directed by Jonathan Ashley. - nytheatre.com
Further Reference:		-

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Mark Makes Art

1st Produced:		Flamboyan Theater 107 Suffolk Street, New York, NY 10002			19 Apr 2012
Company:		The Shelter
1st Published:		I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.		ISBN/ASIN:	-
Music:		-			doollee no	#138955
To Buy This Play:		If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies
		abebooks.com abebooks.co.uk	stageplays.com	amazon.com	amazon.co.uk	amazon.ca
Genre:		short play
Parts:		Male		1	Female	1
Parts other:		-
Notes:		The Shelter Presents: Art explores the journey of the artist from the birth of art in mankind to the birth of art in the individual man. From hope to desolation, THE SHELTER PRESENTS: ART examines the need to create and how it affects the relationships we have with our fellow human beings.
Synopsis:		a play that examines two struggling parents whose child is creating brilliant, yet emotionally unsettling drawing - nytheatre.com
Further Reference:		-

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.