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The Parsnip Ship


THIS IS HOW WE HEAR THEATER

 

 

 

 

LISTEN IN               CLIMB ABOARD

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The Parsnip Ship


THIS IS HOW WE HEAR THEATER

 

 

 

 

LISTEN IN               CLIMB ABOARD

an intimate series of NEW plays and NEW MUSIC performed before live audiences AND made accessible as a monthly podcast.  

Hosted by Iyvon Edebiri, the series fosters community by exploring diverse perspectives and bringing awareness to inspiring voices.  We program plays that challenge our listeners with innovative form and powerful content in new and unexpected ways.  Recorded live the first Thursday of every month and available on iTunes, Stitcher and Google Play Music.


Join our mailing list for invitations to upcoming recordings and new episode releases:

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Listen In


Listen In


Catch up on previous episodes and subscribe here

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Climb Aboard


Climb Aboard


THE PARSNIP SHIP Season 3 is recorded live every first Thursday of the month.

*This date is not the first Thursday of the month

**Episode not recorded

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Take Part


Take Part


DIRECT AN EPISODE OR PERFORM ON THE SHOW

Are you a director, actor, musician, or want to be otherwise involved on the show?  Send a brief introduction with your resume/online headshot (if actor) or online music profile (if musician).  Or, want to bring us to your hometown?  Drop us a line!

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Submit


Submit


The Parsnip Ship is always looking for new plays and new voices...

and for Season Four, we are specifically looking for plays written by playwrights of color.

As we believe there are as many distinctive styles and voices as there are playwrights, we remain open to a wide range of plays that will engage audiences in an intimate setting and on a podcast format. We see our recordings as a fun collaborative effort among us, the playwright, the directors, musicians and the actors! Before you send in your play for consideration, take a listen to one of our episodes from our past seasons.

Each play selected as part of our season will have one evening to be recorded in front of a live audience as a reading.  A guest musician is paired with the play to supplement the experience of hearing the text. We finish off the recording with a short and personal interview between the playwright and our host, Iyvon Edebiri. The recording is then edited and released as a podcast soon after.

The standard format for our live recordings are as follows (and is adjusted according to the length of the play):

  • Host Introduction
  • Mini-playwright interview
  • First song by musical guest
  • Act 1 of play
  • Second song by musical guest
  • Act 2 of play
  • Third song by musical guest
  • Host and playwright interview
  • Outro / Thank Yous
  • Fourth song by musical guest

Questions we like to ask ourselves as we consider a play:

  1. Does the play not only work, but excel in an audio only format?
  2. Is the play exciting and unexpected?
  3. Does the play express diversity in its perspective, voice, or content?
  4. Is this play engaged in socially conscious and civic dialogue?
  5. What would the world be missing if it didn’t have this play?

Due to last year’s overwhelming volume of submissions, this year we are doing a two-round submission cycle for Season Four. We are asking playwrights to submit the first 15 pages of their plays for consideration of Round One evaluations. If selected, playwrights will be asked to send their full length draft or complete script, for Round Two evaluation. We will be accepting submissions by individual playwrights, playwrights/director teams, playwright/director/music teams from March 24th - May 18th, 2018 for Season Four (September 2018 - June 2019). We fully encourage individual playwrights to apply; our Artistic team will work with you to pair a director, cast, and musical guest from our pool of amazing collaborators.    

The logistical requirements to know before applying:

  • We can ONLY accommodate up to 6 readers (this includes a reader for stage directions)
  • A play must be no more than 90 minutes.
  • Selected playwrights must come to an episode prior to their scheduled episode, especially if they’ve never attended a live recording of The Parsnip Ship
  • We prefer New York City or locally based playwrights
  • Our playwright must be present for the live recording (and usually rehearsals too)
  • We can accommodate 3 inputs for our musical guest, i.e. 1 mic and 2 instruments/2 mics and 1 instrument/3 mics

Please follow the link below to apply*:

Note: Before you submit your application, it is strongly encouraged to listen to a previous episode on iTunes, Stitcher or Google Play Music.  This will help you understand how your play would be recorded, if selected.

*We will update playwrights on the status of their submission on June 21st, 2018.

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Your Crew


Your Crew


IYVON EDEBIRI (artistic director and host) is a storyteller, producer and arts administrator. Born in Nigeria, Iyvon grew up in Brooklyn and went on to attend LaGuardia High School for the Arts, where she studied classical vocal music. She graduated from Brandeis University in 2013, where she earned a degree in International & Global Studies and Italian Studies with minors in Anthropology and Theatre Arts. Shortly after receiving her B.A., Iyvon was awarded a Fulbright Graduate Scholarship to conduct research in Italy, where she conducted ethnographic research with Italian natives and African immigrants to Italy and later assistant directed and dramaturged two American musicals in the city of Bologna, including the Italian National Premiere of Ragtime and Sweeney Todd: Il Barbiere di Fleet Street. Iyvon has worked at Primary Stages, Sundance Institute Theatre Program and The Public Theater and was recently awarded a Future of Audio Fellowship from The DO School in Berlin, Germany. When Iyvon is not busy producing, line-producing and company managing theater projects in the field of new play development and off-Broadway productions, you can find her consuming a ridiculous amount of television and wine. Don't worry though - Iyvon made sure that she got her MA in Arts Administration from Baruch College of the City of New York (CUNY) too.

KATY DONNELLY (producing director)

TODD KIRKLAND (managing director) is a technologist and digital ads consultant.  Born and raised in the Boston area, he went on to graduate from Brandeis University in 2013, earning a degree in Computer Science.  After graduating, he moved to Ann Arbor to start his career as an IT Resident at Google.  Now, Todd is in Brooklyn, working as an AdWords Solutions Consultant at Google.  During his free time, Todd is building both his DJ and improv skills.  He also hosts his own podcast, The Todd Talks.

RY SZELONG (artistic associate)

BLAYZE TEICHER (artistic associate) is a Brooklyn-based theatre/film director. She moved to New York immediately after receiving her bachelor's in Creative Writing and Theatre from Florida State University. Favorite productions include The Diplomats (Winner: Outstanding Direction, Fresh Fruit Festival, Downtown Urban Arts Festival) by Nelson Diaz-Marcano, Charlie’s Waiting (Under St. Marks) by Melisa Annis, and Mother Knows Best (Access Theater) by Deb Radloff. Other credits include Alexander Sage Oyen's A Night Like This in concert at Feinstein's/54 Below, Andrew Rincón’s I Wanna Fuck Like Romeo and Juliet (The Parsnip Ship), and Andrew Rincón’s You Got That Same Kind of Lonely (Amios). As a filmmaker, her work has been featured on Huffington Post, Broadway World TV, and Funny or Die. Blayze has assisted for Portia Krieger (2ST Uptown, NYMF), Ilana Ransom Toeplitz, Carolyn Cantor, Lauren Keating, and Sarna Lapine. BlayzeTeicher.com


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