We never post calls for submissions that require a submission fee. Learn more here.

Monday, October 30, 2017

Stage Door Productions, Inc Eleventh Annual Original One-Act Festival

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Festival prizes to be awarded: Six plays shall be selected for production in the spring (March/April/May) of 2018. Of those six selected, one shall win the Grand Prize $150 and one shall win runner up $100 as determined by the festival play readers. Of the remaining four, one shall win an Audience Favorite Prize $100 to be determined by the audience attending the festival performances.

Guidelines for submission:
  • All submissions must be original, unpublished one act plays of 20 pages or less. 
  • Submissions must be received by email between August 1, 2017 and November 1, 2017
  • Any submissions not adhering to the following guidelines may be eliminated from consideration.
  • Additional information and guidelines:
All scripts must be submitted electronically via email in .pdf format. Please email diane@stagedoorproductions.org
All scripts should include a short biography of the playwright for publication on website, programs, and publicity materials to be considered for evaluation.
Playwrights will be notified via e-mail when their manuscript is received.
Scripts should include:

  • A separate title page with name of the playwright, address, telephone number and e-mail address
  • A cast of characters with descriptions
  • A brief synopsis
  • Numbered pages
  • Playwrights shall not submit more than two plays to be considered per festival year.
  • Playwrights will be notified by February 15, 2018, if their play has been selected for production. 
  • Plays selected for production will be listed on our website, www.stagedoorproductions.org
All production and publication rights remain the property of the playwright.
Stage Door Productions shall have the right to produce selected scripts without payment of royalties.
Production will be at the discretion of Stage Door Productions.
Only stage plays will be considered. Musical, film or TV scripts will not be selected for production.
All submissions must be original and unpublished.
Scripts will be judged on concept, dramatic action, characterization, cast size, and dialogue. Technical requirements will be noted.
Critical analysis or feedback will not be provided.
Playwrights should be aware that the size of our stage is limited. There are no opportunities for elaborate scene changes.
Please consider our audience and do not send sexually explicit or gratuitously violent scripts.

University of Houston 10-Minute Play Festival Call for Submissions

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The University of Houston School of Theatre & Dance is excited to announce our sixth annual 10-
Minute Play Festival for spring of 2018. We will begin accepting submissions for this festival on
August 31, 2017; the submission period closes on October 31, 2017.

Nine selected 10-minute plays
will receive a production as part of a multi-evening festival, produced in the newly upgraded José
Quintero Theatre on the University of Houston campus. This festival is open to all applicants,
amateur or professional.

Submission rules:

• Scripts will only be accepted during a submission window of August 31 through
October 31, 2017. Scripts received outside this window will not be accepted. The name of the winning play will be announced in November.

• We will accept only one play per playwright.

• Scripts should fall in the range of 8-12 pages and run roughly ten minutes. (Page count does not include the title page.)

• Characters in submitted plays should fall between the ages of 16-30 or else there should be no specific restrictions on the ages of the characters.

• Previously produced plays are not eligible.

• Musicals and plays for children are discouraged.

• Submissions will be acknowledged via email, but we do not offer critiques.

• The winning plays will receive productions in the José Quintero Theatre at the University of Houston in spring of 2018.

• There is no financial compensation for winning entries.

How to submit:
Plays must be submitted via email. There should be no identifiable information in the script.

Your email should include all of the following information:

• play title
• your name
• your mailing address
• your phone number
• your email address

Email play to: uhoustonplayfest@gmail.com

Send inquiries to: uhplayfestquestions@gmail.com

Sunday, October 29, 2017

The Clubbed Thumb Biennial Commission

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The Clubbed Thumb Biennial Commission invites playwrights to propose plays inspired by a particular prompt.

For this round, please consider the oeuvre of Caryl Churchill. We paid particular attention to Top Girls, Fen and Far Away, but by all means read and consider any and all of her plays.

Your play should feature:
  • three sections, the second of which is set in a workplace;
  • a cast of mostly (perhaps all) women—-of differing ages, cultures, and especially, classes/means/education levels;
  • a formal event (a pageant, a parade, a number, a dinner party) involving many people;
  • an ersatz mother/daughter relationship.
Embrace economy of language, and specificity and fidelity of language to character. Consider if and when those rules explode.

Submit the following through the online application form below:
  • (this is a BLIND submission, see notes below)
  • completed information form;
  • a one-page letter of intent describing your proposed project;
  • 10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play);
  • one of your finished plays for reference;
  • your resume.

IMPORTANT NOTES

No names please — on the letter, the 10 page sample or the complete play. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.

The letter of intent should briefly map out the proposed piece and, if need be, orient the reader to the excerpt’s relationship to the whole. You needn’t explain or repeat anything that your 10 page sample makes clear. Then give us an idea of where the piece is coming from and where you think you want to go with it.

We ask you to include one of your finished plays for reference. Note (where prompted in the form) any relationship or similarities the complete play has to the proposed project, and recommend 10 pages for us to start with.

One last thing: this is a commission for Clubbed Thumb. So look around our website at our guidelines and production history for reference, if they are not familiar to you.

****

DEADLINE: SATURDAY, NOVEMBER 11th, 11:11PM EST
The proposals will be read and adjudicated over the course of the fall, and the commission(s) awarded by the end of 2017.

The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments every six months, with the first installment following the signing of a contract. Send questions to ryan[at]clubbedthumb.org

NYCPlaywrights Write a Monologue for Me ~ Part II - project selections

Thanks to everybody who sent monologues for this project. The selected pieces are:
  • DAMN YOU ROBERT! by Bryan Stubbles
  • LAKE TOWANDA by Natasha Sera
  • TAKE YOUR LAST by Eleni Zezas
Of the three, Starra selected LAKE TOWANDA to record. We will be posting the video on the NYCPlaywrights web site soon.

Thanks to everybody who participated in this installment of WaM4M. We will be presenting the next actor looking for a monologue soon.

The playwrights have kindly permitted NYCPlaywrights to share their work on this web site. If you would like permission to perform any of the monologues or reproduce them for any reason, please contact the author directly via the email address at the beginning of each script.


ABOUT THE SCRIPTS

DAMN YOU ROBERT! (click to view as a PDF)

Bryan writes:
Ms. Andrews was keen on something supernatural in relation to the Halloween season, so I wrote about the ghost of one woman's past. Even though it's set over 100 years ago, it's relevant today as it explores what was probably an exploitive relationship. 

Playwright Bryan Stubbles has a BA in Film Studies from the University of Utah. He spent most his adult life living abroad. He had a residency at Grunewald Guild in Washington State last Autumn. Two plays, ENGLISH ONLY and ICE CREAM SISTERS were chosen to be a part of The Protest Plays Project. His horror play, BLOODSTAINED MARIGOLDS ON A PERVERSE LANDSCAPE, premiered in LA. in October. His goofed-up comedy, DEATH OF A CHOCOLATE BAR ON GOOD FRIDAY, also premiered as part of the Funhouse Anthology in Seattle in Seattle. ENGLISH ONLY will premiere in November as part of the Otherworld Theatre Company’s Paragon Sci-Fi Festival. Finally, THE ANXIETY OF A KNUCKLEBALL BEFORE THE PLATE will premiere as part of the Utah New Theatre Works Project in November. His WW2 thriller DEATH SINGS IN THE SHADOWS is published by Broadway Play Publishing Inc. Hobbies include movies, music, history, volunteering, languages and avoiding food posioning. You may find him at The New Play Exchange or Facebook. Yay!


LAKE TOWANDA (click to view as PDF)

Natasha says:
I was really inspired by Starra Andrews' statement about the kind of play she wanted to see - I'm a big fan of Stranger Things too. I thought it might be fun to update the old horror story "The Monkey's Paw." I especially enjoyed playing with having the play exist on two levels - you can read it as a supernatural event - or you can look at it as the story of a woman going through a breakdown due to tragedy in her personal life. It took several tries to get the whole thing to fit in one page - I was glad to have the challenge, it forces you to cut out all the extraneous stuff.
Natasha Sera is new to playwriting and wishes to thank the good folks at NYCPlaywrights for giving her a chance to share her work.


TAKE YOUR LAST (click to view as PDF)

Eleni writes:
The inspiration came from the first line, I believe: “Choose carefully”. I don’t know if I heard it somewhere or I was telling myself that when I was thinking about what to write, but it wrung true in my head, and I decided to start with it. “What would I choose carefully?” I thought. The monologue was going to be in some way scary, so I immediately thought about death—and then final words. What if we put some thought into choosing our last words? What would be the reason for doing so? In what situation would you have to be in that you had to take your last breath and use it to throw a final verbal punch? Most importantly, who would be telling the audience this? I thought the answers were creepy, and I wrote them down.
Eleni Zezas is a senior attending Fairleigh Dickinson University in Madison, NJ. One of her majors is World Literature and she enjoys reading, writing, film and theatre 

First Flight New Play Festival

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The FIRST FLIGHT New Play Festival is one of the premiere new play development festivals in Indie Theatre. Each play selected to participate in the festival received 6 hours of rehearsal time over the course of one week, culminating in a public reading of the play for a supportive audience.

The Open Submission window for the 2018 First Flight Festival closes Wednesday November 1st, 2017 at 11:59 PM EST.

Boomerang only accepts electronic submissions. No hard copy submissions will be considered.

Please submit your resume, a synopsis of your play, and a 10 page sample of the play. Note: This does not have to be the first 10 pages; merely the 10 pages that best represent the play and your writing.

Please Note:
1) FIRST FLIGHT develops only new full length plays--comedies or dramas, adaptations or wholly original--that speak to the current cultural and historical moment in time.
2) We are especially interested in theatrical use of language and style.
3) Plays are not limited to cast size, period or setting.
4) We do not accept musicals, nor do we accept plays less than 60 minutes.

All submissions can be sent to literary@boomerangtheatre.org

Saturday, October 28, 2017

MiniFest 2018 Script Submissions

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MiniFest is a week-long festival of one-act plays featuring limited cast sizes and scenographic demands. Every year hundreds of plays from around the world are submitted for juried evaluation. A Play Reading Committee creates a short list which is then submitted to an Executive Committee that selects four to six plays for an actor-centered staging by members of the Acadia Theatre Company.

New Submission Deadline: November 3, 2017

Rules and Guidelines

Anyone may submit up to two original scripts, provided that neither has been professionally performed.

All script submissions must be in WORD format and be accompanied by a completed electronic application.

Scripts will be chosen for their dramatic quality, but also for their suitability for staging by students in our Theatre program. Scripts with limited number of characters and modest production requirements will be preferred. Running times should not exceed 30 minutes.

Minifest may present as many as eight plays over three consecutive nights. Each may may be
presented as many as three times.

No recording of performances will be permitted.

Successful playwrights will not be offered royalties.
Late submissions will not be accepted.
All scripts must be submitted electronically in Word format. No other formats will be accepted.
Each playwright may submit only two (2) plays for the competition.
The Covering Page of each script should include:

  • the title of the play
  • the playwright's name
  • contact information for the playwright (address, telephone number & email address)

All subsequent pages should be numbered and should include the play's title in a running header or footer. As the jury process is anonymouse, plase do NOT include the playwright's name on these pages.
Please ensure that all document editing features are unlocked in order to enable removal or manipulation of pages for jury and production purposes. No changes to scripts proper will be made

Application Form & Play Submission Link

2018 Women Playwrights Series (WPS) and Susan Glaspell Contest

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The Centenary Stage Company, an Equity theatre in residence on the campus of Centenary University in Hackettstown, NJ is accepting submissions for the 2018 Women Playwrights Series (WPS) and Susan Glaspell Contest.

Now in its 26th year, the WPS is a developmental program dedicated to providing a working forum for the unique and underserved voice of women writing for the theatre today.  Each season 3 new plays are selected for a collaborative workshop process, with a professional director and actors, which takes place in a brief rehearsal period, over a period of a approximately 1 week, allowing time for the playwright to hear and adapt their work with other professionals.  The process culminates in a presentation of the work for the public as part of the Series, giving CSC audiences larger exposure to new work, as well as offering the playwright an opportunity to get feedback from the audience during the development process.

Playwrights selected for the workshop process will receive a $200 honorarium.  Additional funds for travel and housing are available for one playwright each season.

The 2018 Susan Glaspell Contest:
One play from the WPS Festival will be selected by a panel of judges as the winner, to be featured in a subsequent CSC main-stage season as a full production, with an additional award of $1500 to the playwright.

Guidelines for WPS Susan Glaspell Contest:
Submit full - length play, with no prior AEA production.
(If play has had one workshop production, please include information in your cover letter about the company, # of performances, and contract, if applicable)

Please include 1 letter of recommendation from a professional colleague or professor/instructor familiar with your work.

Note: we are rarely able to consider work with over 7 cast members.

Call CSC for more details (908 979-0900)

Deadline for Open Submissions: November 2, 2017
Deadline for New Dramatists, Agent Submissions, and PW Center:  January 15, 2018
Send Submissions to:
Attn: Catherine Rust, Prog. Dir
Centenary Stage Co. WPS
400 Jefferson St.
Hackettstown, NJ 07840
*NEW:  Playwrights with work on the NPX may contact program director Catherine Rust (rustc@centenarystageco.org), with name of play to be downloaded for consideration.
 
CSC is an SPT Equity Theatre located 50 miles west of NYC in Hackettstown, NJ; Artistic Director: Carl Wallnau.  WPS Program Director:  Catherine Rust.

*The Women Playwrights Series at CSC is made possible through the visionary support of the Geraldine R. Dodge Foundation, the New Jersey State Council on the Arts, The Blanche and Irving Laurie Foundation and CSC members and sponsors.

Theatrical Botanicum Seedlings

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Play Submission Guidelines

With its roots in the McCarthy Era Blacklisiting, Will Geer’s Theatricum Botanicum has provided a home in Southern California for professional Shakespeare and the classics in its scenic, outdoor amphitheatre in rustic Topanga Canyon for over 40 years. Theatricum is also committed to finding new works and furthering new voices in theatre through Botanicum Seedlings.

The submission window is September 1 – November 1 annually. We will close this window after the first 200 submissions are received. These works will be considered for development and also production.

Opportunities through Botanicum Seedlings include Playreadings, Play Festivals, private GreenReads (for a fresh look at early drafts) and Playwrights Workshops through Theatricum’s Academy, culminating in developmental GreenReads. Since its creation in 2002, the program has supported well over 100 new plays.

The goals of Botanicum Seedlings are:
  •  to maintain focus on the needs of the playwright in regard to a play’s growth; 
  •  to foster relationships with emerging playwrights around the globe; 
  •  to act as an advocate whenever appropriate in recommending plays to other companies; 
  •  to establish Theatricum Botanicum as a guiding force in the development of original material; and 
  •  to provide a nurturing environment in which Theatricum company members can expand and stretch in new directions as actors as well as directors, writers and dramaturgs. 

For consideration, please keep in mind that Theatricum encourages provocative, political and socially relevant material, and prefers works that are uniquely theatrical and character-driven. Although the company is classically based, Seedlings is by no means traditional in its sensibilities and is not looking for classical translations or adaptations unless they are highly original. Nor are we interested in scripts which might be better suited to film or television. In addition, Botanicum Seedlings is committed to gender parity, with a goal of 50% or more women playwrights and directors involved in its public readings.

Submissions may also be considered for production as part of Theatricum Botanicum’s Summer Repertory Season. Please note that the theatre very rarely includes new works in its season; both of our performance spaces are outdoor amphitheatres in a natural setting.

From September 1 – November 1, we accept the first 200 electronic submissions of 10-15 page dialogue samples from full length plays (sorry, no queries for one-acts or short plays) accompanied by playwright’s bio and play history as MS Doc or PDF attachments sent to seedlings@theatricum.com. 
(Only one play per year, please!) 

If electronic submission is not possible, send complete plays, musicals and accompanying materials to Botanicum Seedlings c/o Will Geer’s Theatricum Botanicum, P.O. Box 1222 Topanga, CA 90290. All materials will be recycled unless special arrangements are made beyond including an SASE. 

(Note: receiving hard copies may significantly add to our response time.) 

Our goal is to acknowledge receipt of all submissions and queries. Please know that while we read and review all materials we receive, we are not able to personally follow up with every submission.

For more information on Seedlings writing workshops, private dramaturgy and other Theatricum events and programs, visit www.theatricum.com or contact seedlings@theatricum.com. The business office can be reached at (310) 455-2322. Thank you in advance for your submission, and for your patience if our response is delayed.

Jennie Webb
Seedlings Program Director

Pipedream Productions seeks short plays

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Pipedream Productions presents: Piping Hot New Works!

We are looking for short play submissions (30 minutes or less).

The subject? “Pipedream.”
What does “Pipedream” mean to you?

Please provide the following contact information in the body of your email: full name, address, and email.

The plays themselves should not contain any contact information. Any contact info should be in the body of the email—do not put your name on the script itself. Your script will not be considered if it contains your contact information.

Preference will be given to scripts with fewer than five characters. All plays must be unpublished.

We are looking to present 3-5 plays in a staged reading format in early December of 2017.

The deadline for submissions is November 1st at 11:59pm MST. 

Late submissions will not be accepted.

Please send scripts in PDF format to: pipedreamsubmissions@gmail.com

All playwrights will receive two complimentary tickets to a performance of their choosing.
You will receive an email by November 5th letting you know whether or not your script has been chosen.

We look forward to reading your work.

2018 Snowdance® 10 Minute Comedy Festival

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Produced by the Over Our Head Players At Racine’s Sixth Street Theatre

The Snowdance® 10 Minute Comedy Festival is a festival of original comedies that run 10 minutes or less. Submitted scripts will be judged by the Snowdance Selection Committee. A selection of scripts will be chosen for production during the Snowdance Festival in the winter of 2018. These selections will round out a complete performance. Audiences attending Snowdance performances will have the ability to vote for the production they enjoyed the most. The votes will be tallied throughout the five-week festival run, and the Snowdance “Best in Snow” will be awarded to the winning playwright after the final performance on February 25, 2018. Cash award of $500.00 to “Best in Snow,” with $200.00 awards to second place and $100 for third place.

* Through November 1st - Call for scripts.

* November - Scripts chosen for production will be announced.

* January 26 – February 25, 2018 - Run of festival performances.

* February 25, 2018 (immediately after final performance) - Announcement of “Best in Snow.”

To enter a script, please follow these steps.

#1- Competition is open to original 10 minute or shorter plays free of royalty and copyright restrictions. Submission is considered to be approval to produce the piece without royalty if selected for production in the Snowdance Festival. Musicals, adaptations, and translations will not be considered.

#2- Plays must run 10 minutes or less. A rule of thumb - 1 page (8 1/2 x 11) of single spaced, average dialogue will total about 90 seconds. Read it out loud - time it – test it – and re-write if need be.

#3- Submissions must be postmarked on or before November 1st 2017.

#4- Manuscripts must be on standard 8-1/2” x 11” paper, cleanly typed and securely bound. Scripts should follow standard format. (Check any scriptwriting book in your library)

#5 – Plays can have a cast of 1 to 5 characters and should be easily staged. Avoid any elaborate set requirements. And remember it is a ‘COMEDY FESTIVAL’.

#6- The writer’s name, address, phone number, and e-mail address (if applicable) should be included on the title page and only the title page. The title page should also include a cast list, set requirements, and a 1 to 3 sentence synopsis of the play.

#7 –Submit one (1) copy of your script.

#8 - Send scripts to: SNOWDANCE

C/O Sixth Street Theatre
318 Sixth Street
Racine, Wisconsin 53403

#9 - Any questions can be directed to Rich Smith at (262) 632-6802 or by e-mail at snowdance318@gmail.com.

* Plays selected for the festival will be produced by Over Our Head Players.

Richard Rodgers Award

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Administered by the American Academy of Arts and Letters

These awards, created and endowed by Richard Rodgers in 1978 for the development of the musical theater, subsidize full productions, studio productions, and staged readings by nonprofit theaters in New York City of works by composers and writers who are not already established in this field. The winners are selected by a jury of the American Academy of Arts and Letters.

A. REQUIREMENTS AND ELIGIBILITY

1. The term "musical theater" is understood to include musicals, plays with songs, thematic revues, or any comparable work. The submission of innovative and experimental work is encouraged. The work submitted must be of significant length to fill an evening, and it may consist of a group of smaller, related pieces.

2. The jury will consider only completed works. Care should be taken to submit the work in its best possible form as it may not be submitted again, in another year, even if substantially revised.

3. Only one submission by a collaborative group or a sole creator will be accepted. Applicants must be citizens or permanent residents of the United States.

4. Works by members of the Academy and previous winners of the production awards are not eligible for consideration. Former winners of Richard Rodgers awards for staged readings or studio productions may submit new works.

5. An applicant whose works in the musical theater have received professional or amateur productions in New York City or out of town is eligible unless, in the judgment of the jury, the applicant has already achieved significant recognition in the field of musical theater through the work submitted or through any previous work. Under special circumstances and at the discretion of the jury, applicants who have achieved recognition in fields outside the musical theater may be eligible. Works which have been produced by professional theater companies before a paying audience are eligible only if such productions received no more than 21 performances by a for- profit company or 50 performances by a nonprofit company.


B. SUBMISSION OF MATERIAL

1. The name(s) of the author(s) must be blocked out on each of the items submitted, with the exception of the application form. Write only the title of the work on the script, plot summary, CD.

2. Entry must include four items:

a) Script with lyrics, preferably with no binders or metal clips. Do not send score, videos, or visuals.

b) Half-page synopsis of the action, and a list of characters.

c) CD must contain at least 45 minutes of music, including a minimum of eight songs, recorded in chronological order. Orchestrations are not necessary; piano and vocals are sufficient. Songs must be in sequence on the CD and each song clearly keyed into the script.

d) Please include a separate track sheet of recorded songs with page numbers indicating where they appear in the script, and specify the total number of minutes recorded.

e) Application form signed by all collaborators in a sealed envelope with the title of the work on the outside. Applicants submitting work which has already been produced must give full information concerning these productions, including programs. A work is not eligible if one of the collaborators is deceased.

3. If the submitted work (or a portion thereof) is an adaptation of material which is not in the public domain, candidates must submit licenses, permissions, or authorizations necessary to permit the work to be produced in conformity with applicable copyright laws. The music must be original.

4. Materials will be returned if a self-addressed, stamped mailer is enclosed. Addresses must be valid for at least six months. The Academy will take all due care of materials, but it cannot be held responsible for their safe return.

5. Applicants will be notified of the jury's decision by March 2018.

C. ADDITIONAL INFORMATION

1. All rights to the material submitted shall remain the property of the author(s); the Academy will not retain any control over, or rights in, the work after the award production.

2. The decisions of the jury will be final as to eligibility and all other matters.

DEADLINE: MATERIAL MUST BE RECEIVED BY TUESDAY, NOVEMBER 1, 2017

SUBMISSION FORM


InViolet's SECOND MONDAY SOCIAL

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InViolet's SECOND MONDAY SOCIAL Sign Up Form

Second Monday Social is a monthly event where we strive to build a community of artists where they can explore new work and get to know each other.  In the spirit of Naked Angels’ Tuesdays at Nine and EST’s First Brew, SECOND MONDAY SOCIAL meets each month (on the second Monday, thus the name!) and writers will share new works in progress cast with actors that have come to SECOND MONDAY SOCIAL.  Everyone is welcome for, what we hope will be, a fun and exciting place to see old friends, get to know new artists, share exciting new work, explore our craft and….meet new plays!

It is all simple.  RSVP if you want to come. Writer’s submit 10 pages (or less) of some awesome piece of new work.  We notify writers ahead of time. Everyone  gathers on the second monday of the month. We read some fantastic new stuff, practice our craft, have fun, get drinks and socialize!

We would love to have you come!  (more details below)

INVIOLET’S SECOND MONDAY SOCIAL

WHEN:
The 2nd Monday of every month (next meeting Monday November 13th, 2017)

DEADLINE FOR WRITERS TO SUBMIT is THURSDAY November 2nd at midnight

WHAT TIME:
Doors open at 6:30pm, Readings start at 7:00pm

WHERE:
District Social - Downstairs
252 W. 37th Street
New York, NY
(between 7th and 8th Avenue on 37th Street)

WHO:
Writers, actors, audience. All are welcome!

HOW IT WORKS:

WRITERS:
WRITERS RSVP and submit scripts
We read the plays and pick SIX!
WRITERS confirmed ONE WEEK in advance
WRITERS Asked to bring copies of their piece to SMS (1 for each actor, +1 for Stage Directions)
When WRITERS arrive they give copies (+1 for stage directions) to us and discuss any special needs
INVIOLET COORDINATORS casts reading from those present
Readings happen and we all have a FANTASTIC time!

ACTORS:
ACTORS RSVP
ACTORS confirmed when you RSVP (unless we are full)
ACTORS check in when they arrive, must arrive at least 30 minutes before the readings start 7:00pm
Have FUN!

EVERYONE ELSE:
RSVP
We will confirm you when you RSVP (unless we are full)
Come and have a GREAT time!

DEADLINE TO SUBMIT WRITING IS THURSDAY NOVEMBER 2nd, 2017

SIGN UP FORM

Eden Prarie's 2018 Collection of One Acts

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Eden Prairie Players is accepting submissions of unpublished one act plays for its 2018 Collection of One Acts to be produced in September of 2018.

(We suggest that you do not submit the same play again, if you know what you have submitted to us before.)

Please read these guidelines and then go to the submission form.

1 We allow only one submission per playwright.

2 We are seeking unpublished one-act plays: dramas, comedies, etc. (previously-produced or stage readings OK)

3 Length 30 minutes or under (we typically select most in the 10-25 minute range)

4 The play must be submitted as a PDF file through our submission form.

5 Submit through the online submission form:
a Playwright contact information - name, email, address, phone.
b Name of play.
c Approximate duration.
d List of characters / descriptions: age, gender, race if specified, etc. (please list allowable deviations)
e Short synopsis of the play, including a description of recommended set pieces and props
f Has it been performed before? Where?

6 After the form is submitted, you will receive a confirmation email.

7 Plays will be reviewed on a first come-first served basis. We limit consideration to an arbitrary number of plays (250), so submissions will be closed after we reach that limit.

Compensation

• Selected plays will be paid a royalty per performance. Plays that are 10 minutes and under will be paid a royalty of $20 per performance and plays that are over 10 minutes will be paid a royalty of $30 per performance. Royalty rate offered will be determined by our own timing of the play at a table reading. We plan to have 7 performances, although this is not guaranteed.

• No compensation for selection process: By submitting your play(s) for consideration, you give Eden Prairie Players permission to make copies as needed for the selection process. You also give permission for your play to be performed without payment at an unrehearsed table readings as part of the selection process.

To begin the submission process, go to the One Acts Submission Form.

Friday, October 27, 2017

Jerome Fellowship

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Deadline: January 11, 2018

The Playwrights’ Center's Jerome Fellowships provide emerging American playwrights with funds and services to aid them in the development of their craft.

Fellows will receive an $18,000 stipend, plus an additional $2,000 in development support. Fellows spend a year-long residency in Minnesota, working in an individualized and hands-on way with the Playwrights’ Center artistic staff—some of the most experienced and connected theater professionals in the country.

Beyond the financial stipend, the value of fellowships is more than doubled with the year-long support the Playwrights’ Center adds through workshops with professional directors, dramaturgs, and actors—and through the connections the Center makes between playwrights and producers of new work. This holistic and customized combination of financial support, access to talent, and professional connections is career-changing for most playwrights.

Applicants must be citizens or permanent residents of the United States.

Applicants may not have had more than two different works fully produced by professional theaters at the time of the application.

Fellows commit to spending the 12-month fellowship period in Minnesota and actively participating in the Center's programs. Housing and travel are not provided.

Playwrights may not receive more than two Jerome Fellowships.

A previous Jerome Fellowship recipient applying for a second fellowship must submit a different play than the play that accompanied the successful previous application.

Recipients may not receive any other Playwrights' Center fellowships or grants during the grant year.


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FORMS
Jerome Fellowship Application

  • Primary phone number.
  • Title of submitted play.
  • How did you hear about the Jerome Fellowship?
  • Have you had more than two different works fully produced by professional theaters at the time of this application?

Applicants may not have had more than two different works fully produced by professional theaters at the time of the application. Professional productions are defined as productions for which the author and primary artists (actors, directors, and creative collaborators) were reasonably compensated and that received at least three public performances each. Ten-minute or one-act plays and university, college, secondary school, amateur, and Equity showcase/waiver productions are not considered full professional productions.

Are you eligible to apply for the Jerome Fellowship for emerging playwrights? Choosing "Yes" confirms that you have read the eligibility requirements.
Eligibility: Applicants must be citizens or permanent residents of the United States. Applicants may not have had more than two different works fully produced by professional theaters at the time of the application. Playwrights may not receive more than two Jerome Fellowships. A previous Jerome Fellowship recipient applying for a second fellowship must submit a different play than the play accompanying their successful previous application.
Do you certify that the information contained in this application is true and correct to the best of your knowledge and that the work contained in this application is of your own creation?

ATTACHMENTS

Full-length play script (PDF or Word doc)

Please ensure your name and the play title are on the cover page. A full-length play generally runs at least one hour. If you are submitting a script for a musical or another play that was written in collaboration with another artist, please clearly indicate your role in the writing of the play.

Playwriting resume (PDF or Word doc)

Please note clearly which productions listed on your resume (if any) meet the criteria for being "fully produced by a professional theater." Professional productions are defined as productions for which the author and primary artists (actors, directors, and creative collaborators) were reasonably compensated and that received at least three public performances each. Ten-minute or one-act plays and university, college, secondary school, amateur, and Equity showcase/waiver productions are not considered full professional productions.

Artistic goals (PDF or Word doc)

This is a one-page description of your goals for the fellowship year. While contextualizing your current artistic life, please describe your artistic goals for the fellowship year. The fellowship offers time to write and develop work with professional collaborators—and the opportunity to utilize the many and varied resources of the Playwrights' Center, including career support, great connections with artistic leaders, and teaching and community engagement. In what specific ways would this fellowship impact your artistic growth?

REFERENCES

Please request two letters of recommendation from individuals who are familiar with your work as a playwright. Provide contact information for your recommender, who will be emailed a request containing a link and simple instructions for electronic submission of a recommendation.

Please communicate with your recommenders so they'll be expecting this request.

Provide 2 references.

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Call for Plays - Bellarmine University International 10-minute Play Festival

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“I’M MORE THAN YOU SAY I AM”

Bellarmine University in Louisville, KY is proud to announce the return of its International 10-minute Play Festival in April 2018. The festival will run April 21-22 and will consist of 6-8, fully produced 10-minute plays, performed in repertory fashion. We are seeking submissions from playwrights interested in participating in this year’s festival.

Theme and Submission Guidelines

Playwrights are encouraged to write on the theme I’M MORE THAN YOU SAY I AM and compose plays dealing with identity and its complexities including race, religion, gender, class, sexuality, and other markers of identity. We’re interested in exploring this theme as it pertains to the various social, legal, and political formations that surround these topics. While these issues form the foundation of our interest in the selected theme, playwrights are encouraged to think broadly about these ideas and are welcome to submit work that deals with the theme of I’M MORE THAN YOU SAY I AM, broadly interpreted.

  • Plays should feature no more than four characters. 
  • Plays should take place in no more than one location. 
  • As these plays will be performed as part of an evening of ten-minute plays, we ask that playwrights limit themselves to basic set, costume, and property needs. 
  • Each script must be no more than ten pages long, excluding title pages and character lists. 
  • Each playwright may submit only one script, so send us your best effort. 
  • Due to the difficulty in reading submissions, submissions are limited to the first 200 scripts we receive each year. Also, please note that due to the volume of scripts we receive, we are unable to offer commentary and feedback on the scripts. 

Submission Procedure

Playwrights should submit their script electronically to playfestival@bellarmine.edu no later than October 29th, 2017. 

A committee of readers will evaluate the scripts and playwrights selected for inclusion in the festival will be notified in November. Playwrights selected for inclusion in the festival will receive a small stipend.

Monday, October 23, 2017

JAMES TAIT BLACK PRIZE FOR DRAMA

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A £10,000 prize celebrating innovation in playwriting

Submissions are now open for the James Tait Black Prize for Drama. The £10,000 award is bestowed to the best original new play produced from 1 January - 31 December 2017.

The annual drama prize is open to any new work in English, Scots or Gaelic by playwrights from any country and at any stage in their career. It is organised by the University of Edinburgh in association with Playwrights’ Studio, Scotland and the Traverse Theatre.

Judges will award the accolade to a play which displays an original voice in theatre and one that they feel has made a significant and unique contribution to the art form.

The winner will be announced at an award ceremony held at The Traverse Theatre during the August festivals in Edinburgh, where extracts of the shortlisted plays will be performed.

The James Tait Black Prize for Drama was launched in 2012, when the UK’s oldest book awards were extended to include a new category for drama. Last year David Ireland’s confrontational tragicomedy Cyprus Avenue was the fifth play to win the £10,000 prize.

Eligibility Criteria:

Submissions must be made from agents or the original producing company, and the nominator must have permission from the playwright before making a submission.

If the play is shortlisted, the playwright must agree to co-operate with the organisers in the award ceremony and consent to give rights to Playwrights’ Studio, Scotland for a rehearsed reading of their work.

Eligible plays are 60 minutes or longer in playing time, originally written in English (including all standard and non-standard varieties) Scots or Gaelic, first produced between 1 January and 31 December 2017, and performed by a professional company for more than six performances.

The playwright must have been commissioned formally by a professional organisation using a contract recognised by an industry regulator within the country of production (e.g. in the UK, The Writers Guild of Great Britain, Scottish Society of Playwrights and Federation of Scottish Theatre, UK Theatre, Equity or ITC).

The production must have had a full production by a professional company using professionally contracted personnel.

Submitted plays are long-listed by post-graduate students from the University of Edinburgh. A panel of academics and industry experts then shortlist those to three, and go on to select the winning play.

For details on how to submit a play for the 2018 James Tait Black Drama Prize, visit:
https://www.ed.ac.uk/events/james-tait-black/submit/drama

Deadline for submissions: Monday 22 January 2018.

The Playwrights' Center Core Writer Program

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Deadline: January 25, 2018

The Playwrights’ Center invites committed professional playwrights to apply for the Core Writer program. Created in recognition of the particular needs of emerging and established writers, the program offers significant resources intended to further a playwright's career and is available to writers nationally.

Playwrights who have benefited from the Core Writer program include Christina Anderson, Trista Baldwin, Lee Blessing, George Brant, Carlyle Brown, Connie Congdon, Marcus Gardley, Jeffrey Hatcher, Sherry Kramer, Carson Kreitzer, Martyna Majok, Melanie Marnich, Winter Miller, Greg Moss, Qui Nguyen, Kira Obolensky, and Alice Tuan.

The Core Writer program gives 25-30 of the most exciting playwrights from across the country the time and tools to develop new work for the stage. All Core Writers receive play development workshops at the Center, in collaboration with prominent directors, actors, dramaturgs, and designers. Selected work by Core Writers makes up our formal season of public readings: the PlayLabs festival and the Ruth Easton New Play Series. Core Writers are also promoted by the Center and provided opportunities through an extensive network of colleges and universities, cultural institutions, and producing theaters.

Each term is three years; Core Writers may reapply for additional terms.

Applicants must be citizens or permanent residents of the United States.

It is not required for an applicant to have had professional productions in order to apply. However, please note that this program is highly competitive and is designed for committed professional playwrights who are pursuing playwriting as their primary career.

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FORMS
Core Writer Application


  • Primary phone number.
  • Title of submitted play.
  • How did you hear about the Core Writer Program?
  • Are you eligible to apply for the Core Writer program? Choosing "Yes" confirms that you have read the eligibility requirements.
  • Applicants must be citizens or permanent residents of the United States. It is not required for an applicant to have had professional productions in order to apply. However, please note that this program is highly competitive and is designed for committed professional playwrights who are pursuing playwriting as their primary career.
  • Do you certify that the information contained in this application is true and correct to the best of your knowledge and that the work contained in this application is of your own creation?

ATTACHMENTS
Full-length play script (PDF or Word doc)
Please ensure that your name and the play title are on the cover page. A full-length play generally runs at least one hour. If you are submitting a script for a musical or a play that was written in collaboration with another artist, please clearly indicate your role in the writing of the play.
Playwriting resume (PDF or Word doc)
Artistic statement (PDF or Word doc)
Please attach a 1-2 paragraph artistic statement that positions yourself as an artist. Use this statement to contextualize your work sample and help the panel get to know you as an artist. Describe your artistic goals and vision as a theater maker. You're only submitting one play, but this statement is your opportunity to describe the larger landscape of your work and to discuss your reasons for writing plays.
Core Writer goals (PDF or Word doc)
This is a statement explaining how the Core Writer Program would benefit your career as a playwright. You may want to discuss projects you hope to develop as a Core Writer, specific resources you hope to take advantage of, or goals you have for your career. This statement should reflect a clear understanding of the program and explain to the evaluators why you are in the right position to become a Core Writer.

REFERENCES
Please request one letter of recommendation from an individual who is familiar with your work as a playwright. Provide contact information for your recommender, who will be emailed a request containing a link and simple instructions for electronic submission of a recommendation.

Please communicate with your recommenders so they'll be expecting this request.

Although we encourage a new letter of recommendation each year, letters of recommendation are valid for three years. If you would like to resubmit a past letter of recommendation, please email artistic programs administrator Julia Brown at juliab@pwcenter.org at least two weeks before the application deadline. We try to keep all letters on file, but we cannot guarantee that each letter will be available.


Provide up to 1 reference.

Saturday, October 21, 2017

Everyday Inferno Annual Outdoor Park Show

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Annual Outdoor Park Show

We produce an annual free show in Central Park, NY each August and accept script submissions for future consideration year-round (we are currently reading submissions for 2018).

All plays submitted must be set entirely outdoors, in a setting suitable to our venue, Summit Rock. As an example, past productions have included Marivaux's The Dispute, Euripides' Iphigenia Among the Taurians, and a new commission set on an uninhabited planet. Playwrights submitting work should keep our company's mission and past work in mind - plays should focus on at least one complex female role, and plays with large (6-12 person) casts and primarily youthful roles are the most likely to be successful.
  • Length: Around 60 minutes in production (75 minutes absolute maximum)
  • Compensation: Everyday Inferno Theatre Co. covers all production costs associated with rehearsing and performing the piece. In some cases, we are able to offer a very small stipend, dependent on funding. Playwrights retain copyright and full ownership of their plays.
  • Important: Please ensure that a character breakdown (including age and gender, if applicable) is included on the version of the script you submit to us. 
  • Format: PDF format is STRONGLY preferred. Google docs will not be considered.

NYCPlaywrights WRITE A MONOLOGUE FOR ME ~ part II

Starra Andrews, actor & author
NYCPlaywrights continues its project Write a Monologue for Me.

You can read about the first WaM4M challenge here and read the selected monologues here.

Actors are always looking for good monologues. NYCPlaywrights wants to help them find one by putting out this call for submissions. We are looking for monologues tailored to a specific actor, a different actor each month.

We plan to make this a monthly event during 2017 and possibly beyond.

We will select the top three monologues based on quality of writing and relevance for the actor and share them on the NYCPlaywrights web site (with your permission.)

The actor will select his/her favorite from those three and we will video-record him/her performing the monologue and post the video on NYCPlaywrights (via YouTube with your permission.)

This month we'd like you to write a monologue for Starra Andrews an actor and writer in New York City.

Bio:
Starra grew up writing fantasy stories and acting on stage. After attaining a B.A. in Theatre and completing the LACC Acting Academy in Los Angeles, her non-fiction book The Pursuit of Acting; Working Actors Share Their Experience and Advice was published to help student actors. She’s performed such roles as Helen Keller’s mother in The Miracle Worker, Claudia Draper in Nuts, as well as gritty, fun roles such as a Kit Kat girl in Cabaret. 
Starra has also been seen recently giving a tour on the NYCPlaywrights web site.
About the kind of work Starra is looking for:

I love all things paranormal, and since Halloween is coming - it's perfect timing. I would love to perform and bring to life your favorite Halloween story. It can be fun loving or frightening. Think "Stranger Things" or something in that genre. Trick or Treat!

THE SUBMISSION GUIDELINES

YOU MUST READ THEM BEFORE SUBMITTING
The deadline is Sunday October 22, 2017 at 11:59 PM EST.
  • Send only one monologue per author to info@nycplaywrights.org. 
  • Please put the words "Write a Monologue for Me" in the subject field of your email.
  • The monologue should be no more than one page.
  • The submission should be sent by email, with the script itself as a file attached to the email.
  • File format should be .pdf because it will retain your original script formatting. 
  • There is no fee for submission. 
  • All rights will remain with the playwright. 
  • The script must be submitted by the author of the script, no agents or others may submit. 
  • Make sure you have your name and your email address on the script. 
  • The monologue can be submitted by anybody, anywhere in the world but must be primarily in English (a few non-English phrases are acceptable, but the phrases must include English translations.) 
  • A monologue that has had a production is not acceptable - we want you to write a new monologue with our actor in mind.
  • A monologue that has been published is also not acceptable.
  • The NYCPlaywrights selections decisions are final.
  • NYCPlaywrights reserves the right to select no monologues.
  • We will notify submitters of the decisions and announce the winning monologues on the NYCPlaywrights web site by Sunday October 29.
Any questions email info@nycplaywrights.org
  • For some thoughts on writing monologues go here
NOTE: although of course the rights to the script are all yours, sometimes actors will ask for permission to perform your monologue in auditions. We hope you say yes.

Thanks.

Empire Stage submission guidelines

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Empire Stage is looking for new plays for production and co-production.

If you have a play you’d like us to consider, please email us cover letter outlining your writing background, along with a brief synopsis of the play and the first ten script pages.

empirestage@gmail.com

We’ll let you know if we think it might be right for us.

Empire Stage is focused on clever comedies that can be produced for a reasonable budget, so it’s unlikely that we will want to produce your adaptation of Tess of the d’Ubervilles unless it can be performed by two men with a trunkful of costumes. You get the idea.

Friday, October 20, 2017

Between Us Productions 7th Annual Take Ten Festival

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Between Us Productions is seeking plays for its 7th Annual Take Ten Festival.  16 plays enter and compete for the titles of best play, best director, best actor, and best actress, with cash prizes and the opportunity to workshop a longer play.  The festival will be in May in Manhattan.  There is no fee to submit, but there is a $150 submission fee if accepted, which includes 2 guaranteed performances (up to 4 if your play moves on), 45 minutes to an hour of tech time, a light and sound op, and general festival marketing. However, this is a self-producing festival and we can only provide the services above (we are of course happy to provide suggestions for fundraising, creative staff, and cheap or free rehearsal space). Winners will receive a cash prize and the opportunity to have a workshop of another longer play produced by Between Us Productions. Between Us Productions has also in the past produced mainstage productions by several of our Take Ten partiipants, both winners and otherwise.

If interested please email scripts and a short summary to betweenusproductions@gmail.com by Tuesday, October 31st at 11:59pm. 

There are no restrictions on subject matter.  The play must be approximately ten minutes long.

Between Us Productions strives to produce work about controversial issues by emerging artists.  We strive to contribute to the conversations that help our society grow and change. Started in 2010 by co-founders Samantha Lee Manas and Jasmine Brown, their premier production, Sweet Prince, was a tale of a young man struggling with depression and a less than ideal home life, based on Hamlet. Between Us Productions has produced 6 mainstage productions, 6 Take Ten Festivals, 6 workshops by winners of the Take Ten Festival, and several readings, improv nights, and variety shows.

Coffee & Whisky Script Pub submission guidelines

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Submission window closes October 30, 2017

Are you a playwright with a new full-length thing (between, say, 75 and 100-ish pages) that you want to hear read aloud by talented actors? Are you ready to take the next step in your play’s development? Well we want to hear from you! Coffee & Whiskey Productions is now accepting submissions on a rolling basis for the Coffee & Whiskey Script Pub, our play reading series. We’re interested in everything– if it’s unproduced and entertaining, send it our way. We have no restrictions on content, no problems with your goddamned potty mouth, and don’t mind genre work. We only want to make some of the best freakin’ theatre out there, whatever form it takes. We especially delight in all things funny, off-beat, and just plain weird, but we’re ready to tackle whatever you’ve got. Sci-fi? No problem! Magical Realism? Can do! Gritty Family Drama? Bring it! Wagnerian Epic about Joe Paterno descending the Nine Levels of Nittany Lion Hell*? Sure, why the hell not!

(Oh, one very important thing to note: we can’t do musicals at this time. If your play has a song or two, we can probably work with it, but full on musical theatre is out. Sorry!)

Please send all script submissions electronically, to scripts [at] coffeeandwhiskeyproductions [dot] com; use the subject line “Script Pub Submission: [title of the play]”, so we know what to do with it. Be sure to include a synopsis of the play, as well as a brief bio and contact information. We prefer the PDF format, but if you have some kind of ethical issue with that, just let us know and we’ll see what we can finagle. We try to respond as quickly as possible to all submissions, but give us 4-6 weeks to review your work. If it’s been a couple of months and you haven’t heard back from us, please send us a friendly follow up inquiry. And if you have any questions at all about the process, the Script Pub, or Coffee & Whiskey in general, feel free to shoot us an email, or contact us on Facebook. We check that a lot.

Good Luck, and see you at the Script Pub!

*THIS WOULD BE AMAZING PLEASE SEND THIS TO US IMMEDIATELY

New Plays for Young Audiences seeks full-length play scripts

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New Plays for Young Audiences seeks new unpublished and unproduced full-length play scripts for young audiences for our 21st season, June 2018.

The final date that submissions for 2018 will be accepted is October 31, 2017.

Submission Guidelines:

In your email submission, please include your name, the name of the play, and where we can contact you.
Also include in your submission your goals for the week of development – questions about the script you hope to answer, characters you want to further develop, story areas you want to look closer at, etc. Scripts received without goals are automatically disqualified, as this is an important part of our process.
If you are submitting an adaptation, we ask that you include proof that the original author has agreed to you adapting their work.
Finally, also rank, from most to least preferred, the development week that works best for you. We cannot guarantee a preferred slot, but this information will help facilitate the scheduling process once scripts are selected. The 2018 series is slated to run June 3-24 in three one-week segments: June 3-10, June 10-17, and June 17-24.

Please note that we only accept previously unpublished and unproduced full-length play scripts. If your script has had a fully produced production, we cannot accept it. We accept musical submissions, but do not generally develop a musical every season. If you are uncertain if your script meets this requirement or believe there is cause for an exemption, feel free to contact us (David Montgomery or Teresa Fisher).

We welcome scripts of any cast size, but are limited to 10 actors due to the size of our stage. If your script requires more than 10 actors, include doubling suggestions with your submission.

To submit your new previously unpublished and unproduced play for young audiences for consideration in our 2018 series, send your script between July 1 and October 31, 2017, to Producer/Production Manager, Teresa Fisher. We reply to all submissions within 7 days of receiving them.

Wednesday, October 18, 2017

Manhattan Rep's Playwright's Showcase

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Manhattan Rep's Playwright's Showcase is created to showcase your new work in the heart of the theatrical capital of the world - Times Square!  And we make it easy.

We supply the technician for lights and sound.  We supply the poster and the ticketing pages.

We curate, organize and orchestrate the program with 3 or 4 other short plays...

And we supply our beautiful new theatre space on West 45th St. right in the middle of the  Broadway and more!

Please come join us as we celebrate Playwrights and the magical power of the theatre!

Seeking never produced before 1 act plays 10 to 25 minutes
(cast, directed and ready to be performed in November/December 2017/ January 2018)
for Manhattan Rep's
Playwright's Showcase
at the New Manhattan Repertory Theatre, 17-19 West 45th St.

 November 2017 through January, 2018.

Each 7 - 25 minute play will be given:
A tech rehearsal with our technician to run your sound and lights, a full dress rehearsal with the other plays participating, a minimum of 2 performances, (even more if your show is selling well), at the brand new Manhattan Repertory Theatre on 45th St. in Midtown Manhattan!

To submit your 7 - 25 minute play production please email:

The complete script of the play as a .pdf,
a synopsis of the play,
the character breakdown,
the set and lighting requirements,
the play's history (readings etc etc.)
your mailing address, and a creative team leader contact email address to:

manhattanrep@yahoo.com by November 15, 2017

Please put “Playwright's Showcase” in the subject heading.

We will contact you within a week, if not sooner, as to your acceptance.

Plays that we love will be accepted on a First-Come First-Served basis. The earlier you submit the better chances you have of being accepted for we may end submissions before November 15, 2017, if we fill up all available performance slots.

There is no submission fee.

Once accepted, there is a $40 participation fee.

 NON-EQUITY ONLY.

Primary Previews: Pride and Prejudice

Primary Previews at Primary Stages ESPA gives theater artists and theater lovers the opportunity to read and discuss a new work, deconstruct the text, and discuss design and production elements. This 1-day workshop will give playwrights the chance to meet Kate Hamill and learn about the adaptation process.

Literature’s greatest tale of latent love has never felt so theatrical, or so full of life than it does in this effervescent new adaptation.
Instructor: Erin Daley (Artistic Associate, Primary Stages)
Guest Artist: Kate Hamill (Playwright and Featured Actor, Pride and Prejudice)
Monday, November 13
11:00am – 1:00pm
JOIN US for just $20!

Primary Stages ESPA is a home for all artists, in all stages of their careers. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

Tuesday, October 17, 2017

2018 Last Frontier Theatre Conference

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Play submissions are now being accepted for the Play Lab at the 2018 Last Frontier Theatre Conference. 
There are two submission deadlines:
October 22 is the general date.
Past participants and Alaskan writers may submit as late as November 25. 
The 26th annual Conference will take place June 9-16, 2018, in Valdez, Alaska.
Selected plays receive public readings, with both public and private feedback sessions led by theatre professionals. Authors must register for the Conference and be in attendance for their reading.
Accepted writers will also have an additional opportunity to present their work in the 10-Page Play Slam, the Monologue Workshop, and the late-night Fringe Festival. 
Guidelines:
• One submission per author.
• Submissions should run between 20 minutes and 2 hours.
• They can be of any genre except musical.
• The play should not have received a professional production; readings and amateur productions are acceptable. Authors should be interested in receiving feedback and developing their submission.
Questions can be addressed to Conference Coordinator Dawson Moore at 907-834-1614 or dlmoore@alaska.edu.

Submission Form
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Sunday, October 15, 2017

Puffin Foundation Grant Award

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For the upcoming 2018 cycle we will review grants only in the following fields: Music, Photography, & Theater. The Puffin Foundation Ltd. continues to make grants that encourage emerging artists whose works might have difficulty being aired due to their genre and/or social philosophy. Your potential application should meet this criteria. You can find out additional information about our grants using the FAQ section of the website located under the 'Grants Info' tab.


Application forms are not available electronically, but can be requested by sending a SASE (#10 business letter sized, self-addressed stamped envelope) to the address below beginning in September 2017. Requests for application forms must be received by December 12, 2017

Completed applications for the 2017 cycle will be accepted from November 1st until the deadline of December 30, 2017 postmarked by midnight. Applications postmarked after this date will not be reviewed.

After September 1st, to receive an application packet please send a SASE (#10 self-addressed stamped envelope) to:

Puffin Foundation Ltd.
Application Request
20 Puffin Way
Teaneck, NJ 07666-4111

The Foundation requests that previous grantees allow a one-year hiatus prior to reapplication. This allows our grants to be available to an even wider number of applicants. Applicants may only submit one proposal per year. Requests for the same project should not be made by multiple applicants.

Grants from the Puffin Foundation, Ltd. can only be awarded to permanent residents and citizens of the United States. U.S. citizens whose projects encompass work in other countries are still eligible to apply.


We are not able to provide status reports about the disposition of submitted applications, so PLEASE do not call seeking such information. Applicants will be notified on an ongoing basis about the decision on their application from January 15th through July.

The Foundation does not have the means to fund large film/documentary proposals, grants for travel, continuing education, or the writing or publishing of books. Average grants are approximately $1,250. The maximum grant size is $2,500. Please note that organizations with an annual budget of more than $500,000 and any project whose total budget exceeds $250,000 are not eligible for funding.

We thank you again for your interest.

Respectfully,

Gladys Miller-RosensteinGladys Miller-RosensteinExecutive Director

Saturday, October 14, 2017

Call for Unproduced Latin@ Plays

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Submission Deadline: Sunday, October 15, 2017

The 50 Playwrights Project (#50PP) is currently soliciting unproduced plays by Latin@ playwrights for our second annual 50PP’s Best Unproduced Latin@ Plays List. We are compiling a list of unproduced plays that theatre companies should be producing. Only plays that will be unproduced as of March 1, 2018 are eligible.

#50PP Script Guidelines:

* The script is a work by a Latin@ playwright.

* The script is an original full-length work.

* The script can be in English or Spanish.

* The script cannot have been produced before March 1, 2018.

* Playwrights can only submit one script.

Submission Information:

*Playwrights must submit their script in a PDF file via email by Sunday October 15, 2017 before midnight CST, with the submission information requested below. Playwright information, including name, should not be included anywhere in the script. We only accept blind submissions.

*In addition to the script, please submit (in a separate PDF file): Playwright name, email address, phone number, title of play, a 100-word overview of the play, and a brief autobiography/playwright background.

*Selected plays will be announced in late-February 2018.

*E-mail submissions to: 50Playwrights@gmail.com

The Female Gaze seeks monologue

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DEADLINE: 8TH JANUARY 2018

The Female Gaze is an online film magazine run by playwright Sarah Gonnet. Our entire staff of contributors are women or of a non-binary gender. We feature reviews and longer pieces on film and TV. You can find us here: https://thefemalegazemagazine.wordpress.com/ .

So why an open call for monologues?

To further its work highlighting the key role women play in the film world; the staff at The Female Gaze have decided to put together a play about the history of women in film. The idea is that the play would be performed live, alongside workshops about women in film and a published version of the script.

How will the play work?

The play will be made up of monologues (written by people from this open call), joined together by a narrative (written by Sarah Gonnet).

At the end of this document you will find a list of women in film. These are directors, actors, producers, screenwriters, critics and theorists from a wide range of backgrounds. They are the women I am asking you to write a monologue about for this submission. The monologue should have only one character speaking, and this does not have to be in the voice of the woman you have chosen; instead it might be someone the woman knows, or a fictional character which you make up, as long as they are speaking about the woman you have chosen.

I would suggest you pick a woman at random from the list and do a quick Wikipedia search on them to see if you are interested in them (and if you’re not repeat until you find someone you are interested in.) We are not expecting monologues back on all women from the list, there will only be a limited amount of space in the play. The list is there so that there is a wide choice of women. However if there is a woman you are desperate to write about, who isn’t on the list, go for it.

After the deadline, ten monologues will be chosen for the final play. Remember that if you choose to write about one of the more obscure women on the list, there will be less competition. If there are more than ten monologues which we want to use, there will be other ways to utilise some more of the work- for example in workshops and in the printed book of the project.

How long do I make my monologue?

We are looking for monologues of five minutes in length. This is about three pages. We will
not be able to consider monologues longer than four pages.

Who can submit work?

If you currently express your gender as female, or non-binary, you are welcome to submit a piece. We are looking for women from a wide range of backgrounds. LGBTQ+ and BAME women are encouraged to apply, as are women of all ages.

The play will be performed in the North-East of England, but you don’t have to live here to apply.

We are also looking for further collaborators on the practical side of things. If you are a theatre company, theatre venue or independent cinema (or any other kind of potential collaborator) and you are interested in the project, we would love to hear from you.

Where do I send my submission?
sarahgonnet44@outlook.com
When is the deadline?
8th January 2018

The List:
 I would suggest you pick a woman at random from the list and do a quick Wikipedia search on them to see if you are interested in them (and if you’re not repeat until you find someone you are interested in.)

  • Lois Weber: ACTOR and SCREENWRITER and PRODUCER and DIRECTOR- A FEATURE FILM (1879-1939)
  • Germaine Dulac: DIRECTOR and FEMINIST (1882-1942)
  • Fatma Begum: ACTOR and RAN HER OWN PRODUCTION COMPANY
  • Dinah Shurey: DIRECTOR and PRODUCER (1888-1963)
  • Daisy Burrell: ACTOR (1892-1982)
  • Mary Pickford: ACTOR and PRODUCER (1892-1979)
  • Lillian Gish: ACTOR (1893-1993)
  • Bryher: CRITIC (1894- 1983)
  • Iris Barry: CRITIC (1895-1969)
  • Djuna Barnes: CRITIC (1892-1982)
  • Dorothy Arzner: DIRECTOR and INVENTED THE BOOM MICROPHONE (1897-1979) JuanitaHall: ACTOR (1901–1968)
  • Leni Riefenstahl: DIRECTOR (1902-2003)
  • Muriel Box SCREENWRITER and DIRECTOR (1905-1991)
  •   Alice Guy-Blaché (1873-1968)
  •  FIRST FEMALE DIRECTOR OF
  • DIRECTOR OF FIRST EVER NARRATIVE FILM
  •  Ruby Grierson DOCUMENTARY DIRECTOR (1904-1940) Lorenza Mazzetti DIRECTOR
  • Louise Beavers: ACTOR (1902 – 1962)
  • Tazuko Sakane: DIRECTOR (1904-1975)
  • Brigitte Helm: ACTOR (1906-1996)
  • Vivien Leigh: ACTOR (1913-1967)
  • Kay Mander: DOCUMENTARY DIRECTOR (1915-2013)
  • Ingrid Bergman ACTOR (1915-1982)
  • Margaret Tait DIRECTOR (1918-1999)
  • Pauline Kael CRITIC (1919-2001)
  • Ngozi Onwurah DIRECTOR
  • SetsukoHara:ACTOR (1920-2015)
  • JaneWhite:ACTOR (1922-2011)
  • Carol Morley: DIRECTOR and SCREENWRITER (1926--)
  • Jane Arden: ACTOR and DIRECTOR and SCREENWRITER (1927-1982) Agnes Varda: DIRECTOR (1928--)
  • Susan Sontag: CRITIC (1933-2004)
  • Carol J. Clover: CRITIC (1940--)
  • Laura Mulvey: THEORIST and DIRECTOR (1941--)
  •  Pam Cook: CRITIC (1943--)
  • Rita Mae Brown: SCREENWRITER (1944--)
  • Sally Potter: DIRECTOR (1949--)
  • Penny Woolcock: DIRECTOR (1949--)
  • Kim Longinotto: DIRECTOR (1950--)
  • Kathryn Bigelow: DIRECTOR and PRODUCER and SCREENWRITER (1951--) bell hooks: CRITIC (1952--)
  • Jane Campion: SCREENWRITER and DIRECTOR and PRODUCER (1954--) Annie Billson: CRITIC (1954--)
  • Pratibha Parmar: DIRECTOR (1955--)
  • Mira Nair: SCREENWRITER and DIRECTOR (1957--)
  • Callie Khouri: SCREENWRITER and PRODUCER and DIRECTOR (1957--) Mieko Harada: ACTOR (1958--)
  • Joanna Hogg: DIRECTOR and SCREENWRITER (1960--) JillSoloway:SCREENWRITER (1965--)
  • Lana Wachowski SCREENWRITER and DIRECTOR (1965--)
  • Sarah Turner DIRECTOR and THEORIST (1967--)
  • Lynne Ramsey: DIRECTOR (1969)
  • Lee Young-ae: ACTOR (1971--)
  • Sofia Coppola: SCREENWRITER and DIRECTOR and PRODUCER (1971--)
  • Ava DuVernay: DIRECTOR and SCREENWRITER (1972--)
  • Laverne Cox: ACTOR and ADVOCATE (1972--)
  • Courtney Kemp Agboh: SCREENWRITER and PRODUCER (1977--)
  • Desiree Akhavan: ACTOR and DIRECTOR and SCREENWRITER and PRODUCER (1984--) Alice Lowe: ACTOR and SCREENWRITER and DIRECTOR (1977--)
  • Anna Biller: DIRECTOR AND SCREENWRITER
  • Ana Lily Amirpour: DIRECTOR and SCREENWRITER and ACTOR and PRODUCER Julia Ducournau: DIRECTOR and SCREENWRITER (1983--)

 

Friday, October 13, 2017

PRIMARY STAGES: Everything is Action (Throwback)

10th Anniversary Throwback: Everything is Action with Martyna Majok
A Primary Stages ESPA Classic Workshop, offered in honor of our 10th anniversary

Character. Setting. Stakes. Ideas. All manifestations of the most fundamental elements of playwriting: dramatic action. This workshop will explore the ways in which "action" supports each of the essential building blocks of a play that summon a complete theatrical world. Led by Martyna Majok, you will explore through exercises and discussion with the group how to effectively create dramatic action as it applies to the structure, pacing, and world of the play.

Instructor: Martyna Majok (Writer, Cost of Living at MTC, Ironbound at Rattlestick/Women's Project)
Saturday, November 4 and Sunday, November 5
2:00pm – 6:00pm both days

Flexible, outrageously affordable Payment Plans available.

Primary Stages ESPA is a home for all artists, in all stages of their careers. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

FUTUREFEST 2018

web site

$20 submission fee. This fee will be waived for members of the Dramatists Guild. Checks and money orders should be made payable to “Dayton Playhouse”. 
ELIGIBILITY
Entry must be an original work (NO musicals or plays for children) that has not been published or produced where admission was charged prior to FF 2018. Staged readings/workshop productions are not necessarily disqualifying factors.

DEADLINES
Submissions will be accepted August 1 through October 31 (postmark).

SCRIPTS
Submit a blind copy (no name/contact info) of your script,in standard play format with pages numbered. After the title page include a brief synopsis, character breakdown, setting, and scene breakdown, if applicable. Your script(s) should be accompanied by a cover letter, including playwright contact information (address, phone #, e-mail address) and resume. If applicable, also submit a photocopy of your Dramatists Guild membership card.

Please note that entries that do not comply with our guidelines will be disqualified. Scripts may be submitted electronically or via Media Mail. Eliminated scripts will not be returned. Script evaluations will not be provided.

CONSENT
Playwright gives the Dayton Playhouse permission to photocopy scripts for reading/production purposes.

Should your script be selected and produced as one of the six finalists, you must be available to attend the weekend festival (July 20-22, 2018) and participate in all events. Finalists must acknowledge the Dayton Playhouse when script is published. The winning playwright awards the Dayton Playhouse the option to produce the winning play as part of its main stage season royalty free.

AWARDS
A $1000 honorarium will be awarded to the winning playwright; runners-up each receive $100. The Dayton Playhouse provides the six finalists travel (within the continental U.S.) to Dayton and housing for FutureFest weekend.

SELECTION PROCESS
Each entry is guaranteed a minimum of three reads. The original play readingcommittee, following many months of discussion and voting, narrows down the entries to 15 – 18, which are then read by the entire committee before they select the 12 semi-finalists. A second committee selects the six finalists. During FutureFest weekend, the plays are staged and publicly adjudicated by a panel of five theatre professionals (New York based and regional). Following the final production of the weekend, the adjudicators vote and select the winner.

FINALISTS
Finalists will be posted on the Dayton Playhouse website (www.daytonplayhouse.com) in May 2018.

SUBMIT TO
futurefest@thedaytonplayhouse.com or Dayton Playhouse FutureFest, P.O. Box 3017, Dayton, OH 45401-3017.

QUESTIONS
Contact Fran Pesch, FutureFest Program Director, at 937-424-8477, or email futurefest@thedaytonplayhouse.com

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