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Thursday, August 31, 2017

Cooperative Performance call for submissions

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Cooperative Performance, an avant-garde theatre/dance collective located in the heart of Milwaukee, is calling for story submissions for ELLIS, to be performed in February 2018 in collaboration with Alverno College.

Directed by Kelly Coffey and Don Russell in collaboration with Alejandra Gonzalez, ELLIS is an original adaptation of your immigration stories from past to present.

ELLIS is a platform for our community to share stories of immigration and cultures. Through this work, Cooperative Performance seeks to humanize and fight ignorance regarding immigration via education and storytelling.

Submissions must involve an interpretation of a personal immigration story, past or present. 

We are interested in all forms of storytelling: text, spoken word, poetry, music (traditional or an original song), visual art, short films, etc. 

Cooperative Performance strongly encourages non-English and bilingual submissions with translation provided. 
All works should be no longer than 7 minutes and applicants must be 18 or older. Please include your name, email, and phone number with submission. All submissions may be sent via email to Kelly Coffey at kcoffey@cooperformke.com

*DEADLINE to submit is OCTOBER 31st, 2017*
Submissions will be reviewed on a rolling basis. If selected, you grant permission for directors to respectfully edit work for the final performance piece. *Please note that submissions are not compensated if accepted* 

Selected applicants will be notified of their piece's acceptance no later than December 1, 2017.

Irvington Town Hall (NY) Theater Stage Door Playwrights Festival

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A celebration of artistic expression through staged readings in a magnificent historic theater.  Selected plays will highlight important issues relevant to our times through the power of the written word.

Submission Deadline: September 15th, 2017

The ITHT Stage Door Playwrights Festival celebrates original plays developed by local and NY metro area playwrights. It is dedicated to providing an arena for theatrical exploration of significant historical and modern issues that are relevant to our times. It strives to put a spotlight on the power of words and artistic expression that will enlighten and inspire audiences. It will give playwrights the opportunity to present a one act play or portion of their work in a staged reading or as staged as they prefer as part of a festival setting. It will further enable playwrights to harness the power of audience feedback through audience engagement with writers, casts and notable theatrical professionals in a Q&A session after each theatrical showing. We encourage inclusion of diversity of themes and populations as part of the goals of this festival.

Each play will be a one-act that runs for no longer than one hour. We are looking for family–friendly productions as well as adult productions. The festival will run on Saturday November 11th and Sunday November 12th.

We offer a blank stage, lighting and sound. Each playwright can present as they wish in terms of highly rehearsed, costumes, props etc. Chosen playwrights are in charge of casting and getting their own director. ITHT will provide the stage manager and production manager for the festival.

Guidelines for Submission

Play Prerequisites

Seeking submissions of One Acts 45-60 minutes long or portion of play that are self-contained and can be performed for an audience with their clear understanding of content.

Any genre can be submitted

Play must be an original work

Family Friendly plays, on topics that are appropriate for all audiences are encouraged  for Saturday and Sunday afternoon slots

Pages must be numbered and script should be in standard play script format

Estimated running time must be indicated

Performance Information

Readings/Performances will be performed on blank stage.

Lights and sound are the only technical services provided

The one act should be easy to stage in a no frills environment

Playwright and cast need to be available for Nov. 11 or 12 schedule 

Tech rehearsal (day of) performance and 30 minute talk back session following performance  

Producers of selected shows shall be compensated based on a percentage of net revenue. Exact percentage shall be communicated to selected playwrights. Notification of accepted plays will be at the end of September.

Submission Information

Script may be submitted by email (as a PDF) or by mail (as a hard copy).
Fill out the application form below. There is no application fee.
Earlier submissions are encouraged

Script submission can be sent by mail to:

Irvington Town Hall Theater
Stage Door Playwrights Festival
85 Main Street
Irvington, New York 10533​

E-mail submissions can be sent to:

Seeking Provocative new Plays: The Owl and Cat Theatre

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One of Melbourne’s leading independent theatres is seeking new provocative plays to produce.

Our website: www.owlandcat.com.au

Submission Guidelines:

· MUST be in pdf format ONLY
· Plays should have an estimate runtime of 50min - 120min.
· Should explore contemporary themes.
· Should be thought-provoking/confronting in nature.
· Should be professionally formatted
    (e.g. using scriptwriting software such as Celtx and/or Final Draft)
· Musicals are NOT accepted.
· Previously submitted scripts are NOT accepted.
· No submission fee.

Applications Close: September 1st, 2017
Successful playwrights will receive a payment of AUD$150
Productions will run for 3 weeks, with a total of 12 shows.

Applications should be emailed to owlandcatscripts@gmail.com 
with the subject heading: 2017 Script Submission.

Wednesday, August 30, 2017


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Now accepting submissions for the 2nd annual STILL CRAZY AFTER ALL THESE YEARS one-act play festival.

Specifically seeking SHORT plays with SMALL casts that deal with the trials and tribulations of being a senior citizen in today's world.

We are seeking uplifting plays that deal with issues confronting and that are of interest to the new age of senior citizenry: vibrant, engaged, and healthier than ever in history. We avoid the three 'Ds": plays about death, dying, & dementia (unless you can find an uplifting way to deal with these topics).

Last year, SKTC received over 500 submissions! I am happy to say we actually read every play! It was grueling.

So this year, we are shortening the submission window and asking for a small, optional donation of $3 per submission to help us through the selection process. 

EMAIL SCRIPT TO: info@StrayKatsTheatreCompany.org
INCLUDE: Playwright Name, Email Address, Home address, and Contact Phone number
FORMATS ACCEPTED: .doc, .docx, pdf
CONSOLIDATE: we do not require separate title pages, character lists, etc.
DEADLINE: September 10, 2017

Sky Cooper New American Play Prize

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Norton J. “Sky” Cooper established the New American Play Prize at Marin Theatre Company in 2007 to celebrate the work of the American playwright and to encourage the creation of bold, powerful new voices and plays for the American stage. The Sky Cooper Prize will be awarded annually to either an established or emerging playwright for an outstanding new work. The play selected as the Sky Cooper winner will receives a $10,000 award and a developmental workshop as part of the theater’s annual New Play Reading Series. The winning play will also be considered under option for a full production at MTC as part of the theater’s annual main stage season.

2017-18 Sky Cooper Play Prize Form
Welcome, playwright!

Submissions for the 2017-18 Sky Cooper New American Play Prize are open August 1-31, 2017.

Please complete the application form and upload your materials below.


• Submissions will be accepted from August 1-31, 2017.
• Submissions must use this online form; we do not accept submissions via email or standard post.
• Please upload your work sample as a PDF or Word document (.pdf or .doc/.docx) with a filename that includes your Last name, First name, and Title of Play.
Example filename: Wilson, August - Seven Guitars.pdf
• Please upload your professional recommendation as a PDF or Word doc (.pdf or .doc/.docx) with a filename that includes your Last name, First name, and Recommendation.
Example filename: Wilson, August - Recommendation.docx

• Submissions must be original, unpublished full-length plays in English in any genre.
• We do not consider musicals, translations, one-acts, or any play previously submitted for the prizes.
• We do not consider plays that have received or are scheduled for a full-scale, professional production prior to submission.
• Playwrights must be citizens of the United States.
• One play per playwright is allowed each year (if you submitted for the 2017-18 David Calicchio Prize, you must submit the same play for the Sky Cooper Prize).
• Playwrights submitting on their own behalf should submit a 10-page dialogue sample.
• Literary or theatrical agents may submit clients' full scripts for consideration.
• Sky Cooper submissions must include a professional recommendation, uploaded as a PDF or Word doc (.pdf or .doc/.docx)

Monday, August 28, 2017

BETC’s New Play Development Program

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BETC makes an ongoing commitment to new theatrical work, from world premieres to playwright residencies. Our new play development program, Generations, features the work of parent playwrights with children under 18. The name comes from BETC’s goals for the program: to welcome all generations into the theater to see new plays, and to empower playwrights to generate new work.

Each season, BETC selects one playwright through a national competition to join us in Boulder for a one-week residency.  During the residency week, the playwright works with a professional director, dramaturg, and actors to develop the selected script.  The week concludes with a public reading and post-reading conversation.

2017-18 Generations competition information
BETC is now accepting submissions for our next Generations residency. In order to support the work of parent playwrights, BETC is seeking full-length plays written by a parent with at least one child under 18 years of age as of September 1, 2017.

The winning playwright will receive

a week-long workshop residency in Boulder, Colorado, with daily rehearsals, culminating in a staged reading of the selected script;
the chance to rewrite and revise during the week as part of the script development experience;
a stipend for travel and lodging;
a $500 prize; and
a $500 childcare stipend to defray the costs associated with childcare during the residency.
During the residency, the selected play will be rehearsed with a cast of professional actors, director, and dramaturg. The week will culminate in a public reading. The residency will take place in May 2018; specific date arrangements will be made directly with the winning playwright.

Competition submissions are due September 1, 2017. 

Entry Guidelines:
Plays must be in the English language. No musicals will be accepted. We will not reconsider scripts that have already been submitted to this competition in previous years. Scripts that have been produced by Equity or professional companies or that have been published are ineligible. Scripts may not be under option or scheduled for production or publication as of September 1, 2017. We will consider scripts that have had a workshop, reading, or academic production. BETC will negotiate an option on the winning play and have right of first refusal on the world premiere production. The winning play will receive full consideration for production in an upcoming season.

To enter our 2017-18 competition, please submit the following two files in PDF format by email to submissions@betc.org:

File 1: Cover sheet, containing within a two-page limit:

Contact information: name, phone, email, mailing address, and a paragraph bio for yourself and any other script collaborators.
A brief synopsis of your play (500 words or less)
A brief production history of the work (if applicable) including workshop development to date
Which 20 pages of your script you’d like us to read in our initial deliberations (e.g. “Pgs. 1-20”)
File 2: A blind copy of your full script as a PDF file. Please do not include your name anywhere in the sample file.

Each playwright is limited to submission of one script for consideration.  The application deadline is September 1, 2017. Our winning playwright will be notified by December 1, 2017.

Selection process:
We evaluate Generations play submissions in multiple rounds of consideration. We use a blind evaluation process for this competition, which is why we request “blind” copies with no name anywhere in the script file. The biographical info you submit will not be referenced during the selection process.

In our initial reading round, we read the first 20 pages of a script (beyond introductory materials), or a 20-page selection as specified by the submitting playwright. Script excerpts nominated by two readers are then passed on to the semi-finalist round, in which two readers read the full scripts and complete thorough reader responses. Highly regarded scripts become finalists which are then read by our full committee, who advise our producing artistic director in selecting the winning play.

Because of the volume of submissions we receive, we do not provide feedback on submitted scripts during or after the competition, beyond confirmation that an initial submission has been received, and eventual notification of the competition winner.

Due to available program funding and staff capacity, we will not consider scripts from grandparents or others who are not currently custodial parents of a child 18 years of age or younger. We hope to be able to expand our new play development program to additional generations in future years, but at this time our program focus is on assisting playwrights with young families.


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Due: August 31, 2017
We are a small theater and while we do take on projects with large casts, we are more likely to produce plays that expertly utilize small casts. We are looking for plays with four (4) characters or less – doubling is fine. Plays entered under this category are given special attention and considered more immediately by our Literary Committee.

To enter, follow instructions above and write SMALL CAST PLAYS on the envelope you send your play in.

*These submissions ARE eligible for The Emerging Playwright Award.

Submit plays to:
Urban Stages
555 Eighth Avenue, RM 1800
New York, NY 10018

Email submissions will not be accepted.

Full-length plays only:
- scripts must be firmly bound
- No changes or revisions accepted after submission
- No double-sided pages.
- 7 actors or less (unless otherwise noted)…doubling is fine

With your submission, please include:
- Biography and/or author’s history of the play
- Character breakdown
- Brief synopsis of the play.
- A small SASE envelope for a response letter.
*Whole plays will no longer be returned. All plays will be recycled.

Plays MAY HAVE BEEN developed or produced elsewhere, BUT NEVER PRODUCED in New York City.

There is no limit to submissions.
Subject matter and character variations are open.

There is no submission fee.

It usually takes up to six months for us to read and process your script.
We ask that you do not call or email our offices to inquire on the status of your play.

Plays from overseas and throughout the United States are accepted and considered.
BUT special attention will be given to playwrights who live in or near New York.

We recommend not spending extra money to send your play express, overnight or via other expensive services. We accept plays year-round and for special deadlines, we accept plays postmarked on the deadline date. For special deadlines, late plays are just entered among our general year-round submissions.

Sunday, August 27, 2017

Slingshot Reading Series

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We are looking for plays, poems, short stories, and other texts surrounding the theme of FROM THE ASHES for an evening of staged readings this upcoming September.

Submission criteria are as follows (please take care to meet all the below guidelines, as texts that fail to do so will not be considered):
1. Texts must address the prompt FROM THE ASHES.
2. All texts must be your own original work.
3. Texts must be 20 pages or less, not counting title sheet.
4. Texts must be NEW in the sense that they never have been performed before, including productions of previous drafts or any public workshops.
5. Texts must be anonymous. To ensure fairness, we require the first round of readings to be completely anonymous. Please ensure that your name has been removed from every page of the document itself, including headers/footers and the title page. On separate a cover sheet, please list the title of the piece, your name, page count, and contact info.
6. Email your text (as a .pdf or .doc/x) and cover sheet to slingshotnewworks@gmail.com.
7. Submissions are due no later than 8/28/2017

Slingshot New Works' mission is the conviction that all art must belong to all people. In support of this, Slingshot will hire at least 50% womxn, people of color, LGBTQ+ folks, people with disabilities, and any member of any underrepresented, or otherwise marginalized community. We, as a collective, will work to amplify all voices.

Selected storytellers will be notified no later than 9/14.

Saturday, August 26, 2017

Därkhorse Drämatists “Tales from the Script”

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Please consider the following guidelines for Därkhorse Drämatists “Tales from the Script”! It’s important to note, that while we favor newer plays, this festival is not limited to original work. Your submissions may have been produced at other venues, so long as it is unpublished and wasn’t featured in last year’s festival. Besides one-act plays, we are also looking for 1-person shorts & monologues. Please refer to the guidelines below.

One-acts: 25 page maximum / 10 page minimum. (No minimum page count for 1 person shorts or monologues). No exceedingly violent or pornographic material. Adult language allowed within reason.

Plays may have a maximum of 3-4 characters and should take place in a limited setting and minimal props.

Due for submission by September 1st. 2 submissions allowed per playwright.

Playwright must provide contact information including their location and previous production history of the play where applicable. Regional playwrights are given first consideration.

Submissions preferred in stageplay format. E-mailed no later than September 1st to: darkhorsedramatists@gmail.com

Plays can be any genre; comedy, satirical, farce, drama, horror or gothic as long as they fall into a loose ‘Halloween theme’. No musicals or murder mysteries please.

Plays will be mediated in a forum comprised of local playwrights, directors and actors to determine which will be produced.

Halloween Play Opportunity

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Bad Dog Productions is looking for a creepy, scary one-act play to feature as a fundraiser for the Ithaca Fringe Festival. Show dates will be near the end of October in Ithaca, NY, just in time for Halloween!

• 4 actors MAX. Plays that can be cast diversely and/or with strong roles for mature women are especially welcomed.
• Running time must be between 60 and 75 minutes.
• Set and lighting requirements must be manageable. We have some small capacity to make SFX, but we are a company that makes do with available spaces, so advanced tech is not in our capacity.
• We welcome any submission, but we lean towards clever plays with comedic aspects.
• That said, please no theatre for young audiences or musicals.
• Has your play been produced before? Once? Several times? Great! If it has, send us links to reviews, if you have any. We want good plays and would love to give your play another run; we don’t care about world premieres (although we're not averse to them).

• Submissions in PDF ONLY.
• Provide a cover page with:
- contact info
- set/cast/tech info
- brief synopsis that should tell us the plot, not simply a teaser.
• Applications accepted ONLY from August 1-August 31

Email to submissions@baddogproductions.org. Please put “Play Submission /Play Title / Your Last Name” in the email header (Example: Play Submission / Hamlet Sees a Ghost / Shakespeare)
• Due to limited staffing, we will only be accepting the first 50 submissions. A notice will go up on the website when this limit has been reached.
• We reserve the right to not select a winner.

Bad Dog Productions will provide a $200 royalty fee to the playwright for the rights to produce and perform the play a total of three times in Ithaca, New York, during October 2017.

Questions? info@baddogproductions.org

NEO Ensemble Theatre is accepting one act plays

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NEO Ensemble Theatre is accepting 15-40 minute one act plays for our 2018

All styles and subjects will be considered as our themes vary throughout the season. If chosen, writers may be asked to rewrite aspects of their play to fit a specific production theme.

Submissions will be accepted between July 20th and August 30th, 2017.

Submissions received outside of this period will not be considered. Only one play per playwright may be entered.

Submissions are free, however no royalties or payments will be provided to playwrights should their play be chosen for the production.

Plays should be submitted electronically in PDF format with "NEO One Act Submission" in the subject line to: PlaySubmissions@NEOEnsembleTheatre.org

In your email please include your name, a brief bio, contact information, and the plays production history (if it has been previously produced where and when).

Due to the number of submissions playwrights will only be contacted if their play is selected.

Four Quarter Theater seeks 10-minute plays

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Four Quarter Theater, a NYC based theater ensemble, is currently accepting 10 minute plays for our fall season Autumn in New York!

In each quarter of the year, and aligning with the seasons, Four Quarter Theater aims to produce a new set of ten-minute plays. Each season is framed around a theme, which relates to the season in which the quarter falls. Each theme is open to artistic interpretation and is provided as a thematic framework to guide the playwright. The format of the performances will be staged readings in New York City.

Four Quarter Theater is currently accepting 10 minute plays for our fall 2017 season Autumn in New York.

Below please find our submission requirements and additional guidance to successfully submit your piece to Four Quarter Theater. Please note that playwrights are eligible to submit one piece per season only. 

We are currently accepting submissions until August 27, 2017.
If you have any questions, please contact our Director of Submissions, Dana Trottier, at 4qtsubmissions@gmail.com, or view additional information on our website at fourquartertheater.com.

Submission Requirements

§ The play must be presentable in ten minutes (generally between 7 to 12 pages of dialogue).

§ The play should speak to the theme of the season in some capacity: Autumn in New York.

§ Cast should not exceed 5 actors.

§ There is a submission limit of one play per theme. The playwright must designate the theme submitted for in the subject line of the email (Autumn in New York).

§ Please do not submit first drafts. Due to the number of submissions, Four Quarter Theater can only read any play one time.

§ Original and never before produced plays are highly encouraged.

§ Submissions are accepted electronically only in PDF format at 4qtsubmissions@gmail.com and our current deadline for submissions is August 27, 2017.

Cover Letter in Body of Email

§ Title, author’s name, address, phone number, email address.

§ A brief description of the play—this need not be a summary, but may include description of the play’s world, the characters, the conflict, reason for writing, connection to theme, etc.

Script in PDF Format

§ Title page should include at least the title, cast of characters, time and place.

§ Script should be approximately 7 to 12 pages not including title page and include completed dialogue as plays cannot be edited after submission.

Selection of Plays

The play selection process is conducted by the Play Selection Committee. As many as seven plays are selected for each series (approximately 4 times a year). Only selected playwrights will be contacted. Plays not chosen for this quarter/year may be considered for future series if considered by the company to be theme appropriate.

Four Quarter Theater reserves the sole right to make all production decisions with regard to the plays selected. Four Quarter Theater reserves the right to photograph, audio and video record selected plays to be utilized for promotional materials; promotional video and audio recordings will only include clips of performances and never the full performance of the selected play. Any recordings will be shared with selected playwrights.

Four Quarter Theater is committed to highlighting work of emerging artists. There is no financial compensation for entries, nor is any financial commitment required by the playwright.

We look forward to reading your submissions.


Dana Trottier
Director of Submissions
Four Quarter Theater

Elliott Hayes Award for Outstanding Achievement in Dramaturgy 2018

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Named in honor of Elliott Hayes, the former dramaturg and literary manager at The Stratford Festival and a dual citizen of Canada and the USA, this award recognizes excellence in dramaturgical work on a specific project over the past two years. Eligible projects may include, but are not limited to, production, season planning and implementation, educational programming, or advocacy for the profession.

The recipient of the 2018 Elliott Hayes Award, presented at the annual LMDA conference, will receive $1000 US.

There is no application fee. Applications will be evaluated through a blind submission process. The application is open to all.

Applications will be accepted from July 13, 2017 through October 6, 2017 at 11:59 PM EDT. All applicants will be notified of the panel decision and the winner will be notified by January 19, 2018. However, the public announcement will be embargoed until the presentation of the award at the LMDA Conference in Summer 2018.

Application Guidelines

1. For the purposes of this application, if you self-identify as a dramaturg, you are a dramaturg. If you come from a culture that does not view dramaturgy as separate from other parts of the creative process, or does not have a word for dramaturgy, and you feel your work fits within the rubric above, please contact me at awards@lmda.org to speak further.

2. All applications must meet the above-mentioned standards for eligibility.

3. Only one application per person.

4. Although we welcome applicants from anywhere in the world, the application must be in English.

5. The application must be a minimum of 500 and a maximum of 4000 words. The will be no reward for brevity nor punishment for length. Within the already stated boundaries, the essay should be exactly as long as it takes for you to make a strong, clear, and cogent argument for the nomination you are putting forth.

6. At this time, we do not have the capability to review secondary materials such as videos or slideshows. Although their inclusion will not disqualify an application, they will not be reviewed. No letters of reference are needed - nor will they be read if sent. As well, please do not include a resume in your application, as we are concerned with only the strength of your proposal and what currently engages you, not your history.

7. In order to facilitate the blind submission process, you must provide two separate documents in.doc or.docx format - the first discussing the work with no identifying information (including the name of the work, your name or the name of the person you are nominating, or the city, state or country in which the event took place. In other words, nothing can be included which is searchable on Google or any other search engine. The phrases "the work”, “the director”, and “the process” are all fine substitutes. The second document will include all of the identifying information not present in the first, including your name and contact info or the name and contact information of the person/work you are proposing. Your application will be reviewed by a panel of dramaturgs who represent the extraordinary talent and diversity found within our profession. As VP of Grants and Awards, I am the only person who will see the identifying information, and the panelists will not know the identity of the winner until after a decision has been reached.

8. Although you are welcome to propose the work of others, that other person must be known to you, you must have had a real-life interaction with said person, and you must be able to provide contact information for them.

9. Any project you propose cannot have been completed on or before December 31, 2016. It is fine if the project is still underway. Ideally, it should be completed by June 15, 2019, though exceptions may be made for extraordinary work.

10. Each project may only be proposed once for the Elliott Hayes Award. While there is no limit to the number of years in a row one can apply (see Note below), each year must feature a new project.

11. The winner of the award must appear at two conferences, either in person or virtually (using an application such as Skype.) The first appearance would be to accept the award, and the second to present it to the next year’s winner.

12. The winner of the Elliott Hayes Award is required to sit on the next year’s adjudication panel.

Note: If you have won or received a special commendation for the Elliott Hayes Award, you may not reapply for three years.

If you have any further questions, feel free to contact me (Brad Rothbart, VP of Grants and Awards) at awards@lmda.org

We look forward to reading your applications.

To Submit:

Send your essay without identifying information in .doc or .docx format per the instructions here and a separate .doc or .docx with all of the identifying information outlined here to eha@lmda.org.

If you don't receive an acknowledgement of your application within 48 hours, please contact lmdanyc@gmail.com.

Friday, August 25, 2017

New Ideas Festival 2018

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Alumnae Theatre Company’s New Ideas Festival (NIF) is an annual, three-week juried festival of new plays, works-in-progress and experimental theatre. Each week a different program of up to four plays, as well as a workshopped reading on Saturday at noon, is presented. The 2018 festival, NIF’s 30th season, will run from March 7 to 25, 2018, as part of Alumnae Theatre Company’s 100th anniversary year.

NIF offers dramaturgical support, rehearsal and production space, technical support, access to
Alumnae Theatre’s costume and props collections, publicity and sold-out houses.

We are now accepting scripts and proposals for the 2018 festival.

The deadline for submissions is September 5, 2017; September 10 for Alumnae members. 

Preference will be given to Canadian scripts and scripts with challenging roles for women of all ages. NIF welcomes voices from diverse communities. We invite you to submit your own play or pass this information along to a playwright you think may be interested.

Submission Guidelines
Scripts or proposals should be submitted electronically in PDF or Word format to NIFscripts@gmail.com. Scripts must be original works that have not been previously performed outside of a workshop. They may be in any genre or style, with a running time of 10 to 40 minutes; one act of a full-length play may also be accepted for production. Submissions longer than 40 minutes will be considered for a reading, which will showcase the script development accomplished
during the rehearsal period. Each playwright may submit a maximum of two scripts.

No identifying information should be on the script/proposal; please include a cover page providing: • play title; • list and description of characters (including age); • short play synopsis (max 50 words).

Send a separate contact page with the play title, playwright’s name and contact information,
and a short bio (75 words or less). NIF does not provide feedback on submissions.

NIF will confirm receipt of submissions within two weeks, and scripts/proposals will be sent to the NIF reading committee. The 2018 festival lineup will be announced in early November, followed by a creative exchange on November 5 to meet and choose directors and cold reads of all chosen plays on December 6 to 9. Playwrights must be available for the creative exchange
and for at least one of the December cold reads dates.

Thursday, August 24, 2017

Manhattan Repertory Theatre is seeking fully produced plays for The Producer's Play Series

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THE BIG SELF-PRODUCING CATCH-22: You have been working so hard to get your play together for the HOTMESSFEST, that you haven't had enough time to effectively promote your play. You open on a Thursday, close on a Saturday, and you get a bunch of friends and family to see it, but you haven't had time to effectively get the important people down to see it, those who might review it, those who could move your play to another venue, and those almost mythical Theatre Angels who have the money and means to bring your show to the next level. So you have spent all this time and money on self-producing your play, and you close in three days, and all you have is the video of your show with an audience member in the back of the house with a crying baby, walking in and out of your play.

THE SOLUTION: What if you had a month after you opened your show to get the important people down to see your play? Once your show is up and running, you have a month to promote, to connect, to make phone calls, to gently persuade, harass and cojole producers, reviewers and Theatre Angels to come and see your show? And it is affordable! Wouldn't that be a much better way to self-produce your play? A little more bang for your producing buck?

We think so, which is why we are offering you THE PRODUCERS PLAY SERIES.

You get a 1 hour tech rehearsal, a 90 Minute Dress rehearsal, and 5 performances, once a week on a Wednesday. Same time, same venue. Every Wednesday. Cool beans! You also can store your props and costumes so you don't have to shlept them back and forth from Brooklyn! And you will be billed as part of Manhattan Rep's Fall Season, not as just another HOTMESSFEST play.

Seeking fully produced plays 30 to 90 minutes!

To submit your 30 - 90 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 (if it has been produced before, when and where)
your mailing address, and a creative team leader contact email address to:

manhattanrep@yahoo.com by September 15, 2017

Please put “The Producer's Play Series” in the subject heading.

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

There is no submission fee. NON-EQUITY ONLY.

Once accepted, there is a $1095.00 participation fee!

We are only accepting 4 plays! 4 plays! Only 4 plays!

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 Sept. 15, 2017, if we fill up the 4 available slots!

Residency - Writers Omi at Ledig House

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Since its founding in 1992, Writers Omi at Ledig House has hosted hundreds of authors and translators, representing more than fifty countries. We welcome published writers and translators of every type of literature. International, cultural and creative exchange is a foundation of our mission, and a wide distribution of national background is an important part of our selection process. 

Ends on October 20, 2017
Each applicant is required to provide 4 (four) separate items in total:

1. A cover letter, which provides the following details: country of birth, country of residency, the language in which you write, your preferred residency dates. Additionally, please let us know how you heard about Art Omi: Writers (formerly Ledig House), why you want to come to Art Omi: Writers and what you expect to get from the experience.

*Important Note*: If you are eligible for one of our sponsored residencies, such as the Amazon.com Translation Fellowships or the residency set aside for a Whiting Award winner please indicate so in your cover letter. For a full list of sponsored residencies, please see the "Sponsorships & Endowments" tab on our webpage.

2. A brief (2 pages, maximum) statement about your work history, referencing publications, performances and writing credits. This can be submitted in CV format.

3. A writing sample, no more than 50 pages. (Please be sure to indicate if the writing is published or unpublished; if it is published please provide details.)

4. A one page description of the work to be undertaken while at Writers Omi.

Your writing sample does NOT have to be an English translation; please submit your writing sample in your mother tongue. All other documentation must be submitted in English.

Your cover letter should be provided in the designated Cover Letter field. Items 2-4 should each be provided as separately uploaded files.

In addition to these requirements, every applicant must arrange to have a letter of recommendation submitted separately. The letter can be provided by a fellow writer, teacher, editor, literary agent, or any informed individual who can speak to your character and work.

Please use the Reference Letter field in your online application to send a request for a letter to the individual who will provide your recommendation. Once that individual receives this prompt he or she will be able to upload a letter separately to your application file.

To be considered for a 2018 residency, your application (including separate letter of recommendation) must be received electronically by the end of the day, October 20, 2017 (11:59 p.m. EDT).

We look forward to receiving your application.

Wednesday, August 23, 2017

Blackboard Plays submission guidelines

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We are looking for new work by Black Playwrights throughout the African Diaspora that tell stories of the Black experience.

Why Blackboard: With a home in Manhattan's Chelsea, your featured reading will be in a gorgeous townhouse setting, Nancy Manocherian's the cell, complete with a mini reception and followed by a 20 minute talk-back. Additionally, we will record a podcast interview with you.
Please fill out the form before below and upload 10 pages.

Thank You for your interest in Blackboard Plays, devoted to the stories of Black Playwrights throughout the African Diaspora. Answer the questions below, upload your play and the donate the optional submission fee.

We will contact you regarding your submission within 1 month.

A Note: PLEASE ONLY SUBMIT 10 PAGES of dialogue that best represents your play. You will also be submitting a synopsis so we will know what the entire play is about. If interested in moving forward, we will request the entire script.

Any questions: info@blackboardplays.com

Since 2008, Blackboard has been devoted to Black playwrights throughout the African Diaspora. Join us every 2nd Monday of the month @ the cell our home in Chelsea's Manhattan where we have been incubated as a resident series @ the cell.

Tuesday, August 22, 2017

University Settlement Artists-in-Residence program

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Our resident artists are selected for their demonstrated ability to create high-quality work and for their experiential understanding of what it means to create while embedded within the rich complexity of a truly diverse community. Our artists value their process as much as their products and are eager to experiment with their creation process, narrative structures and forms. The artists we work with commit to organizational and creative practices that promote trust, imagination and power-sharing.

The residency is open to choreographers, theater artists and interdisciplinary performance artists who will be supported in creating a new work. This residency is best suited to artists who are deeply committed to exploring how live art and the creative process can heal, empower and activate individuals and communities. Our requirements and expectations are outlined below – we encourage you to read further before deciding to apply.

We work with our Artists-in-Residence (AIR) over the course of a year — and often, beyond —to nurture both their creative work and their relationships with our artist cohorts, Settlement staff and participants. Together we collaboratively build the skills and scaffolding needed to support creative risk-taking and authentic relationship-building. If you view a role within community as "something extra," this is not the right residency program for you. This program requires that a lot of in-person time building relationships; living in New York is a must.

Our core curatorial team works closely with each AIR. Individual monthly meetings and bi-monthly group meetings help us to identify what each project and artist needs to grow and develop. Our advisory board of downtown arts leaders helps US to provide our artists with professional development workshops and an expanded professional support network.

2017-2018 Call for New Artists-in-Residence

In response to our communities, this year's AIR call seeks artists interested in creating space for self-determination, the exploration of identity and intersectionality, and the healing of intergenerational trauma. We are calling for arts projects that illuminate and interrogate our collective journey towards a more equitable New York City for all.

This year, we are envisioning a season that demonstrates transparency, intersectionality, and conscious gatekeeping that embodies anti-oppressive as well as anti-racist frameworks and values. Now, more than ever, we need to dive deeper into our urgent collective context and activate our visions for a liberated future. We look forward to your proposals.

Artists-in-Residence receive…
An opportunity to develop a new performance project within a diverse and supportive community of artists and community leaders.
A stipend of $2000.
A minimum of 100 hours of rehearsal space in our theater. (Additional rehearsal hours can be arranged within University Settlement community centers).
Full production and box office support for multiple night showings of your performance project.
Support for press, publicity and audience development — we do not have the resources to do this work for our artists, but we are here to work with you in a highly supported and tailored manner).
Video and photo documentation of final showing.
The opportunity to reapply for another year of support.

Artists-in-Residence are required to…
Work toward a public showing of new work. AIR and curatorial team work together to identify the developmental goals for each new work and the appropriate length of run.
Check in with Associate Curator and Program Director every 6 weeks (ideally in person).
Attend bimonthly peer sharing or professional development workshops.
Participate in our SHARE! Series, approximately 5-7 times through the year.

Visit our selection page to learn more about our process.

Our application is now live. The deadline to apply to be a 2017-2018 AIR is Friday, September 15th at 12pm.

Visit our Current Artists-in-Residence page to learn more about our 2016-2017 AIRs!

Monday, August 21, 2017

Online Writing Classes at Primary Stages ESPA!

Open to writers in New York, New Mexico, New Zealand, and everywhere in between: Online playwriting classes at Primary Stages ESPA are an extension of our time-tested writing curriculum! You can create or polish a draft of your new play through weekly assignments and written lectures, providing the necessary structure and deadlines to those outside the tri-state area or with unpredictable schedules.

Instructor: Sarah Gancher (Writer, The Lucky Ones with The Bengsons at Ars Nova)
Begins September 19
New to Online Curriculum: If you're just stepping into the world of playwriting, welcome! Sarah Gancher will help you build a toolbox of the fundamentals, including discussions of structure, character, and dialogue, so your first play (and each play you write after that!) can be built on a strong foundation.

Instructor: Michele Lowe (Writer, String of Pearls and Motherhood Out Loud at Primary Stages)
Begins September 17
This class will guide you through the development of your first draft, providing concrete deadlines and constructive feedback that will encourage you to get your ideas on the page. As you meet your deadlines, you will receive feedback from Michele via email each week, giving you the tools necessary to tackle the next assignment.

Instructor: Caridad Svich (Writer, 2012 OBIE Winner for Lifetime Achievement)
Begins September 18
As soon as you finish your last line of dialogue, the need for rewrites begins. Open to new and returning students located anywhere in the world, this class will begin by establishing individualized writing goals to conquer over ten weeks.

For more information, see Online Classroom.

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

Sunday, August 20, 2017

Soundwork Monologue competition

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To submit a monologue to the Soundwork competition, send the script as an attachment to info@soundwork-uk.co.uk and, on the top page of the script, put your name and email address, but these should not appear anywhere else in the attachment. Entries may be submitted from any part of the world. The monologue may be up to fifteen minutes long and may be on any theme. There is no fee to enter the competition and no acknowledgement of receipt will be sent. An entrant may submit any number of entries. The winner, in collaboration with Soundwork, will have the monologue recorded and posted on the website, along with a photo and details. Copyright will remain with the author and Soundwork will retain rights to the recordings.

Entries may have been broadcast/published elsewhere.

Closing date midnight 31st August 2017. 

Keep an eye on this website for results - expected in August 2017.

Saturday, August 19, 2017

Cecile’s Writers Magazine seeks plays

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Cecile’s Writers Magazine is part of Stichting Cecile’s Writers, a nonprofit organisation (Dutch Chamber of Commerce number: 54563682). Our aim is to create a free digital magazine where intercultural authors can publish their work.

Read more in About Cecile’s Writers…
Submission Guidelines

Please read these guidelines before sending in your submission. If you do not follow the guidelines your submission will be rejected.

We are happy to announce that Cecile’s Writers Magazine is Open for Submissions. Submissions may be sent to us at any time.

We accept submissions from intercultural authors:

Authors for whom English is their native language but currently reside in a non-English speaking country (or have resided in a non-English speaking country for at least 3 years).
Authors whose parents have different cultural backgrounds (either by ethnicity or by nationality)
Authors for whom English is not their native language but choose to write in English.

Authors who do not fit any of the above categories but still feel they have an intercultural voice are also welcome to submit their story. When submitting please do briefly explain why.

The concept is about the authors and not the subject matter. The stories themselves do not necessarily need to highlight intercultural subject matters.

Please note that you must be 18 years or older to submit.

All genres of fiction are welcome. We prefer character driven stories as opposed to plot driven stories.

In non-fiction, we accept short memoirs, personal essays and literary essays.

The maximum word counts are as follows:

Flash Fiction: 1,000 words
Short Stories: 7,500 words
Novelettes: 21,000 words
Novel Excerpts: 6,000 words
Plays: 9,000 words
Personal Essays / Memoirs: 6,000 words
Literary Essays: 6,000 words
Poetry: Max. 3 poems (see separate submission guidelines for poetry for more details)

Author’s Rights

Cecile’s Writers Magazine retains the exclusive first rights of publication for a period of 6 months after it has been published on the website. The author retains full copyright of any work published.

We do not accept work that has been previously published elsewhere (or is expected to be published elsewhere), this also includes work published on blogs.

Author’s Information

The author’s name and email address should be typed at the top of the first page with the word count of the story. We also ask the author to include a brief biographical note with their submission (max. 200 words) as a separate attachment, mentioning what it is that makes you an intercultural writer.

Response Time

We will do our best to respond to your submission within six weeks. In busy periods (July/August and December) this could take up to 12 weeks.

Simultaneous Submissions

We accept simultaneous submissions since we want an author to have every opportunity to be published. We do ask that an author inform us immediately when his/her work has been accepted elsewhere.


We only accept electronic submissions in one of the following formats: .doc, .docx, or .txt
Manuscripts should be in 12-point type in one of these fonts: Arial, Cambria, Helvetica or Times New Roman
Manuscripts should be double-spaced with 2.5 cm margins
Manuscript pages should be numbered at the bottom of the page
The title of the story and the author’s name should be visible as a header on all pages

Technical Difficulties

If you have any questions or encounter technical difficulties, please contact us at: editors@cecileswriters.com
Ready to submit? Please fill in the submission form.
We look forward to reading your work.

Friday, August 18, 2017


NYCPlaywrights will be giving away a voucher good for a pair of tickets to see COME LIGHT MY CIGARETTE. 

We are giving this voucher on a first-come, first-serve basis this Saturday via the mailing list weekly eblast. In order to be eligible you have to be a member of the NYCPlaywrights mailing list.


If you don’t get the free tickets you can get still get discount tickets to see the show - $30 tickets (reg. $49) with discount code CLMC30.

More information about the show & discount here.

Theatre Roulette 2018

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Theatre Roulette is MadLab’s annual shorts festival, a tradition that has lasted more than 15 years. Theatre Roulette began as an “invitation-only” festival, then expanded to taking local submissions, then to taking submission from across the United States, and now receives over 2000 scripts annually from every corner of the world.

To maximize your chance of selection, please read all the guidelines carefully before submitting.

All submissions should be send to submissionsmadlab@gmail.com.
Please put “THEATRE ROULETTE SUBMISSION” in the subject line.

Theatre Roulette is a juried festival.

Due to the overwhelming number of scripts we received in 2016, we will only be accepting the first 1500 scripts submitted in 2017.

Submissions must arrive no later than September 1st, 2017.
Submission will be chosen and applicants informed if his/her piece was chosen on/or before February 2nd, 2018.

Scripts should be between 5-20 minutes in length. Scripts of greater lengths will be considered, but due to time constraints, it is unlikely that unsolicited full-length plays will be selected for the festival, unless you are a Nobel or Pulitzer winning writer, in which case, your script will automatically be accepted for production as long as you waive your standard royalty, which would probably be more than the budget for the entire festival. If you are not sure whether or not you have won a Nobel or Pulitzer Prize, please find out through the glory of the world wide web and let us know.

You may submit multiple scripts. If you are submitting multiple scripts, please include them all in a single email.

Please include your name, address, phone number, and email address in the body of your email message.

MadLab will also be accepting full collections of shorts. This would be a group of plays that are meant to be performed together and would constitute a complete night of plays.

Script submissions WILL NOT be returned to the applicant; MadLab will destroy all evidence of your creative instincts upon a funeral pyre at an undisclosed location in order to protect both the innocent and the guilty. Ashes will NOT be returned to you unless you purchase a commemorative urn from MadLab at the bargain basement price of $999.95.

You must email your script to us. Please send your script attached as a Microsoft Word document or PDF format. Scripts should be emailed to submissionsmadlab@gmail.com. Please put “THEATRE ROULETTE SUBMISSION” in the subject line. If “THEATRE ROULETTE SUBMISSION” is not in your subject line, your submission may not be received. All submissions will receive a reply email to ensure that your submission was received.

For ROULETTE, MadLab pays $50 to each playwright.

If you’ve made it through all of this, congratulations. At least you’ve got the potential patience to deal with the travails of theatrical production. If you have any questions, please email them to Artistic Director Jim Azelvandre at jima@madlab.net

Thanks for your interest. Good luck with your submission, and regardless of the outcome here, be sure to keep writing and producing new works.

Thursday, August 17, 2017



Written & Directed by Arnold L. Cohen
Music Director Mason Griffin
Michael J. Farina
Kaye Tuckerman
Erikka Walsh

Theatre at St. Clement’s – 423 West 46th Street (Between 9th and 10th Avenues)
Come Light My Cigarette is an edgy and suspenseful new musical in which a young actress is driven to confront the two most turbulent relationships in her life—her father, with whom she shares a volatile and shameful past and her ex-lover, a powerful and controlling woman who was instrumental in making her a success.

Limited Engagement – 8/8 – 9/3 Only!

Performance Schedule:

Tuesday: 7pm | Wednesday: 7pm | Thursday: 7pm
Friday: 8pm | Saturday: 2pm & 8pm | Sunday: 3pm

Performance Schedule Subject to Change

Special Offer - Save Over 35%!

Tickets $30 (reg. $49)


ONLINE: Visit TicketCentral.com and enter code CLMC30

PHONE: Call (212) 279-4200 between 12pm & 8pm and mention code CLMC30

IN PERSON: Present this offer at the Theatre at St. Clement’s Box Office - 423 West 46th

Street (Between 9th and 10th Ave); Box Office opens 60 minutes prior to curtain.

Please note that the Theatre at St. Clement’s is not wheelchair accessible.

For more information, visit www.ComeLightMyCigarette.com

*Tickets regularly $49. Offer valid through 9/3/17. Blackout dates may apply. All sales are final - no refunds or exchanges.

Offer subject to availability. Not valid in combination with any other offers. Normal service charges apply to phone and internet orders. Performance schedule subject to change. Offer may be revoked or modified at any time without notice.

Billie Burke Ziegfeld Award 2017

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The Ziegfeld Club, one of New York City’s first performing arts charities to benefit women is proud to announce the second Billie Burke Ziegfeld Award to honor a female composer in musical theatre. The recipient will be honored in November 2017 at the New Amsterdam Theatre, and will receive a prestigious grant of $10,000 plus a year of professional mentorship. The recipient will be selected by an expert panel chosen by The Ziegfeld Club Board of Directors.

The grant which aims to celebrate an emerging female composer, or composer/lyricist who compellingly demonstrates outstanding artistic promise in musical theater composing was inspired by a noticeable lack of female composers being produced on Broadway today. The Ziegfeld Club enables the recipient to put the grant to the best use possible to help further the composer’s creative endeavors.

Download an application form for the 2017 Billie Burke Ziegfeld Award here!

Important Dates

The application for the Billie Burke Ziegfeld Award will be open from July 31st- September 8th 2017.here!

Finalist interviews will be held in person on September 22nd, 2017 in New York City. The recipient of the award will be notified in late September 2017.


Applications for the Billie Burke Ziegfeld Award must include the following:

1) Demo recordings of 3 contrasting songs from at least two separate works of musical

theater. Professional recordings are appreciated but not necessary. Piano-and-vocals are sufficient. The songs should be sent as individual MP3 files, and labeled with both the candidate’s name and the songs’ titles (Last Name, First Name- Title). Applicants retain all copyright of their work. Please do not submit live recordings.

2) Dramatic context and lyric sheets. Please include piano/vocal music, or scores if available.

3) An Artistic Statement of one page or less (no more than 500 words) describing your work in musical theater, and how the Billie Burke Ziegfeld Award will aid you in your artistic and professional goals.

4) A current Resume that lists your experience and production history as a musical theater composer. Applicants will be considered eligible as emerging artists if, in the judgment of the committee, they have not already received substantial recognition in American musical theater.

5) A completed Application Form.

Note: If you receive this grant, it will be awarded through Fractured Atlas, pending acceptance into their fiscal sponsorship program. For more information about Fractured Atlas and their fiscal sponsorship program, please visit www.fracturedatlas.org

To submit an application for the Billie Burke Ziegfeld Award, please send the required materials to: submissions@theziegfeldclubinc.com

Frequently Asked Questions

Who should apply?

The BBZA is open to an emerging individual female composer, or individual composer- lyricist who compellingly demonstrates outstanding artistic promise in musical theater composing, and who can clearly show how the grant money and mentorship will further her artistic career.

When can I apply?

The application for the Billie Burke Ziegfeld Award will be open from July 31st- September 8th, 2017.

I’ve applied for the award in the past; can I apply again?


I write with a collaborative team. Can we apply together?

No, the BBZA Award is only open to an individual female composer or individual composer-lyricist.

Can I apply if I am still in school?

The BBZA award is not intended as a scholarship. Ideal candidates should be working professionals.

Are there any age restrictions?

No, although an ideal candidate must classify as emerging, meaning that they have not already received substantial recognition in American musical theater.

What are the criteria for selection?

The ability to show professional initiative, outstanding artistic promise in musical theater composing, and who can clearly show how the grant money and mentorship will further your artistic career.

Can the songs I submit be from different works?

Yes, they must be from at least two different works.

Can I still apply if I cannot be in New York City in September for an interview?

Yes, however, in person interviews are encouraged. A Skype interview can be arranged if necessary.

FUNHOUSE II SCRIPT SUBMISSIONS: Original theatre inspired by The Twilight Zone, Black Mirror, and Adult Swim

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If you identify as part of any historically or presently marginalized groups, we are able to waive your submission fee. Please indicate in your submission email if you would like the fee to be waived.

The fee will be waived if any playwright can prove they are a member of the Dramatists Guild.

Performances October 19-21
@ The Slate Theater in Seattle, WA
Directed by Brian Toews, Dylan Gervais, Maddy Noonan, and Mario Orallo-Molinaro

What is Funhouse?
Funhouse is quarterly late-night play anthology inspired by “The Twilight Zone”, “Black Mirror”, “Mr. Show”, “Saturday Night Live,” and Adult Swim. Funhouse is a collection of subversive and experimental original content. Our show serves as a rotating platform for up-and-coming playwrights, directors, actors, and designers with ties to the Pacific Northwest. The creators of Funhouse want artists to take bold risks in their storytelling.

Funhouse was created by Brian Toews. The first show was co-produced and directed by Anna Ly, Brian Toews, and Chris Quilici. It received its premiere at Eclectic Theater in Seattle, WA June 2017 to a sold-out run.

Submit Your Original Script
Submissions of original ten-minute plays will be accepted beginning July 2nd, 2017. The deadline is August 25th, 2017. No plays will be accepted after August 25th, 2017. The number of plays to be produced will be at our discretion and will depend on the mix of submissions. Writers will be notified of our selections September 1, 2017. The pieces selected will be given a full production within the capabilities and budget of the producers. There will be a $25 honorarium given to all selected playwrights.

Submission Fee (w/ no-fee options)
There is a $5 submission fee.
After submitting your script, the email listed on your submission will be invoiced via PayPal. We will read/consider your script only after we have confirmed the submission fee.
Our PayPal is registered to funhouseanthology@gmail.com

The submission fee will go toward our design budget and the cost needed to rent the space.
No-fee options:
If you identify as part of any historically or presently marginalized groups, we are able to waive your submission fee. Please indicate in your submission email if you would like the fee to be waived.

The fee will be waived if any playwright can prove they are a member of the Dramatists Guild.

Equity, Diversity, and Inclusion
We believe that theatre should reflect the community it serves. As such, we encourage people of all experiences, backgrounds, and identities, to submit their work. This includes people of any race, ethnicity, gender, sexual orientation, age, ability, class, or religion. If you identify as part of any historically or presently marginalized groups, we are able to waive your submission fee. Please indicate in your submission email if you would like the fee to be waived.


● Submission must be an original, unproduced 10-minute play at time of submission. Plays that have had staged readings will be accepted. Plays that have received full productions, either professional or amateur, prior to submission will not be accepted. Legal clearance of materials not in the public domain is the full responsibility of the playwright.

● Playwrights may submit multiple scripts but the max number of plays produced will be one per playwright.

● Maximum length: Plays should run in the 10-15 minute range but can be shorter. Longer submissions will not be considered.

● Scripts may be comedy, drama, horror, fantasy, sci-fi, parody, musical, anything. NOTE: Funhouse II will premiere close to Halloween. You may or may not let that inform your narrative.

● This is a show for mature audiences (18+), and we encourage subversive and/or experimental work.

● Plays must be submitted with numbered pages and include on the title page the following contact and bio information:

○ Playwright’s first, last name, and preferred pronouns
○ Mailing address
○ Phone number
○ E-mail address
○ A brief biography (100 words or less)
○ If you are a member of a historically or presently marginalized group, please indicate if you would like your submission fee to be waived.

● Submissions may be emailed to funhouseanthology@gmail.com
Email submissions must be received by August 25th, 2017 to be considered.

● Preferred document format: Microsoft Word or PDF files ONLY. No other formats will be accepted.

● Selections will be made by directors Brian Toews, Dylan Gervias, Maddy Noonan, and Mario Orallo-Molinaro and is solely at their discretion. All decisions are final.

● Notification of final selections will be made via email by September 1, 2017.

Tuesday, August 15, 2017

Fellowships for Creative and Performing Artists and Writers

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The American Antiquarian Society (AAS), a national research library and learned society of American history and culture, is calling for applications for visiting fellowships for historical research by creative and performing artists, writers, film makers, journalists, and other persons whose goals are to produce imaginative, non-formulaic works dealing with pre-twentieth-century American history. Successful applicants are those whose work is for the general public rather than for academic or educational audiences. The Society's goal in sponsoring this program is to multiply and improve the ways in which an understanding of history is communicated to the American people.

The fellowships will provide the recipients with the opportunity for a period of uninterrupted research, reading, and collegial discussion at the Society, located in Worcester, Massachusetts. At least three fellowships will be awarded for residence of four weeks at the Society at any time during the period January 1 through December 31.

For fellows who reside on campus in the Society’s scholars' housing, located next to the main library building, the stipend will have the room fee deducted from the $1850 stipend. (Room fees range from $700 to $500 per month.)

The stipend will be $1,850 for fellows residing off campus. Fellows will not be paid a travel allowance.

Funding for this program began with a grant to AAS from the Lila Wallace-Reader's Digest Fund. Additional funding for the awards is derived from income from endowments established by the Robert and Charlotte Baron Fellowship, William Randolph Hearst Foundation, and Jay and Deborah Last.
Fellowship projects may include (but are not limited to):

  • historical novels
  • performance of historical music or drama
  • poetry 
  • documentary films
  • television programs 
  • radio broadcasts
  • plays 
  • libretti
  • screenplays 
  • magazine or newspaper articles 
  • costume designs
  • set designs 
  • illustrations and other graphic arts
  • book designs
  • sculpture 
  • paintings 
  • other works of fine and applied art
  • nonfiction works of history designed for general audiences of adults or children 

Application Procedure

Applications are due October 5, 2017. 

Application instructions for the Fellowships for Creative and Performing Artists and Writers are included in the online application.

For further information about the Fellowships for Creative and Performing Artists and Writers, please contact Cheryl McRell, Program Administrator at AAS, at cmcrell@mwa.org.

Monday, August 14, 2017

La Mama Experiments Play Reading Series

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NEXT SEASON | Experiments 18: Parts for Meryl Streep

As the title suggests, The 18th season of Experiments Play Reading Series is focused on playwrights whose work features a dynamic leading character worthy of the "best actress of her generation." Although we are sure Ms.Streep would masterfully bring to life any of these parts, our mission is to select work based on the themes Meryl has championed throughout her career; empathy, diversity and activism. Using these pillars as our guide, each month, La MaMa's Experiments 18 will showcase a play centered around a strong and inspiring lead character who can be of any ethnicity, religion, gender identity, national origin, disability and sexual orientation.

E-mail New Play Submissions to LaMaMaExperiments@gmail.com for consideration! Please submit scripts in PDF format.

Woodside Players of Queens Fall 2017 Play Festival

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Submissions are now being accepted for the Woodside Players of Queens Fall 2017 Play Festival, to take place in November.

Seeking short plays (no more than 10 pp), from playwrights from the five boroughs of New York City only.

Also seeking monologues (no more than 4pp). Musicals welcome! Basic set requirements.

One submission per playwright. No unpleasant profanity, as this is a family friendly festival! No submission fee.

Please include name, address, telephone number and email address on your submission. We do not produce your work, we provide a venue for you to present actors performing your play. There are no costs involved for anyone. Seeking actors and directors, too!

Deadline: September 15 2017

Email: submissions@pineyforkpress.com

Sunday, August 13, 2017

Small Fish Radio Theatre Annual Horror Show 2017

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Deadline is midnight, September 15, 2017.
Submissions must be specific to the Horror genre.

Gothic, Supernatural, Non-Supernatural - whatever invokes FEAR and DREAD!


Short Plays - No more than 10 minutes in length.

Five Actors or Less – This does not mean five characters or less, it simply means
your short play, story, or poem must be able to be performed by a maximum of five actors.

NO STAGE DIRECTIONS – While this may seem obvious given our
“radio” format, it is important to remember that your play is
conveyed through the dialogue, music, and sound effects.

Please do not submit recorded radio plays, stories or music.
We are not accepting produced radio plays.

Multiple submissions are acceptable, as long as you follow the guidelines listed above.

Additional playwright submissions resources may be found at http://playsubmissionshelper.com/blog.

Please send your submissions (or questions) to:

Please follow us on Facebook for news of our next call for submissinos.

Small Fish Radio Theatre and Thespinarium produces portable theatre for the ear. Since 2012 we’ve produced over 30 podcasts featuring the work of over 50 artists from around the world. We’ve recorded live at Chicago Fringe, Chicago Dramatists, The Biograph at Victory Gardens Theatre, and Simon's Tavern in Andersonville.
Small Fish Radio Theatre was a top-featured podcast on Atlanta Fringe Audio for four years running.
Whether recorded before a live audience or in the studio, our podcasts are offered for free here
on iTunes and via our website - smallfishradio.com.

To listen to our latest program, you may download the FREE podcast from iTunes and listen at your leisure, or go to our home page to listen there.

Saturday, August 12, 2017

HERE Artist Residency Program

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HERE Artist Residency Program (HARP)

HARP is designed to support collaboration across disparate art forms by nurturing hybrid artists in the development of dynamic live performances. HARP provides significant long-term artistic, financial, and administrative support, tailored to each artist's individual needs.

“In these times, it's become increasingly hard for artists to find a place to take risks, a safe haven where they can develop daring new work. One theater has regularly bucked the trend, making its mission to ensure that artists have a home for their R&D, and that theatergoers can sample the exciting results.” - OBIE Committee, on the Ross Wetzsteon Award to HERE

About HERE:

Since 1993, HERE has been one of New York’s most prolific producing organizations and today stands at the forefront of the city’s presenters of daring new work. A collaborative multi-arts space with two theatres and a gallery/lounge, HERE developed such acclaimed works as Eve Ensler’s THE VAGINA MONOLOGUES, puppeteer Basil Twist’s SYMPHONIE FANTASTIQUE, Trey Lyford and Geoff Soebelle’s ALL WEAR BOWLERS, and Taylor Mac’s THE LILY’S REVENGE. For over 15 years, HERE has invested in long-term developmental relationships with individual artists and artist collaborations. HERE builds a community that nurtures career artists as they create innovative hybrid live performance in theatre, dance, music, puppetry, media and visual art. Our artist residencies support the singular vision of the lead artist through commissions, long-term development, and production support. HERE’s programs and performances promote relationships among local, national, and international artists. Our space is a destination for audiences who are passionate about groundbreaking contemporary work and the creative process behind it.

'One of the most unusual arts spaces in New York---and possibly the model for the cutting edge arts space of tomorrow, ' (The New York Times); "the Downtown Lincoln Center" (Paper Magazine) "...HERE still manages to be the forum for fresh talents." - Ben Brantley of The New York Times

About HARP:

HARP nurtures the development of mid-career hybrid artists and their audiences, through cross-disciplinary exchange, peer-driven workshops, and panel discussions. HARP was conceived in 1999 to address an urgent need in the artistic community: a void of artistic and administrative support for mid-career artists. This lack of support was causing talented artists, in the most fertile periods of their careers, to leave the field. HARP was initiated to provide a much-needed forum to assist artists who are developing unique artistic voices and experimenting with new approaches to expanding the parameters of performance work.

As the works being developed are complex hybrid projects, each Residency will last for 2 to 3 years, renewed annually. At the end of each residency year, the artist and HERE mutually decide whether to continue the residency. It is unlikely that any project accepted in 2018 will go to production before 2020.


Artists or collaborative teams chosen for HARP are expected to participate in the program by developing the work as outlined in their application and by actively participating in the member and public activities associated with the program. Since HARP is designed to respond to the ideas and needs of its members, the members themselves must be proactive in bringing those ideas and needs to HARP and to each other. We expect our members to be both good citizens of the HERE community as well as ambassadors to the public.

During the residency, HARP Artists participate in monthly artistic meetings, bi-monthly work groups focused on both artistic and business topics, regular individual meetings on budgeting, production, and fundraising issues, and formal and informal work-in-progress showings.

At the monthly meetings, artists show work, give feedback to other artist projects, engage in and contribute to artistic skill sharing. At the bi-monthly work groups, artists share career skills and learn from others, as well as from HERE staff and outside experts on topics ranging from grant writing to touring to budgeting to work samples.

Artists are also encouraged to show work in each stage of development. A number of work-in-progress showings, both public and private, allow members of HARP to contribute to the growth of their peers. Through this component, we create a balance of practical and theoretical work that exposes the whole group to a comprehensive experience. Each season, we present 8-10 public showings of HARP works-in-progress and provide HARP artists with a more formal opportunity to present stages of their work in CULTUREMART, our annual winter festival of workshop productions, before a public paying audience.

Each year, HARP artists participate in a one-week retreat at an artist colony where they are able to dedicate all of their energy to the creative process without the distractions of daily life. At times, when possible, we offer one- and two-week project-specific intensive retreats for second- and third-year HARP artists.

Three to five projects that are in development are selected for production each year. Each selected artist participates in all development activities, and collaborates with HERE to raise funds and develop appropriate resources and support for their production. Projects are produced at the scale appropriate to the work – there is no set formula for producing in the season – chamber or mainstage, four performances or 20, one performer or 25. It is our expectation that the works being developed in the program are being scaled to fit and will be produced in one of our spaces. Most works developed through HARP are fully produced by HERE.

The artists themselves shall retain ownership of all work initiated, developed, or workshopped during their residency. For the works that go to full production, HERE and the artists will negotiate a separate ownership and rights agreement. However, in all public materials about the artist or team the following must appear: "(Name of Artist or Team) was/is a member of HERE’s Artist Residency Program (HARP), 20 __ - 20__, NYC", and in all public materials relating to the work’s development, the following line shall appear: “Development of (Name of Work) was made possible through the HERE’s Artist Residency Program (HARP), 20_ - 20_, NYC." For works that go to full production the following line shall appear: “(Name of Work) was commissioned, developed, and produced through the HERE Artist Residency Program (HARP), 20_ - 20_, NYC.”


Artistic Development:

While in residence, the artist or team’s residency is linked to a specific project in development and an exploration of ideas and processes intrinsic to their artistic growth. HERE believes that artists must be in control of the work that they create. This control goes hand in hand with a responsibility to participate in all phases of their artistic projects from inception through all development stages to full production. HARP is designed to respond to the ideas and needs of its artists. The artists themselves must be proactive in bringing those ideas and needs to HARP and to each other; they shape workshop and discussion offerings, create performances, and work with HERE staff to publicize and promote HARP events.

Career Development:
HARP also includes hands-on administrative sessions to supplement our already strong artistic development process. We believe that in order for these artists to stay in the field, they must have the necessary skills to function as viable creative enterprises. HARP offers advice on business issues such as grant writing, project planning, budgeting, marketing, and nonprofit incorporation. Administrative sessions are led either by a HARP artist with the necessary skill, an appropriate HERE staff member, or an outside expert.

HARP artists also have access to an online resource managed by HERE that fosters these skills and asks the artists to participate in an online community discussion by posting work and responding to others’ work between meetings and presentations. Most important, frequent meetings provide community and address the needs of the whole artist. In addition, each member of the HERE staff dedicates significant one-on-one time with each artist to articulate the vision for the project in terms of producing strategy, audience development, marketing, fundraising, finance and production.

Facilities and Equipment:
HARP Artists have access to the HERE staff, including development, marketing, and general management team, and access to sample contracts, grants, and budget templates. Due to the lack of on-site rehearsal space and the heavy use of our theatre spaces, HARP is not primarily a space residency. However, HERE offers resident artists limited rehearsal space and equipment on an as-needed, as-available basis in our theatres. The Mainstage Theatre is a flexible black box theatre with a sprung wood floor which measures 46' x 46'. It can seat up to 150 (depending on the configuration of the seating platforms), and usually seats 99. The theatre has a complete lighting package including 92 dimmers and a complete sound system. The Dorothy B. Williams Theatre is a charming proscenium-style theatre with a 14' x 38' stage. The theatre also has the capability to transform into a flexible black box space. It has a fixed grid, a state-of-the-art lighting package including 75 dimmers and a complete sound system. The theatre has 63 seats and 8 stools. HERE has an extensive inventory of high quality equipment available for our artists’ use. HERE also actively develops partnerships with other organizations and landlords to offer dedicated rehearsal space to our resident artists.

In addition to the extensive range of community, development, and production resources listed above, HERE offers each resident artist a developmental commission, work-in-progress (WIP) and workshop fees in order to develop their project. The developmental commission, paid out in monthly installments, is up to $5,400 total for a 3-year residency. HERE also provides each artist with an annual WIP fund of $1,000, as well as a fee of $2,000 for each workshop in our annual CULTUREMART festival. All of these funds may be used as each artist deems fit for their individual project. In addition, there are fees for creators and their collaborators in the budget for the final production. The budget is developed jointly by HERE and the artist. HERE allocates at least $30,000 towards the final production in addition to partnering with the artist to raise project-specific funding. Over a 3-year residency, HERE invests over $45,000 in cash in each project.

HARP is designed to assist mid-career individual artists or collaborative teams (writers, performers, composers, directors, designers, dramaturgs, puppeteers, dancers, singers) working in a hybrid form in live performance. Hybrid form refers to the full integration (not just as backdrop) of two or more genres (theatre, dance, music, puppetry, media, and visual art) in the work.

We define a mid-career artist as one who has:

(1) completed their education within the last 8-15 years

(2) had at least a few significant residency or commissioning opportunities,

(3) created a body of work over at least 5 years and at least one full evening-length work, and

(4) earns some income from their art practice.

Artists must also meet the following criteria:

*The artist or team are residents of the NY metro area.

*The artist or team find themselves at a point in their career where they are developing a distinctive form/style/content of work, or are interested in stretching the previously accepted boundaries of their work by experimentation with form/style/content.

*The artist or team is interested in actively participating both in the community of HERE and in a peer-based program aimed at exchanging resources, ideas, critique, and support.

*The artist or team are proposing a project that is very early in its development process, meaning at its inception and has not been previously workshopped, and any underlying rights for pre-existing material for the project have already been secured.

Additionally, HERE believes that diversity is extremely important within the makeup of our residency program. HARP actively seeks this diversity both from the work itself in terms of genre and content, and in the background of the artists.

The selection panel includes HERE leadership, artists, and performing arts curators from NYC.


Application Due Date: February 2, 2018 12 noon
Final Decisions Announced: March 16, 2018

Residencies Begin: April 1, 2018

The residence year extends annually from April 1 to March 31, with the exception of when a project is heading into final production.



Please provide full name and address of applicant. Only residents of the New York Metro area will be considered.

Project Summary:

Please provide a summary of your project.

Project Description:

What do you envision on stage and what will the audience experience be? Why does your project need the time our residency offers? Because of the long-term development process that we offer, we look for proposals that are in the very early stages of their growth - the seeds of an idea or an outline. A project that has already been workshopped is probably too far along to benefit from what the program offers. Please feel free to use bullet points if space demands are too limiting.

Artist Statement:

Please briefly tell the panel about your interest in this project, why this residency is a good fit for you right now, how you see yourself as a mid-career artist, and how you hope to develop over your residency. If more than one primary artist is included in this application, each primary artist should provide a statement in the space provided. If an ensemble is applying, one shared statement is appropriate.

Project Timeline:

This should be a 2-3 year timeline of how you will develop the work during the residency, indicating potential works in progress. This obviously will change and adapt over time, but it is helpful for the panel to see how you might use the flexible opportunities offered by the residency.

Short narrative bio and/or resume of the lead artist(s):

Please provide a resume or narrative bio.


Please list other collaborators on the project. If you don’t know your collaborators yet, please indicate what kind of collaborators you may intend to bring into the project.

Work Sample & description:

Please pay close attention to work sample instructions listed below on the form and then tell us why this work sample is relevant to the proposed project. Please include year, performers, and contributing artists.


After applications are reviewed by the panel, finalists will be interviewed by Kristin Marting, Artistic Director and Kim Whitener, Producing Director. Application DEADLINE: February 2, 2018 at 12 noon. Final decisions will be announced by March 16, 2018. Questions can be addressed to programming@here.org or 212-647-0202 x320.

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