We never post opportunities that require a submission fee. LEARN MORE.

Wednesday, August 4, 2021

Broadway on Demand Stage/Screen Shorts

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Deadline: none given

STAGE/SCREEN SHORTS

Calling all creators! Have you found a unique way to translate theater into film? Broadway on Demand is announcing a short film festival to celebrate the innovative ways we’ve given space to theatre in a socially distant world. We’re excited to host creators across different media who have built short films with streaming in mind.

The winning entry will be live streamed on the Emmy® OTT platform this fall.

Films must be no more than 30 minutes in length and should be submitted as a .mp4 file with a brief 2-5 sentence synopsis and any additional materials (trailers, graphics, etc.). 

Submissions should highlight the combination of theatre and film—i.e. theatrical content, films based on scripts, or content filmed in a theater.

Shubert Fendrich Memorial Playwriting Contest 2021

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Deadline: December 31, 2021

To encourage the development of quality theatrical materials for the educational, community and children’s theatre markets, Pioneer Drama Service is proud to sponsor the annual Shubert Fendrich Memorial Playwriting Contest.

This is an ongoing contest, with a winner selected by June 1 each year from all eligible submissions received the previous year.  All eligible plays accepted for publication will be considered contest finalists, from which the winner will be selected.  The contest winner will receive a $1,000 royalty advance in addition to publication.

Contest entries must meet all general guidelines and submission requirements.

Individuals currently published by Pioneer Drama Service are not eligible for this contest.  Pioneer Drama Service employees and their families are also excluded.

We accept unsolicited manuscripts that meet the parameters defined in these guidelines. However, we prefer for you to send us a query letter if you are not submitting through one of our playwriting contests. You can also start the submission process by contacting us here.
  • We will only consider manuscripts with a running time between 20 and 90 minutes.
  • Submissions must be family friendly in both subject and language. NO cursing. NO explicitly adult content.
  • We prefer casts that are either balanced or favoring females. The more gender neutral roles, the better.
  • We favor plays and musicals with ensemble casts, where more than just a few have a chance to shine.
  • Plays with elaborate set, costume or technical requirements are not appealing because of the limited resources of many of our customers. Pictures, sketches or descriptions of your vision are always helpful.
  • We recommend your submissions have had at least one production or reading, hopefully staged. We feel this fundamental field test is necessary before a play can be considered for publication since plays are created for the purpose of performance.
  • Manuscripts must be computer-printed in dark ink. We do not require specific formatting. However, your efforts to ensure your script is free of misspellings and typos will help the submissions editor.
  • We hope that Pioneer Drama is your first choice as a publisher, and we encourage you to submit to us exclusively. However, we do accept simultaneous submissions with the understanding that you will accept the first contract you’re offered and not use the situation to seek multiple offers from which to choose. If you receive another offer, please notify us immediately so we may rescind your submission.

NOTE: If you are not already published by Pioneer Drama Service and your submission meets all other requirements including having had at least one production or staged reading, your play will automatically be entered in the Shubert Fendrich Memorial Playwriting Contest. If you are a faculty member at an accredited K-12 public or private school in the US or Canada, you may also qualify for our A+ Playwriting Contest for Teachers.

Check out our list of past contest winners for examples of desirable submissions.
Submission Requirements

Please be patient. Queries will be answered within approximately one week. Submissions may take up to three months or longer.

The following information must accompany your submission or query:
  • 100-200 word synopsis.
  • Cast list that indicates the number of female roles, the number of male roles and the number of roles that can be performed by either gender. We do not accept one-person shows.
  • Running time.
  • CD and/or score for musicals. We appreciate the opportunity to hear the music, if possible.
  • Set design(s). Please feel free to provide diagrams and/or pictures.
  • Proof of production or staged reading (i.e., review, program, etc.) A DVD of your performance is ideal, though not required.
  • Age of intended audience.
  • A self-addressed envelope of sufficient size with appropriate postage for the return of your materials. We will NOT return manuscripts or accompanying material if this is not included.
  • Cover letter and/or resume.
Please send your query or manuscript and accompanying information to:

Pioneer Drama Service, Inc.
Attn: Submissions Editor
PO Box 4267
Englewood, CO 80155-4267

You may also email us your .txt, .doc or .pdf files after you contact us here.

Tuesday, August 3, 2021

FutureFest 2022

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Deadline: October 31, 2021

 This fee will be waived for members of the Dramatists Guild.

Festival dates: July 15 – 17, 2022. The Dayton Playhouse does intend to hold the 2022 festival in person.

The submission deadline for FutureFest 2022 is October 31, 2021.

FEE
$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”.

Fees may be paid online by following this link to our online payment system.

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 FutureFest 2022. Staged readings/workshop productions are not necessarily disqualifying factors.

DEADLINES
Submissions will be accepted August 1 through October 31, 2021 (postmark or electronic submission).

SCRIPTS

Electronic submissions (PDF format) are preferred, but not required.

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, in person, the weekend festival (July 15-17, 2022) in Dayton, Ohio 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 reading committee, 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 2022.

SUBMIT TO
Please submit electronic copies of scripts to futurefest@daytonplayhouse.com

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

A is for Playwriting Contest 2021

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Deadline:  August 31, 2021 Midnight EST


Why a playwriting contest?

It’s not just abortion that is stigmatized in our culture, but the entire lived experiences of people who seek to fulfill their promise as autonomous human beings, realize their own dreams, raise their families in safety and peace, pursue their ambitions, and maintain control over their physical and reproductive lives.

The subject of reproductive justice is one too often simplified by our current dialogues, and too often the voices and perspectives of the people most affected by restrictions, legislative prohibitions, and cultural prejudices are excluded from our artistic institutions.

A is For seeks to change that. We believe the theatre is an especially powerful platform with which to share stories, debunk myths, and disempower fears. We believe the theatre can transform. We want to amplify voices which can reframe the conversation, to support and promote artists who can dispel myths and misconceptions. We want to change the way people think about abortion and reproductive justice. We want to hear the stories you want to tell.

In that spirit, the stories we hope to bring to the fore will be diverse in perspective as well as imagination. These plays may be personal and realistic, or they may be allegorical. They may be fantastic, sprung from dreams, or they may be grounded in naturalism. From the surrealist, to the literal. From magical realism, to documentarian. Whatever form or shape they may take, we hope to receive a wide range of works from all over the country, reflecting the great variety of experiences that reproductive justice demands we all recognize.

In highlighting these stories, we’re broadening the emotional vocabulary of the American audience, and opening up our theaters to a fuller and more honest exploration of the human experience.
Dates

Submissions will be accepted through August 31, 2021 Midnight EST.
Winners will be announced at the beginning of November.
Winning plays presented virtually in December


Criteria

Submit one-act plays about reproductive justice, including (but not limited to) the topic of abortion.
  • You may not edit your entry after submitting.
  • You may submit as many plays as you wish.
  • Plays must be no longer than 60 minutes (typically about 60 pages, double-spaced.) Plays longer than 60 minutes will automatically be disqualified.
  • Plays do not have to be as long as 60 minutes. They can be shorter. They can be as short as a single page if you feel that’s sufficient to tell your story.
  • Please submit your files in PDF only.
  • Plays in languages other than English will be accepted as long as an accompanying English translation is also provided.
  • Plays should include a cover page that includes the name of the playwright, and all relevant contact information, including representation, if applicable.

Winners

A qualified Jury of accomplished theatre professionals and experts in reproductive justice will read and assess all entries.

Only the winner and runners up will be contacted directly by AisFor once the jury has made its decisions.


Grand Prize will be awarded to one play which will receive $5,000
The Second Place winner will be awarded $3,000, and the Third Place winner will be awarded $1,500.


All three plays will be presented as rehearsed readings during our virtual festival in December 2021.


Support

If you have any questions about the contest or the entry process, please email: contest@aisfor.org

SUBMIT TO CONTEST

Monday, August 2, 2021

Diez Minutos Festival 2022 seeks 10-minute plays

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Deadline: December 1, 2021

Players Workshop seeks plays for its Ninth Annual International 10-Minute Play Festival, Diez Minutos. This fully-staged festival will be in English and will take place in March of 2022 in the international arts center of San Miguel de Allende, Mexico — a World Heritage Site brimming with charm, history, and culture. San Miguel was recently voted Conde Nast Traveler Magazine "Best City in the World.” In 2017, readers of Travel – Leisure Magazine voted it the #1 city in the world to visit.

There is no fee for submitting. 

Each playwright whose script is selected and performed will receive a $25 USD cash honorarium and two complimentary tickets to the production. One play will be selected as the Audience Favorite and its playwright shall receive an additional $25 USD cash award. No other remuneration will be provided. Any playwright attending must do so at his or her own expense.

Submission Guidelines

Only one play may be submitted per entrant. Send us your best!
Scripts are generally not limited in subject matter or content, except no musicals or children’s plays, please.


Only the first 100 plays entered are guaranteed to be considered.
There must be no nudity, and suitability for performance before a general adult audience will be a factor in selection.

We’re asking for blind submissions again this year:
The play must be submitted by email, as an attached PDF file; your name must not appear on the script. A second separate attached PDF shall include all contact information for the playwright, including name, address, telephone number and email address. The two PDF files should be titled "Submission [Name Of Play]” and "Title Page [Name Of Play].” No Word files or other formats will be accepted.
The script must be in standard play format, with a title page, a character listing, the setting, props, and any technical requirements or other production considerations.

The play must be in English and no longer than 10 pages in standard format, with a calculated running time of no less than eight minutes and no more than twelve minutes.

Plays are restricted to 4 or fewer characters. Small casts are preferable, as the stage size is modest, with minimal set, props, sound cues, and costuming. Our talent pool is composed mostly of actors aged 40 and older. This will be a factor in selection.

The submitting playwright must own all rights to the play. The play must be unpublished, but may have had previous productions. If the play has had previous productions, a production history must be included with the submission of the title page.
Selection of plays will be at the absolute discretion of the judges. Players Workshop may disqualify, without reading, any submission that does not comply with these rules.

Selection of a play does not guarantee production. Producers may decline to produce a selected play because of casting, directing or any other consideration, in which case no payment will be due the playwright.

Notification is expected to be made no later than December 1, 2021. Only playwrights whose plays have been selected for performance during the festival will receive notification of acceptance. Playwrights whose plays were received in the first 100 submitted will receive first- round notification. Producers reserve the right to consider additional plays not received in the first 100.

Entering playwrights grant the producers of Diez Minutos permission to perform the play a maximum of twelve times during the Diez Minutos festival in March, 2022, and to make as many copies of the script as are necessary for production. All other rights remain with the playwright.

Submitting Your Play

Entries must be received prior to midnight U.S. Central Standard Time, August 31, 2021. No late submissions will be accepted because of transmission problems.
Please email your submission to: diezminutosfestival@gmail.com. Any inquiries should be sent to the same address.

Thanks, in advance, for helping us to make Diez Minutos 2022 a great success. We look forward to reading your entry.
Players Workshop San Miguel de Allende, Mexico
Producer of Diez Minutos 2022

11th Annual National Jewish Playwriting Contest

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Deadline: August 15, 2021

Submissions are accepted on a rolling basis, but the current review cycle closes on August 15, 2021. Plays submitted after this date will be held for the next cycle.

Full guidelines can be found at www.jewishplaysproject.org/guide. Please note that while we accept plays in many formats, we prefer the Dramatist’s Standard Format.

We are currently seeking unproduced full-length (65+ minutes) plays and musicals that focus on aspects of 21st Century Jewish identity, culture, and ideas, and the complex and intersectional nature of contemporary Jewish life.

While we value history, we will always lean toward plays that tackle vibrant strands of today’s world: social, racial and economic justice; strong women in Jewish life; diverse stories of Jews of Color; LGBTQIA inclusion; new perspectives on Israel, environmentalism, and interfaith relations in addition to deep conversations about our complex and multifaceted identities.

There is no submission fee (because those suck). Writers may submit more than one script. Submissions from previous years are accepted, particularly if there is a new draft of the script.

The following must be true of a submitted play or musical:

1. It contains significant Jewish themes, characters, content, or points of view.

2. It does not deal directly with the history of the Shoah or the World War II period generally.

3. It does NOT fall into the beloved category of "ethnically stereotypical comedy".

4. It is in English, or primarily in English – we love plays that play with languages.

5. It is full length, meaning over 65 minutes or 60-70 pages.

6. It has not had a full production in the NY Metro region, or a major regional theater (LORT C or above).

7. The play has never been published in any form.

Submitted plays and musicals will be considered for:

§ Jewish Playwriting Contest: our national, community-powered search for the most exciting new Jewish plays;

§ Artist Shabbats: small-group, private sessions focused on one new play;

§ Renegade Readings: rapid response readings for new plays in critical stages of development.

§ NYC Readings: public and industry presentations in prominent NYC venues of new plays and musicals that are ready for production;

§ Jewish Musicals Cabaret: a brand new, still-forming celebration of the form.

§ OPEN: Festival of New Jewish Theater: our ever-changing showcase of new work.


For more information, or any writing or submission questions, email heather@jewishplaysproject.org.

Sunday, August 1, 2021

Women's Playwrights Circle @ Speranza

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Deadline: August 10, 2021
Or when we've received 100 applications

SUBMISSION FORM

This is the application form for the NJ Women's Playwrights Circle (September 2021 to August 2022). All women-identified playwrights who reside in New Jersey, NYC, NY, Connecticut or Pennsylvania are welcome to apply. To be explicit, BIPOC, trans, cis and gender fluid women and those who identify on the spectrum of woman are welcome to apply.

The first 100 applications will be considered for a spot in this year's Circle. Out of those who apply, 10-12 playwrights will be chosen to participate. Participation consists of attending 36 mandatory weekly (mostly) meetings to share pages, receive feedback and to develop their work. The summer session will focus on readings of full-lengths that may/may not be open to the public, depending on the determination of the playwright and the program's director. After this year's 36-session year, participants will step down to make room for new cohort for the September 2022 to May 2023 season.

The deadline to apply is August 10, 2021 or when we've received 100 applications.

There is no fee to apply and no fee to participate.

Depending on the geography of the group, we will either meet on Zoom, in person or in some combination of the two.

Any questions about the Circle or about this application process should be directed to Pandora Scooter, Founder/Director at pandorascooter@gmail.com.

Every effort will be made to create as diverse a group of writers (based on race, gender identity, class, ability, background, education, etc) as possible. Please be sure to be particularly specific about all the ways in which you identify, to help us with this very important goal.

Speranza Theatre Company's mission is to create thought-provoking collaborative theatre centered on women’s issues, providing an opportunity for artists, particularly females, to share their voices through challenging and entertaining theatre based in honesty and truth.

Speranza Theatre Company is a non-profit women's theatre company and member of the New Jersey Theatre Alliance. Founded to provide an opportunity for artists, particularly females, to share their voices through entertaining and challenging theatre, Speranza presents professional theatrical performances, free readings of new works, and educational programming. https://www.speranzatheatrecompany.com/about

SPIDER® magazine for ages 6–9 seeks plays for Outside of the Box

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Deadline: August 15, 2021

SPIDER®, a literary magazine for children, features fresh and engaging literature, poems, articles, and activities for newly independent readers. Editors seek energetic, beautifully crafted submissions with strong “kid appeal” (an elusive yet recognizable quality, often tied to high-interest elements such as humor, adventure, and suspense). 

We have particular interests in stories that explore themes of identity (gender expression, ability, race and ethnicity, family structure including LGBTQAI+ and single parent homes, neighborhoods, beliefs, and traditions); global cultures and languages (current needs include South American, African, and Middle Eastern countries, island nations, and Native American nations); scientific and technological exploration and innovation; magical or interplanetary landscapes; cities and metropolitan areas; real kids doing real things; weird and sometimes gross stuff; and the creative spirit.


Outside of the Box

Deadline: August 15, 2021

At Spider (for ages 6-9), we love contemporary stories and poems, but we are excited to read more material that falls outside these popular categories. This might be plays, science fiction, or historical fiction and nonfiction. It might be simple, but inventive, activities like recipes, games, crafts, magic tricks, science experiments, or silly quizzes. It can be anything that defies categorization. We also enjoy stories or poems with accompanying hands-on activities or nonfiction components. Manuscripts must be 1000 words or fewer. Activities should be one to two pages and include reference photos.

Guidelines

Before submitting, be sure to familiarize yourself with our magazines. (Sample copies are available for viewing at the Cricket Media Store, or you can order a current issue by calling 800-821-0115.) Issues are also available at many local libraries.

Fiction Stories and Plays

We seek fiction of all kinds: fantasy, folk or fairytale, sci-fi, historical, humorous, or realistic. Whether the setting is long-ago or contemporary, or the protagonist is a shy newcomer, clever trickster, class clown, fantasy creature, or superhero, characters and the worlds they inhabit should be complex and believable. Plays should have 2–6 characters so that a child could feasibly perform the play at home with family or friends.

Length: 300–1000 words

Saturday, July 31, 2021

American Woman playwriting fellowship

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Deadline: August 7, 2021

Submissions for our playwriting fellowship, American Woman, are now open!

American Woman is an on-going theatre development and presentation project comprised of solo shows by and about women in the United States. It has two primary components:

1. Lab – solo pieces conceived and developed from proposal to performance draft.
2. Public Presentation – presentation with production elements for a paying public.

This project speaks to the broad and varying definitions of those two words: American Woman – regardless of whether or not these words are used individually or in tandem. The project aims to examine American women through varying lenses, be it historical, cultural, racial, or political. It’s an exploration that’s especially relevant now since we’re arrived at a moment in our country’s history when there is a clear legislative push to narrow or limit the definition of both the word “American” and the word “woman.” American Woman will include solo shows and plays by women of different races, places of birth, religions, cultures, gender identifications, ages, physical challenges, and classes. Our project will resist narrow definitions, encourage inclusivity, and contribute to positive discourse.

The development phase of American Woman is executed through a monthly four-hour workshop facilitated by the project leader and project dramaturg. Brainstorming leads to text that receives review and critique before graduating to table reads of early drafts. At each session, writers are given dramaturgical notes and encouraged to revise their work for the next session. Emphasis is put on expressing characters through action, dramatic structure, and story theory.

By resourcing playwrights of color and women playwrights from the early developmental phase all the way through to a full production, the DQT realizes its mission to produce work written by playwrights from these underrepresented groups. Additionally, by donating blocks of free tickets to educational enrichment programs including Girls Write Now, Urban Art Beat, TEAK, and Harlem RBI, we continue to encourage diversity in our base audience, which is an equally vital component of our mission.

The application deadline is August 7th, 2021. Interviews will be conducted throughout August, and selected candidates will be notified August 31st. Due to the high volume of applications, only selected candidates will be notified of their acceptance. But on behalf of all of us here at DQT, thank you for sharing your work with us!

Strange Trace Stencils 2022: Thresholds

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Deadline: August 1, 2021 11:59 EDT

Strange Trace is pleased to announce our second annual Stencils Festival! We’re seeking proposals for short (up to 20 minute) works of chamber opera to be workshopped and produced by Strange Trace throughout our 21/22 season for inclusion in the Stencils Festival, to be held in the first weekend of June, 2022. If you’re a composer, librettist, playwright, or theater-maker and you’ve got an idea for us, we’d love to hear from you!
Theme

This year, the theme for Stencils is Thresholds! We’re looking for works that creatively engage with the theme in a variety of ways—literally, figuratively, metaphorically, surreally, metaphysically, etc.—so have fun with it. A threshold can be a door, a limit, a point of no return, a place of change, a veil, a plane of transformation—we’re looking forward to seeing the imaginative ways we can represent this theme through music and theater. 

Who Can Apply

Stencils is open to anyone. Artists of all ages and nationalities are eligible to apply. Proposals can come from composers, librettists or composer/librettist teams—we use those terms as a convenience, simply meaning “music maker” and “word writer”—so even if you haven’t previously considered yourself an “opera person,” or even a traditional composer, we’d love to hear your proposal!

Artists of underrepresented identities are especially encouraged to apply.

Applicants need not be in the Boston area, as there will be the possibility for fully virtual participation from composers and librettists.

We are a small, self-started company gearing up for our second season. All artists selected for Stencils will be given an honorarium. The exact amount is not yet determined, but will be communicated in writing prior to accepting the commission.

What We’re Looking For

We love theatrical works of any style. Proposals should be for works under twenty minutes. A few things to bear in mind:

The exact format of the festival is not yet set—there may be a combination of digital and live presentations (TBD pending practical and safety concerns), so proposals should have a degree of flexibility in that regard

Stencils shows will be cast from Strange Trace’s five singer/actor members

Proposals with casts of 1-3 are especially encouraged

We will work with composers/librettists on casting, but all final casting decisions will be made by Strange Trace

The instrumentation available for the festival is not yet determined, but will be set by Strange Trace before the composition process begins

Works for open instrumentation and unaccompanied works are great, too!

Piano may not be available, but our keyboard player, Greg, has an awesome variety of electronic keyboard instruments!

Use of electronics is possible, with the understanding that the composer should be able to provide us with all the tools we need

We’re looking for shows that engage with our mission and values

You may submit a work that you have already begun working on, with the understanding that it will be tailored to fit Strange Trace through the development and production process of Stencils

Our first Stencils Festival wraps up on-demand viewing July 4-6th; if you didn’t catch it, we will be posting excerpt videos on our website soon. Our website and YouTube channel include other video productions, and applicants are encouraged to take a peek and see what we’re about!
The Application and Review Process

The application process has two rounds. For the first round, please fill out the corresponding Google Form, linked below, which will collect some basic information about you and your idea. The round one form is due by August 1st (at 11:59PM EDT). Artists can apply in one of four ways:

An individual composer/librettist (one artist who will write the words and the music)

A composer and librettist team (two artists who are proposing a work together)

A composer looking to be paired with a librettist (one artist who will write the music, and would like to meet an artist to write the words)

A librettist looking to be paired with a composer (one artist who will write the words, and would like to meet an artist to write the music)

Last year, we produced works from each of those categories, so please don’t hesitate to apply if you’re looking to be paired with a collaborator!

Each application will be read by Strange Trace members, scored, and discussed in group meetings to determine which proposals move to the second round. In the second round, in addition to requesting samples of your work, we will have specific questions for your proposal which came up in our discussion from round one.

From round two, a small group of finalists will be selected for interviews, which will help us determine the shows we will produce. These interviews will be held virtually, and will be scheduled during round two of the application process. We’ll make sure you have everything you need beforehand—we just want a chance to meet you and get to know you a bit!
The Production Process

Each selected work will be paired with a Strange Trace member who will serve as the project lead, and will help guide the show through a workshop process tailored specifically to each show, which will include events like table reads and discussions, brainstorming sessions, semi-staged libretto readings, score readings, rehearsals and coachings, and eventually the production itself! While there may be some in-person participation possible, all events will be able to be fully attended virtually. Below, you’ll find a rough timeline which, while subject to change, will give you an idea of the scope of the development process.
Timeline

Please note that this is our current plan, but it is subject to change—particularly pending safety concerns. We will be very communicative about scheduling.

JULY 1st: Stencils Festival 2022 Call for Proposals opens

AUGUST 1st: Round 1 form closes at 11:59PM EDT

SEPTEMBER 1st: Proposals selected for round 2 are notified and materials are requested

SEPTEMBER 8th: Round 2 materials are due

SEPTEMBER 30th: Finalists are notified and interviews are scheduled

OCTOBER 8th: Winners are selected and notified

OCTOBER/NOVEMBER: Libretto writing and workshopping

NOVEMBER/DECEMBER: Score writing

JANUARY: Score draft reading and workshopping

FEBRUARY: Rehearsal score due

FEB/MARCH/APRIL: Music learning, rehearsals and coachings

MAY: Staging rehearsals and/or filming

JUNE: Stencils Festival!
Questions

If you have any questions about Stencils or the call for proposals, please email us at strangetraceopera@gmail.com

Stories Found seeks submissions for podcast

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Got a funny story to share? We're actively seeking featured storytellers for the Stories Found podcast!

Each episode features weird, funny, and mostly true stories from... writers, playwrights, storytellers, and YOU.

What We're Looking For

We want your off the wall, absurd, and hilarious stories. The odd situations that you stumbled into the middle of, your weird encounters with other humans, or your embarrassing, but cathartic moments. We want to hear all about it!

Look, it's been a long pandemic and we're trapped at home in Austin, Texas, and we're tired of hearing our own stories. SEND US YOURS!

We love stories, but we're also happy to accept your funny 10 minute plays, sketches, poems, etc. If it's funny and can be recorded, we want it. Send it to submissions@storiesfound.com

How Does This Work?

1. Submit your story to us at submissions@storiesfound.com

2. If your story is a great fit, we'll reach out and tell you how awesome and funny you are.

3. Record your story.
You can record your story on your own and send us the file (we can help!)
OR, we will help you record the story, play, or sketch via an audio-only Zoom session.
OR, If you have a recording from a prior performance, we can use that too (as long as you own the rights) and will be happy to get it podcast-ready for you.

4. We'll set up a time for a short recorded interview about you and your story.

5. That's it, you're famous now.

Frequently Asked Questions


Do I need to be a professional writer or storyteller to submit a story?
Nope! Some of the funniest stories we've ever heard have come from people with no background in writing or performance.

My story is funny, but also serious. Is that okay?
Of course! Just because a story is funny doesn't mean that it can't have a heart or an important lesson was learned. Send it over!

Do you want me to submit a summary or a fully written story? What file type?
Either is fine. We prefer to see a full story, but a summary is fine as long as you can let us the know the overall arc and why the story is funny. Feel free to submit your story in the body of the email or as an attached Word file or PDF. We're also willing to listen to audio files. Send us a link to it or let us know if you have a large file and we will tell you how to get it to us.

Am I telling the story live to you while you record it?
Not unless you want to! Most stories are recorded on your own time, in the privacy of your own home and then sent to us. It's so easy. Do it in one take or 50, it's up to you.

Can I send you a prior recording of one of my stories/performances?
Yes! As long as you own the rights to the recording (or can get permission), then we'd LOVE to use your prior recording.

Can I have an audience while recording my story?
Sure! Feel free to record your story in front of other people and bask in their laughs and applause, OR if we are helping you record your story, we can include a few extra people in the Zoom session as an audience.

Never told a story before and you need help or encouragement?
No problem! Ava is a public speaking/performance coach and she'd be happy to give you some free pointers. We can walk you through the process from outline to recording. You can do this! We want your story! Email Ava at hello@storiesfound.com

Got a question we didn't answer?
Contact us!



The Robert J. Pickering / J.R. Colbeck Award for Playwriting Excellence

web site

Deadline: December 31, 2021
Coldwater, Michigan

This annual award was established to honor past member and playwright, Bob Pickering, and to provide a vehicle for playwrights to see their works produced. Over 30 plays have been produced over since 1984. In 2020, the award was renamed to also honor longtime BCCT member and Pickering director, J.R. Colbeck. $200 is awarded for first place, $50 for second place and $25 for third place.

Full length, unproduced plays and musicals. Children’s plays accepted. Unable to return without a self-addressed stamped envelope.

Selection Process:

Chairman and committee members read and review each entry and select ten finalists from which the first, second and third place winners are chosen.

Production:

Branch County Community Theatre reserves the right and agrees to produce the first place winner in this yearly competition. First place winners are required to sign a production contract.

Production House:

BCCT productions are staged in the historic Tibbits Opera House in Coldwater, Michigan. Built in 1882, Tibbits is a completely restored 500-seat proscenium theater.

Send submissions to:
Branch County Community Theatre
14 S. Hanchett St.
Coldwater, MI 49036

Friday, July 30, 2021

Ensemble Playwright Lab (EPL) is a residency program for NYC-based playwrights

web site

Deadline: August 23rd, 2021

The Ensemble Playwright Lab (EPL) is a residency program for NYC-based playwrights to engage with Letter of Marque's (LOM) ensemble of actors, musicians, dancers, designers, and dramaturgs to create, develop, or reimagine a piece of work. This experimental process of creation and development is designed to welcome the playwright into the rehearsal room through active participation in devised and improvisational explorations. The goals and outcomes of each residency are mutually determined by both LOM and the playwright.

Playwrights are chosen using an anonymous submission process. Each entrant is asked to create an alias so as to mask their identity. Entrants are also required to omit all mentions of names of previous collaborators and the titles of their previous work. The anonymized submissions are then read by a panel consisting of Lynde Rosario (Literary Manager of the Denver Center for the Performing Arts), Lea Marie Heller (Resident LOM Dramaturg), LOM Co-Artistic Directors Nolan Kennedy and Scarlet Maressa Rivera, and Guest Dramaturg, Myjoycia Cezar. Finalists are scheduled for interviews to determine the participants in this year’s Ensemble Playwright Lab.
This season, LOM will be exploring the theme of ADAPTING.

For the second season, LOM will proudly offer a $500 honorarium to each playwright chosen for a residency.

There will be two residencies: Fall (Oct.-Nov.) and Winter (Feb-March). Each residency will consist of 7 consecutive sessions to develop a work with the LOM ensemble. At the end of each residency, there will be a public showing and a facilitated post-showing talkback with the audience, playwright, and cast.

All meetings, rehearsals, and showings will take place in person in Brooklyn, NYC unless otherwise arranged.

LOM is striving to amplify more BIPoC and LGBTQA+ voices. Playwrights from these communities are encouraged to apply.

NOTE: This is an annonymous submission process.
Do not mention your real name, the names of companies or artists you've worked with, or titles of plays you've written in your submission. Doing so will get you disqualified!

If you have any questions, please email: lomsubmissions@gmail.com to contact a non-adjudicating member of the team.

Eligibilty

The EPL is open to playwrights...

-who currently live in NYC
who are able to attend all required sessions
-at any stage of their career
-wishing to work on a previously written piece OR wanting to create something new with the LOM ensemble
-age 21 or older

If you have submitted to the EPL in the past, please feel free to submit again!


What we are looking for:
The purpose of the Ensemble Playwright Lab is to build a relationship between a playwright and the LOM ensemble, and to explore/allow for/create new ways of collaboration. This program is intended for artists who identify as playwrights and want to improve their craft as well as their work. Yes, there will be public presentations at the end of the residency. However, what gets presented will be based on the interest and goals of the playwright. Letter of Marque’s mission is to spread ensemble culture, through responsive, inclusive, and accessible theater, and to engage individuals in collective success and meaningful dialogue.

What Does It Cost the Playwright:
There is no monetary charge or fee to participate in the Ensemble Playwrights Lab. We ask for their time, dedication, talent, and energy!

Important Dates
Due to the intensive nature of this program, only applicants who are able to attend all required dates will be considered. 

Independent International Award for Improper Dramaturgy «Neem-2021. Turquoise edition» (all kinds of plays)

web site

Deadline: September 2, 2021

1. Goals and objectives

The «Neem» award was created to support and identify underground dramatic waters.

2. Organizers

Jenya Stashkov, Performance-troupe «Vibrating body»

3. Nominations

Awarded one prize in the nomination «A play that no one will ever agree to stage»

4. Prizes

The author of the play-winner will receive a cash prize: 2000 rubles.

The best plays will be staged in the format of reading, sketching or performance by Performance-troupe «Vibrating body».

5. Requirements for the submitted works

Formal requirements are absent.

There are no linguistic and geographical limits.

The author should provide personal information:

Name+Surname (or nickname), country and city

Plays should be sent to: pos.vostok@gmail.com


6. Terms of holding

Terms for the reception of plays: May 5, 2021 – September 5, 2021

Summing up: October – December 2021.

All information on the prize will be published on the website: https://vibratingbody.jimdofree.com

7. Copyright

All the rights to plays remain with the authors.

8. Back to the glorious past

FIRST NEEM

SECOND NEEM

THIRD NEEM

Thursday, July 29, 2021

THE HENLEY ROSE PLAYWRIGHT COMPETITION FOR WOMEN 2021

web site

Deadline: August 31, 2021
The first 250 submissions to be received between July 1st until August 31st will be considered.

$22 submission fee will be waived for current members of the Dramatists Guild. Please include a scan or photo copy of your current membership card with your script for verification.

The Henley Rose Playwright Competition for Women was founded by Yellow Rose Productions, with permission of Beth Henley, to encourage and recognize the new works of female playwrights. The Henley Rose Playwright Competition for Women aims to give voice to the stories of this generation and to bring into the spotlight important works that have been crafted.

The Henley Rose Playwright Competition for Women seeks to honor both the writings of Pulitzer Prize winner Beth Henley and those of future winners of the Henley Rose Award.

Submissions are welcome from July 1st until August 31st and will be read by a committee of writers, theatre artists, and producers.

A small group of finalists will be announced in May, 2022. The First, Second, and Third Place winners will also be announced by the end of May, 2022, and will receive the Henley Rose Award. In addition, submission fees will go toward creating a cash prize for the winners of the Henley Rose Award. Information on the Henley Rose Staged Reading Series will be announced at a later date.

Please note, we are unable to provide feedback on scripts that are submitted.

GUIDELINES
  • Submissions must be completed, full-length or two-act plays. No one-acts, please.
  • Submissions must be the original work of the submitting female-identifying playwright.
  • Submissions may not have been previously produced or fully staged.
  • Submissions are due by August 31st, 2021 and must include all of the submission materials to qualify.
  • One script may be submitted per applicant.

SUBMISSION MATERIALS
Completed Registration (Click Here for Registration)
Script
Payment: $22 submission fee. Submission fees will go to create a cash prize for the winner of the Henley Rose Award. ($22 submission fee will be waived for current members of the Dramatists Guild. Please include a scan or photo copy of your current membership card with your script for verification.)
All applicants may choose to submit scripts and/or payment via snail mail (checks made payable to Yellow Rose Productions):

Henley Rose Competition
1321 Raleigh Avenue
Knoxville, TN 37917

All applicants may choose to submit materials via e-mail for an additional $10.00 printing fee. E-mail submission materials may be sent to henleyrosecompetition@gmail.com.

At the completion of your registration form you will receive a an e-mail confirmation with additional instructions. If you are choosing to submit electronically, please attach your script as a response to this email confirmation. If you are planning to submit via snail mail, please respond to the confirmation e-mail to let us know when your script is on its way.

If you do not receive a confirmation e-mail within a few minutes of submitting your application, please check your SPAM folder and make sure to add henleyrosecompetition@gmail.com to your contacts to be sure we are able to reach you!

Please note that your submission is not complete until all submission materials (application, script, and payment – if required) have been received. Submissions via snail mail must be postmarked no later than August 31st, 2021. Should the submission cap be reached before August 31st, 2021, the application will no longer accept new submissions and an announcement will be made. Any accidental payments made past the 250 script cap are fully refundable.

Feel free to contact us with any questions at henleyrosecompetition@gmail.com.

The Breath Project 2021

web site

Deadline: August 31, 2021

SUBMIT YOUR PROJECT

Submissions must be a recording of a live performance of original work that has been created in the past year, and must be 8 minutes and 46 seconds in length;

Submissions will be accepted from artists of color who reside in the United States (work submitted by artists under the age of 18 will be considered in a youth category);

The deadline for consideration for the 2021 Virtual Festival is August 31. The archive submission process is currently open-ended (there is no deadline to submit to the archive only).

All submissions received by August 31 will also be eligible for consideration for a 2022 New Play Commission award (up to $17,000 will be awarded to a single project, or smaller amounts to multiple projects).

We strongly recommend that you read the Frequently Asked Questions, and check the list of Partner Theaters to see which theaters are able to offer space and other resources.

Wednesday, July 28, 2021

Call for 10-minute plays: “Bewitching” by The Lionheart Theatre Company

web site

Deadline: July 31, 2021

The Lionheart Theatre Company is looking for interested playwrights to submit short, 10-minute plays for consideration for Lionheart’s October Halloween play festival “Bewitching.”

Please note that “Bewitching” will be a live, staged performance. Lionheart is looking for plays that focus on common “spooky” themes, such as horror, the paranormal, the macabre, and general chills and thrills appropriate for late October.

“Bewitching” is intended for audiences 16 and up, so please keep that in mind when submitting scripts.

“Bewitching” will run for four performances, October 21-24, 2021. Selected playwrights will receive $40 royalties to cover the entire run.

Submission Requirements:
– Submitted scripts must be approximately no more than 10 minutes in length when performed.
– Submitted scripts should be for 6 actors or less.
– Submitted scripts can be new or previously produced.

Interested playwrights should submit scripts to Brandi Kilgore by emailing: brandi.kilgore@gmail.com.

Deadline for all submissions is midnight on Saturday, July 31st, 2021.

Playwrights will be notified by Saturday, August 7th, 2021 if their play has been selected to be part of “Bewitching.”

Three Rivers Theatre Company seeks faith based and/or family friendly plays

web site

Deadline: August 31, 2021
    Three Rivers Theatre Company, a non-profit community theatre, based in East Tennessee, has launched a somewhat different kind of playwrighting contest. It is one in which they are looking for faith-based or family-friendly plays.

  • Each playwright may only submit one (1) play for consideration.
  • All entries should be original, unpublished and previously unproduced material.
  • We are ONLY asking for faith-based and/or family-friendly dramas or comedies to be submitted.
  • Submissions should be properly formatted, full-length plays with an approximate running time of no more than two (2) hours.
  • Musicals will not be considered at this time.
  • A unit set is preferred (the entire play takes place in one location with minimal set changes).
  • Please limit the number of characters to eight (8) or less.
  • Number all pages of the script.
  • Scripts should be securely bound or stapled in the upper, left-hand corner.
  • Two (2) copies of the script must be submitted by U. S. mail ONLY (no digital entries will be considered.)
  • All entries must be postmarked by August 31, 2021.
  • Winners will be notified on or before October 15, 2021.
  • Be sure to include your contact information on the title page of the script (including name, telephone number, email and mailing addresses).
  • On the first page following the title page, please provide a one paragraph synopsis of the play followed by a list of all characters, with a brief character description.
  • Scripts will not be returned.
  • Submissions will be narrowed down to no more than ten (10) entries by the Three Rivers Theatre Company staff, with the final winners being selected by a committee of judges consisting of theatre and other professionals who possess a strong passion for playwrighting and original works. (A complete list of judges will be posted on or before July 1, 2021.)
  • There is no entry fee.
Mail hard copy submissions to:
Three Rivers Theatre Company
820 Trenton Street
Harriman TN 37748

Tuesday, July 27, 2021

New Visions seeks full-length plays

web site

Deadline: September 1, 2021

New York Classical Theatre, an AEA, Off-Broadway Theatre, is expanding its repertoire beyond the classics and launching its first-ever new play competition: New Visions.

The vision statement of NY Classical affirms that we “believe that everyone—regardless of social, economic, or educational background—should have the opportunity to enjoy live professional theatre together as a community.”

We recognize that the historic theatrical canon from which American theatre derives its “classics” has a long history of violence, oppression, and erasure of bodies, identities, and voices that are not white, not male, not cis-gendered, not heteronormative, and/or are not able-bodied.

In an effort to expand our mission to address this erasure, NY Classical is embarking on a three-year initiative to develop two new, original plays for production in our 2024 and 2025 seasons. We are seeking plays that explore new ways of viewing the “classics,” expand our ideas of what “classics” can be, and challenge the power structures that undergird the notion of “classics.”
These New Visions can include, but are not limited to…

Adaptation/Translation. Examples include: Cherrie Moraga’s The Hungry Woman and Herbert Siguenza’s El Henry.

Response/Subversion. Examples include: Branden Jacobs Jenkins’s An Octoroon and Tom Stoppard’s Rosencrantz and Guildenstern are Dead

Prequel/Sequel. Examples include: Lucas Hnath’s A Doll’s House, Part 2

Plays that engage with history and bring forgotten events to life. Examples include: John Guare’s A Free Man of Color and August Wilson’s Gem of the Ocean

Plays that engage with written stories beyond the stage, including novels, poems and poetry collections, and journals that exists in the public domain. Examples include: Kate Hamill’s Pride and Prejudice and Kristin Laurence’s Little Women

Plays that derive from oral histories, rituals, and other forms of creating, knowing, remembering, and documenting the world beyond the written word. Examples include: Ondinnok’s Rabinal Achi and SPAC’s Tenshu Monogatari.
For Phase One of New Visions, we will select 8 quarter-finalist plays.

During 2022, each selected playwright will receive:

An invitation-only studio reading by a professional director and professional actors

A conversation with our Literary Director to discuss the play and determine how to structure feedback to best serve the playwright’s goals

Targeted feedback from our invited audience of the theatre’s board, staff, and community members.

A $200 stipend

A script review by our Literary Director following the reading and revisions by the playwright.

For Phase Two, based on feedback from the invited audience, the development of the work, and the opinions of our Literary and Artistic Directors, at least four of the eight plays from Phase One will be invited to continue developing their work with NY Classical. 

During 2023, each continuing playwright will receive:

A full, public staged reading under Equity’s 29 hour reading guidelines.

Continuing conversations with our Literary Director to further develop the play.

A $300 stipend

For Phase Three, 2 of the plays from Phase Two will be selected to receive in 2024:

A one-week development workshop of their play with plans for a full production in our 2024 and/or 2025 seasons. This workshop will include a professional director and dramaturg chosen in conversation with the playwright.

Round-trip airfare and housing for the workshop.

A $70 per diem.

A $500 stipend.


We invite and encourage playwrights of all backgrounds, experience, and training to apply.

***We are especially interested in plays that engage histories and traditions from outside the European canon.*** 

***We are especially interested in works that challenge and contest the classical canon.*** 

Eligibility Requirements:

USA Based Playwrights Only.

Play must be primarily in English. Bilingual plays, including ASL, are encouraged.

Only plays that have not had a professional production are eligible. Scripts that have had readings, workshops, and university productions are welcome.

Plays must have an estimated run time between 70 and 150 minutes.

Plays must include a minimum of 50% characters from historically excluded groups.

We are not looking to commission a new play. We are looking to develop existing original works.

We are not accepting musicals at this time. However, plays with music are okay.

Please submit the following as one .pdf titled “LAST NAME – TITLE OF PLAY” to literary@nyclassical.org:


Your name

A 100-200 word synopsis of the play

A character breakdown that describes the minimum 50% characters that are from historically excluded groups as defined in the opening paragraphs of this call.

A brief statement (as short as one sentence) of how this play is in conversation with an idea of “classics”

The first ten pages of dialogue from the play you would like considered.

Please put “New Visions - Submissions - (your last name)” in the subject line

Please do not send complete scripts unless requested.

Submissions close September 1, 2021.

We contact shortlisted playwrights for complete scripts by November 8, 2021.

The eight Quarter-Finalists will be notified by January 15, 2022.

We look forward to reading your work.

The Ten-Minute Musicals Project 2021

web site

Deadline: August 31, 2021

Annual Competition Guidelines

Since the inception of The Ten-Minute Musicals Project, over sixteen hundred submissions have been received, from librettists, lyricists and composers in seventeen nations: Australia, New Zealand, Canada, the United States, Uruguay, Ireland, England, Scotland, France, Denmark, Germany, Italy, South Africa, Egypt, Israel, Saudi Arabia, and Ukraine.

Stories 1.0 is the full-length musical comprised of works selected in the first several rounds. Several works in Stories 1.0 were workshopped in San Francisco, New York City, Miami, and Nashville over the years. Individual segments have been independently workshopped in Dallas, Chicago, London, and Boston.

SEEKING: Complete original stage musicals which play between seven and twenty minutes. Works which have been previously produced are acceptable, as are excerpts from full-length shows, if they can stand up on their own.

MUSICAL STYLE AND THEATRICAL FORMAT: Any musical style: pop, rock, C&W, show, opera, etc; or theatrical format: comedy, mystery, drama, etc.

CAST SIZE: Maximum of ten performers—five women and five men.

SUBMISSIONS SHOULD INCLUDE THE FOLLOWING:

1. A printed script. (Note: printed on paper; not sent as a computer file on disk.) And please make sure your POSTAL ADDRESS appears on it.

2. Lead sheets or piano score. (This need not be at all elaborate; very basic is fine.)

3. A CD or DVD of either the entire piece or just the musical material.

4. A stamped self-addressed large envelope if you want the work returned. (Submissions from outside the USA should enclose four INTERNATIONAL RESPONSE COUPONS to cover postage. These can be obtained at your post office.)

CONCERNING THE ABOVE, PLEASE NOTE: NO ELECTRONIC SUBMISSIONS -- HARD COPIES ONLY

DEADLINE: Simply postmarked by August 31st. (Do not waste money on overnight express, registered, or certified mail. All that's requested is that the package be postmarked by August 31.) Response will be by November 30th.

FINANCIAL REMUNERATION: $250/US royalty advance for each piece selected, with an equal share of licensing royalties when produced.

SEND TO:

The Ten-Minute Musicals Project
Michael Koppy, Producer
P.O. Box 461194

West Hollywood, CA 90046 USA
GENERAL CONSIDERATIONS“The enemy of art is the absence of limitations.” — Orson Welles

“The more restrictions you have, the easier anything is to write.” — Stephen Sondheim

The single most important piece of advice we can offer is to caution that it will surely take much time and effort to create a quality work. (Occasionally a clearly talented and capable writer and composer seem to have almost “dashed” something off, under the misperception that inspiration can carry the day in this format. But all the works selected in previous rounds clearly evince that considerable deliberation, craft, and time were invested.)

We’re seeking short contemporary musical theater material, in the style of what might be found on Broadway, off-Broadway or the West End. Think of shows like Candide or Little Shop of Horrors, pop operas like Sweeney Todd or Chess, or chamber musicals like Once on this Island or Falsettos. (Even small accessible operas like The Telephone or Trouble in Tahiti are possible models.) All have solid plots, and all rely on sung material to advance them.

Of primary importance is to start with a strong story, even if it means postponing work on music and lyrics until the dramatic foundation is complete. This is one reason we suggest (but do not require) that musicals be based on a short story, play, film, poem or teleplay—either in the public domain (usually meaning it was originally published more than seventy-five years ago) or for which adaptation rights have been obtained. (While we’d love to have pieces based on works by Gabriel Garcia Marquez, Rod Serling, or Stephen King, getting the rights to adapt a work still in copyright can sometimes be difficult. Stories by writers like Ambrose Bierce, Jack London, and Guy de Maupassant, among many others, are in the public domain and can be freely adapted.)

We prefer works using larger casts. If from six to the maximum of ten voices are used it’s a big plus. (Think “Production Number”.)

Fast-paced comedy material has an advantage.

If adapting a story, you might consider setting it in another time or place, or even changing the character genders.

We’ve found that fairy tales generally end up being too cute and trite.

A narrator often slows things down. Trust audiences to get the story through what characters say, sing and do. And it’s better for a character to share his or her reactions to what is happening than to simply describe events—we can see them unfolding with our own eyes.

Be wary of writing only introspective musical “moments,” as they usually stop the progression of the plot. Solo ballads should be thought of as icing on the cake, as you'll surely still need other sung material—much of it uptempo—which advances the plot in duets, trios, and production numbers.

Don’t worry if an idea seems “unstageable”. That’s what directors, designers, choreographers—and rehearsals—are for.

Finally, please understand that NONE OF THESE OBSERVATIONS ARE GOSPEL. They’re simply recommendations based on what we've learned from seeing works submitted previously. Given that, please take them seriously. However, nearly every one of these recommendations has been ignored by at least one of the works so far selected. In the end what matters most will be the idea and aim of your piece and how effectively they are realized.

Monday, July 26, 2021

CALL FOR PLAY SUBMISSIONS: DRAMA IN THE TIME OF COVID—AN ANTHOLOGY

web site

Deadline: August 1, 2021

Close to 8 million people worldwide have contracted Covid-19. 1 million have died. In the United States alone, over 200,000 have succumbed to this deadly virus, and counting. With no end to the pandemic in sight, the “new normal” involves lockdowns, social distancing, face masks, fear, and political strife.

More than any other creative genre, drama has suffered the hardest during the Covid-19 pandemic. With the closure of theaters worldwide as in plagues of the past, playhouses have been forced to find new ways to reproduce the magic of live theater by going virtual. For smaller venues lacking the resources, many have closed temporarily or permanently shuttered. For playwrights, this reality translates to fewer opportunities to showcase their work, and the virus places in peril the future of live theater and new works.

We seek an anthology to showcase works by playwrights examining Covid-19 in all its permutations. 

We are looking for dramatic works (short plays, performance pieces, monologues, etc.) from diverse playwrights worldwide that speak to the deaths, isolation, social, political, and economic upheaval that have followed in the wake of this pandemic. 

The anthology will be published by FlowerSong Press (https://www.flowersongpress.com/) in Spring 2022.

To submit, send new and un-produced scripts as attachments of no more than 25 pages to covidanthology@gmail.com by August 1, 2021. Include a 50-75 word 3rd-person bio in the body of your email. Plays that have had readings or workshops are acceptable. Format scripts as Microsoft Word or PDF documents only, and include a title page with contact information. Simultaneous submissions are okay but please notify us asap if accepted elsewhere. All accepted playwrights will receive a copy of the anthology upon publication.

2022 Object Movement Puppetry Residency Program

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Deadline: August 1, 2021 11:59 PM EDT

Object Movement is a CWP Residency Program for the development of new works by puppeteers and object theater artists. Curated by Maiko Kikuchi, Rowan Magee, and Justin Perkins, Object Movement supports the development of new work that addresses eternal human questions and the urgent challenges of our society today through puppetry and object theater, culminating in an annual festival of short performances.

We are delighted to be returning to the theater for the 2021-2022 Object Movement Residency & Festival! Residency meetings will be held on Tuesday evenings with a hybrid of in-person and virtual sessions, and the festival will be entirely in-person with live audiences if COVID safety conditions permit.

The Spring 2022 Object Movement Puppetry Festival is made possible in part by a grant from the Jim Henson Foundation and generous donations from people like you. Thank you for your support!

ABOUT THE RESIDENCY

For eleven weeks in Fall 2021 and eleven weeks in Spring 2022, a cohort of eight puppetry and object theater artists (or pairs or teams of artists) will meet to share progress on developing new work. Meetings will be on Tuesdays from 6:30 to 8:30pm and will be a mix of in-person and virtual sessions. In-person meetings will be held at the Center at West Park and virtual meetings will be held on Zoom. Meetings will be facilitated by the curatorial team, which includes Maiko Kikuchi, Rowan Magee, and Justin Perkins. The goal of these meetings is to provide supportive feedback for the artists and a useful but flexible structure for making and sharing work.

Each resident artist will develop a single piece over the course of the residency. There will be a work-in-progress showing for invited audiences at the second-to-last fall meeting on December 7. Completed pieces will be presented in a festival in the Center at West Park’s Sanctuary Theater March 28 through April 9, 2022. 

ABOUT THE FESTIVAL

The Spring 2022 Object Movement Puppetry Festival will take place over two weeks from March 28 through April 9, 2022 in the Center at West Park’s Sanctuary Theater. Each week will feature a different program of four original short pieces 10 to 15 minutes long. Each week will include a dedicated tech day for each of the four pieces, a dress rehearsal, and three performances.

The festival will provide a stage manager and technical director, a rep lighting plot, basic sound system, and marketing and box office services. Each lead artist or team will be paid 1/16 of the net box office proceeds or $100 (whichever is greater) at the end of the festival. 

IMPORTANT DATES

Applications open: July 1, 2021
Applications due: Sunday, August 1, 2021 at 11:59pm
Applicants notified: Monday, August 30
Fall residency meetings: Tuesdays 6:30-8:30pm from September 28 through December 14 (off Nov 23 for Thanksgiving)


Work-in-progress showing: Monday, December 7 at 7:30pm

Winter break: December 15—January 31

Spring residency meetings: Tuesdays 6:30-8:30pm from February 1 through April 12, 2022

Spring festival: March 28—April 9, 2022

Program A performances: Friday, April 1 at 7:30 and Saturday, April 2 at 2:30pm and 7:30pm

Program B performances: Friday, April 8 at 7:30 and Saturday, April 9 at 2:30pm and 7:30pm.

HOW TO APPLY

Online applications open on July 1 and are due by Sunday, August 1 at 11:59pm. Applications are open to all artists over 18 who live in the New York City metro area. Both experienced puppetry artists and puppetry beginners with experience in other disciplines are welcome. We are not able to accept applications from full-time students. You may apply as an individual artist, a duo, or a collective/company. Please submit only one application per artist.

We are seeking a diverse cohort of artists of different backgrounds and with different interests and experience levels within the realm of puppetry and object theater. BIPOC artists, LGBTQIA artists, and artists with disabilities are heartily encouraged to apply!

https://www.centeratwestpark.org/object-movement

PlayZoomers Seek Script Submissions

web site

Deadline: August 31, 2021

PlayZoomers, Inc., a leading U.S. online theater company, is seeking scriptssuitable for Zoom productions, for our upcoming season beginning January 2022. We produce live, monthly performances, featuring plays of different genres and lengths, with cast sizes ranging from 2 - 20. We are pleased to work closely with playwrights to adapt their work to a digital platform while reaching a new audience. Visit our website at www.playzoomers.org.

With 55 plays professionally produced virtually in 2021, and with the involvement of over 150 playwrights, directors, designers, and actors, PlayZoomers has become the leading nonprofit theater company for online productions, with an international community. We welcome theatre artists andaudience members of all ages, genders, and backgrounds.

We are looking for plays of any genre and length (ten-minute, one-acts, and full-length) that is suitable for Zoom productions. Playwrights receive a small stipend for their work if selected.

Send your script to playzoomers@gmail.com. The deadline for this round ofsubmissions is August 31, 2021.

On the first page, please include the title, author, estimated run time, and contact info. On the next page, please include a logline/brief plot summary and a detailed character breakdown, well as any production history (plays donot need to be new) and a short playwright bio.

Please format your script according to guidelines conceived by playwright Sam Graber. Guidelines can be found at https://samgraber.com/2014/12/08/how-to-format-your-script/

At the end of the script, please describe production details, such as sets,costumes, props, music, and sound effects.

We will acknowledge your script submission but will only reach out to those whohave been selected to move on to the next step.

Sunday, July 25, 2021

Radcliffe Fellowship

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Deadline: September 9, 2021

Based in Radcliffe Yard—a sanctuary in the heart of Harvard University—fellows join a uniquely interdisciplinary and creative community. A fellowship at Radcliffe is an opportunity to step away from usual routines and dive deeply into a project. With access to Harvard’s unparalleled resources, Radcliffe fellows develop new tools and methods, challenge artistic and scholarly conventions, and illuminate our past and our present.

Throughout the year, fellows convene regularly to share their work in progress. Coming from diverse disciplines and perspectives, they challenge each other’s ideas and support each other’s ambitions. Many say that it is the best year of their professional lives.

Our online application for the 2022–2023 fellowship year is now available.

The deadline for applications in humanities, social sciences, and creative arts is September 9, 2021.

The deadline for applications in science, engineering, and mathematics is September 30, 2021.
Prospective applicants are invited to join a Zoom session that will provide information on what makes a strong application to the Radcliffe Fellowship Program. 

The session will be held on June 30 at 4 PM ET.

The sessions will include introductory remarks by former fellows and past reviewers followed by Q&A.

Register to attend the session.

Please note that participation in these sessions is optional and in no way guarantees acceptance into the Harvard Radcliffe Institute Fellowship Program.


The Radcliffe Fellowship Program awards 50 fellowships each academic year. Applicants may apply as individuals or in a group of two to three people working on the same project. We seek diversity along many dimensions, including discipline, career stage, race and ethnicity, country of origin, gender and sexual orientation, and ideological perspective. Although our fellows come from many different backgrounds, they are united by their demonstrated excellence, collegiality, and creativity.

Explore the broad range of Radcliffe fellows’ projects.

We welcome applications from a broad range of fields and perspectives. The strength of our fellowship program is its diversity.

Radcliffe supports engaged scholarship. We welcome applications from scholars, artists, and practitioners proposing innovative work that confronts pressing social and policy issues and seeking to engage audiences beyond academia.

We welcome proposals relevant to the Institute’s focus areas, which include:
Law, education, and justice
Youth leadership and civic engagement
Legacies of slavery
Reflecting Radcliffe’s unique history and institutional legacy, we welcome proposals that focus on women, gender, and society or draw on the Schlesinger Library’s rich collections.

Interdisciplinary exchange is a hallmark of the Radcliffe Fellowship, and we welcome proposals that take advantage of our uniquely diverse intellectual community by engaging with concepts and ideas that cross disciplinary boundaries.

Radcliffe Institute Fellowship Program
8 Garden Street
Byerly Hall
Cambridge, MA 02138
fellowships@radcliffe.harvard.edu


The 2022 Diverse Voices Playwriting Initiative

web site

Deadline: August 1, 2021 by 11:59 p.m. CDT
Submission form

The 2022 Diverse Voices Playwriting Initiative welcomes submissions for full-length, unproduced plays by Black, Indigenous, and People of Color (BIPOC) playwrights in accordance with the mission statement of the Crossroads Project (see below). A diverse panel of judges including faculty, staff, students, and alumni will select one playwright as the winner.

The winning playwright will receive:
  • An invitation to Illinois State University in Bloomington-Normal, IL as a guest artist in residence for a one-week new play development workshop, culminating in a public staged reading. This residency will also include class visits and an all-School colloquium.
  • Travel (within the U.S.), housing, and meals during the residency.
  • An honorarium of $500 for the residency.

To be eligible to win, the playwright must be available for a one-week residency in late March 2022 (exact dates TBD).

The deadline for submissions is August 1, 2021 by 11:59 p.m. (central daylight time). There is no entry fee. We only accept electronic submissions in PDF format. Because our staff and resources are limited, we can only consider the first 100 submissions.

Please include in your submission:
  • A representative sample from your play up to 15 pages. This does not have to be the first 15 pages of the play.
  • A synopsis of the play (max. 250 words).
  • A character list with short descriptions for each character (age, ethnicity, gender, occupation, family relationships, etc.)
  • A playwright’s statement (max. 400 words). In the statement, describe your inspiration for writing the play, address where you are in the development process, and discuss how a workshop in a university setting can facilitate that process.

Please follow these guidelines when submitting your play:
Submissions must be:
  • A full-length play.
  • Musicals are not accepted. However, plays with limited music requirements are accepted.
  • The primary language of the play must be English.
  • There are no other restrictions in subject matter or style.
  • A playwright may only submit one play per year. The work must be submitted by the playwright rather than a literary agent or other third party.
  • Submissions must be the original work of the playwright, which may include adaptations of fictional or factual material. Translations of other playwrights’ work are not accepted.
  • The submitting playwright must be either the owner and controller of the copyright or provide written proof that they have acquired the legal right to use copyrighted material in their work.
  • Plays that have been produced or published professionally are ineligible for the competition. Plays that have been presented through staged readings, workshops, university productions, or community theatre productions are eligible.
  • A playwright may submit a play that they submitted in a previous year (including finalists) if there have been substantive revisions.
The Crossroads Project reserves the right to accept or reject any submitted play for any reason.

We will contact semi-finalists by the end of October 2021 and ask them to submit the full play.

The winning playwright will be notified by mid-January 2022.

Inquiries about the Diverse Voices Playwriting Initiative should be directed to:

Kee-Yoon Nahm, D.F.A.

Assistant Professor in Theatre Studies

Chair, The Crossroads Project

Email: knahm@ilstu.edu

Lost and Found Theatre New Works series open

web site

Deadline: July 31, 2021

In the pursuit of creating platforms for emerging artists and unique pieces, Lost and Found Theatre is thrilled to announce our new works series. Each month, a team of professional actors, directors, and designers across all backgrounds and locations will come together to tell new stories through the medium of virtual theatre. We will be in close collaboration with each artist and playwright, allowing for opportunities to develop the work further during their time with us on the digital stage.

Over the past year, virtual production has been a crucial way to keep the arts alive, connecting artists from around the world in acts of grief, healing, and storytelling. With live productions resuming in theatres, this medium now presents an exciting opportunity as a testing bed for experimenting with new works written for both stage and screen.

Submissions are now open for scripts of all lengths and genres! If you’d like to see your piece produced by LAFT during this exciting new season, submit through the Google Form here on our website.

2021 Playwrights and Artists Festival

web site

Deadline: August 15, 2021

It is that time of year again. We have chosen our artwork for the 2021 Playwrights and Artists Festival. 

We understand that times right now are vastly different for theatre productions. As of right now we are going ahead with this November’s festival. We will keep you updated via our website if any changes occur. 

We will also be offering our prizes for these categories.
  • $300 for Best of Festival.
  • $200 for Artistic Merit.
  • $100 for Audience Favorite.
The artwork will follow a refresher on the rules. 

1. The play must be inspired by one of the works of art below.
2. The play must be written between the dates June 10, and August 15, 2021.
3. The play length needs to be between 15 - 20 minutes
4. Cast size maximum, 5 characters. Set should be implied.
5. Plays submitted MUST be a complete play and must include a beginning, middle and an end and contain a conflict. Our judges will be adhering to strict parameters during the adjudication process.
6. Playwrights may only submit one play for the festival.
7. The playwright would need to attend at least one of the two weekend performances (which take place in November). In person is preferred but we have in the past skyped with playwrights. As our festival is starting to reach a greater number of people in wider locations, we feel that we must take this into consideration. We always hope our playwrights can attend in person and feel the energy and excitement of having their work performed onstage for the first time, but we understand that sometimes this is not logistically possible.
8. Plays must be submitted by midnight of August 15, 2021. This submission must include 2 copies of your play in either word or PDF, one “blind” version without name but including which artwork you were inspired by and one with a full title page. They must be submitted to binghamtoncitystage@gmail.com. Please submit a play in a fresh email, do not reply to this email. Please use the title of your work in the file name and whether it is the blind or named copy. This makes it easier on the person coordinating the files and sending them on to the adjudicators. We receive many plays and do not want anything to get lost in the mix. 

There are no exceptions to these rules. We love the idea of fresh work based on the inspiration of our chosen art. We choose our artworks carefully. We love to see where it takes our playwrights. Each piece of art has infinite possibilities of inspiration. We wish all good luck writing and cannot wait to see the results.
And now here are this year’s artworks.

Hannah Goldberg – “Eat More Chikin”




Mary Rose – “Stairway to Heaven”





Judy Irwin-Salton – “Family Picnic





Saturday, July 24, 2021

Musicals Now Festival

web site

Deadline: September 30, 2021 midnight EDT

Piper Theatre Productions yearly festival, Musicals Now is seeking submissions. Our first season, Prospect Hill, featured a new queer musical by Mark A. Galinovsky and Lily Ali-Oschatz.

One show will be selected to be the outdoor main stage show of our July 2022 summer season. We are currently looking for submissions.

One musical will be selected for production.

$3000 honorarium will go to Songwriter / Book Writer team or individual.

One play will be selected for second placement and if the winning play cannot be performed then an offer to the second spot. An honorarium of $300 will be awarded to the second place winner.

What we’re looking for...

The Musicals Now Festival is about development. Selected artists are expected to be part of the team; meeting with director and designers, attending casting sessions and rehearsals, and speaking with our summer youth education members about what it takes to put on a new musical.

We’re looking for vital and urgent stories to share, artists with great passion, and characters that touch hearts and challenge minds.

We’re seeking storytellers & musicians from all walks of life, all racial backgrounds, identities, neurodiversities, sexualities, ages. This festival strives to be open to all and aims to represent Brooklyn.

We’re particularly keen on projects that use strong elements of Physical Theatre that adhere to Jerzy Grotowksi’s Ten Principals as taken from the book 'Towards a Poor Theatre' by Grotowski pages 211 - 218.

Things to Consider...

Productions are budgeted at $35,000 which includes: six performances, a small band, professional sound with lavaliers, a director, a three week rehearsal schedule, full technical and design support.

Piper has worked under Equity Showcase Contract in the past. We’re not sure if Equity Showcases will be permitted next year as they weren’t this year.

We’re an outdoor theatre company situated in Washington Park, Park Slope at the Old Stone House in front of a reconstructed Dutch Farmhouse which interprets the first Battle of the American Revolution. All performances are performed against its stone backdrop. Make your play revolutionary! It’s a unique and special place.

Design Realities at Piper…

Sets: We usually use levels and set pieces to tell our stories. Shows with heavy set requirements aren’t our bag. We want to put our funds into people first and don’t want to see a huge set put in a dumpster at the end of a season.

Lighting: Our shows start at 8:00 pm and it doesn’t get terribly dark till 9:00 pm, so lighting is rather limited for the first hour. Clean blackouts for the start of our plays can’t happen. Please consider transitions for that first hour.

Costumes: Solid 20 year Costume stock collection.

Sound: This is our biggest production cost. We use lavaliers / professional rented sound system. Our bands are usually no more than four or five musicians.

Before submitting your play, please carefully read the following eligibility, terms & conditions, and entry requirements. To be eligible plays must

Eligibility

1) Playwrights must be over the age of 18.

2) Be at least 90 minutes in length. And no more than 120 minutes. Our shows cannot go past 10:00 pm

3) Not have been previously produced at a production level - previous readings and workshops are okay.


Terms and Conditions

1) Due to the large volume of entries, Musicals Now is unable to give feedback.

2) Plays submitted may be original ideas or adaptations from other forms providing that permission to adapt the material has been obtained from the copyright holder. The rights for all material in the work must be secured by the playwright prior to entry including any songs, poems or quotes.

3) A limit of one entry per Artist.

4) Artists will retain copyright of their works. Piper will not hold further rights to any productions outside of July 2022 performances. We do request that future publications of your work will cite Piper’s role in the play’s development.


Entry Requirements

To submit your entry, please send the following information to FILM FREEWAY

https://filmfreeway.com/PiperTheatreProductions


1. Your full name, a bio, address, phone number and confirmation that you are over the age of 18. If more than one person is submitting, please give both names.

2. Attach a PDF version of your play with online LINKS to at least 6 of your songs. Please don’t ask us to download songs.

3. Attach a separate PDF with a one paragraph synopsis of your play & a character breakdown.

Questions: Please contact john@pipertheatre.org

Due Dates

Submissions are due midnight (NYC, EST) Friday September 30th, 2021.

The winner(s) will be announced December 2021.

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