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Friday, December 31, 2021

East West Players Play Submission Guidelines

Website

Thank you for your interest in submitting your script to East West Players.

Please note that our mission focuses on the Asian Pacific experience, and the majority of the new works we workshop and produce revolve around Asian and Asian American characters and/or themes. We are interested in both plays and musicals. Works need not be “issue-oriented,” in that race/immigrant issues can be an unspoken component in the work.

We are particularly interested in new comedies, musicals, and works that unearth the history of Asians in America.

Writers are strongly encouraged to browse through our production history, which can be found here. Ask yourselves what kind of plays we’ve produced in the past, and who our audience is.

Manuscripts are now being accepted via email. Scripts should be emailed to literary@eastwestplayers.org. Emailed versions of scripts are preferred.

Scripts should be submitted in a PDF format and must include the following:

1. A cover sheet, including your name, address, telephone number, website and email address.
2. A theatrical resume (two pages max) listing major productions, workshops, readings, commissions, publications, awards, etc., as well as education and training information.
3. A 100 word max synopsis of the play.

Due to the large volume of submissions we will only reach out to playwrights whose work we are interested in.

If you have questions as to whether your work might be suitable for our theater or if you are a playwright with multiple works and not sure what to submit, email: literary@eastwestplayers.org for assistance. Thank you!

Wednesday, December 29, 2021

Nextfest 2022

Website

Deadline: January 15, 2022 at 11:59 pm MST.

This submission is for emerging playwrights submitting a written script for Nextfest. Please fill out the submission form below and submit a script to be considered for a staged reading, progress showing a presentation, or full production.

To submit a script, please be sure that you qualify with Nextfest’s definition of an emerging artist:
- you are an artist within the FIRST TEN YEARS of your career
- you are NOT represented by an agent or by an professional organization
- you have NOT had a play published

To submit a MainStage Project please fill out the following form: Theatre Mainstage – Submit a Script Submission Form.

Please provide any other related written documents in WORD DOCUMENT or PDF
FORMAT ONLY to ELLEN CHORLEY, Festival Director ellen@nextfest.ca with the subject line NEXTFEST 2022 PROJECT SUBMISSION.

This may include…
Any documents related to your project
CVs of yourself and any other artist involved
A short bio of the lead project artist

Monday, December 27, 2021

Scenes from the Staten Island Ferry 2022

Website

Deadline: December 31, 2021

Sundog Theatre in NYC is seeking one-act plays for “Scenes from the Staten Island Ferry 2022”

Sundog Theatre’s 20th annual presentation of new and original,
one-act plays about our favorite boats, the Staten Island Ferries.
Since it is our 20th anniversary, the themes are “celebration” or “anniversary”.

Writing Guidelines:

–Original plays not previously produced or published, with a signed note affirming that.

–10-25 minutes in length and set on the Staten Island Ferry.

–Set in contemporary time period. Strong priority will be given to plays with 2 characters, however, 3-character plays will be considered. No special set pieces other than benches or railings found on the Ferry, limited and easily accessible props, and no special sound or lighting.

–Avoid overt and unnecessary sexual/violence situations and language since we cater to a broad audience.

–No musicals, long monologues, poetry, rants, or verse.

–Humor, if appropriate, is welcome.

Submission Guidelines:

—Please send two copies, bound or stapled, blind submission (removable cover page with title, author and contacts), and the name of the play on each page to Sundog Theatre, “Scenes 2022”, PO Box 183, Staten Island, NY 10301.

–Submissions should include brief synopsis, play history, 70-word bio, and full author resume.

–Plays must be in our hands from now until no later than December 31, 2021. Latest postmark we will accept is December 24.

–Please do not submit plays electronically.

–Questions: ferry@sundogtheatre.org. Susan Fenley, Producer

>>5 – 6 plays will be chosen; writers will receive $100 each and be produced in our series of five March 2022 performances in Staten Island.<<

Playwrights of selected plays will be contacted directly and their names listed on Sundog’s website early in 2022.

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

Sunday, December 26, 2021

Anderson Center’s Jerome Emerging Artist Residency Program

Website

Deadline: January 15, 2022 at 11:59 p.m. CST

SUBMIT VIA SUBMITTABLE

The Anderson Center’s Jerome Emerging Artist Residency Program offers month-long residency-fellowships at Tower View to a cohort of early-career artists from Minnesota or one of the five boroughs of New York City for concentrated, uninterrupted creative time to advance their personal artistic goals and projects.

The program aims to meet the specific needs of emerging artists while welcoming them into a supportive and inspiring residency environment that empowers them to take risks, embrace challenges, and utilize unconventional approaches to problem-solving.

Thanks to support from the Jerome Foundation, selected emerging artists receive a $625/week artist stipend, documentation support, art-making resources, facilitation of community connections, lodging & studio space, a travel honorarium, groceries, and chef-prepared communal dinners.

Located at the historic Tower View estate, a venerable research-and-development lab for the arts rooted in an expansive natural setting, the program is an ideal fit for early-career artists whose work reveals a significant potential for cultural and community impact, is technically accomplished, engages diverse communities.

The Anderson Center’s goal is for connections participating artists make with one another, as well as connections made with other creatives and community members, to outlast the duration of their residency visit. The organization believes that the environment and resources of Tower View, along with an exchange of ideas across disciplines, can serve as a catalyst for new inspiration and innovative directions for the work emerging artists create while in residence.


TO APPLY
The application deadline for the Anderson Center's 2022 Jerome Emerging Artist Residency Program is Saturday, January 15, 2022 at 11:59 p.m. CST. Applications must be submitted on or before the deadline in order to be considered in the jury review period. There is no fee for applying to this residency program.


Jury review will take place in late January and early February. Applicants will be notified by Feb. 3 as to the status of their application. A phone interview process with finalists will take place in late February following a second round of jury review. Selected artist residents, wait-list and runners-up will be notified by March 2, 2022.


ABOUT THE ANDERSON CENTER

The Anderson Center for Interdisciplinary Studies, founded in 1995 on the Tower View estate in rural Red Wing, Minn., has renovated and restored historic buildings to support working artists and the creative process, including developing twenty-two active studio spaces and three galleries. A renovated barn serves as a performance and event venue, the historic main residence houses artists-in-residence, and fifteen acres support a sculpture garden.

The Anderson Center provides residencies of two- or four-weeks’ duration from May through October each year to enable artists, writers, musicians, and performers of exceptional promise and demonstrated accomplishment to create, advance, or complete work. In addition to community engagement activities through the artist residency program, the organization has a strong history of helping integrate the arts into community life through local partnerships, hosting annual arts events and participating in other community-based initiatives.

Saturday, December 25, 2021

The Woodward/Newman Award

 web site

Agent submitted scripts require no fee. If via Dramatist Guild membership, attach a copy of your DG card to the email to avoid paying the fee.

Deadline: December 31, 2021

Bloomington Indiana

The Woodward/Newman Award is an exclusive honor offered by Bloomington Playwrights Project, started through the support of Joanne Woodward, Newman’s Own Foundation, and the Newman family, celebrating Paul Newman & Joanne Woodward’s tremendous history of work on stage and screen.

It presents the best unpublished play of the year with a cash prize of $3,000 and a full production as part of BPP’s Mainstage season, along with travel reimbursement. Submissions for the 2022-23 competition must be submitted by Dec 1, 2021.

Guidelines for Submissions

We are currently accepting submissions for the 2022-23 Woodward/Newman Award. The winner and finalists will be announced by June 2022. The winner will be awarded $3,000 and a full production.

“Full-length” plays should have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes).

Plays submitted must be unpublished at the time of submission (independently published is acceptable).

Each submission should be sent to BPP via email. Send your email to literarymanager@newplays.org

Your email should include the following:

Tell us your name, phone number, and the name of your Play

Tell us how you are satisfying the $10 administrative fee

Agent submitted scripts require no fee.

If via Dramatist Guild membership, attach a copy of your DG card to the email

If you have paid via Paypal on our website, indicate your confirmation number and the email address used.

Paypal is preferred, but if you can’t pay on-line, you may send a check or Money Order, (must be from a US bank). Tell us the check or Money Order number. Make it payable to “BPP” and mail to BPP, 107 W 9th ST, Bloomington, IN 47404

Attach a SINGLE PDF file containing your script with the following information included in the following order:

Title page with author name

Synopsis (1 page or less). Please list the genre at the top (comedy, drama, etc.)

Character list/breakdown

Production history for the play—Include readings and productions

A brief bio of the playwright,

Full Script

Submissions that fail to include all requested information in the order listed will be disqualified from the contest.

Plays submitted in previous years will be accepted.

Two separate submissions per playwright per annual competition are allowed as long as each submission has all the required materials.

Chain One Act Festival 2022

Website

Deadline: December 26, 2021

Plays are chosen for the Chain One Act Festival based on originality, inspiration, and innovation. The background or experience of the playwright is taken into consideration, but submissions will be judged on the quality of the play. All themes or genres are welcome. Play runtime must be no shorter than 10 minutes and no longer than 1 hour. Shows will be performed in person for a vaccinated audience.

Every show will have the ability to LIVE STREAM for at least one performance.

Chain Theatre is curating the event, not producing it - each production is responsible for staffing their own director, design team and cast.

All shows must be Non-Union. We plan on streaming performances.

You will assign a contact person for the piece; that person will be considered your play’s producer should it be part of the Festival.

Though we will be doing overall festival promotion, you are responsible for the marketing of your piece.

All members of your production team and cast must be vaccinated to participate. We will need proof of vaccination at the organizational meeting should you be accepted into the festival. Preferred proof of vaccination will be through the New York State Excelsior app available on your phone. This is NYC Mandate.

For further information of current COVID protocols at the Chain Theatre please visit: https://www.chaintheatre.org/covid-19-guidelines

APPLICATIONS

The deadline for submitting to the 2022 Chain Winter One Act Festival will be December 26, 2021. There are no submission or participation fees for the Chain One Act Festival. Applications may be downloaded from our website. Complete the following application and you will be directed to information on submitting your play.

After completing the application form you will need to email a PDF (no Word, Pages, or Final Draft files, please!) of the script, and a brief cover letter explaining your goals for the play.

Applications ask for a contact name, address, phone, and email. Show contacts will be the one contact point between Chain Theatre and your production. The email given will be the sole email address that Chain Theatre will use to contact you regarding acceptance, any issues regarding participation, and festival communications.

We will need an estimated running time of your piece that will be factored into the programming. As such, we will enforce this time limit. If during your dress rehearsal or performance the play runs significantly over, we may insist that you revise or forfeit your participation in the festival and any ticket split revenue.

Applications that are not complete will not be accepted. No materials will be returned.

ACCEPTANCE

Notification of acceptance status will be sent by email on or about January 5, 2022.

If you are accepted into the festival, your email will inform you of the time and location of the organizational meeting to be held on January 8, 2022. IT IS REQUIRED THAT SOMEONE REPRESENTING YOUR SHOW BE AT THE ORGANIZATIONAL MEETING. This meeting is where you will receive your performance schedule and meet your fellow participants. If there are known conflicts to your scheduled performances, this is a great opportunity to work out alternate dates with Chain Theatre and your fellow participants. The most complex scheduling issues are much more easily solved talking face-to face with everyone in the room.

Everyone must be vaccinated. There will be no exceptions for any reason. All Chain staff on site will be vaccinated as well.

Each accepted show will be given 5 free hours of rehearsal space at one of the Chain Theatre rehearsal rooms. Availability and scheduling of these hours is at the Chain Theatre’s discretion. They must be used to rehearse the show in the festival and cannot be gifted, sold or used for other purposes. Additional rehearsal hours/locations are the production’s responsibility. If you choose to rehearse at one of the Chain Rehearsal studios you can book subsidized rehearsal space for this production for $10 an hour.

Each accepted show will receive a code for ticket tracking. Each show will receive 20% of the net box office for every ticket purchased using their code. (Code use for online sales is mandatory to receive this box office split.)


SCHEDULING

The precise number of shows is TBD, based on number of submissions and running lengths. Each show will be guaranteed at least three performances with a possible one show extension. However, depending on the schedule there may be more. Performance blocks will be at 7 and 9pm during the week and will run throughout the weekend between 12-9pm.

There will be limited time between shows for changeovers. Keep in mind that when you are striking or setting up your show, another show is also likely striking or setting up. Minimalism rules. PLEASE FACTOR THIS TIME INTO YOUR TECHNICAL PLANS. Houses will be opened 5 minutes before the start time and will start promptly.

VOTING

In person voting will be collected by paper ballot provided on site.

BOX OFFICE and TICKETING

Chain Theatre handles all aspects of ticketing and box office. Tickets will be $15 in advance, and $18 at the door.


TECHNICAL

You will need to keep the technical requirements of your show very simple. The Chain is equipped with a full light board and sound system, however the board will be shared by several shows and we will maintain a standard rep lighting plot. Keep light and sound cues as simple as possible. No show will be able to refocus lights. Each company will have only one cue-to-cue technical rehearsal in the venue which will be run by a Chain Theatre hired PSM. Storage space/dressing room space is also limited and will be shared by all shows. You will be given a small, unlocked area to store your props, set pieces, and costumes, which must be completely cleared at the conclusion of your performances.


Any additional equipment your show requires should be listed on your application and approved by Chain Theatre. Chain Theatre has the right to disqualify any shows that bring in unapproved technical elements. If approved, this equipment will be provided for your show by you. Chain Theatre assumes no liability for this equipment; it is your responsibility.

PUBLICITY

Chain Theatre will publicize the festival and coordinate overall press relations, including interviews and critic attendance. You may be asked to submit publicity photos and PR materials. You are also responsible for publicizing your own show through your own press releases, mailers, handbills, busking and/or posters. Should a critic accept your invitation to see a performance, this information must be forwarded to Chain Theatre so we may coordinate this. Chain Theatre will provide a blanket press kit to help all shows promote.

EXCLUSIVITY

If you are accepted to the Chain One Act Festival, part of our agreement prohibits the performance of your show anywhere in New York, New Jersey or Connecticut any time from acceptance into the festival through August 2022. Please keep this restriction in mind when accepting other invitations to perform your show during these months, particularly before you have received acceptance status notification from Chain Theatre.

WHAT TO DO NOW

1. Choose your show.

2. COMPLETELY fill out the application form.

3. REVIEW your completed application to make sure it is complete and correct.

4. Ensure that the PDFs of your script and cover letter are included in your submission email.

Please do not send under separate cover. If there are technical issues, contact us at info@chaintheatre.org to discuss them.

5. Include the title of your show in the subject line of the email and on all relevant materials.

Should they become separated, this is how we will reunite them.

CONTINUE TO APPLICATION

If you still have questions, we are available to help you in advance of the deadline at info@chaintheatre.org. You may want to print and keep or bookmark these instructions and your original application for your reference.

The Caribbean Writer seeks one-act plays on the theme: Disruption, Disguise and Illuminations

web site

Deadline: December 31, 2021

The Caribbean Writer (TCW) has issued a call for submissions for Volume 36 under the 2021 theme: Disruption, Disguise and Illuminations. As history meets our day to day experiences, epiphanies unfold; and as we self-interrogate the disruption motifs in many of these illuminations, the roots of prevailing disruptions emerge, complicated by disguise. Submissions exploring this theme in its widest permutations are invited.

Contributors may submit works of fiction, nonfiction, poetry, essays or one act plays which explore the ideas resonating within the region and its diaspora. 

The Caribbean should be central to the work, or the work should reflect a Caribbean heritage, experience or perspective. Prospective authors should submit all creative works: drama, fiction and poetry manuscripts, through the online portal ONLY at www.thecaribbeanwriter.org/online-submission

Submit Word files only (no PDFs) . Note that TCW no longer accepts hardcopy submissions.

SUBMISSION GUIDELINES

Individuals may submit poems (3 maximum), short stories and personal essays on general topics as well as on the theme. The maximum length (for short stories and personal essays) is 3500 words. Only previously unpublished work will be considered. The term “previously published” covers print and electronic publication —including on social media platforms, and self-published items. The Caribbean Writer does not accept simultaneous submissions (items being considered for publication elsewhere). The prospective author should provide contact information including mailing address, phone number, any professional affiliations, brief biographical information (no more than 100 words and such as appears under the “Contributors” section of the journal). In the event that the author’s contact information changes, all updates should be made by the author by logging into the online account.

Before submitting, submitter should carefully edit and proofread the manuscript, adhering to publication-ready details, as well as standards of proofreading such as spelling, grammar, punctuation, formatting and consistent language, along with the elimination of typographical errors, and with focus on the overall quality of the work.

The Caribbean Writer is a refereed journal. There are no fees payable to submit or publish in this journal. All submissions undergo an initial blind review by the editor. Creative works, such as fiction, poetry and drama, after editorial review, are advanced by the editor to the double-blind peer review process. In this process, both the reviewers’ and authors’ identities are concealed from the reviewers and vice versa throughout the review process.

Artists interested in having their artwork considered for use by TCW should submit electronic files in vertical format as PNG or JPEG files with a resolution of 300 dpi or greater. The journal also accepts black and white art (line drawings, sketches, block prints, etc.). The journal does not accept graphic poetry or narratives.

SUBMISSION WINDOW

Submissions are accepted from January 10 to December 31 each year and are considered for the journal that will be published the following year. (In other words, volume 36 will be published in 2022 and entries submitted between January 10 and December 31 of 2021 will be considered for volume 36. The deadline for submissions each year is December 31. Submit Word files at www.thecaribbeanwriter.org/online-submission/


Literary Prizes

All submissions are eligible for the following prizes:
  • The Canute A. Brodhurst Prize of $400 awarded to a writer for best short fiction. Donated by the St. Croix Avis Newspaper
  • The Daily News Prize of $500 awarded to a resident of the US Virgin Islands or the British Virgin Islands.
  • The Marvin E. Williams Literary Prize of $500 awarded to a new or emerging writer. Donated by Marvin’s widow, Dasil Williams, in honor of her late husband who served as the editor of The Caribbean Writer from 2003 – 2008.
  • The Cecile deJongh Literary Prize of $500 awarded to a Caribbean author whose work best expresses the spirit of the Caribbean. Donated by former Governor John P. de Jongh, Jr. in honor of Cecile de Jongh’s abiding commitment to literacy in the territory, especially among the young people of the Virgin Islands..
  • The Vincent Cooper Literary Prize of $300 awarded to a Caribbean author for exemplary writing in Caribbean Nation Language (Kamau Brathwaite). Donated by Professor Vincent Cooper, PhD.
For more information, contact The Caribbean Writer at thecaribbeanwriter@uvi.edu

Friday, December 24, 2021

Anderson Center Deaf Artists Residency Program 2022

Website

Deadline: January 15, 2022 at 11:59 p.m. CST

SUBMISSION VIA SUBMITTABLE

TO APPLY
The application deadline for the 2022 Anderson Center Deaf Artists Residency Program is Saturday, January 15, 2022 at 11:59 p.m. CST. Applications must be submitted on or before the deadline in order to be considered in the jury review period. There is no fee for applying to this residency program.

Jury review will take place in late January and early February. Selected artist residents, wait-list and runners-up will be notified by March 2, 2022 at the latest.

Thanks to support from the National Endowment for the Arts, artists selected to participate in the cohort will receive a $1,100 stipend for the month, reimbursement of up to $500 in travel costs, art-making resources, lodging & studio space, groceries, and chef-prepared communal dinners.


ELIGIBILITY
The Anderson Center’s Deaf Artists Residency (DAR) is an ASL-centric environment where Deaf artists can communicate and exchange ideas. The program provides 5 Deaf artists the opportunity to come together to live, work and share ideas with other native ASL signers, while advancing their own personal artistic projects.

Because the program is generously supported by the National Endowment for the Arts, only Deaf artists based in the United States of America are eligible to participate.

To be considered, artists must submit an application through the Anderson Center’s online form via Submittable. Complete program details are below. For application questions, please contact Adam Wiltgen via email at adam@andersoncenter.org.


DURATION OF RESIDENCY
For the 2022 season, the Anderson Center is only offering month-long residencies in June. Two-week residencies are not an option for the Deaf Artists Residency.


LOCATION
The Anderson Center campus is located on the 350-acre historic Tower View Estate, built by scientist & farmer Dr. Alexander Pierce Anderson between 1915 and 1921, on the western edge of Red Wing, Minnesota, and its buildings are listed on the National Register of Historic Places. The Center features a large sculpture garden, and is adjacent to the Cannon Valley Trail, a 20-mile biking and walking trail that runs from Cannon Falls to Red Wing.

The Center is approximately 45 minutes southeast of Minneapolis and St. Paul. Transportation is provided between the Center and the Twin Cities airport on the first and last day of residencies only. Artist Residents that choose to drive will have access to private parking on the property.

The community of Red Wing, Minn., (pop. 16,000) is nestled amidst the scenic bluffs of the upper Mississippi River. The town is settled on the ancestral homelands of the Mdewakanton & Wapakute bands of the Dakota people. The City of Red Wing is named after Tatanka Mani (Walking Buffalo), a leader of the Mdewakanton Dakota in the upper Mississippi Valley who wore a ceremonial swan’s wing dyed in brilliant red. In 1815, Tatanka Mani and his people moved their village south to a place they called Khemnichan (Hill, Wood, & Water) in present-day downtown Red Wing. Euro-American immigrants who met him as they advanced into the region in the early nineteenth century came to know him and his village as “Red Wing.”

Since its settlement and eventual incorporation in 1857, Red Wing established itself as a center for agriculture, industry, tourism, medical care, technology, and the arts. The Red Wing Shoe Company and its iconic brands, in particular, continue to have a significant impact on the community’s economic, business, and community development climates. Natural resources abound with Red Wing's riverfront, winding paths through the majestic bluffs, bike trails, and 35 city parks. The Prairie Island Indian Community is located northwest of the city. Frontenac State Park is to the southeast on Lake Pepin. Minnesota State College Southeast Technical’s Red Wing campus is known for its string and brass instrument repair programs. The MN Dept. of Corrections also operates a large juvenile residential facility in Red Wing.

Other amenities include a destination bakery, a chocolate shop, coffee shops, restaurants, the flagship Red Wing Shoe Company store, Goodhue County Historical Society Museum, the Red Wing Stoneware & Pottery store, the Pottery Museum of Red Wing, a Duluth Trading store, the Red Wing Marine Museum, a Target, several pharmacies, a plant nursery & garden center, a Mayo Health System Hospital, a small independent bookstore, and a public library (the Center has arranged for residents to have access to a library card for their month at the Center).

Other key community stakeholders include the historic Sheldon Theatre, the Red Wing Arts Association, Red Wing YMCA, Red Wing Youth Outreach, Hispanic Outreach of Goodhue County, Red Wing Area Friends of Immigrants, Red Wing Area Women’s Art History Club, Live Healthy Red Wing, Artreach, Red Wing Artisan Collective, the Artist Sanctuary, Pier 55 Red Wing Area Seniors, Big Turn Music Festival, Red Wing AAUW, Red Wing Environmental Learning Center, Red Wing Girl Scouts, Red Wing Public Schools, Tower View Alternative School, and Universal Music Center, as well as several City boards, commissions, and departments.


APPLICATION
A completed application form includes a brief artist statement, a work plan, work samples, and a resume or CV. Incomplete or late applications will not be reviewed by the panel. You may begin your application, leave and return as many times as necessary to complete the form PRIOR to clicking the submit button at the bottom of the completed form. Important: do not submit your application form until you are completely finished editing as your application will be finalized at that time. If you are a prior resident of the Anderson Center, you must wait one season/year from the time of your residency to apply again.


The Resume, CV, or Biographical Statement is a Word or PDF document that shows education, work experience, publications, awards, and previous residency experience. 3 pages maximum.


The Work Plan is a one page Word or PDF document that clearly and concisely describes what you are working on and what you’d like to accomplish at the Anderson Center. Successful applicants address how the timing and location of the residency, as well as the opportunity to live/work in a community of ASL signers, would benefit their practice. Artists may also mention how specific amenities or resources at the Anderson Center (such as the surrounding natural environment, specific studio spaces or equipment) would advance their work. The statement can be single-spaced.


Work Samples should be of recent work and should include:
· For composers and musicians: 3 to 5 recordings
· For visual artists: At least 5 images of work (300 dpi or larger)
· For nonfiction and fiction writers: 10 pages of double-spaced prose
· For playwrights & screenwriters: 20-page excerpt (does not need to be from the beginning)
· For poets: 10 pages of poetry
· For translators: 10 pages of translation and original text
· For performance artists: 3 short videos excerpts of performances (no videos longer than 5 minutes)
· For filmmakers: at least 3 short film clips (no videos longer than 5 minutes)
· For Scholars: 10 pages of work, including research abstracts and relevant diagrams



ACCOMMODATIONS
ASL interpretation is provided for arrival day and other public events/activities with the hearing community such as the Capstone Presentation & Discussion at the end of the month. DAR coordinator Cynthia Weitzel, a Deaf visual artist that maintains a year-round studio space at the Anderson Center, works with Center staff in the development and execution of the program while ensuring full accessibility. She is the liaison between artists, program partners and the Center prior to and during residencies and provides on-going artistic/community support to the cohort throughout the month. Weitzel also provides hearing staff with cultural & sensitivity awareness training so as to raise everyone’s level of comfort and effectiveness.

Each resident is provided room, board, and workspace for the length of the residency period in the historic Tower View mansion. Visual artists are provided a 15' x 26' studio and are responsible for supplying their own materials. Other workspaces on site include a cone 10 gas kiln and electric kilns, an open-air metalsmith facility, a dark room, and a print studio (with a Vandercook 219 letterpress and a Charles Brand-like etching press). Practice / studio space is also available for performing artists.

Residents have access to the many walking trails on campus and to the Cannon Valley Trail, which goes through the Anderson Center’s property. Bicycles are also provided. Residents have responded to many different aspects of the gorgeous Tower View campus through their work, including composers sampling natural sounds and visual artists harvesting plant materials to create site-specific natural inks.


PROGRAM DETAILS

Each artist-in-residence receives:

· $1,100/month artist stipend

· Travel honorarium (Reimbursement up to $500)

Evening dinners are prepared and presented by the Anderson Center chef Monday through Friday. The chef also shops for meal items for artist residents, and residents are responsible for preparing their own breakfasts and lunches, and meals over the weekends.

There is also a housekeeper who cleans and maintains the historic facilities. Additional cleaning and sanitization measures are being taken during the pandemic to help ensure the health and safety of artists, staff, and the community.

Wednesday, December 22, 2021

Creative Circuit Studio “In the Moment: One Act Series"

Website

Facebook Page

Deadline: January 3, 2022 - midnight

Creative Circuit Studios is gearing up for Volume three of the “In the Moment: One Act Series”. We want to feature talented playwrights from all walks of life.

All works must be submitted in WORD or PDF format to Submit@CreativeCircuitStudios.com by MIDNIGHT JANUARY 3, 2022.

Playwrights must submit the following information:

(In the subject line of your email please type your name and the name of your play.)

- Your contact information (Name, telephone number, age)

- Play synopsis

- Cast breakdown

- List of previous productions/publishings or any pertinent information if applicable. (Please do not include readings)

- A copy of your script

Please attach your script in WORD or in PDF format

(One acts are not TV shows. Works should focus on the script (writing) and the acting. Your one act should be no longer than 30 minutes. Plays with extensive technical requirements will be considered but those with fewer demands will receive stronger consideration.)

*** WRITERS WILL RETAIN FULL RIGHTS AND CREDIT FOR ALL OF THE WORK SUBMITTED AND PRODUCED. THIS IS A NON-PAYING EVENT. CREATIVE CIRCUIT STUDIOS ALSO CONDUCTS TABLE READINGS AS A TOOL FOR WRITERS TO HEAR THEIR WORK OUT LOUD AND CONTINUE THEIR ARTISTIC JOURNEY! ***

Submissions are now open for the Theatre Southwest - Readers' Theatre Matinee

Website

Deadline: January 5, 2022 by 11:59 PM

General guidelines are listed below and are subject to change.

Approximately 8-12 selected plays will be read and voted on by the attending audience. One $100 prize will be awarded to the play voted on as audience favorite.

General guidelines

Limit of two entries per playwright of an original work that has not been published or produced.

Monologues and one person plays are not accepted.

All genres are accepted (light comedies, heavy dramas, thrillers, mystery, sci-fi, satire) with no regard to language or subject matter).

All plays should be 5 to 10 minutes long, no exceptions. (If using standard play format a good gauge is 4-11 pages, excluding title page).

Plays should be conducive to Readers' Theatre with simple stage directions and a story expressed mostly through dialogue, not action.

Submission guidelines

Scripts are accepted via U.S. mail or email. If using U.S. mail entry must be postmarked by Jan. 5, 2022. If emailed sent by 11:59 p.m. on the same date (1/5/22). Scripts will not be returned.

Scripts should have a title page that includes the play title and playwright's contact information, as well as a list of characters and a brief synopsis of the play. Script pages should be numbered.

ALL mailed in scripts should be stapled in the upper left-hand corner.

There is NO ENTRY FEE.

Playwrights selected will be informed prior to the event.

Mail entries to:

Theatre Southwest
8944 Clarkcrest
Houston, TX 77063
Attn: TSW-RTM

Or Email to:
mimiholloway@gmail.com

Tuesday, December 21, 2021

BEDLAM Spring 2022 festival of new play readings

Website

Deadline: January 1, 2022

Off-Broadway theater company BEDLAM is seeking submissions for a Spring 2022 festival of new play readings. Presented alongside our 2022 Off-Broadway mainstage production, these readings will showcase works-in-progress by artists expanding the bounds of the form, interrogating (or ignoring) the “canon,” and creating specifically theatrical work.

Our Fall 2021 readings series included work by Zora Howard, Julian Hornik, Emily Gardner Xu Hall, Stefani Kuo, and Zuzanna Szadkowski & Deb Knox.

To submit for Spring 2022, please send a script (or current draft) and a short bio of the lead artist to submissions@theatrebedlam.org by January 1. For non-text-based work, please send a description of the project.

All artists involved in these readings, including writers, will be paid by Bedlam. There is no cost to submit.

For more information, visit bedlam.org/new-writing or write to submissions@theatrebedlam.org with any questions.

Monday, December 20, 2021

Bay Street Theater 2022 New Works Festival

Website

Deadline: Friday, December 24, 2021

Bay Street Theater is seeking submissions of new full-length plays for our New Works Festival, to take place in early May 2022.

We are offering an opportunity to work with directors and actors on your play, in-person. Selected plays will be provided with dramaturgical notes from our artistic leadership, rehearsal time, and a public presentation in Sag Harbor, New York, with an audience feedback session, spread over the course of several days.

Bay Street is looking for plays that represent a broad array of voices, viewpoints, cultures, and styles. Writers of all backgrounds are strongly encouraged to submit. We are looking for pieces that have had re-writes and development already, perhaps now in their third or fourth draft, and are at a stage where the addition of in-person creatives can be used to their full value.

We’re also most interested in writers who want to collaborate, learn from their actors and directors, and use this time to evolve the play, not just to have a reading of their current draft. Bring us stories we haven’t heard, make us feel joy and humanity, and take us on new journeys. Casts of two to eight are ideal. Things that are not right for us include plays that do not constitute an evening of theatre on their own, Theatre for Young Audience pieces, trauma porn, or work that requires extremely large casts.

Artists will be transported from New York and housed in Sag Harbor in proximity to Bay Street Theater, and will have an opportunity to see the other pieces in the Festival. Artists who reside outside of the New York area must provide their own transportation to Manhattan, and will then be transported from there.

We hope that this development process provides growth to the chosen works and their playwrights, as well as introducing us here at Bay Street Theatre to new playwrights and works that we can consider for possible future production.

SUBMISSIONS OPEN
Wednesday, December 1, 2021

To submit your play:

Ensure that your script is formatted clearly, including page numbers, a cast breakdown, and your contact information.

Name your file in the format: LastName_Title.pdf. For example, Antoinette Chinonye Nwandu's Pass Over would label the file as Nwandu_PassOver.pdf.

Fill out this brief submission form.

Email your play in PDF form to the Literary Manager, Hope Villanueva, LitManager@BayStreet.org.

If you are submitting a musical, include demos for three to four of your strongest songs with your email.

SUBMISSIONS WILL CLOSE ON
Friday, December 24, 2021

Sunday, December 19, 2021

United Beyond Borders Hear Thalia’s Daughters Laughing seeks short comedic plays from female-identified playwrights for publication

web site

Deadline: December 31, 2021

Coordinated by
Dr. Catalina Florina Florescu of Pace University
Publisher TBA

This international volume is hoped to be multi-lingual, thus giving each playwright a chance to submit a short piece in their mother tongue and its translated into English version.

Submissions from the United States/UK/Australia/Nigeria/etc. shall remain in original unless the author knows and speaks fluently another language or can work with a translator. The volume will have 10-12 comedies.

1. the play must be a comedy (because the doctor is in the house and she has prescribed laughter),

2. the script must be written by a female identified playwright (because the volume is coordinated/commissioned via an organization dedicated to womxn playwrights exclusively),

3. the script must be short, i.e., no longer than 20-30 pages (because I, like you, crave for comedic essence),

4. the script must be composed during “the longest year of our lives,” or how I call 2020-21 (because the intention is to see how womxn have used laughter as a coping mechanism during the pandemic),

5. hence, it can be realistic, symbolic, absurd: you choose, you are free! It could have had a reading, two readings, or 1,000 readings on Zoom.

6. Our main goal is to see how we understand and produce comedy worldwide and how we tap into our creative resources to deal with the trauma of a pandemic via mild to strong laughs.

Submit your piece by New Year’s Eve of 2021 to fflorescu@pace.edu

with the subject line “Thalia’s Daughters.” The process of reading, evaluating, and making a decision will commence with a good wine, a great laughter, and a chance to see womxn in their full, vibrant potential. Info about the publisher and how to devise our own apotropaic masks will be announced at a later date.

About the coordinator: Catalina Florina Florescu was born in Romania, earned her Ph.D. from Purdue University, and lives on the East Coast of the U.S. She has published and/or edited 8 books on immigration, hospitalization/health, motherhood, and more. She teaches at Pace in New York. She organizes a festival of new plays and is the coordinator for “Voices,” an international festival of plays both organized by JCTC. Her CV and other info can be found here: http://www.catalinaflorescu.com/

May Θαλεια bless and guide our journey!

VI INTERNATIONAL PLAYWRITING CONTEST - TYA

Website

Deadline: December 20, 2021

The contest aims to encourage writers in the creation of bold and powerful plays for young people. The competition is open to all writers worldwide - there is no age or nationality limit for the entrants

The heart of this competition is the participation of playwrights worldwide, regardless of nationality, age, gender or language.

1. The competition is open to all writers worldwide and there is no age or nationality limit for the entrants.

a) We do accept plays co-authored by more than one writer. Hereafter, ‘writer’ or ‘playwright’ means either a single writer or a group of writers in a collective work.

b) The participation of an underage writer must be authorised by the legal guardian.

2. The competition is restricted to plays for young audiences.

a) We do not accept plays for children or adult audiences.

b) We do not accept musicals.

3. Writers are asked to submit a play for either:

a) Category A (the play must cater for a performance time of no less than 60 min. and no more than two hours).

b) Category B (the play must cater for a performance time of no less than 30 min and no more than one hour).

b) Category C (the play must cater for a performance time of no less than 10 min and no more than 30 min).

4. The play can be written in any official language of the world.

5. The play must be a new and original piece of work. The play must not have been published in any form or awarded previously.

a) The copyright of the play must be owned and/or controlled by the entrant to the full extent necessary to enable Editorial DALYA to use the work as contemplated by these contest rules.

b) Performed plays can be submitted.

6. There is no fee to enter and no hidden costs for the entrants.

7. €12000 in prizes to be won:

a) Category A (4800€)

A cash prize of 2400€ for the writer, translation to another European language, publication and public reading, plus economic aid for performances and public readings of the play within two years after its publication.

b) Category B (3200€)

A cash prize of 1000€ for the writer, translation to another European language, publication and public reading, plus economic aid for the performances and public readings of the play within two years after its publication.

c) Category C (2000€)

A cash prize of 400€ for the writer, translation to another European language, publication and public reading, plus economic aid for the performances and public readings of the play within two years after its publication.

d) Shortlist (2000€)

The shortlisted plays will automatically be considered for publication in Editorial DALYA.

e) Awards cannot be shared or reduced, and the prize must be granted at least in one category.

f) The Jury may award Honourable Mentions without cash prizes to any play of the contest.

 

8. The competition opens on Wednesday 1 September 2021, with the deadline for entry being on Monday 20 December 2021.

a) We do accept up to three plays per writers.

b) Each entry must contain just one play.

9. The play may be submitted via links provided on ytpwc.edalya.com or on Editorial DALYA web page: www.edalya.com. (→Premios →Premio Teatro Joven).

a) The document must contain a front page stating:

1) The title of the play

2) The contest category (A or B or C)

3) Contact e-mail.

c) The writer's name must be deleted from the entry and document to facilitate fair, anonymous judging.

10. An updated list of the plays submitted to the competition will be published on the website of Editorial DALYA.

a) The Jury can change the category at his sole discretion.

b) The organization will send a notification to the writer to confirm that the entry has been accepted.

c) Writers whose plays are not listed or have not received the acceptance of the entry should notify the organization this by email.

d) The entries with no contact email or this is incorrect will be discarded in the finalists selection.


11. Shortlist. The evaluators will assess each play in accordance with the following criteria:

a) Quality of dramatic text and audience appeal (characters, dialogue, story development, style, rhythm…)

b) Promotion of tolerant coexistence among young people, and crafting discussions and problem-solving around their conflict issues

c) Factors that ease the production: cast, set, technical requirements...

12. A short list of 3-6 plays per category will be selected before Tuesday, 15 February 2022.

a) The writers of these plays will be notified by email after selection.

b) The awarded writer must re-submit the play, including personal details (name, headshot, address, nationality...) and CV in the front page.

c) Include the authorisation of the legal guardian, if applicable.

13. Starting Tuesday, 1 Mars 2022, the winner selection process will begin.

14. Winners. The evaluators will assess the shortlisted plays in accordance with the following criteria:

a) Topic (dramatic meaning, originality and adaptation of the topic to drama...)

b) Universality (issues of common interest, engagement, audience devotion…)

c) Number of previous performances (better: none).

15. The Jury will select the winners before Tuesday, 27 Mars 2022.

a) The writers of these plays will be notified by e-mail after selection.

b) The Jury’s verdict will be announced through the website of Editorial DALYA (www.edalya.com), its social network and the media.

c) The Jury’s verdict is final.

16. Payments, publications and economic aids.

a) Non-winner runners-up must send a letter asking their plays to be considered for publication.

b) The cash prize money will be remitted in 2022.

c) To be published, plays must be submitted translated to an official European language, if the writer hadn’t done before. 

d) The economic aids for performances will be announced when the next competition is published.

17. The awarded participants commit making mention of the award in their future publications or performances of the play.

18. Awarded entrants commit themselves to sign a Publisher-Writer agreement with the customary terms of Editorial DALYA, described at: https://www.edalya.com/?Itemid=1755. 

a) Editorial DALYA can publish these plays in any of the official languages of Europe.

b) Plays will be published in the book series of theatre, named “Antonio Mesa Ruiz”

c) Editorial DALYA commits itself to publish an awarded play in ten months plus the periods of force majeure.

d) If it is not formalized, for any reason, the content of the contest rules will be considered as the agreement as regard as the publication of the awarded plays.

19. By entering the Prize, the awarded entrants grant non-exclusive permission to Editorial DALYA, its sponsors and any members of the media to use their résumés and extracts from their plays in publicity and reporting.

20. Entrants are bound to inform the organisation about the awards or publication of their plays before the announcement of the Jury’s verdict. 

21. By entering into the competition, each entrant agrees to be bound by the contest rules. No communication or correspondence will be entered into regarding the non-awarded plays. 

22. By entering into the competition, entrants warrant their plays will not infringe any copyright or intellectual property rights, it does not violate any personal privacy regulations, and it does not violate the rights of any person or entity.

23. The competition is subject to applicable laws and regulations about tax rates.

24. Entrants accept the terms of privacy policy described at: https://www.edalya.com/?Itemid=1699.

25. The competition and its rules will be governed by Spanish law.

 

34th Annual (2022) Festival of New Musicals

Website

Deadline: December 20, 2021

We are accepting submissions for the 34th Annual (2022) Festival of New Musicals!

Online Info Session: Join NAMT’s New Works Director for an online info session about the application process. He’ll walk you through the process and answer any questions you may have.

The first webinar is on Monday, November 22 at 12:00 PM ET // 9:00 AM PT. (Click here to register.)

The second webinar is on Tuesday, December 7 at 6:00 PM ET // 3:00 PM PT. (Click here to register.) 

2022 FESTIVAL SUBMISSION REQUIREMENTS, PROCESS AND APPLICATION

New this year, we are no longer requiring an endorsement to apply for the Festival!

All writers are eligible to submit an application free of charge. Please review below for full details on the application process.

Please note: NAMT does not accept submissions outside of this process. Please follow the instructions below to submit a musical for the Festival. Materials received outside of the Festival submission process will not be returned.

STEP 1: Is Your Show Eligible?
STEP 6: If You're Selected

You can view a recording of this year’s online information session walking through the application process and providing tips for a successful submission below. This video is not intended as a substitute for reading this entire page.

Now in its 34th year, NAMT’s Festival of New Musicals is the cornerstone of NAMT’s mission to be a catalyst for nurturing musical theatre development and production. Every year, we feature eight musicals in 45-minute presentations for an audience of over 700 industry professionals. We look for new musicals at all stages of development from the broadest possible range of voices.

In the short run, the Festival’s goal is to connect producers with writers, so that our shows can extend their development trajectory. The long-term goal is to expand the musical theatre repertoire and advance the musical theatre art form.

Our 34th Annual Festival of New Musicals will take place on October 20 and 21, 2022.

The objectives of the Festival are to:
  • Showcase quality new musicals with a wide range of subject matter, style and concept
  • Nurture composers, lyricists and book writers of all identities and backgrounds
  • Stimulate networking opportunities for NAMT Members and theatre professionals
  • Provide a forum to spark new collaborations and ventures
  • Encourage future productions of new musicals
We never take any royalties from our writers or ask them to pay for their participation in the Festival. The Festival is funded solely through sponsorships, grants and donations contributed by government agencies, foundations, organizations and individuals.

Step 1: Is Your Show Eligible?

  • The musical must…
  • Be complete and ready for readings, workshops and/or productions.
  • Have a demo that is an accurate representation of the music and style of the show.
  • Have full underlying rights clearances for any pre-existing material used (music, source material, etc.) in the script.
  • Be ready for readings, workshops and/or productions at the time of submission and available for performance in October 2022 at the Festival.
  • The musical cannot…
  • Already be licensed through a professional licensing house.
  • Have been produced on Broadway. [Shows that have had readings, workshops and/or productions (including regional or Off-Broadway) are still eligible.]
  • Have already been submitted to the Festival three times. Each show can only be submitted three times for review by the committee.
  • Have been presented as one of our main presentations at a Festival (excludes shows presented as part of our complementary programming including concerts and showcases).

In addition, the writers must be available for the Festival and all rehearsals.

Still have questions? Check out the Eligibility FAQ.

Step 2: Compile Your Information

Please note the following deadlines for the 34th Annual Festival of New Musicals:
December 20, 2021: Early Deadline for All Submissions
January 10, 2022: Late Deadline for All Submissions (late fees apply)

Shows submitted by the early deadline require no fee for submission. Shows submitted after the early deadline will be charged a late fee, which must be paid by credit card on the submission portal.

Gather Your Information

You will need information on the writers, agents, production/development history and more. This document outlines everything you will need to fill out the application, but you should read this entire page before prepping your materials as there is vital information throughout and our process may change from year to year.

As a reminder, as of this year, we are no longer requiring an endorsement to apply for the Festival!

You may save and return to your application without having to complete it all in one sitting.

Still have questions?
Step 3: Fill Out the Online Application: Work Samples

You will be asked to upload a PDF of the script and a PDF of a 20-page excerpt when you fill out the online application. All script submissions must adhere to the following or your application could be rejected:


The full script and excerpt must include:
  • Title page (which should only have the title on it and absolutely no other information)
  • Brief synopsis (1/2 page or less)
  • Character breakdown (1 page or less)
  • Track listings for the demo included
  • Unattributed author’s note, if applicable (1/2 page or less)
  • e.g. a note about script vs. demo lyrics, or special instructions or how to read internal script notation
  • Numbered pages
  • Demo track numbers must be included in the script where each track is to be played when reading (see page 4 of the sample script; please note, formatting does not need to be copied exactly).
  • The complete script (all scenes, songs and lyrics are on the page)

The full script and excerpt cannot include:
  • Writer information
  • Agent information
  • Production history
  • Previous cast information
  • Award information

20-Page Excerpt Guidelines

In round one of Festival evaluations, our Festival Screening Subcommittee only reads 20 pages of each script–writers are given the opportunity to choose the 20 pages that they feel best showcases your work. These excerpts must:
Include the introductory pages required in the full script before your selected 20 pages, adhering to the guidelines above.
Be directly pulled from the script without any alterations. Please do not splice together different sections or reformat in any way.
In the application, you will have an opportunity to provide a 50 word introduction to the cut for the subcommittee. Use this intro wisely!
We recommend that you submit the first 20 pages of your script **unless you have a show that is not structured like a traditional book musical.**


Submissions that do not adhere to these script guidelines will be subject to immediate rejection.

View a sample script to get a sense of our suggested layout of the first few pages and examples of how to embed track numbers that correspond to your demo. You DO NOT need to match the exact formatting of this script in order to submit to the Festival.
Demo Track Guidelines

You will be asked to upload individual tracks (up to 20) to the application matching the sequence of the script. You will also be asked to upload a .zip file of the entire demo. These two versions are for the ease of use of the committee. If you have more than 20 tracks, please upload the first 20 and we will pull the rest from the .zip file. Your show does not need 20 tracks to apply; you may have fewer. When possible, please take your name and your performers’ names off of any tracks, including in metadata.

The recording should be a significant representation of the songs in the show that accurately highlights the breadth and depth of the score and lyrics. We recommend including at least 50% of the songs in the musical (not including reprises and recitatives).

The demo should be a recording of good quality with a clear piano (or appropriate instrumentation) and clear vocals. We also recommend that the singers on the recording be the appropriate vocal types for their respective roles.


Step 4: Fill Out the Online Application: Supporting Materials

Proof of Rights
If the musical contains any copyrighted material, please submit a signed letter from the authors and underlying rights representative stating that underlying rights have been secured. Alternatively, please submit a copy of your contract with all financial information redacted. In order to be eligible for the Festival, we must see:
Length of agreement and standards for renewals/extensions (the length of the agreement or option to extend should extend past the Festival by at least 18 months)
Definition of all parties involved
An indication of whether this will be the sole theatrical version permitted of the piece

Clauses indicating who has artistic control over the piece and what approvals are needed at what stages

Still have questions? Check out the Supporting Materials FAQ.

The Emerging Artists Theatre (EAT) New Work Series (NWS)

Website

Deadline: December 31, 2021

The Emerging Artists Theatre (EAT) NEW WORK SERIES (NWS) is a three-week developmental program that provides theater artists of different disciplines the opportunity to present one performance of a polished “work-in-progress” with audience feedback. Most pieces selected for NWS will have never before been performed in front of an audience. Some selections will have been performed once or twice but will feature new material. We are not interested in seeing established pieces of theatre. We want to see something brand spanking new hit the stage for the first, or nearly the first time. We like to think of this series as an opportunity for artists to share an early draft of a new piece. There is no submission charge, and no obligation to participate if chosen. Plus participants receive 50% of the box office. Successful Fringe, NYMF, and Off-Broadway shows have been borne out of this series, and Emerging Artists is excited to present a new round of opportunities to local artists for yet another year.

We are now accepting submissions for the following new works:
  • Solo Shows
  • Dance
  • Cabaret
  • Musicals (Short and Long)
  • Short Plays
  • Subway Musicians
HOW TO APPLY

PART ONE: Read this page, our FAQ and Our TERMS AND CONDITIONS

PART TWO: Fill out the application form . You will be asked to provide information on the following:
  • How you heard about Emerging Artists Theatre’s New Work Series
  • Why you think your show would be a good fit
  • Show title, running time, and production history
  • Show marketing blurb (one sentence) and summary (less than 500 words)
  • Contact information and professional bio(s)
  • Hit SUBMIT to submit your application
GETTING ACCEPTED

If you are accepted into the New Work Series, there will be an information session/meet-and-greet on a date to be determined. There will be snacks.

Submissions are now open for our 2022 Spring New Works Series.
BEGIN APPLICATION

South Street Players 11th Annual Tri-State Theatre Festival

Website

Deadline: January 2, 2022, 11:59 pm

Spring Lake, NJ

Call for original, short plays by playwrights from tri-state area (NJ, NY, PA).

South Street Players (southstreetplayers.org) is seeking original, short (10 mins preferred, 15 mins maximum) plays for its 11th Annual  Tri-State Theatre Festival. The event will take place March 18-20, 2022 in Spring Lake, NJ.

The festival, which receives more than 300 scripts annually, is committed to presenting the finest and most unique original, short plays written by local playwrights from New Jersey, New York, and Pennsylvania. The event also serves as an artistic fundraiser, with all proceeds going to SSP to help maintain its commitment to producing high-quality, extremely engaging theatrical experiences for our audiences.

Submission Rules and Process:

Seeking original comedic and dramatic short plays from playwrights currently living in the Tri-State area only (NJ, NY and PA).

Plays must be 15 pages or less. Submissions of longer than 15 pages will not be considered.

Plays must be in standard playscript format.

Playwrights may submit more than one play, but please be sure your name and email address is on the title page of each script.

SSP is a family theatre – no excessive swearing, no nudity.

No royalties or payment will be provided to playwrights should their play be chosen for the festival.

Plays will only be accepted via email: southstreetoneacts@gmail.com

For more information, please email Rob Sullivan, Festival Producer, at southstreetoneacts@gmail.com.

Friday, December 17, 2021

some scripts Issue 5

Website

Deadline: December 31, 2021
or until we reach 150 submissions

Submissions for Issue 5 are now open! The theme is open for Issue 5, so send whatever you think will tickle our fancy!

Submissions are open from November 15-December 31, 2021, or until we reach 150 submissions, whichever occurs first.

We are curious to read honest scripts for either the stage, screen, radio, Zoom, webcomics, or other kinds of scripts you may write. We are also encouraging submissions of essays and reflections regarding the changing landscape of theatre, film, and entertainment/media during the outbreak of COVID-19 and even what those industries and processes will look like post-COVID.

Submissions from writers of marginalized identities (BIPOC, LGBTQ+, and women scriptwriters/essay writers) are especially encouraged!

Please read the guidelines carefully below.

To submit to some scripts:
 
Include a title page in a separate PDF document from the script, detailing your preferred name to be published, email address, a short bio, the title of the piece, and any socials.

Then include your piece as a separate document as a blind copy with no information attached to it. PDF and Word document submissions are okay. Please include necessary trigger warnings within the document itself for the safety of our reading team members. For example, “TW: mention of sexual assault, body horror, homophobic slur”
 
Compile the title page PDF and blinded copy into an email addressed to submissions@some-scripts.com or somescriptslitmag@gmail.com

Feel free to say hello and introduce yourself in your cover letter! We love getting to know the larger scriptwriting community more and are so happy that some scripts continues to reach more people.

some scripts literary magazine is an annual online publication. All contributors accepted for publication will be asked to “e-sign” a publishing agreement (see the sample copy provided at the end of this webpage). some scripts asks for first North American serial rights (FNASR) to publish online for Issue 4. After that, we ask for archival rights to archive your piece on issuu.com/our website. All rights revert back to you upon publication.

We do accept republished work and, if accepted, will ask you help us with an appropriate acknowledgment of its previous publication. We may ask for proof that it has permission to be reprinted before going ahead with its publication in our magazine.

If your piece is published somewhere else later on, we only request you acknowledge some scripts literary magazine as the publication it originally appeared in.

We absolutely will not accept any work that is racist, sexist, homophobic, transphobic, xenophobic, gratuitously violent, glorifies physical/sexual/emotional assault, or otherwise harmful to a specific group of people.

At this time, we are unable to pay contributors. However, we are campaigning to start making that change. Please see our campaign on Ko-Fi to help us compensate future contributors! Even the price of a coffee helps us along.

Still have questions? Head to our FAQ page or feel free to contact us.

19th Annual Mainstage Fresh Fruit Festival

Website

Deadline: December 31, 2021

All Out Arts is accepting submissions for the 19th Annual Mainstage portion of the Fresh Fruit Festival, New York City’s grassroots, multidisciplinary, international festival of Lesbian, Gay, Bisexual, Transgender, and Queer arts and culture. 

The festival will occur over two weeks in early May at The Wild Project in Manhattan’s Lower East Side. Entries are accepted through January 24, 2022. Thanks to the generosity of New York City’s Department of Cultural Affairs and others, there are no submission fees for early applicants (by Jan. 1), and no performance fees are required.

The Fresh Fruit Festival’s goal is to present the whole spectrum of LGBTQ lives as expressed through new Theatre, Performance Art, Dance, Video, Film, Graphic Arts, Music & various other forms of artistic expression.

Submissions in all artistic disciplines & lengths are considered for presentation as long as they highlight or showcase a spectrum of the LGBTQ experience, and are finished, self-produced shows.

The Festival provides AEA-approved performance venues & insurance, marketing & publicity assistance, ticketing services, professional theater staff (logistics manager; a light or sound technician; front of house), repertory lighting plot & sound system, networking events, box-office shares, & more!

Early Submission Deadline: Fri Dec. 31, 2021 (No Submission Fee)
Final Deadline: Mon Jan. 24, 2021 ($25 Reading Fee required after December 31st)

If you are applying from out-of-town: (25+ miles from New York City), you must include a note about how you intend to produce your show (& cast, direct, execute a local publicity campaign, etc.) if you are out of town. You may use the “Performance History” section of the form. All shows must be locally produced.

Questions? – If you are applying in the Poetry, Dance, or Film categories, – or if you have any other questions about the submission process, please email a letter of interest: submissions [at] freshfruitfestival [dot] com. For short questions use our Contact Form. A full listing and download site for ALL festival hints, rules, tech notes, etc. will be published here soon.

Process: The application form must be completed entirely on-line, so we recommend that you please download and print a practice blank copy of the form HERE to prepare your answers in advance. On the real application below most spaces will expand as you type, and you will be able to upload files as .PDF .RTF .TXT or .DOC files, or simply provide tested links. When you are ready, go to the online application below (You can always update your information or files later via email):

> THE ONLINE 2022 APPLICATION <

Thursday, December 16, 2021

The Growing Stage 11th Annual New Play-Reading Festival 2021-2022

Website

Deadline: December 31, 2021 Midnight EST

The Growing Stage – The Children’s Theatre of New Jersey is committed to expanding the canon of Theatre for Young Audiences (TYA) through our New Play-Reading Festival. This program provides a wonderful opportunity for artists to have their unpublished and unproduced work presented before a family audience by a cast consisting of both professional and amateur actors. Four finalists will be selected and one script will be presented as a fully mounted production in the Growing Stage’s 2022-2023 season.

2022 Festival Timeline:

Round 1: March 4th – 6th, 2022
Staged Play Reading
Post-Reading Talkback with Audience, Performers and Playwright (if present)
Printed Feedback provided by audience and artistic team
Private Video Recording of Reading (for playwright only)


Round 2 FINALISTS SHOWCASE: Saturday, April 23, 2022
Each finalist will present 20 minutes of selected scenes.
Written critique will be provided by our educational and artistic teams to each finalist.
Winner will be chosen.

Submission Guidelines:
  • Plays should be intended for young audiences through high school age.
  • Minimum performance length of approximately 45 minutes.
  • Musicals are eligible. Accepted submissions must include a sample recording of the music and lyrics. Please do not send a written score.
  • BIPOC plays and playwrights are encouraged.
  • Adaptations must include proof that permission has been granted from the author to adapt their work.
  • All scripts must be unpublished and not committed to publication.
  • No supporting materials accepted.
  • Two scripts maximum submission.
How to Apply

STEP 1:

To apply for our festival, please email: newplays@growingstage.com and provide the following details in the body of an email:
  • Play title
  • Brief synopsis
  • Approximate running time
  • Cast breakdown
  • Intended audience. (i.e. Elementary, Middle School, High School, Family)
  • Script aligns with The Growing Stage mission. (Insert link)
  • Development History (i.e. previous reading, production, etc.)
Note: Please do not submit your full script with initial inquiry.

Submission Deadline: Midnight, December 31, 2021

STEP 2:

If your initial submission is accepted for our festival, a full script will be requested. When submitting your full script, please follow these guidelines:

Playwright’s name must not be visible anywhere on the script. 

Please include your name, address, phone, and play title in your email submission cover letter.

Playwrights shall allow the release of their names, addresses, and play titles to The Growing Stage.

If you have any questions about the submission guidelines or festival, please contact Danny Campos, Festival Director at newplays@growingstage.com.

SUBMISSIONS ARE NOW OPEN!

For More Information, contact: newplays@growingstage.com or call (973) 347-4946

Wednesday, December 15, 2021

UCROSS + THE BLANK THEATRE — FUTURE OF PLAYWRITING PRIZE

Website

Deadline: December 20, 2021
The first 300 submissions will be considered

Submissions via Submittable

Applications for the 2nd Annual Ucross + The Blank Theatre — Future of Playwriting Prize will be open from November 8 to December 20, 2021.

This award represents a unique collaboration between the prestigious Ucross Foundation in Wyoming, where artists from all disciplines have been supported by residencies since 1983, and The Blank Theatre in Hollywood, which has been developing new plays and new artists since 1990.

The Future of Playwriting Prize will be given to an early-career playwright who personifies the future of theatre — someone whose voice will shape theatre for decades to come, and who will bring new thoughts and views to the American theatrical conversation.

The winner will be awarded a $5,000 cash prize and an all-expenses-paid, two-week residency at Ucross’s ranch at the foothills of the Bighorn Mountains. The residency includes transportation, accommodations, meals, and the opportunity to commune with other visiting artists. The winner will also receive a professionally produced staged reading in The Blank Theatre’s Living Room Series new play development program.

Two additional finalists will each be awarded a $500 cash prize.

ELIGIBILITY
  • Inclusion and diversity are vital to the future of theatre; therefore, playwrights from all backgrounds and genders are urged to apply.
  • We encourage application by playwrights who may not have had access to advanced or graduate writing programs.
  • As this is an emerging playwright award, writers who have had Off-Broadway, Broadway, or major regional theatre productions will not be considered.
  • Since the focus is on American theatre, playwrights must reside in the United States.
  • Winning writers must be between 21 and 30 years of age as of April 1, 2022.

SUBMISSION GUIDELINES
Submissions are open as of November 8, 2021 and the deadline for applications is December 20, 2021.

There is no entry fee.

Writers must submit:
  • Resume including creative/educational background.
  • A personal artistic statement that describes (A) Who you are and what has brought you to this place - your influences and life experiences. Also, what you hope to gain personally from an uninterrupted two-week residency at Ucross. (B) The concept for a new play (a full-length you have not yet initiated) that you would like to begin or work on while you are there - what themes, characters or stories do you want to explore? (C) How do you see the future of theatre, and what is your role as a playwright in it? Your artistic statement should be 1000 words or less. PDF form only, titled FirstName_LastName_STATEMENT(e.g., Sally_Jones_STATEMENT).
  • One short play of ANY length not to exceed 45 pages. Please submit only a complete short play, not a sample from a full length play. PDF form only, titled FirstName_LastName_SHORT (e.g., Sally_Jones_SHORT).
  • One full-length play (60 to 120 pages). PDF form only, titled FirstName_LastName_FULL ( e.g., Sally_Jones_FULL).
  • One submission only per playwright. Please do not submit multiple applications to include different scripts. We want to see what you consider your best work.
  • Plays and other submission materials must be written in English.
  • Translations, musicals, adaptations, and children's plays will not be considered.
  • All scripts must be typed in standard playwriting format.

- Page numbers must appear with the first page of dialogue as page 1.

- Scripts must contain a character breakdown and time/place setting.

SELECTION PROCESS
The first 300 submissions will be considered. If 300 valid submissions are received before the end of the application period, additional entries may not be accepted, and notice will be posted at TheBlank.com.
A jury of professional theatre artists will select one grand prize winner and two finalists, to be announced April 2022.

Visual Muze storytelling residency and retreat.

Website

Deadline: January 1, 2022

APPLICATION

This program is located in the historic district of Nolan Park and housed at the exhibition space (NP/10) of the West Harlem Art Fund.

Visual Muze is a unique storytelling residency and retreat. It provides visual artists, performance artists, multi-media designers, and writers the opportunity to explore narrative forms within collaborative projects, works in progress, guest lectures, and crafts. Prompts will be provided. Participants can choose to work independently or in teams to create original works in print, film, public performance, or digitally for a culminating exhibition. Process, creative strategy, and inspiration will be emphasize

Visual Muze Artist Residency is directed by Curator Savona Bailey McClain.

2022 applications are now being accepted. Click 2022 Visual Muze Residency Application. Deadline is January 1, 2022.

Responses
“The opportunity to be an artist-in-residence on Governor’s Island was a great and nurturing experience for me this past summer during the Epidemic. The natural setting, on an island surrounded by water, standing barefoot amidst the great old trees in Nolan Park inspired me to create a dance/storytelling work drawing from ancient Jewish mysticism.” — Yehuda Hyman/Dancer Choreographer

“Governors Island is an oasis away from the city, an incredible sanctuary to dance and focus on the work without distractions or anxiety from the ongoing pandemic. Highly recommended for rejuvenation and inspiration!” — Katharine Pettit Creative — KPC
Visual Muze Artist Residency is a registered member of the Artist Communities Alliance.


Artist Communities Alliance (ACA) is an international association of artist residencies. ACA supports the people who power the field – administrators, artists, culture bearers, creatives, volunteers, neighbors and community – of artist residencies, organizations and programs that provide time, space and resources for artists to advance their creative practice. Artist residencies and artists are at the center of our work.

Monday, December 13, 2021

Hunter College MFA Playwriting Program

 The Hunter College MFA Playwriting Program is accepting applications through January 15th! 

Please visit https://www.huntertheatre.net/mfa for more information.





Sunday, December 12, 2021

Decolonization Stories: window opens for commission consideration

Website

Deadline: December 13, 2021

Infomación en español

AlterTheater and La Lengua Teatro en Español are working together to commission three to five one-act plays, centering the voices of Black, Indigenous, and Latinx playwrights.

We are looking to commission playwrights ready to write back against the legacy of European colonization in the Americas, in Spanish, Portuguese, Native languages, or English. These will be developed and presented as part of La Lengua’s 2022/2023 season in San Francisco, CA.

Why now? The prompt

On Juneteenth 2020, protestors toppled the statue of Junipero Serra in Golden Gate Park. In 2021, a local high school removed a colonizer's name and renamed their school the Archie Williams High School.

2021 is the 500th anniversary of the fall of the Aztec empire to Spanish colonizers, It's been 530 years since European colonizers got lost and stumbled across Turtle Island.

Decolonizing 500+ years requires that we debunk and counter the myth of Junipero Serra, Sir Francis Drake, and other white saviors. Decolonizing requires that we center stories of resistance, of celebration, and truth telling by Native, Black, Chicano and Latinx storytellers. It's time to tell the true history and to imagine a decolonized future.

Now is also time to support Native language revitalization efforts. As young Native people are taught their traditional language in more and more schools and language immersion programs take root, we hope to encourage Native playwrights and storytellers to incorporate their traditional language in their work. It's time to decolonize language, to de-center English.

“We are looking to commission stories that write back against the legacy of European colonization in California, and beyond” says La Lengua Founder and Artistic Director, Virginia Blanco. “Our goal is to center the voices of Latinx, Black, and Indigenous playwrights writing in Spanish and languages Native to the Americas.”

Decolonization Stories: Commission

We are seeking playwrights who write in Spanish, and/or Native languages (from all the Americas) to send in any script or writing sample that they feel is representative of their work in light of this prompt. We will also consider writers writing in Spanglish, Portuguese or English.* We especially invite submissions from Indigenous writers throughout the Americas – Turtle Island and Central and South America, as well as Afro-Indigenous and Afro-Latinx writers. We will be accepting submissions starting on Indigenous Peoples’ Day, October 11th, and ending on December 13th, 2021.

From the submissions we receive, we will choose 3 to 5 playwrights for a Decolonization Stories Commission. The Decolonization Stories Commission includes a playwright residency, a workshop, and public performances.

From the submissions we receive, will will select 3 to 5 playwrights to each write a 1-Act play. The Decolonization Stories Commission includes a 12-week playwright residency and a workshop in the summer of 2022. “This commission will follow the same model we use in our program AlterLab First Acts,” says twice-commissioned AlterLab playwright and leader of AlterLab First Acts Diana Burbano (GHOSTS OF BOGOTÁ). “We developed that program in response to damage done to BIPOC students in higher education settings. It was important that we used the same approach for the Decolonization Stories Commission because our voices have been deliberately and historically silenced and this commission is an opportunity to speak back and speak loudly.”

Decolonization Stories Commission playwrights will meet weekly over the course of 12 weeks, beginning in April.

Each playwright will write a 1-Act play in response to the prompt.

Commissioned plays will be workshopped over Summer 2022

Commissioned plays will be publicly presented in the Fall of 2022.

*this list is set by the limitations and capacity of our team, and we recognize that not all experiences of colonization in the Americas will be included in this pilot year

More info and to Apply: Link to more information

To be considered for a Decolonization Commission submission, writers can apply here

We request:

- At least one writing sample

- A one-paragraph statement of career goals and aspirations

- A one-paragraph statement of why you felt drawn to this submission call

- A one-paragraph statement about community ties you have that help you tell a story in response to this prompt

Decolonization Stories Commission submissions are being accepted now!

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