Discount tickets: MARY SHELLY'S FRANKENSTEIN

Ensemble for the Romantic Century presents

MARY SHELLY'S FRANKENSTEIN
Written by Eve Wolf
Directed by Donald T. Sanders
The Irene Diamond Stage at The Pershing Square Signature Center
480 W. 42nd St., New York, NY 10036

romanticcentury.org

Limited engagement December 21st - January 6th, 2017


The joys and perils of motherhood, the hovering shadow of infant mortality, and the sting of loneliness and rejection merge as Mary Shelley creates her masterwork, Frankenstein. The Creature that Dr. Frankenstein produces, an assemblage of disparate elements, coalesces into a monster with a human soul. His horrific appearance conceals the gentlest heart. Through no fault of his own, he is forced to descend into evil deeds. 

Starring Tony Nominee Robert Fairchild as "The Monster" and Paul Wesley as Dr. Frankenstein

Following the success of the New York Times Critics' Pick Van Gogh's Ear, Ensemble for the Romantic Century is excited to continue their journey with Mary Shelley's Frankenstein.

Special Offer:

Dec 21st – Dec 26th: $39 (reg. $75 weekdays, $95 weekends)
Dec 28th – Jan 6th: $49 (reg. $75 weekdays, $95 weekends)




TWO EASY WAYS TO REDEEM:


ONLINE: Visit RomanticCentury.org and use code MSFGENERAL


PHONE: Call (212) 279-4200 and mention code MSFGENERAL

Restrictions: Phone and Online Service Fees will be applied at checkout.  Subject to availability. Not valid on prior purchase.  Offer cannot be combined with other discounts or promotions.  Additional blackout dates and restrictions may apply. No refunds or exchanges. Offer may be revoked at any time.  

Submissions are open for the Black Repertory Company

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Submissions are open for the North Carolina Black Repertory Company’s 2018-2019 main stage season. To submit, please follow the guidelines below:

 Email submissions@ncblackrep.org with the subject line:
[Title of Your Play] 2018-2019 Script Submission

 In the body of the email, include the following:

• Play Title
• Playwright Name
• Playwright Bio
• Contact Info
• Character Breakdown
• Set Description
• Production History
• Short Synopsis
• Attach the first 10 pages of the script in PDF format.

To ensure your submission is reviewed, please strictly adhere to the above guidelines. If interested, the full script will be requested. Please note that due to the volume of submissions, we unfortunately cannot respond to individual emails.

Agents may email full scripts with production history and a playwright biography to submissions@ncblackrep.org , or send hardcopy to:

North Carolina Black Repertory Company
ATTN: Literary Manager
610 Coliseum Drive
Winston Salem, NC 27106

The Premiere Play Festival seeks full-length plays

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Submissions due DEC 15 2017

From September 15, 2017 through December 15, 2017, Premiere Stages will accept submissions of unproduced plays written by playwrights affiliated with the greater metropolitan area. All plays submitted to the festival are evaluated by a panel of professional theatre producers, directors, dramaturgs, playwrights, and publishers. Four finalists are subsequently selected for public Equity readings in March 2018. Following the readings, one play is selected for an Equity production in the Premiere Stages 2018 Mainstage Season and receives an award of $2500. The runner-up receives a 29-hour staged reading and $1000. The two other finalists will each be awarded $750.

Premiere Stages is committed to supporting a diverse group of writers; playwrights of all backgrounds, ages, and experience levels are encouraged to apply.

• Plays must be full-length and have a cast size of no more than eight.
• Plays must be unpublished and unproduced (readings and workshops are okay).
• Playwrights must have strong affiliations with the greater metropolitan area (New York, New Jersey, Connecticut, Pennsylvania, and Delaware).
• Musicals, adaptations (of existing plays or other sources), and solo shows will not be considered at this time.
• Submissions are limited to one script per playwright.
• Playwrights must be available for the development of their script (see schedule at right).
• Submissions are accepted September 15, 2017 through 11:59 p.m. on December 15, 2017.
• Submissions sent early in the submission window are strongly encouraged.
• All plays must be submitted as a PDF via email to pfsubmit@kean.edu.
• Hard copies will not be accepted.



Non-Agent Submissions

Premiere Stages will accept script samples & synopses from playwrights without an agent.

Submissions must include:


• Brief synopsis of the play (no more than half a page).
• Character breakdown.
• History of the play’s development (if any).
• The playwright’s bio or resume.
• Script sample from the play (no more than 10 pages).

Agent/Theatre Professional Submissions

Premiere Stages will accept full scripts from literary agents or theatre professionals affiliated with Premiere Stages.

Call for Submissions For 6th Annual LaBute New Theater Festival

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The St. Louis Actors’ Studio is proud to announce call for submissions for the 6th Annual LaBute New Theater Festival at the Gaslight Theater, with plays debuting from July 06 - 29, 2018.

Submissions will be accepted through December 31, 2017. 

(High School Submissions through April 15, 2018)

Professional Submissions: Successful entries will have no more than four characters and be crafted specifically to exploit our intimate performance space. (18' x 18' stage) Changes in scenery or setting should be achievable quickly and with few major set moves. Our focus is on fundamental dramaturgy: plot, character and theme.

Professional, new and previously unproduced one-act play submissions should include a letter of inquiry, a synopsis and a 10-page sample from the script. Running time for each performance should not exceed 45 minutes.

Up to eight plays will be chosen, in addition, a new piece from Mr. LaBute will be performed every night for the run of the festival. Mr. LaBute is scheduled to participate in the opening weekend activities.

High School Submissions: Winning plays by high school students will be presented in readings. The guidelines are straightforward: The one act should include no more than four characters featuring a clearly developed plot and distinctive characters. No longer than 15 minutes in length.

Non-Professional, new and previously unproduced one-act play submissions should include a letter of inquiry and complete script.

Submissions should be sent to (Snail Mail ONLY):

LaBute New Theater Festival
St. Louis Actors’ Studio
360 N Boyle Ave
St. Louis, MO 63108
314-458-2978

http://stlas.org/services-view/labute/

Gadfly Final Frontier Festival: ​Myths & Legends

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We all know that there have been queer people as long as there have been people. However, it is rare that we see ourselves reflected in the the myths and stories of deities and heroes of ancient cultures. We at Gadfly think it's time to change that. This year's Final Frontier Festival theme is Myths and Legends. If you've ever wondered about the male loves of Zeus, Apollo, and Poseidon, well so have we. Remember Boudica? How come we haven't seen her story on stage yet? Write it. Jonathan and David? Ruth and Naomi? Super queer. Let's hear their stories without all the straight washing. Gadfly is now taking submissions for our annual geeky one act festival and we want to hear your queered myths, your lesbian legends, and you trans inclusive creation stories.
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Submission guidelines:

• Scripts must be emailed in pdf format with play's title as the subject line
• Scripts must contain queer and/or feminist characters and/or content
• Scripts must contain content relevant to the theme of Myths and Legends.
• Scripts must be between 20 and 45 minutes. No ten minute or full lengths will be accepted. No exceptions.
• Scripts must have no more than 6 characters and have minimal locations and technical needs.

To submit your fantastically reimagined, queered, or brand new mythological or legendary stories please email your scripts to gadflytheatre@gmail.com by midnight December 31, 2017. 

Please include a character breakdown and short synopsis along with your script. Scripts failing to meet the submission guidelines or scripts received after the deadline will not be considered.

As always trans and nonbinary playwrights, playwrights of color, and other marginalized women playwrights are especially encouraged to submit. We are particularly interested scripts based on myths and legends of non-Western and non-white cultures.

A final note: It should go without saying, but you'd be surprised. If you use racial, sexual, or gender slurs in you character breakdowns or synopsis your scripts will be disqualified without being read.

New Voices series seeks one-act plays - Alexandria VA

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The LTA Millennial Committee is sponsoring the third installment in our New Voices series and we need your scripts! The theme is “Conversations”, and we will be running immediately after two performances of the mainstage performance of The Audience by Peter Morgan.

New Voices provides a platform for unknown playwrights and young directors by staging original shows directed by Millennials. Following our two wildly successful 2017 events (9 original shows, almost 300 audience members) we will be putting on our spring event on the mainstage of LTA. To submit a show, please read the following closely.

Theme & Script Guidelines: The theme is “Conversations” -  you can interpret this any way you wish, in any time period, with any characters. We do not feature shows with nudity, but strong language and/or themes are welcome. Shows must be 45 minutes or less.

Location: We will have mainstage access for our shows, however set needs to be minimal (ie, chairs and tables are fine, needing multiple levels or rooms sectioned off with flats are not). Please be aware if you submit a tech heavy show, we may not accept it or may alter the tech to suit the space.

Dates & Deadlines: Submissions must be received by December 22, 2017. All submissions will receive a notification regarding selection by December 31st.

Other Notes: It is free to submit, and no pay will be provided to winners; all involved with this project operate on a volunteer basis only. Comp tickets will be given to any winning playwright who chooses to attend. You may submit a maximum of two shows. More than one show from the same author may be selected. No age or geographical restrictions on playwrights, although Millennials will be given preference if shows are otherwise of equal quality. Shows may have been performed elsewhere. We will be posting scripts or portions of the script (playwright’s choice) online for a limited duration for prospective auditionees.

To Submit: Send the following to Ashley Amidon at aaamidon@gmail.com. Submissions not providing the following information will not be considered.

In the email: Please send an email to aaamidon@gmail.com with the subject "Spring Play Submission". In the body of your email, please include your full name, City/State of residence, approximate runtime of your play (45 minutes or less only), and whether you are 40 or under.

Attached to the email:
Please attach a full PDF copy of the script with no personal identifying information.
AND
2. To be posted online if selected: either a 5 page selection of the script that can be shared with prospective directors and actors OR indicate in your email you are willing to share the entire script.

The Dramatists Bill of Rights

SOURCE: THE DRAMATISTS WEB SITE

Long before playwrights or musical theatre writers join the Dramatists Guild, they often struggle professionally in small-to-medium-sized theatres throughout the country.

It is essential, therefore, that dramatists know their rights, which the Dramatists Guild has defended for nearly 100 years. In order to protect the dramatist’s unique vision, which has always been the strength of the theatre, s/he needs to understand this fundamental principle: dramatists own and control their work.

The Guild recommends that any production involving a dramatist incorporate a written agreement in which both theatres/producers and writers acknowledge certain key rights with each other.

IN PROCESS AND PRODUCTION

1. ARTISTIC INTEGRITY
No one (e.g., directors, actors, dramaturgs) can make changes, alterations, and/or omissions to your script – including the text, title, and stage directions – without your consent. This is called “script approval.”

2. APPROVAL OF PRODUCTION ELEMENTS
You have the right to approve the cast, director, and designers (and, for a musical, the choreographer, orchestrator, arranger, and musical director, as well), including their replacements. This is called “artistic approval.”

3. RIGHT TO BE PRESENT
You always have the right to attend casting, rehearsals, previews and performances. The Guild recommends that any production involving a dramatist incorporate a written agreement in which both theatres/producers and writers acknowledge certain key rights with each other.

COMPENSATION

4. ROYALTIES
You are generally entitled to receive a royalty. While it is possible that the amount an author receives may be minimal for a small- to medium-sized production, some compensation should always be paid if any other artistic collaborator in the production is being paid, or if any admission is being charged. If you are a member of the Guild, you can always call our business office to discuss the standard industry royalties for various levels of production.

5. BILLING CREDIT
You should receive billing (typographical credit) on all publicity, programs, and advertising distributed or authorized by the theatre. Billing is part of your compensation and the failure to provide it properly is a breach of your rights.

OWNERSHIP

6. OWNERSHIP OF INTELLECTUAL PROPERTY
You own the copyright of your dramatic work. Authors in the theatre business do not assign (i.e., give away or sell in entirety) their copyrights, nor do they ever engage in “work-for-hire.” When a university, producer or theatre wants to mount a production of your play, you actually license (or lease) the public performance rights to your dramatic property to that entity for a finite period of time.

7. OWNERSHIP OF INCIDENTAL CONTRIBUTIONS
You own all approved revisions, suggestions, and contributions to the script made by other collaborators in the production, including actors, directors, and dramaturgs. You do not owe anyone any money for these contributions. If a theatre uses dramaturgs, you are not obligated to make use of any ideas the dramaturg might have. Even when the input of a dramaturg or director is helpful to the playwright, dramaturgs and directors are still employees of the theatre, not the author, and they are paid for their work by the theatre/producer. It has been well-established in case law, beginning with “the Rent Case” (Thompson v. Larson) that neither dramaturgs nor directors (nor any other contributors) may be considered a co-author of a play, unless (i) they’ve collaborated with you from the play’s inception, (ii) they’ve made a copyrightable contribution to the play, and (iii) you have agreed in writing that they are a co-author.

8. SUBSIDIARY RIGHTS
After the small or medium-sized production, you not only own your script, but also the rights to market and sell it to all different media (e.g., television, radio, film, internet) in any commercial market in the world. You are not obligated to sign over any portion of your project’s future revenues to any third party (fellow artist, advisor, director, producer) as a result of a production, unless that production is a professional (i.e., Actor’s Equity) premiere production (including sets, costumes and lighting), of no less than 21 consecutive paid public performances for which the author has received appropriate billing, compensation, and artistic approvals.

9. FUTURE OPTIONS
Rather than granting the theatre the right to share in future proceeds, you may choose to grant a non-exclusive option to present another production of your work within six months or one year of the close of the initial production. No option should be assignable without your prior written consent.

10. AUTHOR’S CONTRACT
The only way to ensure that you get the benefit of the rights listed above is through a written contract with the producer, no matter how large or small the entity. The Guild’s Department of Business Affairs offers a model “production contract” and is available to review any contracts offered to you, and advise as to how those contracts compare to industry standards.

We realize that making demands of a small theatre is a difficult task. However, you should feel confident in presenting this Bill of Rights to the Artistic Director, Producer, Literary Manager, or university administrator as a starting point for discussion. At the very least, any professional in the dramatic arts should realize that it is important for writers to understand the nature of their work – not just the artistic aspects, but the business side, as well – and that they stand together as a community, for their mutual benefit and survival, and for the survival of theatre as a viable art form in the 21st century.

Transcendence Theatre Collective seeks new plays

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Transcendence Theatre Collective is a new company entering its premiere season. We strive to promote the newest generation of theater makers with specific emphasis on those who are traditionally underrepresented in theatre. We will achieve this by actively reaching out to new playwrights, directors and actors who have not been given the opportunity to showcase their abilities because of their differences. The first part of that is of course: playwrights.

We are seeking out new plays (90 minutes max and no musicals) from aspiring playwrights of all kinds. We will choose a top 3 and then those will be read throughout the Spring (Feb 15, March 15, and April 12) at a venue in Manhattan. Finally we will choose from those 3 and take it to full production for an approximate 4-show run.

None of this can happen without your work being submitted! It doesn't cost you anything and if your work get chosen it still won't cost you anything other than time and your work will be being promoted throughout New York City.

St. Paul's Arts Council Short New Play Festival (Indiana)

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The St. Paul's Arts Council is showcasing original, never been produced short plays.

We are featuring two categories of short plays, 2-Minute and 10-Minute Plays. We ask that, due to the 200th anniversary of its publication, you use Mary Shelley's Frankenstein; or, The Modern Prometheus as your inspiration.

Those chosen will be performed as a stage reading at St. Paul's Episcopal Church in New Albany, Indiana on Sunday February 11 at 2:30 pm.

Submissions of original plays in either format, will be accepted beginning Friday, September 1, 2017. Submission deadline is Friday, December 15, 2017.

The number of plays to be produced will be at The St. Paul's Arts Council discretion and will depend on the mix of qualified submissions. Original plays accepted for the Festival will be announced between January 1 and January 15, 2018. There are no submission fees for this Festival. There will be no monetary stipend for plays used in the Festival, however, audience members will vote for their favorite play in both the 2-Minute and 10-Minute categories. Winning playwrights will receive a $25 cash prize.

Festival Submission Guidelines

Submission must be an original 2-Minute or 10-minute play, unproduced at time of submission. Plays that have had staged readings will be accepted. Plays that have received full productions, either professional or amateur, prior to submission will not be accepted. Legal clearance of materials not in the public domain is the full responsibility of the playwright.

Limit of ONE play may submitted by each playwright.

Maximum Length: Play should run in either the 2 minute or the 10 minute range. Longer submissions will not be considered.

Scripts may be comedy and drama. Not open to musicals. No more than 6 characters.
Plays must be submitted with pages numbered and include on the title page the following contact and bio information:
Playwright’s name, mailing address, phone number, e-mail address and a brief biography.

All play submissions will be handled with care. However, The Arts Council assumes no responsibility for lost or damaged scripts.

Submissions may be e-mailed to parishoffice@stpaulna.org.

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

Mail submission to:
St. Paul's,
Ten Minute Plays,
1015 E. Main St,
New Albany, IN 47150.

Mailed submissions must be securely bound with a title page containing full contact and bio information as outlined above.

Scripts will not be returned. Scripts not selected will be shredded then recycled.

Selections will be made by The Arts Council and inclusion in the festival is solely at their discretion.

All decisions are final.

All submitting playwrights will receive an email notification upon receipt of their scripts. Notification of final decisions will be made by e-mail between January 1 and January 15, 2018.

Pallas Theatre Collective TableRead Series

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Pallas Theatre Collective welcomes submissions of completed, full-length and one act musicals for their 2018 TableRead Series between September 15, 2017 and December 15, 2017.

 TableRead 2018 will offer creative teams the opportunity to develop, workshop and present new works of musical theatre in collaboration with Pallas’s new musical development team through a series of university and professional readings (usually 3-4), culminating in a professional black-box style production in 2019 or 2020. Creators are provided a small honorarium and some travel expenses, as well as 10% net box office receipts from the show.

For more information and a list of past winners, visit: pallastheatre.org/TableRead.

Only completed projects will be accepted. Semi-finalists will be asked to submit full libretto, full score (generated through music publishing software, no lead sheets), and complete demos at time of request (demos do not need to be of professional quality). A short interview via skype or google hangout with Pallas Artistic leadership will be required of Finalists. Musicals must be unpublished with no prior large or workshop production history (i.e. if the musical has been produced, it is not eligible for the TableRead program). Proof of rights must be secured by the composers if the musical is based on copyrighted material before submission to TableRead.

TableRead only accepts digital submissions. There is no fee to apply.

Please place all required files in a single folder in a drop site (Dropbox, Box, Google Drive, etc.) and send the folder link to tableread@pallastheatre.org. An email will be sent to you to confirm your submission within one week (please do not send emails about confirmation until after one week has passed). Please only include the following materials (incomplete submissions, or those not following guidelines will not be reviewed):

• Creator contact information & bios
• Story sentence: (A one sentence statement of the musical’s plot, with the protagonist as the subject of the sentence) & 1 page synopsis detailing all important plot points and the location of all musical numbers)
• Cast size, character breakdown, including vocal ranges.
• Development history & a list of attached parties if any (director, MD, actors, agents, current contracts, etc.) NOTE: Pallas Theatre is run by a collective of artists and most work is done ‘in house.’ We may not be able to accommodate all/any attached parties based on the size/scope/timing of the work.
• First 30 pages of libretto only – must start on page 1 and must include title and credits page.
• 6 mp3 demo tracks – must include the show’s opening and closing song. Songs submitted not in the first 30 script pages must include a brief description including placement in the show and the song’s function in the play.

*Due to the high volume of submissions we will no longer confirm whether the submission is complete, please be sure to follow the directions carefully

Proscenium Theatre Journal submission guidelines

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Proscenium accepts submissions year-round for Proscenium Journal and the third annual Proscenium Live Festival of New Work. To learn more about Proscenium Live, click here.

Proscenium accepts plays of any length and any style. There is no submission fee. Unless otherwise noted, all plays will be considered for both Proscenium Live and Proscenium Journal.

Submission Procedures:

We accept all submissions via email. Please email your original play to submissions@prosceniumjournal.com. Include the title of the play and your name in the subject heading. Please submit your play in PDF format along with a brief author bio. If your play has been produced, please send us information about production history.

Due to the large number of submissions we receive, we regret that we cannot acknowledge all submissions. Proscenium reserves the right to reject any submission for any reason.

If you have any questions about our submission process, please contact info@prosceniumjournal.com.

Campfire Theatre Festival seeks plays

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WE ARE ON THE HUNT FOR NEVER-BEEN-PRODUCED SCRIPTS BY EMERGING PLAYWRIGHTS.

"Emerging" is defined as a playwright that has not had more than two professional productions or a published script.

"Never been produced" means plays that have had small readings and workshops are fine, but plays that have been previously produced or published are not accepted.
If you are unsure if you are eligible, please email us at contact@campfiretheatrefestival.com with details.

We will accept full length plays that are more than sixty pages, less than one hundred and twenty pages, and may have an intermission.

We currently cannot accept musicals. We can accept children's plays. We will accept plays of any genre. Each playwright may submit ONE play. Please keep in mind that we will be taking technical requirements and feasibility to produce with a short rehearsal schedule into consideration when making selections.

WE ARE ACCEPTING SUBMISSIONS FOR TWO PROGRAMS:

OUR STAGED READING SERIES AND OUR NEW SPARK PROGRAM.

Our Staged Reading Series accepts plays by emerging playwrights and offers them a fully staged reading at our festival in Boise, Idaho in September 2018.

IF YOU ARE SELECTED:

Your play will be assigned a cast and director.
You will receive a prize of $100 for a selected full-length play.
Campfire Theatre Festival is not currently able to provide playwright travel stipends for the Staged Reading Series; however, if a selected playwright can provide their own travel to Boise for the festival, all efforts will be made to assist with housing.
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Our new Spark Program accepts plays by emerging playwrights for a week-long workshop process that culminates in a seated reading. Our first Spark workshop will take place in Spring 2018 in Boise, Idaho, and our second will take place as part of our festival in Boise, Idaho in September 2018.

IF YOU ARE SELECTED:

Your play will be assigned a cast, a dramaturg and director.
You will receive a prize of $100 for a selected full-length play.
You will receive airfare and housing for a week in Boise, Idaho.

SUBMISSION CAPS AND DEADLINE:

THE DEADLINE FOR SUBMISSIONS IS DECEMBER 15, 2017. WE WILL ACCEPT THE FIRST 300 FULL-LENGTH PLAYS AND CLOSE SUBMISSIONS WHEN WE RECEIVE THAT MANY, EVEN IF IT'S BEFORE THE DEADLINE.

PLEASE PREPARE THE FOLLOWING MATERIALS:

• A theatrical resume titled "RESUME" including contact information
• A document titled "ADDITIONAL INFO" containing the following:
• A short response to the following prompt: Why do you think this opportunity would benefit you at this point in your career?
• A short response to the following prompt: Campfire aims to increase inclusivity, diversity and representation in the American theatre. What makes your voice unique or unheard in American theatre today?  
• A casting breakdown (specific requirements, doubling, cast size, etc.)
• A brief note on technical requirements
• A short synopsis
• How did you find out about Campfire?
• Please indicate if you are submitting your play to be considered for the Staged Reading Series, the Spark Program, or both.
• A PDF copy of your script. The name of the document should be the name of your play. The script should be blinded (no names or identifying info please!). The play must be in proper stageplay format or it will not be read.

PLEASE EMAIL THESE THREE DOCUMENTS TO CONTACT@CAMPFIRETHEATREFESTIVAL.COM.

Thank you and we look forward to reading your play! Please direct any questions to contact@campfiretheatrefestival.co

Call for Submissions: Pride Films & Plays Seeks Short Plays for History Lezons Festival

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We already observe Women's History Month.

Now it's time to celebrate Women-Loving-Women's History Month.

Pride Films & Plays is seeking short plays about women who refine, define, and redefine the expression "out with the old."

Whether you're spotlighting women once considered yester-gay's news or reminiscing of days gone bi, we want to pay homage to the formidable fortitude of our foremothers, be they factual figures in history or fictional figures of your own creation.

As long as your play explores some aspect of women-loving-women's history, it can be set in any historical time period and can be in any genre.

The "History Lezons" festival of short plays will be curated by Allison L. Fradkin, Literary Coordinator of Pride Films & Plays' LezPlay Contest, and Iris Sowlat, director/producer and member of our LezPlay InQbator program.

Performances will take place at Pride Arts Center in Chicago the first two weeks of March 2018.

Guidelines:

• Submissions are open to playwrights who identify as women.
• Plays can be up to 10 pages and include up to 5 characters.
• Playwrights may submit 2 scripts for consideration.
• Scripts that have been previously produced will be accepted, but they must have been produced outside of Chicago.
• To be on the write side of history, send your scripts in PDF format to pridewomen@gmail.com with "History Lezons" in the subject line.
• The deadline for submissions is December 15, 2017.
• Playwrights will be notified of our selections by January 1.

To learn more about Pride Films & Plays, please visit pridefilmsandplays.com.

Spring Writing Classes at Primary Stages ESPA!

Spring 2018 classes at Primary Stages ESPA are now open for enrollment! Here are just some of the classes in our lineup of opportunities in the writing department:

Fundamentals of Playwriting

Adam Kraar (Writer, New World Rhapsody at MTC, Wild Terrain at EST)

If you're just stepping into the world of playwriting, welcome!

The First Draft

This class will guide you through the development of your first draft, providing concrete deadlines, constructive feedback, and a collaborative environment that will encourage you to get your ideas on the page.

Sarah Gancher (Writer, Hundred Days (with The Bengsons) at NYTW and The Public)

Abe Koogler (Writer, Fulfillment Center at MTC, Kill Floor at LCT3)

Michael Walkup (Producing Artistic Director, Page 73)

Winter Miller (Writer, In Darfur at The Public)

Eddie Sanchez (Writer, Barefoot Boy with Shoes On at Primary Stages)

The Second Draft

Crystal Skillman (Writer, Geek and Rain and Zoe Save the World)

This class is for those with complete drafts who are ready to hear the play in full and embark on strategic rewrites.

Completing Your Draft

Stefanie Zadravec (Writer, The Electric Baby at Two River Theatre Company)

Complete your first draft, ideally with some idea of what you'd like to explore, but knowing that everything may change.

Comedy Writing for the Stage

Kate Moira Ryan (Co-Writer, The Judy Show at DR2 Theatre)

A solid grasp of the mechanics of comedy writing for the stage is a powerful tool in the hand of any playwright.

Lyric Writing

Adam Gwon (Lyricist/Composer, Ordinary Days at Roundabout Theatre)

This 8-week class will teach you to apply your existing playwriting and storytelling impulses to a lyric format.

Workshop: A Play in 2 Days

Melissa Ross (Of Good Stock at MTC, Nice Girl at Labyrinth)

This 2-day writing extravaganza is designed to push you to write an inspired first draft in 48 hours.

Workshop: Adaptation

Kate Hamill (Pride & Prejudice at Primary Stages, Sense & Sensibility at Bedlam)

Learn the questions to ask while adapting, including what themes strike you within the source material, why must this be a play and why now, and what makes this an exciting and necessary project for you.

Screenwriting Workshop: Getting Your (Second) Act Together

Kate Cortesi (Screenwriter, New Line Cinema)

The main enemy in writing a screenplay is the infamous Second-Act Problem. Meet your foe head on and explore strategies for developing a problem-proof premise and conflict.

Click here for the full list of writing classes.

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

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

RED EYE’S WORKS-IN-PROGRESS 2018-CALL FOR PROPOSALS ~ Minnesota

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Applications will be accepted through December 6, 2017

Works-In-Progress provides artistic, production, and administrative developmental support over a six-month periodfor a cohort of 4-5 selected artists/artistic collaborations.

A hallmark of the program is a series of critical response feedback sessions facilitated by Red Eye artists. Artists selected have access to the theater throughout the program, providing the opportunity to explore and experiment with conceptual and staging ideas over an extended timeframe.

Works-In-Progress is linked to Red Eye’s Isolated Acts program, with both functioning as key components of the annual New Works 4 Weeks festival.

Works-In-Progress was created over 30 years ago as a way to support experimental performance makers in dialogue with each other. It aims to create a multidisciplinary community of creators linked by a shared desire to investigate process throughcritical discourse.

The emphasis of Works-In-Progress is on the process of developing an original piece for performance, primarily in terms of its conceptual development and staging. The series is designed to serve emerging artistswho are exploring new directions in pieces that would benefit from an extensive reflective process and are best suited for development in a creative laboratory setting.

PROGRAM DETAILS

Artists working in all performancedisciplines are welcome to apply. Interdisciplinary, multimedia,and collaborative artists are encouraged.Works-In-Progress is targeted towards artists, collaboratives, and ensembles who are pushing the boundaries of performance through a questioning of form, content, and/or aesthetics. Four to five projects are selected each year by a panel consisting of Red Eye company artists and past WIP participants. Applicants will be notified by phone or e-mail by December 22, 2017about the panel’s decision.  Projects in which the primary artists are current undergraduate students are not eligible for this program.

Each project may present A MINIMUM OF 10 AND A MAXIMUM OF 15 MINUTES in the festival.

Longer works may be accepted into the program, in which case an excerpt will be presented in the final show.

Should a piece receive subsequent production, credit must be given to Red Eye for developmental support.Works-In-Progress 2018will be presented for four public performances Thursday-Sunday, May 24-27, 2018.

A direct stipend of $550 is provided foreach project.Participants have access to Red Eye’s technical resources, including rehearsal spaceand limited lighting and sound capabilities throughout the rehearsal process. Access will be dependent on mainstage and rental shows happening in the space during the course of the program.

Red Eye provides a lighting designer and production manager for the public performances, promotion of the series, and an opening night reception.  The series is not open to critical review.Participants are expected to give their works production values (minimal as they may be), and move beyond a staged reading. Participants are responsible for all elements of production, including casting, design(aside from lighting design), and direction.Participation is required in at least five of the seven group feedback sessions.Selected participants must be able to attend an informational meeting 6:00 PM to 9:00 PM on Wednesday, January 3, 2018.Rehearsal space will be available from that date through performance.

APPLICATIONCHECKLIST

1. A cover pagelisting the title of your project, your name, address, telephone number/s and e-mail address.

2. A two-page narrative, including

1) a description of the conceptual intent of the piece and your ideas for how those intentions might be developed for performance;
2) an articulation of the questions you are raising in your workand this project;
3) the style of the piece; and the visual, aural, and/or staging approaches you hope to explore;
4) a paragraph about your expectations for what you hope to get out of the program.

3. A one-page resume of the primary artist/s submitting this proposal.

4. A list of proposed production/artistic personnel(consider lead artists, performers, directors, designers, etc.).

You may also include a short statement detailing your relationship to any of these potential collaborators. Note: Red Eye provides a production coordinator and lighting designer for the series.

5. (optional) A production historyof your proposed project, if any.

6. A one-page work sampleinformational page. This should include: titles, length of excerpts, your role in each, a brief description of how the work sample relates to your proposed project, and linksto the work samples (if applicable).

7. (optional) Any visual or text work samples that do not have electronic links.

WORK SAMPLE(S)

For your work sample you can submit up to 5 “minutes” of material. Material will be weighted as follows:

NOTE: Most proposals benefit from the inclusion of a performance video sample
> videosample, 1 minute = 1 minute (vimeo or equivalent link)
> audio sample, 1 minute = 1 minute (link or sound file attachment)
> visuals, 1 image= 30 seconds (image file OR link to website or equivalent)
> performance text, 1 page = 1 minute (.pdf or .doc formatted), (for example: you could submit 5 minutes of video or 2 minutes of video, 2 pages of text, and 2images, etc.

SUBMISSION

Pleasesubmit your application electronically to staff@redeyetheater.org.

To do so, save your proposal as a single PDF file. Work samples should besent as separate digital attachments or links.

 If sending links be sure to include any relevant passwords for accesson the Work Sample Informational page.

Include your name in all file titles.

If you are unable to submit electronically, send or deliver hard copies to:
RED EYE
15 West 14th St
Minneapolis, MN  55403-2301

Applications maybe placed in Red Eye’s mail slot 24/7, located on your right as you face the front doors.Note: the slot can only accommodate packages less than 2” thick.

Work samples will not be returned.If necessary, the panel may contactselected applicants for a brief interview before a final decision is made.

Application materials must be received at Red Eye on or before WEDNESDAY, DECEMBER 6, 2017.  This is NOT a postmark date

or your work sample you can submit up to 5 “minutes” of material. Material

will be weighted as follows:

NOTE:

Most proposals benefit from the inclusion of a performance video sample

>

video

sample

, 1 minute = 1 minute (vimeo or equivalent link)

>

audio sample

, 1 minute = 1 minute (link or sound file attachment)

>

v

isuals

, 1 image

= 30

seconds (image file OR link to website or equivalent)

>

performance text

, 1 page = 1 minute (.pdf or .doc formatted),

(for example: you could submit 5 minutes of video

or

2 minutes of video, 2 pages of text, a

nd

2

images,

etc.

WORK SAMPLE(S)

For your work sample you can submit up to 5 “minutes” of material. Material

will be weighted as follows:

NOTE:

Most proposals benefit from the inclusion of a performance video sample

>

video

sample

, 1 minute = 1 minute (vimeo or equivalent link)

>

audio sample

, 1 minute = 1 minute (link or sound file attachment)

>

v

isuals

, 1 image

= 30

seconds (image file OR link to website or equivalent)

>

performance text

, 1 page = 1 minute (.pdf or .doc formatted),

(for example: you could submit 5 minutes of video

or

2 minutes of video, 2 pages of text, a

nd

2

images,

etc.

or your work sample you can submit up to 5 “minutes” of material. Material

will be weighted as follows:

NOTE:

Most proposals benefit from the inclusion of a performance video sample

>

video

sample

, 1 minute = 1 minute (vimeo or equivalent link)

>

audio sample

, 1 minute = 1 minute (link or sound file attachment)

>

v

isuals

, 1 image

= 30

seconds (image file OR link to website or equivalent)

>

performance text

, 1 page = 1 minute (.pdf or .doc formatted),

(for example: you could submit 5 minutes of video

or

2 minutes of video, 2 pages of text, a

nd

2

images,

etc.

Därkhorse Drämatists “Four Our Hearts”

web site

[LOVE THEMED PLAY FESTIVAL] Please consider the following guidelines for Därkhorse Drämatists “Four Our Hearts”! This is our smaller festival featuring 4 headlining selections. It’s important to note, that while we favor newer plays, this festival is not limited to original work. Your submissions may have been produced at other venues, so long as it is unpublished and wasn’t featured in last year’s festival. Besides one-act plays, we are also looking for 1-person shorts & monologues. Please refer to the guidelines below.

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

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

Due for submission by December 6th. 2 submissions allowed per playwright.

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

Submissions preferred in stageplay format. E-mailed no later than December 6th to: darkhorsedramatists@gmail.com

Plays can be any genre; comedy, satirical, farce, drama, horror or gothic as long as they fall into a loose 'Valentines Day / Love or relationship' theme.

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

• At this current time, we don't produce full length scripts / longer than 50 pages. We will still accept submissions for full-length work for future consideration.

• All play submissions must be e-mailed to: DARKHORSEDRAMATISTS@GMAIL.COM in PDF or word (.doc / .docx), preferably in standard stage play format. Submissions are completely free of charge, no fee.

• Your play is moderated in an initial screening by the artistic director and committee before determining if it makes it to the table reading. After the table reading, it is reviewed by a team of local actors & directors, using blind ballots, and the highest scores are selected. If selected for production in a play festival, your work will be performed in black box style presentation with minimal stage and set requirements. We are a not-for-profit unit, with the goal to introduce new work to community theatre audiences, and raise awareness for contemporary dramatic theatre; while helping newer playwrights and unpublished work gain exposure. We cannot pay royalties for your work, but do offer other tokens of appreciation.

Call for Plays: OC-centric New Play Festival

web site

OC-centric: Orange County’s New Play Festival seeks new plays for 2018.

Our script submission deadline is December 17. 

If you live in or hail from Orange County, California, please submit your script in consideration. The next edition of the festival is scheduled for August 16-26, 2018 at Chapman University in Orange.

We fully produce new plays. We do so featuring actors and directors from the greater Los Angeles area and Chapman University students. In past years, we have produced new work from SoCal playwrights including Erica Bennett, Megan Breen, Diana Burbano, Kerry Kazmierowicztrimm, Robert Riemer, Lojo Simon and many others. The OC WEEKLY has honored us with recognition as Orange County's "Best New Play Festival" and The Dramatist calls OC-centric “a major theatrical event for local playwrights.”

In 2018, we plan to produce

*1 full-length play
*2 one-act plays
*1 ten-minute play

Each play will receive six performances during the festival.

Script submission details:
* Submit scripts via email to occentric@gmail.com in PDF or MS Word format. In your email message, let us know a little about your connection to Orange County, California.
(The criteria for eligibility: you must either have grown up in Orange County, or you currently live in Orange County at least 6 months of the year.)
* Submissions will be accepted through Sunday night, December 17. Submissions after December 17 will not be considered.
* There is no submission fee.
* Playwrights will receive a small honorarium/royalty.
* No restrictions on language or subject matter, but no nudity.
* Sorry, no musicals.
* Plays should have casts of 12 or less and be producible in a black box theatre space with playing area of about 20' x 25'.
* Ideally, most of the characters in your play should be age 20-35, as Chapman University students may be playing some (and perhaps all) of the roles involved.
* Playwrights may submit a maximum of two plays.

A full-length play = a play that runs 60 minutes or longer.
A one-act play = a play that runs less than 60 minutes. (As in 2017, we are particularly interested in longer one-acts that run 30-60 minutes.)
A ten-minute play = a play that runs approximately 10 minutes.

* The playwright’s name and contact information must appear on the title page of the script(s).

Any questions may be directed to occentric@gmail.com. Information about past OC-centric festivals is at our website www.oc-centric.com

We look forward to reading your work!

Sincerely,
Tamiko Washington, Artistic Director
Eric Eberwein, Associate Artistic Director

Unsolicited testimonial ~ thanks Justin McDevitt

On December 11 I am doing a reading at Theater for the New City Scratch Night which I found out about thanks to NYCPlaywrights.” 

~  Justin McDevitt 

                  http://theaterforthenewcity.net/scratch.html