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

Sunday, June 30, 2013

North Park Playwright Festival

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We are looking for:

1.  Short new plays (no more that 15 pages, less is fine) that are easily staged and have casts with no more than four people.  Our theater is very small and we normally use a minimal set concept in this festival.  We have to be able to change sets in just a few minutes as we do six to seven plays each evening of the festival.  We don't have space for large casts.

2.  We request new work. A play that has had workshops or one or two previous productions is OK, but we are not interested in work that has been produced in numerous other places. Our goal in building the theater was to have a place to produce brand new work and let playwrights have a chance to see their work done for the first time.

3.  We seek complete plays rather than excerpts from a larger work.

4.  Work will be chosen by the directors we have in the festival.  It is not a "contest" and we are not really judging plays in the formal sense.  The directors choose the plays we will produce, within the production budget guidelines we give them.

5.  Most subject matter is OK.  We don't do nudity or off color humor.

6.  We ask that all submissions be sent to us via snail mail at the theater.  Address is: North Park Vaudeville and Candy Shoppe, 2031 El Cajon Blvd., San Diego, CA 92104, Attn Summer Golden, Artistic Director.  We have too much trouble with differing email, word processing, and computer platform issues to take them via email.  Additionally, our selection process requires the directors read the plays submitted and the cost of printing all the plays we receive each year is prohibitive.  Please insure submissions have a title page with complete contact information (including email), a character summary, and are in proper script form.  There is no charge to enter.

7.  Submissions must be postmarked by June 30, 2013.  Please do not send plays by any method that requires a signature from us. We are not often at the theater when delivery occurs.  We will email notice of receipt to all playwrights submitting plays.

8.  Send only one script. Multiple submissions do not increase chances of production.

General information:

We are trying to support new work and involve actors, playwrights, and directors of all experience levels. We have had a wide variety of artists involved from very experienced to first time directors and actors, to an 8 year old playwright (very short, well received play). We feel having a wide range of experience involved helps the new people learn from the more experienced.

We really appreciate your interest in our theater.

Jeff Bushnell and Summer Golden
North Park Vaudeville and Candy Shoppe
2031 El Cajon Blvd.
San Diego, CA 92104
www.northparkvaudeville.com

Submit your play for NEWvember 2013

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CRITERIA FOR SUBMISSIONS
  • submitted plays should be previously unproduced (we will consider plays that have had readings before but are still in development)
  • plays should not have been previously submitted to the NEWvember Festival
  • plays should have a cast size of 2-8
  • plays should have a running time of 30-120 minutes
  • we will only accept one submission per writer
  • we ask that the writers of the chosen plays attend the reading of their play towards its further development and to be present for a post-reading Q&A with the audience. We will provide $50 towards travel (the equivalent of a return Amtrak trip from NYC to Rhinecliff) as well as local accommodation in Tivoli for those who live 50+ miles away.
  • there is no fee for submissions
  • while we are open to all styles and subjects, our companies do have a preference for narrative and character driven stories
  • PROCESS OF SUBMISSION: In submitting your play via the online form, please include:
  • the play as a PDF, with no personal identifiers (i.e. your name, email, etc.) just the title (to aid our blind reading process)
  • separate title page as a PDF, including the name of author
  • a 3-line synopsis of the play
  • a bio of the writer
Entries not submitted in the correct format will not be considered.

SUBMISSION DATES: Submissions will be accepted from now until Sunday, June 30, 2013, midnight EST 2013. Please note that these dates will be applied strictly and any submissions made outside these dates will not be considered. The six invited plays will be announced in October.

CASTING: Please note - the chosen plays will be read by an ensemble of actors, each performing roles in multiple plays in the festival. While we will endeavor to provide the best match of cast for each play that is read, in terms of characters' listed ages/ethnicities, we also need to form an ensemble to best cover the entire range of the festival's program. We appreciate our playwrights' understanding of our ensemble-based casting.

IATI THEATER'S CIMIENTOS staged reading

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SUBMISSION GUIDELINES:
There is no submission fee for Cimientos.
Submissions lacking any of the following guidelines will not be considered.

Submission will only be accepted through the online form.
See link above (only visible in June 2013.)

  • Submissions must be the author's own work. The piece shall be free from copyright restrictions and the author agrees to hold IATI Theater and directors free and harmless from all copyright claims.
  • The playwright must commit to be present on the staged reading performance of his/her work.
  • The playwright must commit to be present on the PPP (Pal Playwrights Panel) assigned to his/her work.
  • This program is open to authors from anywhere in the world with original works in English or Spanish who are interested in a New York audience feedback. However, because of the PPP (Pal Playwrights Panel), every playwright must be present to take part in the monthly meetings or commit to presenting feedback electronically or in written form on the dates of the PPP's and with no delay.
  • Only one play may be submitted per playwright, per season.
  • Submissions must not exceed 90 minutes in length.
  • The play must require 5 actors or less.  Plays that have more than 5 actors and do not provide a clear and stageable doubling explanation will not be reviewed. If doubling is possible, it must be expressed clearly on the online form.
  • The submission must be a completed full-length play that has not previously been produced in any setting. If the play has undergone a workshop, staged reading or development of any kind, the playwright must inform IATI Theater of the specifics on the online form.
  • The author’s name(s) should be nowhere within the script, any authorship information must not be visible in the play document.  Scripts will be read ‘blind’.
  • Submissions for the 2013-2014 Season will only be accepted from June 1 to June 30, 2013.

Saturday, June 29, 2013

Summer plays


Chronicles a summer in a Midwestern household which proves a particularly disturbing summer for the family's twelve-year-old son. Young Willie at times achieves a new awareness of some of the facts (and fictions) of life, and at other times has awareness thrust upon him.

HOW LONG TILL SUMMER

A black attorney runs for Congress but falls prey to an unscrupulous racketeering politico in the hopes of providing a better life for his son.

SUMMER OF THE 17th DOLL

Two Australian field workers come to Melbourne for their 17th summer layoff in a row, planning to enjoy themselves with two barmaids, only to find one of the women is now married and must contemplate the fact that their time has passed.

CONNECTING CREATIVITY (IRISH AND AMERICAN WRITERS)

The Break-Away Project is looking for actors and writers to participate in ‘Connecting Creativity’, a trans-Atlantic project linking Irish and American artists. Five actors and five writers will be selected in Ireland to take part in the project, while five actors and five writers based in America will also be chosen.

WHAT IS ‘CONNECTING CREATIVITY’?
As part of our mission, the Break-Away Project work toward creating links between Irish and American artists, regularly showcasing work by American artists here in Ireland and developing showcase opportunities for Irish artists in America.

Each Irish actor will be paired with an American-based writer, and each American-based actor will be paired with an Irish writer.

Actors will have a Skype call with their writer, who will then write a five minute monologue for the actor based on their conversation together. This must be new material written specifically for the actor, not previously composed work.

Actors will perform their monologues on the evening of Friday August 16th in the Centre for Creative Practices, Pembroke St Lower, Dublin 2. The Irish actors will perform their monologue live, while the American actors will perform their monologues either in prerecording via YouTube or live via Skype.

We are looking for a diverse cast of any age or gender.

IMPORTANT DATES

27th – 28th June: Auditions for Irish Actors in Dublin.

28th June – July 5th: Auditions for American Actors via Skype (time arranged upon submission of application).

July 5th: Submission deadline for Irish writers and American-based writers.

July 6th – Partnered up! Each Irish actor will be paired with an American-based writerand each Irish writer will be paired with an American-based actor.

July 6th – July 14th: Each pair must have a Skype call with one another by Sunday 14th July at the latest.

July 27th: Submission date for both Irish and American monologues.

July 29th: Actors will receive their monologue.

August 5th – August 12th: Rehearsals (no more than two) with Irish actors in Dublin city centre and via skype with American actors. Exact dates arranged with each actor.

August 12th – 14th: American-based actors must prerecord their monologue and upload to our YouTube channel. This performance will be shown if Skype fails to connect during the show.

August 16th: The show will take place in the Centre for Creative Practices, Pembroke St Lower, Dublin 2 at 8pm (GMT). The show will comprise of Irish actors performing their American-written monologues live and American actors performing their Irish-written monologues via YouTube or Skype.

HOW TO APPLY

Writers: Please submit cv and writing sample (monologues preferred)  to thebreakawayproject@gmail.com

Please note that access to a good internet connection and web camera is required of all participants.

Friday, June 28, 2013

UMASS seeks full-length scripts for New Play Lab

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1. WHAT IS THE UMASS NEW PLAY LAB?
Our mission is to develop two exceptional new plays per year in cooperation with visionary playwrights. The Play Lab is, in essence, a writer's playground: a stimulating and constructive artistic environment founded on three guiding principles of engagement, collaboration, and discovery. The UMass Amherst Department of Theater's commitment to new play development is internationally recognized, from our groundbreaking work with New WORLD Theater to our recent collaborations with artists like Will Power, Marcus Gardley, and Constance Congdon. We approach new play development with rigor, focus, and sensitivity—and we're seeking playwrights who are as passionate about this process as we are.

2. HOW IS THE UMASS NEW PLAY LAB STRUCTURED?
The Play Lab is a UMass Department of Theater mainstage production, running from March 24 – April 5, 2014. Two playwrights will be chosen for concurrent 10-day residencies during this period. These residencies are structured around a series of public staged readings directed and dramaturged by UMass graduate students and performed by undergraduate actors. The 10-day workshop term allows time for exploration in rehearsal and the generation of new material.

3. DOES THE UMASS NEW PLAY LAB PROVIDE FINANCIAL SUPPORT?
Yes. We offer a $750 honorarium per playwright. Accommodations will be provided. Playwrights are responsible for their own travel arrangements and meals.

4. WHAT KINDS OF PLAYS CAN I SUBMIT?
Plays must be full-length. Musicals are not accepted. Submissions may have had a previous reading, workshop, or production; as a rule, though, the Play Lab exists to develop relatively new work, so unproduced material will be given priority in our selection.

5. HOW DO I SUBMIT MY PLAY(S)?
Submit manuscripts to newplaylab@theater.umass.edu. All documents must be submitted in .pdf format; plays formatted otherwise will be disqualified. Please include a concise playwright's bio and development history of your play in the body of the e-mail.

6. WHAT IS THE SUBMISSION DEADLINE?
The deadline is Monday, July 1st.

Tuesday, June 25, 2013

America-in-Play invites applications from theatre and related artists for fellowships to join us in a three-year workshop process

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Led in dramaturgical and writing workshops by dramaturg/director Lynn M. Thomson and playwright/director Dominic Taylor , participants will create original plays and projects catalyzed by research and analysis of theatre, drama, and popular entertainment between the American Revolution and World War I.

Founded in 2005, AIP has commissioned sixteen one-act  and nine full-length plays, presented in readings across an array of New York venues. We have collaborated with over sixty playwrights, composers, lyricists, musicians, and media artists. This year, AIP is producing two of our devised plays. For more information about who we are, past artist participants and projects, please visit our website at americainplay.org.

We seek playwrights, composers, dramaturgs, media artists, designers and choreographers to form a cohort of sixteen artists. In workshops during the first year, artists [individually and in collaboration] will create short pieces. In the second and third year, continuing investigation of America’s theatrical legacy will culminate in original, collaboratively developed full-length texts and performances, which will have public showings in developmental presentations. After completion, artists may join other initiatives, including full productions of devised plays or our new initiative, The Recovery Project.

Workshops meet monthly, Saturdays 11 a.m. to 3 p.m. If you are invited to join, you will be asked to confirm availability for specific dates between 10/13 and 4/14. Attendance at all workshops is required.

To Apply: You can apply by mail or on-line. See instructions at the bottom of the application form. DEADLINE IS  JULY 1, 2013 

FOR MORE INFORMATION ABOUT AIP, VISIT WEBSITE AT AMERICAINPLAY.ORG

If you have any questions, please e-mail: ATTENTION: Andy Buck at am.in.play@gmail.com

America-in-play is a sponsored artist of The Field.

Application for America-in-Play available online.

PLEASE SUBMIT THE FOLLOWING:

STATEMENT: Please tell us, in a page of no more than 300 words, what about this project interests you. Since America-in-Play requires true collaboration, please include your experience working with other artists, as well as convictions about creative process especially important to you and your habits regarding the use of research in developing work.

WORK EXCERPT:  For playwrights, up to 10 pages from a play you feel reflects your current writing.  For dramaturgs, a program note or research, demonstrating critical thinking. For other artists, CD or DVD of work sample no longer than 8 minutes.

RESUME: Up to three pages; include education and training.

TWO LETTERS OF RECOMMENDATION.

You may attach letters or they can be mailed or  e-mailed to us directly.

To apply by mail, send this application form and supporting materials to Lynn M. Thomson,  Dept. of Theatre, Brooklyn College, Brooklyn, NY.11210

To apply on-line, send this form and supporting materials as attachments to am.in.play@gmail.com. Identify yourself in the file name and state “membership application” in the subject heading. Recommendations can be submitted separately. “Recommendation” and your name should appear as the subject.

If you have questions about the application, write:
ATTN:  Joan Saltzman at: am.in.play@gmail.com
www.americainplay.org

Monday, June 24, 2013

Boston Play Cafe seeks playwrights and scripts

The successful community TV series "Play Café" has expanded from the Berkshires to Boston and now seeks more playwrights to join the experiment.

We welcome 10-15 minute plays/scenes. Maximum of 4 characters.

Each piece selected will receive a table reading and discussion on TV.

The show will be then be broadcast in the metrowest Boston footprint and as VOD on the TV station's website- so it gets national exposure.

Actors and playwrights get DVDs of their work.

The playwright MUST be present!

For questions, submissions, etc. please contact: playcafe111@gmail.com


CALL FOR ORIGINAL SHORT PLAYS BY WRITERS FROM TRI-STATE AREA (NJ, NY, PA)

web site

South Street Players is seeking short (20 minutes or less), original, one-act plays for its 3rd Annual Tri-State Theatre Festival. The event will take place September 13 through September 15, 2013 in Spring Lake, NJ.

The festival is an artistic fundraiser, with all proceeds going to SSP to help our group maintain its commitment to producing high-quality, extremely entertaining theatre experiences for the 2013-14 season… and beyond.

Submission Rules and Process:

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

Plays must be 20 pages or less.  Submissions of longer than 20 pages will be declined for consideration.

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 his or her play be chosen for the festival.

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

Deadline:  July 1, 2013, 11:59pm.

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

Sunday, June 23, 2013

The PlayOffs at Horse & Cart

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Summer Playwriting Competition and Festival
August 1-29 – New Shows Every Thursday Night

Horse & Cart is hosting our first playwriting competition and festival, The PlayOffs. A select group of writers will be put through a series of competitions to test their playwriting prowess in order to win a $500 cash prize, and you get to watch (and vote!!!)

Featuring 5 weeks of live, hot-off-the-presses world premiere work, this is the best chance to see new plays come to life right before your eyes!

Submission Guidelines – 2013
Playwrights interested in participating should submit 5-10 pages of unpublished, unproduced work that highlights your abilities as a playwright along with contact info to horseandcartcompany@gmail.com with the subject line “Play-offs Submission”.
Submissions are due by 10pm, Sunday June 30th.

Playwrights who have been accepted into the competition will be notified by Sunday, July 14th.

Once accepted into the competition, playwrights will be asked for completely new material for weekly submissions based on writing prompts. Performances showcasing playwrights’ material will be produced live in Denver, CO every Thursday in August, where submissions will be judged and weekly eliminations will take place, leading to a winning playwright being announced Thursday, August 29th.

The winner of the competition will receive a $500 cash prize, and the opportunity to develop a full-length play for production with Horse & Cart to kick off the following year’s Play-offs festival.

All contestants accepted into the competition will have their pieces featured in a Horse & Cart e-publication, and receive a royalty for all copies sold.

Contestants will not be asked for a submission fee. We’d love to see all the playwrights attend the weekly performances and judging, but by no means are they required to do so. Attendance at performances will not affect results of the competition.

Oh Dragon Theatre Company is accepting directorial applications and script submissions for our next season

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Oh Dragon Theatre Company is accepting directorial applications and script submissions for our next season starting in October 2013. We are a new theatre company with a small budget, but we are passionate about bringing great live theatre works to our community. We cannot offer compensation at this time for directors, actors, or crew. If Oh Dragon selects your submission, we will produce the full-length version of the show as part of our regular season.

You may submit:
A script with no director selected.
A script with a director selected.
A director with no script selected.

Submitted scripts may be:
An original work (not published, royalty-free).
A royalty-free play
A published play with a plan to raise funds to pay performance royalties

To include with your submission (if applicable):
Date suggestions (does not guarantee dates will be chosen).
Resume of directing experience *Directors only.
Copy of submitted script (may mailed or emailed).
Completed contact form
Show elements (Set, lighting, sound design, etc). *Directors only.
Fundraising plan *Published play submissions only


Submissions begin June 1st, 2013 and end July 1st, 2013 at Midnight.
We will notify all applicants by August 1st, 2013.

If you are interested in submitting a show, applying to be a director, or both, please contact Lacey Cannon at ohdragontheatrecompany@gmail.com. You will need to fill out an official contact form to be considered.

Saturday, June 22, 2013

Pride Month theater












Irish Arts Center Playworks Reading Series

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Irish Arts Center, a multi-disciplinary arts and culture center based in New York, is looking for two full length plays for our new Playworks Reading Series to be presented this September as part of our fall 2013 season. Plays should be original and include no more than 5 characters.

Submissions should connect to Ireland or Irish America in some way. We encourage submitting playwrights to interpret this particular guideline freely. The call is open to playwrights of all backgrounds.

Each play will be cast and rehearsed in New York and receive one staged reading in the Irish Arts Center’s 99-seat theatre.

Irish Arts Center is committed to sharing new and dynamic productions from Ireland and around the world, with New York City audiences. Recent playwrights include: Deirdre Kinahan (These Halcyon Days and BOGBOY), Pat Kinevane (Silent and Forgotten, in association with Fishamble: The New Play Company), Amy Conroy (I Heart Alice Heart I), Ray Scannell (Mimic, directed by Tom Creed), Roger Guenveur Smith (Frederick Douglass NOW), Donal O’Kelly (The Cambria and The Catalpa), and Gary Duggan (Trans-Euro Express).

Submission guidelines:
DEADLINE: Friday, June 28, 2013
-IAC’s preferred method of submission is via email
-All scripts should be submitted in PDF format
-Required support materials:
A letter of introduction
One page summary treatment
CV/resume
Playwright biography  
Any existing production history for the play
To submit via email
Send all scripts and additional documents to submissions@irishartscenter.org.
Subject heading should read Playworks 2013 submission.

To submit via standard mail
Send all scripts and supporting materials to:

Irish Arts Center
Attn: Playworks 2013 submissions
553 W. 51st Street
New York, NY 10019

Please note that all hard copies and materials submitted will NOT be returned. Do not send original or one-of-a-kind items.

Tuesday, June 18, 2013

The no-fee policy will continue

Thanks to everybody who participated in the NYCPlaywrights poll asking whether or not we should continue the policy of refusing calls for scripts that require a fee as part of the submission process.

We received 212 votes and by a clear majority of 170 to 42 the proposition that the no-fee policy should continue has won. We will not be changing the policy.

A number of people responded to the option to email with their thoughts on this issue and their comments are posted below by permission. We thank them for their additional participation in the decision-making process.
NOTE: if you sent us your comment and we said we'd post it and we haven't, please let us know - we want to share all opinions when the author is willing. 


I find this puzzling. Why should I pay simply to have my plays read?  Do theater companies charge directors, tech crew and actors to audition?  And yet without our plays those people would have nothing to do.
 My plays continue to be produced but I realize that more theater companies are using fees to finance their productions. There are better ways of funding: applying for grants, having raffles, selling ads in programs, just to name three.
Please continue to provide opportunities for those of us who don't pay fees. And please don't encourage those who do by posting their calls for plays.
Thank you.  
 
Shirley King  

I think it makes sense to include them all.
Sometimes the fees are quite reasonable and go towards prizes. And I often don't mind a fee if it helps support the organization.
Perhaps you add a line at the top of the entry that mentions the fee?
Keep up the great website!
 
John Yunker

No. Don't change the policy.
I don't choose to pay a fee. For those who do, there are other sites that list fee-paid opportunities.
 
Don Grimme

I think you should continue to go against fees; however, there are contests which allow Dramatists Guild members to waive fees, which I would recommend allowing. Thanks so much for what you do.   
-jd

 I very much respect your policy for only including submission notices that are fee free.
A good reason is to simply look at the corruption that has completely overtaken submissions for screenplays.  Let's continue to keep theatre on a less crass plane.
However, an independent request from theaters to cover the cost of reading and evaluating plays,completely separate and unrelated from any invitation to submit work, might be something that you might consider posting on occasion. 
- Michael Penny

Like everything, judging the rationale for paying a fee should be done on a case-by-case basis.  The DGs position on this is silly, as I believe, is yours.  Even some of the prestigious non-profits ask with a wink-wink and a nod-nod for a "contribution."
A Local Joe's New Playwriting Contest charging a $20 fee (As recently happened in FL at St. Pete's STUDIO@620) should be viewed with skepticism - if not legal intervention. But when a non-profit with a serious track record asks for $10, I have no trouble chipping in.  It's all about getting new work on stage. 
- Phillip Hall 

I really really really like the no fees feature policy. I enjoy not having to scroll through a group of postings to figure out which ones are free. I am a starving artist, really and truly, some weeks I have work and other weeks I have none, zero, zilch! It is frustrating to see things you are interested in sending entries to and then realizing you can't even afford the fee. No fee policy, please! 
Kay Rodriques

I will not submit if there is a fee...  there is too great a chance of exploitation and abuse.  Please don't change your policy. 
Jim Anton

It's a tough one.  I used to only send to places with a no fee submission policy but I realize that many of the big ones, the ones I want to help my career get to a new level are submission based.  I vote add them in and we'll decide if it is right for us to send to.
What bothers me now is how every single theatre wants a completely different submission packet.  My husband is a musician and he posts his packet on a website and when someone is interested he just sends his packet digitally.  Why can't theatres get with the times and make it simpler for playwrights to send them their submissions?  It takes hours to complete one packet.  I wish there was two options, one with our name and one without.  They could take their pick.  How do we make this happen?
 
-- Lynne Elson

First, I want to say how much I appreciate this blog as a resource. I've used it both as a playwright and an artistic director and it has proven invaluable. Thank you.
I for one would appreciate seeing any additional listings on the site. I personally understand why reading fees are charged and have no problem with making the decision as to whether or not I want to pay them in a given instance. 
Bastion Carboni

Please continue current policy. Your website is the only one I don't have to check on all details. I know your postings are no-fee. Thanks! 
Nancy Gall-Clayton

I suggest maintaining your current policy. I once was a Playwright in Residence in a theatre in Manhattan. The Artistic Director started advertising for play submissions which carried a $10 fee. He asked me to look at submitted plays but said that I wouldn't have to read them in their entirety, for he intended to maybe produce one play and pocket the rest of the money. I'm not saying all companies are dishonest, but I also believe that as a writer, I won't pay to have my work read. Just isn't worth it. Writers who are willing to pay can find many groups willing to take their money. Just look in the Dramatist's Source guide and other such resources. (Oh, by the way. I didn't accept the AD's request to read the plays)! 
Joe McDonald 

One of the things I love about NYCPlaywrights is the fact that you don't post opportunities that require a fee, so I think that it should continue being done. However, if I get outvoted (since there are good reasons to post paid submissions as well), I think it should say so at the top of the posts for the submissions (maybe with or right under the title), so if anyone doesn't want to read through paid submissions they don't have to (that way both sides would be happy).

Sarah M. Chichester

I think your policy is a sound one and should be maintained.  The Dramatists Guild, among other sites, publicizes fee required contests, et al. That's sufficient I should think.

Alan Stolzer

My name is Sean Behrens and I am a NYC playwright.  I have been produced, I self-produce, and I have won fellowships, earned my masters degree in playwriting, and currently apart of NYC Fringe as a playwright.
I have submitted many many times sometimes with submission fees and sometimes without.  But the submission fee really isn't deal breaker for me in submitting my material.  If there is a submission fee I know someone is on the other end reading it, it's usually an overworked intern but I assume that submission fee helps the reading of my material on the other end.
But there are scams, like the Strawberry One-Act Festival, Manhattan Rep, or other festivals that just behave as a for-profit venue not really.
Perhaps some research could be done as to which submission fees contests are worth it.  Meaning just because something has a submission fee it doesn't make it bad, but if a place is asking for 500 bucks for your to self produce (like Fringe but not a big) then I think that could be off your lovely site because there are a lot of suckers out there. 
 
Sean Behrens

Interesting. While the poll is not nearly complete yet I must admit I'm surprised by the percentages. I support NYCPlaywrights in their perspective of "no fee" submissions, and their reasons. I also feel we are all adults and have various perspectives on the topic, and that the bottom line is playwrights have the right to choose for themselves if they want to pay a fee or not. 
Michael Edan

I don't believe in Fees for playwrights.  Not unless it's to support printing costs.  Most people have Ipads and kindles these days and can read plays there, so even that's not needed. 
And then -- I'm also more likely to enter contests that have blind submissions.  
There is so much competition in entering contests these days because so many new playwrights have come up through the MFA system of the universities in the past 10 years. (Universities are set up actually to make money, so they teach playwriting because students want classes in it, and it gives theater people / playwrights an income, because so few of us can make a living by writing plays, so playwrights teach. -- but then theater companies get their staffs from universities who then want to produce only playwrights who've studied with other famous playwrights - so it becomes a closed club -- and everyone has huge student loans!) 
Few playwrights these days have come up through "theater" - ie working as an actor / assistant director / director and then playwright -- Most are minted from Universities.  
The MFA is a "gatekeeper" designation, and those of us who don't have that are not even read if you must include a bio with your play submission.  So I don't want to pay a fee on top of all that.  
When theater companies say "we received over 500 really great plays" you know no theater company can actually read that many plays, even one acts, and decide what play to produce.  They have to develop a screening system. 
- Jane Aldrin

Hi.  I love your website.  It would not matter to me if you decided to include fee-based announcements or not.  I decide whether to enter competitions and festivals based on what their value is to me as a playwright.  I don't mind paying a fee if the festival is worth it to me.  But if you decide not to include fee-based entries, that's fine, too.  I will still love your site.   I can see fee based entries on the other sites I view.  I like your site just the way it is if you decide not to change. 

Chip Bolcik

At the present time I do not believe that playwrights should have to pay a fee for submission of their work.  Early in my career I paid some fees because I believed I was contributing to the growth of the particular theater I was submitting to, and that could only benefit playwrights in the long run.  Today, I feel we are being insulted by being asked not only to pay a fee to submit our work, but in addition are often not even being paid for our creations in the event our work is produced.  I believe that NYC Playwrights ought to continue to take a stand against posting theater festivals, etc. which asks playwrights to pay a fee.   At least, if nothing else, we are holding on to our dignity.

I’ve seen a post that asks for a “participation fee” if the script is chosen for production, and the promise to pay a sum of money for the “best play.”  That’s different.  Here I think the participation fee would be acceptable because you at least have a shot at the grand prize. 

Joan Forster

Would it be too costly or time consuming to post both fee and non-fee comps. in your site, clearly stating which is which? I very muchappreciate your attempts at saving Playwrights (who never, short of a miracle, make much moneybeing that) money, but there are some comps. I've entered that had afee that have paid off. Why not give people the choice to decide for themselveswhether they can afford them,  given their circumstances at the moment.Whatever, thanks for the service, it's terrific. 
Shane Mullery

Stay with your current policy. For many reasons not the least of which is that the artistic work of this country or city or any other country or city should not be financed on the back of emerging artists... 
This is a very important issue and the more places like your site that maintain a strict policy of only listing legitimate calls for work without fees for participating, the more places that ask for work may be more likely to read without a fee. It's crazy how much we as artists are asked to subsidize a broken system, bribed by our own love of the work. Any efforts that can be put in place to undermine this tacitly accepted system, the better. 
Julia Lee Barclay  

Asking playwrights to pay is like asking actors to pay to audition or stage managers to pay for an interview.
Stephen Hyers

Stay, stay, stay with your current policy. 
Marsha Sheiness  

Although I'm clearly in the minority, there are my reasons for wanting to see fee-based postings:

- They widen the possibilities for getting one's work read.
- Not all fees are necessarily exhorbitant.
- There are already hidden fees for some "no-fee" competitions. Besides those that require a fee on acceptance, any competition that requires snail-mail submissions is going to cost me money for printer ink, paper, binding, a mailer, and postage.
- Anyone who doesn't want to submit to a fee-based competition, doesn't have to submit.
Larry Rinkel 

Please stay with your current policy. 
Mary Sue Price 

Please stay with your current policy. Pay-to-play isn't fair. No one asks actors for a $10 check to audition. 
Anne Phelan 

...post them all and let me decide on the $10s 
Paul Zeissler

I've never been a fan of pay-to-submit for anything. Everyone wants money for their time, yet artists' time is never respected. And artists are expected to pay for their work to be seen? It's the trend these days. Play submissions, film festival submissions, casting directors & agents for actor "evaluations." I understand the realities that it is hard for everyone, and that the reading of scripts, the viewing of films and culling of actors has its own set of challenges. We all have to make a buck, but have some respect. Writing a 100 page play which may not be very good IS STILL A HUGE AMOUNT OF WORK. At minimum it's a 100 pages filled with words. Respect the effort. Or try writing one yourself. It's so VERY easy to critique, yet so very hard to do.
Sturgis Warner 

31 Plays in 31 Days

web site

Coming this August we challenge any and all playwrights from near to far to write a play a day. Are you playwright enough? Prove to yourself you are and register today!

Sign up here: https://31plays31days.com/

We look forward to writing with you in August!

Email questions to: rachel@31plays31days.com

Monday, June 17, 2013

MARIO FRATTI-FRED NEWMAN POLITICAL PLAY CONTEST 2013

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The Castillo Theatre sponsors the Mario Fratti-Fred Newman Political Play Contest annually. In its sevent year, the purpose of the political play contest to encourage the writing of scripts for the stage that engage the political/social/cultural questions affecting the world today and/or historical events and issues that impact on our political/cultural heritage.  While Castillo recognizes that in the broadest sense, all theatre is political, the contest is seeking politically progressive plays that: look at social and/or economic problems and challenges; explore possibilities of social transformation; and, reflect the concerns and interests of communities and/or which explore the importance of community. The contest also welcomes scripts that experiment with form and seek new ways of seeing and new ways of experiencing theatrical performance. The plays submitted to the Fratti-Newman Contest may be written in any style, set in any historical time, geographic or imaginary location, contain any number of characters and be of any length. The plays must be in English and cannot be musicals or adaptations. No scripts will be considered that have previously been submitted to this contest, have received a production or won other contests. Only one script per playwright will be accepted.

The contest is judged by a team of distinguished theatre artists. The winning script(s) will receive a reading and/or a production at the Castillo Theatre in New York City during the theatre’s 2014 summer season.

All scripts should be submitted in hard copy and must be accompanied by:

  • A statement of the political/social/cultural questions that the script engages (scripts without a statement will not be considered);
  • A brief synopsis;
  • A character breakdown, including gender, age and ethnic requirements, if any;
  • A 100-word biography of the playwright;
  • A current email address for the playwright

Please note:

  • •Receipt of script will be acknowledged via email.
  • Scripts will not be returned. 
  • Castillo will not give critical feedback to playwrights/contestants. 
  • Contest winners are required to sign a letter of agreement, which will include but not be limited to granting the right for Castillo to produce one or more readings and/or a full production of the winning play. 
  • Contest winners are responsible for travel expenses or any other expenses incurred as a result of participating in the development of the play with Castillo, or as a result of attending the reading and/or full production.

All scripts must be postmarked by October 1, 2013. 

The winner(s) will be publicly announced at the Otto René Castillo Awards for Political Theatre in New York City in May of 2014.

Send all submissions to:

Castillo Theatre
543 West 42nd Street
New York, NY 10036
Attn: Fratti-Newman Political Play Contest

Questions and inquiries should be addressed to Madelyn Chapman at 212-356-8485 or mchapman@allstars.org.

Saturday, June 15, 2013

Great Stage Publishing seeks family friendly scripts

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Great Stage Publishing is accepting full-length scripts (45 min. or more). To send your script by email or to contact us for more information or a mailing address, email greatstage@comcast.net, Subject line "Publish."

They also wrote plays

Playwright Catherine the Great
THE FIFTH COLUMN by Ernest Hemingway
NIGHT OF JANUARY 16th by Ayn Rand
HAPPY BIRTHDAY WANDA JUNE  by Kurt Vonnegut

IS HE DEAD? by Mark Twain
FRESHWATER by Virginia Woolf

THE SIBERIAN SHAMAN by Catherine the Great, Empress of Russian

Read two comedies by Catherine the Great online.

Wednesday, June 12, 2013

CALL FOR SUBMISSIONS OF ORIGINAL SONGS FOR LATE NIGHT CABARET

(No web site available)

A showcase of original songs by new musical theatre and cabaret composers and lyricists is being planned to coincide with the activities of the Dramatists Guild's 2nd National Playwright’s Conference the weekend of August 22 -25, 2013 in Chicago.

The showcase will be a cabaret-style evening in a nightclub (tbd) and is sure to be a fun, exciting, creative way to socialize with other theatre artists, meet local talent and producers, and enhance your Chicago experience if you are attending the conference!

While this event is being created and produced by two DG members (who will themselves be attending the conference), please understand that it is entirely independent of the Dramatists Guild and the official conference activities. The Guild is in no way sponsoring, underwriting, or adjudicating participation.  However, they are making every effort to cooperate and coordinate to avoid scheduling conflicts and be encouraging and supportive of this member-driven project.

To submit please send an mp3 and lyric sheet (and brief explanation of dramatic context if relevant) to both Hillary Rollins at hillaryrollinscabaraise@gmail.com and Larry Todd Johnson at ltj@larrytoddjohnson.com by June 23, 2013.  Electronic submissions only.

Recordings do NOT have to be professional demo quality.  Include your name, all contact info, and what days you’ll be attending the conference.  Up to three (3) songs may be submitted for consideration but there will only be one (1) song per writer or writing team performed at the event.  Please let us know if you will require a pianist and/or singer(s) or will be playing/performing your own material.  (Either is an option but the only instrumentation provided will be acoustic piano.)  While we hope to accommodate as much material as possible, please understand that the final decision for inclusion in the showcase is at the sole discretion of the producers.  You will receive email notification of receipt of submission and decisions will be made by July 15th.  No pay.  No fee to apply.

Monday, June 10, 2013

The Fred Ebb Foundation Award

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The Fred Ebb Award recognizes excellence in musical theatre songwriting, by a songwriter or songwriting team that has not yet achieved significant commercial success. The award is meant to encourage and support aspiring songwriters to create new works for the musical theatre. The prize includes a $50,000 award. In addition to the monetary prize, the Fred Ebb Foundation will produce a one-night-only showcase of winner’s work. The Fred Ebb Foundation is funded by royalties from Mr. Ebb’s vast catalogue of work. The Fred Ebb Foundation also makes an annual donation to Fred ebb’s favorite charity – Broadway Cares/Equity Fights AIDS.


Eligibility:

Each applicant must be a composer/lyricist or composer/lyricist team
wishing to create work for the musical theatre, and must not yet have achieved
significant commercial success.

Application Materials:

1. A CD of up to four songs from one or more musical theatre pieces, with
typewritten lyrics and a description of the dramatic context for each song; and

2. A completed application form.

  • •We will code the applications as they arrive. Because all submissions will be reviewed blind, please do not place name(s) of writer(s) on the CD, lyric sheets, or description of dramatic context.
  • Only musical theatre work will be considered.
  • •The applicant(s) must have written all the songs included in the submission. For example, a composer cannot submit one song with her own lyrics, and a second song with lyrics by another writer.
  • No individual may appear on more than one application. You cannot apply as an individual and again as part of a team, or as part of more than one songwriting team.

Submission Deadline and Award:

Applications will be accepted from June 3-28, 2013. 
Please mail or deliver
applications to
Fred Ebb Award
Roundabout Theatre, 231 West 39th Street,
Suite 1200, New York, New York 10018.

Mailed submissions must be
postmarked not later than June 28. The winner will be selected in November
2013, and will receive $50,000. The Foundation will also produce a one-night
showcase of the winner’s work.

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