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

Friday, August 10, 2018

Drama Notebook is accepting submissions

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Have you written plays for kids and teens and simply want to have them used and performed?
Drama Notebook is accepting submissions from playwrights, teachers, and actors who have written scripts or scenes for children and teens. We are building a huge library of royalty-free, high-quality scripts for use in educational settings.

Most drama teachers pay for materials out-of-pocket, and cannot afford to pay royalties, per-script fees, video fees, etc. By sharing your work, you will be benefiting thousands of educators in over 100 countries.

We can either license your script for a small fee, or purchase the copyright for a slightly larger amount. This is not life-changing $ to be sure, but you will experience the joy of knowing that your work is being performed by students all over the world.

When we publish your script, we include your bio, a link to your website (if applicable), and a way for teachers to contact you when their students perform your play!

Ready to submit your plays?
1. Download more detailed information below.
2. See an example of a formatted script.
3. Download our handy script template (optional).
4. Fill out the play submission form.

We will contact you immediately to let you know that we have received your submission, and our team will get back to you within one week to let you know whether or not we’d like to add your script(s) to our library.

Thursday, August 9, 2018

Tall Tales DC Productions seeking full length and short plays by South Asian playwrights

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Tall Tales DC Productions is seeking contemporary full length and short plays by South Asian playwrights not previously produced in the DC Metro area.

Simple production requirement and a cast of no more than 5.

Submit script as a PDF attachment to an e-mail with a cover letter that includes a brief synopsis of the piece, as well as any history of the production.

NO SUBMISSION FEE.

A stipend will be paid for selected work.

Email scripts and cover to info@talltalesdc.productions

Wednesday, August 8, 2018

Write Your Next First Draft this Fall at Primary Stages ESPA

Whether you're writing your first play or your hundredth, it's not always easy to set the creative wheels in motion. This 10-week class at Primary Stages ESPA will guide you through the development of your first draft.

Faculty and Start Dates
September 16: Section A with Eddie Sanchez (Writer, Barefoot Boy with Shoes On at Primary Stages)
September 20: Section C with Suzanne Bradbeer (Writer, Confederates, Pulitzer-nominated The God Game)
September 26: Section E with Winter Miller (Writer, In Darfur at The Public)

This class might be for you if you:
  • Are a playwright of any level looking to start the first draft of your new play. 
  • Are starting out in the world of playwriting or want to write your first play. 
  • Want concrete deadlines and constructive feedback to encourage you to get your ideas on the page.
In this class you will:
  • Bring in new pages to hear them read aloud in class. 
  • Strengthen your writing skills with exercises and assignments from your instructor. 
  • Engage in discussion with fellow writers, making connections with your artistic peers.
By the end of this class you will:
  • Have a solid start on—or even complete!—a first draft of a full-length play. 
  • Be ready for our Completing Your Draft class! 
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.

Tuesday, August 7, 2018

OPEN-APPLICATION COMMISSIONING OPPORTUNITY FOR WRITERS OF COLOR

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Like our Biennial Commission, this application asks that writers respond to a series of prompts with a ten-page piece of initial writing and a one-page proposal for a full-length play, which will be read without the readers’ knowledge of the writer’s identity. One or more writers will be awarded (or will share) a $15,000 commission. Unlike the Biennial Commission, which is open to all writers, submissions for this award are open only to writers of color.

For this commission, Clubbed Thumb is interested in plays that employ alternative structures and shapes. We ask you to consider one of five alternative play shapes–landscape, spider web, nesting dolls, circle, double helix–and craft a proposal for how you will employ that play shape to best suit the story you wish to tell. This is subjective, of course, and meant to trigger the imagination, not be academic analysis. Some examples of what we mean:

Landscape: in which we learn about the world through accumulation
Our Town by Thornton Wilder is structured a bit like a landscape painting–we are introduced to everything all at once and Wilder zooms in and out of the landscape in order to tell the story.
Other examples might include: Wilder Gone, God’s Ear, Mlima’s Tale

Spider Web: in which we learn through disparate scenes that seem disconnected but are linked at odd angles and actually cohere around a central theme or argument
Booty Candy by Robert O’Hara could be seen as a spider web play–at first each scene feels like a vignette exploring a discrete idea, however, as more and more divergent worlds are explored we begin to realize that each world is connected in exploration of a single theme.
Other examples might include: Lear (Young Jean Lee), Doll’s House Pt. 2, Of Government

Nesting Dolls: in which we learn through analogies and juxtaposition
Mr Burns, a Post-Electric Play by Anne Washburn might be seen as a play shaped like a set of nesting dolls–each act is its own entity and the dramatic movement lies in building out from what came before.
Other examples might include: Fairview, An Octoroon, Barbecue

Circle: in which we learn through reflection
Fefu and Her Friends by Maria Irene Fornes might be a circle play. The most important dramatic events happen in the middle; act one leads us into these events and act three deals with the aftermath; the end of the play reflects themes that are present in the beginning of the play.
Other examples might include: A Map of Virtue, The Aliens, Father Comes Home From the Wars

Double Helix: in which we learn through thematic associations between the narrative threads
Stop Kiss by Diana Son could be a double helix play – the story is told in two threads simultaneously–what happened before and what happened after the inciting event–with thematic links between these narratives.
Other examples might include: Midsummer Night’s Dream (might be a triple helix), We are Proud to Present…, The Tomb of King Tot

You are also welcome to propose your own unconventional play shape. Should you choose to do that, be rigorous and make the case for it.

Your proposed play should also include the following:
1) At least three characters in every scene (no two character scenes)
2) Some simultaneous talking
3) Some found or repurposed text
4) A character pretending to be someone else
5) No indoor spaces

(Many thanks to Erin Courtney for developing this prompt with us.)


TO APPLY: SUBMIT THE FOLLOWING THROUGH THE FORM BELOW
(this is a BLIND submission, see notes below)

1) A one-page letter of intent describing your proposed project;
2) 10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play);
3) One of your finished plays, for reference;
4) Your resume

IMPORTANT NOTES

No names please — on the letter, the 10 page sample or the finished play for reference, or in any file names. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.

The letter of intent should briefly map out the proposed piece, how you will use the chosen shape to tell the story and, if need be, orient the reader to the excerpt’s relationship to the whole. You needn’t explain or repeat anything that your 10 page sample makes clear. Then give us an idea of where the piece is coming from and where you think you want to go with it.

We ask you to include one of your finished plays for reference. Note (where prompted in the form) any relationship or similarities the complete play has to the proposed project, and recommend 10 pages for us to start with.

One last thing: this is a commission for Clubbed Thumb. So look around our website at our guidelines and production history for reference, if they are not familiar to you. Many of our plays have been published individually or in our anthology, “Funny, Strange, Provocative”, and are widely available to read.

DEADLINE: MONDAY, OCTOBER 8TH, 11:59PM EST

The proposals will be read and adjudicated over the course of the fall, and the commission(s) awarded by the end of 2018. The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments every six months, with the first installment following the signing of a contract. Send questions to info[at]clubbedthumb.org

Sunday, August 5, 2018

Play selected: SHARK WEEK by Tom Misuraca

We received many good plays and monologues submitted for possible recording and inclusion in the next Podcast episode, "A Midsummer's Podcast" but we only have the resources to record one.

We selected SHARK WEEK by Tom Misuraca.

You can learn more about Tom and his play - an interview with Tom will be included in the Podcast.

Thanks to everybody who submitted work ~ we are sorry we couldn't include more.

You can learn more about the Podcast, and listen to the first episode at http://www.playwrightspodcast.com

2018 “Made in NY” Women’s Film, TV and Theatre Fund Guidelines and Eligibility Requirements

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The “Made in NY” Women’s Film, TV and Theatre Fund (“Women’s Fund”) is the latest in a groundbreaking series of initiatives by the City of New York Mayor’s Office of Media and Entertainment (MOME) designed to address the underrepresentation of women in film, television and theatre. The NYC Women’s Fund, administered by the New York Foundation for the Arts (NYFA), provides grants to support film, television, digital, and live theatre projects that reflects the voices, experiences and and perspectives of women.

The program will provide finishing grants for film, television, and digital projects and theatre productions. Recipients will work with NYFA Project Coordinator and funds will be dispersed at certain mutually agreed upon points in the process to ensure projects are completed on a timely basis.

Applicants can apply in the following categories:

● Fiction Feature (running time of 60 minutes or more) - grant amounts up to $50,000
● Fiction Short (running time of 59 minutes or less) - grant amounts up to $25,000
● Fiction Webisode/Webseries (all forms) - grant amounts up to $20,000
● Documentary Feature (running time of 60 minutes or more) - grant amounts up to
$50,000
● Documentary Short (running time of 59 minutes or less) - grant amounts up to $25,000
● Documentary Webisodes/Webseries (all lengths and forms) - grant amounts up to
$20,000
● Theatre Production - grant amounts up to $50,000

2018 Cycle Dates

Application will close on:  Tuesday, October 16, 2018 @ 11:59pm EST 

Applications will be available at:  www.nyfa.org/NYCWomensFund

Eligibility Criteria
1. Projects must be made by, for, or about women and female-identified individuals; and/or feature a strong female or female-identified perspective; and/or include a female or female-identified director; a meaningful female or female-identified producer credit; and/or include a meaningful female or female-identified writing credit; and/or include a female or female-identified protagonist(s).
“Made in NY” Women’s Film, TV and Theatre Fund
2018 Program Guidelines 1
 
   2. All projects must be completed by March 31, 2020.  “Completed” means ready to be shown theatrically, on television, through a streaming service or online; for theatrical productions, the piece must be fully staged for a general audience in New York City. Projects can be either not-for-profit or commercial in nature. Recipients will work with NYFA Project Coordinator and funds will be dispersed at certain mutually agreed upon points in the process to ensure projects are completed on a timely basis.

3. Film, TV and Digital Projects :
a. Must have started principal photography and should be able to project final cut
and be ready to implement distribution strategy described in the application by
March 31, 2020.
b. Must be “Made in NY” meaning: (1) 75% of its total shooting days take place in
New York City, or (2) 75% of its production costs are “qualified production costs”(1)
c. Must adhere to content standards suitable for public broadcasting.
d. City must have three (3) years of non-exclusive royalty free rights to air
programming either in its original state or edited version beginning up to four (4)
years after original release date.
e. Funds can be used for any purpose critical to the completion of the project.
f. Projects can be live action or animated.
g. Applicant can be either the filmmaker or a producer.
4. Theatre Projects :
a. Must be an original play or book of a musical (with dialogue, lyrics and music)
that has not been produced previously.
b. Must be able to project a professional staging (including paid cast and crew) of
the developed work by March 31, 2020 for a minimum of 5 performances.
c. Must present a free performance or invited dress rehearsal for New York City audiences or provide free tickets by lottery or other means to be agreed upon
over the course of the run equal to the number of seats in the theatre.
d. Must be rehearsed and performed in New York City.
e. Applicants can be theatre companies, commercial or not-for-profit producers, or
playwrights planning to self-produce.

Application

Applications must include:

1. A detailed synopsis of the full project.
2. How the project represents a strong female or female-identified perspective.
1 "Qualified production costs" means the below-the-line production costs only to the extent such costs are incurred directly in New York City and are attributable to the use of tangible property or the performance of services within New York City directly and predominantly in the production (including pre-production and post-production) of a qualified film.
“Made in NY” Women’s Film, TV and Theatre Fund

2018 Program Guidelines 2
   
 3. Bios for applicant and key artists.

4. Current state of the project and plans for having it completed by March 31, 2020.

5. Amount of funding requested and description of anticipated use of funds and how they
will move the project to completion.

6. Overall project budget (please include potential festival fees and creation of a DCP or
other appropriate projection print format).

7. For Film, TV and Digital projects, please provide support for Made in NY criteria listed in
3b above.  For Theatre projects, please provide information regarding rehearsal and
performance locations.

8. Distribution/exhibition plan. We understand that there may not be commitments at this point, but please describe your plans: festivals to which you will submit; exhibitors and streaming services you will contact. For webseries please describe your plan to drive traffic to your project. For theatre projects, a description of the venue, target audience and marketing plan, and names of any artists committed to the project. For independent producers or playwrights planning to self produce, Letters of Agreement or Intent from potential venue partners.

9. Two professional references who are not paid by or have a financial stake in the project or for Theatre Companies, a three-year production history.

10. Work samples as detailed below.

Work Samples

For feature length films:

Applicants should include two work samples  from the project for which they are seeking support: a short clip of up to 10 minutes in length and a longer sample between 45 and 90 minutes, which gives a sense of the overall scope and trajectory of the film. There will be a comments section to provide context for the clips.  For the short clip, do not submit a trailer.
For short films and webseries:

Applicants should include two work samples  from the project for which they are seeking support: a short clip of up to 5 minutes in length and a longer sample of up to 40 minutes, which gives the overall scope and trajectory of the film. There will be a comments section to provide context for the clips.  For the short clip, do not submit a trailer.

For theatre productions:
Applicants should include: a 15-page excerpt of the script to be produced, and the complete script.

For more information visit  www.nyfa.org/NYCWomensFund  or email NYCWomensFund@nyfa.org
“Made in NY” Women’s Film, TV and Theatre Fund

Saturday, August 4, 2018

2018 Playwrights and Artists Festival

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It is that time of year again. We have chosen our artwork for the 2018 Playwrights and Artists Festival. We, as always, extend first look to those who have submitted to our festival in years previous.
New to this year’s festival we are offering three prizes.
$300 for Best of Festival.
$200 for Artistic Merit.
$100 for Audience Favorite.
The artwork will follow a refresher on the rules.
1. The play must be inspired by one of the works of art below.
2. The play must be written between the dates June 19 and August 8, 2018.
3. The play length needs to be between 15 - 20 minutes
4. Cast size maximum, 5 characters. Set should be implied.
5. Plays submitted MUST be a complete play and must include a beginning, middle and an end and contain a conflict. Our judges will be adhering to strict parameters during the adjudication process.
6. Playwrights may only submit one play for the festival.
7. The playwright would need to attend at least one of the two weekend performances (which take place in November). In person is preferred but we have in the past skyped with playwrights. As our festival is starting to reach a greater number people in wider locations we feel that we must take this into consideration. We always hope our playwrights can attend in person and feel the energy and excitement of having their work performed onstage for the first time but we understand that sometimes this is not logistically possible.
8. Plays must be submitted by midnight of August 8, 2018. This submission must include 2 copies of your play, one “blind” version without name but including which artwork you were inspired by and one with a full title page. They must be submitted tobinghamtoncitystage@gmail.com 
There are no exceptions to these rules. We love the idea of fresh work based on the inspiration of our chosen art. We choose our artworks carefully. We love to see where it takes our playwrights. Each piece of art has infinite possibilities of inspiration. We wish all good luck writing and can't wait to see the results.
And now here are this year’s artworks.

Flatlined by Jessica Fridrich



Rumor by Megan Proutey



Rockport Moss by Karl Schadlich



Sundog Theatre seeks radio plays

The Originals: Radio Plays

Seeking radio plays. Approximate running time: 60 to 90+ minutes.

Our series "The Originals" continues this fall in October on MakerPark Radio's internet-based station. Sundog is seeking plays that actors will read, broadcast live on the web, and heard/seen throughout the US and worldwide.

Mail Submissions To:
Sundog Theatre
PO Box 183
Staten Island, NY 10301
Attn: Radio Plays

Deadline: August 15th, 2018 - no fee to submit

Questions: info@sundogtheatre.org

The Bridge Initiative: Women in Theatre

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** Entry fees are waived for members of the Dramatists Guild and Arizona residents.**

The Bridge Initiative: Women in Theatre is accepting submissions for our next Bechdel Test Festival. Stipulations are that the work must be in development with a cast limit of eight (8) and that the writer has an understanding of the next stages needed towards the creation of their play. The playwright will be submitting his/her/their piece with the intention of committing time, work, and rewriting within a conscious and measured pipeline of development that will be generated with The Bridge Initiative other partner theatre companies (to be announced) committed to the shepherding of the work and writer throughout the process. A panel of professional theatre artists nationwide will adjudicate the submissions.  Playwrights of all genders are encouraged to submit short and full-length plays that satisfy the requirements of the Bechdel Test: Two female characters who talk to each other about something other than a man.

The Bridge Initiative’s inaugural Bechdel Test Fest, September 2017, was very well received by artists and audience alike, with more than 70 artists receiving stipends and an audience of about 300 throughout the weekend. And importantly to our mission, 80% of those served (on both sides of the footlights) were female. The concept that launched the Bechdel Test appeared in 1985 in a comic series titled Dykes to Watch Out For by Alison Bechdel, who attributes the idea to her friend Liz Wallace. It refers to the representation of women in film, and according to numerous press reports annually, many films continue to fail to meet its criteria. When conceiving of The Bechdel Test Fest, the Bridge Initiative decided to apply the test not only to film but also to theatre, charging writers to pen complex, diverse female characters.

ALL playwrights who submit to the contest will receive written feedback on their play from at least two adjudicators.

The winning FULL-LENGTH playwright will receive:

Promotion of themselves and their play on The Bridge Initiative website and our social media channels, as well as inclusion in press releases both locally and nationally.
A week-long developmental workshop that will include a professional director who specializes in development, dramaturg, actors, and other supportive artists for the process that will best serve the play and playwright.

Professional reading presented to the public, involving artists named above, public during the Bechdel Test Fest weekend, April 26-28, 2019, at Tempe Center for the Arts, 700 W. Rio Salado, Tempe AZ 85201.

Our partner, InProximity Theatre Company, will present a reading of the play in their 2018-’19 season in New York City (updated 7/31/18).

Travel, housing, and stipend for the week of development in Arizona.  (Playwrights from outside the U.S. will be offered a limited travel stipend to help defray travel costs.)

If the winning full-length playwright does not reside in Arizona, an ARIZONA FULL-LENGTH WINNER will be named and will receive:

Promotion of themselves and their play on The Bridge Initiative website and our social media channels, as well as inclusion in press releases both locally and nationally.

A developmental process that will include a professional director, dramaturg, actors, and other supportive artists that will best serve the play and playwright.

Professional reading presented to the public during the Bechdel Test Fest weekend, April 26-28, 2019, at Tempe Center for the Arts, 700 W. Rio Salado, Tempe AZ 85201.
Stipend.

Up to 3 FULL-LENGTH RUNNERS-UP  and up to 3 SHORT PLAY WINNERS (including at least ONE ARIZONA PLAYWRIGHT) will receive:

Promotion of themselves and their play on The Bridge Initiative website and our social media channels, as well as inclusion in press releases both locally and nationally.
Professional reading presented to the public during the Bechdel Test Fest weekend, April 26-28, 2019, at Tempe Center for the Arts, 700 W. Rio Salado, Tempe AZ 85201.

Stipend.

TO SUBMIT:
Requirements:  The play must not have been fully produced prior to this contest and there must not be any rights attached to the script.  It is necessary that our winning writers be available and commit to the development process, beginning with a week-long residence in Arizona the week of April 21st, 2019, with a dedicated director, actors, and supportive artists throughout the week in Arizona.

Submit online to bridgeplaywright@gmail.com.

Application must include:

A separate resume with all contact information

A separate cover letter that addresses your intended vision of process for the development of your play

A separate list of three theatre work-related references with their contact information

A full script in pdf format that is completely scrubbed (no name or contact information) for the blind reading process

Entry fee** of $25 for full-length (over 30 pages) and $15 for short plays (under 30 pages) must be remitted via PayPal to bridgeinit@gmail.com. (If you require an invoice instead, please let us know and we can accommodate.)

** Entry fees are waived for members of the Dramatists Guild and Arizona residents.**

If you have any questions, please contact The Bridge Initiative at info@bridgeinit.org.

Submission Deadline: August 15th, 2018.

 NOTE: Playwrights who have not been awarded by The Bridge Initiative in the past will receive priority consideration.

NEWvember Dublin New Plays Festival

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NEWvember is a festival of rehearsed readings of new plays that will take place over three days at the New Theatre in Dublin’s Temple Bar. There is no fee for submissions and all plays are read blind of name or gender by our panel.

The spirit of NEWvember is to provide a dynamic, interactive and comfortable place where writers can hear their plays read by professional actors and discuss their work and creative process. The first five festivals, co-produced with Tangent Theatre, took place in the historic village of Tivoli (in upstate New York) with our first Dublin based festival in 2017 at the historic Belvedere House.

In 2018 NEWvember will be hosted in the rehearsal rooms of the New Theatre in Temple Bar.

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 have a cast size of 2-8
  • plays should have a running time of 30 to 120 minutes
  • we will only accept one submission per writer each year
  • we are interested in plays from playwrights based in Ireland, and Irish playwrights around the world
  • 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
  • there is no fee for submissions
  • while we are open to all styles and subjects, we do have a preference for narrative and character-driven stories. Plays will be selected based on their originality, range, production potential, narrative quality and emotional resonance
  • your play must be submitted as a PDF (via the online form) without the writer’s name, email or other identifying marks on any page throughout the script, and should include a character list. Please ensure the file name of your play matches the name of the play e.g. theweir.pdf
  • The window for submissions opens Friday July 27th 2018.
  • The closing date for submissions is Friday August 17th 2018 (12 midnight GMT).
  • Please note that these criteria will be applied strictly and any submissions made after the closing date or not following the submission guidelines will not be considered. In addition, our festival’s reading panel will not be able to provide feedback on specific plays or on the status of your application.

The writers of the plays that have been shortlisted will be contacted in early September and will be asked to send any updated version of their play, as this will be the final version considered and the version read at the festival if chosen.

The 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.

Gadfly (Minnesota) submission guidelines

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Attention Playwrights:

You can submit scripts to Gadfly at any time for consideration in future seasons. Right now we are only interested in stories BY trans and non-binary people, queer POC, and queer female playwrights.

We can not respond with a "no, sorry" to every play, and we do not provide feedback on scripts. We do read everything that fits the guidelines below. If we want to produce your work, we will reach out in plenty of time to get rights and other contract details squared away.

Plays must:​

  • Be both queer and feminist in nature and content
  • Be full lenth (60 minutes or longer) plays. No one-acts or ten minute plays will be considered for mainstage work
  • Feature less than EIGHT actors (big casts with double-casting is fine) and have as few set/dress/tech requirements as possible
  • Be submitted in .pdf format to gadflytheatre@gmail.com Please include the title of the play in the subject line and a brief synopsis of the play in the body of the email

Friday, August 3, 2018

Angel on the Corner (UK) seeks female-centered plays

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Their first show, 'Zero Down' written by BBC award winning writer Sarah Hehir, premiered at Theatre 503 in August 2015 and transferred to The Pleasance Courtyard the following year at the Edinburgh Fringe. 

More recently the company have been involved in film projects and are currently in developing a full length play and a sitcom pilot. 

Angel on the Corner like to work in collaboration with writers, directors and actors and are open to work in progress. 

Submission specification 

Full length play (60 minutes min) 
Female centered stories preferable 
Include a brief biography and synopsis 
Send all submissions and queries to kt_hurley@yahoo.com 

Deadline for submissions: 17th August 2018 

Thursday, August 2, 2018

Loch Lyle Music Publishing & Muse Picholine Media's call for submissions

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NYC-based writers are invited to submit original short works (10-minute plays, one-act plays of fewer than 20 minutes) for inclusion in the upcoming program, "Short Plays: Deconstructing and Reconstructing". The purpose of this show is to showcase new, unproduced theatrical works in a black-box environment. Show details may be found on Eventbrite:

https://www.eventbrite.com/e/short-plays-deconstructing-and-reconstructing-tickets-48717575580

Submitters must own the work being submitted; if a collaboration, both collaborators must apply. Application materials, in PDF form (Word format will not be accepted) must include:

- A cover page, which includes writers'names and contact (phone, email) information;
- A synopsis;
- Casting breakdown (a maximum of 3 characters)
- Whether the work has already been cast/existing attachments

Restrictions:
A maximum of two (2) submissions per writer;
Unproduced works only;
A participation fee of $45 (waived if the writer assumes responsibility for casting the work, with NYC-based actors)

Submissions close at 5:00 PM EDT on Friday, August 10, 2018. 

Writers will be informed regarding acceptance/non-acceptance no later than EOB, Friday, August 17, 2018. For more details, and to submit materials, please email info@llmp-mpm.com. Thank you!

Loch Lyle Music Publishing & Muse Picholine Media
www.llmp-mpm.com
Play On.

Wednesday, August 1, 2018

Actors Theatre Playhouse Seeking Original Scripts for our 2019 Ten Minute Play Festival

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The Actors Theatre Playhouse of West Chesterfield, New Hampshire, and Brattleboro, Vermont, is accepting Ten Minute Play Submissions for its Ten Minute Play Festival in June of 2019.

Our Website is www.atplayhouse.org

TWO SUBMISSIONS ONLY PLEASE !

All scripts will be accepted ONLY thru Email at tenplays19@gmail.com

Email is best for us to get your manuscript to our review committees as quickly as possible.  Upon acceptable receipt, a return email will confirm your delivery to us.

The deadline for entry of a manuscript is September 30th, 2018. 

Six to eight Winners and Alternates will be announced to all participants by early November.

It is with deep regret that we cannot offer any financial prizes at this time. The winners will receive production of their play as part of our next Ten-Minute Play Festival and multiple tickets should the authors be able to attend.

Ten-minute plays should play in one scene, have minimal scenic requirements, not exceed ten-twelve pages in length and have two to six characters.

The goal of the Festival is both to encourage the production of new works from regional writers while exposing our actors and directors to the techniques and practices of working with playwrights and producing new plays.

Monday, July 30, 2018

Fall Writing Classes at Primary Stages ESPA!

Fall 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:

Instructor: Kara Lee Corthron (Writer, AliceGraceAnon at New Georges)
If you’re just stepping into the world of playwriting, welcome!

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.

Instructors:
Eddie Sanchez (Writer, Barefoot Boy with Shoes On at Primary Stages)
Michael Walkup (Producing Artistic Director, Page 73)
Suzanne Bradbeer (Writer, Confederates, Pulitzer-nominated The God Game)
Abe Koogler (Writer, Obie-Winning Fulfillment Center at MTC, Kill Floor at LCT3)
Adam Kraar (Writer, New World Rhapsody at MTC, Wild Terrain at EST)
Winter Miller (Writer, In Darfur at The Public)

Instructor: Crystal Skillman (Writer, Geek, Rain and Zoe Save the World)
Tackle the revision process and develop a stronger version of your play.

Instructor: Kara Lee Corthron (Writer, AliceGraceAnon at New Georges)
This class is for those with complete drafts who are ready to hear the play in full and embark on strategic rewrites.

Instructor: Robert Askins (Hand to God on Broadway, EST, and MCC; Permission at MCC)
If you're angry, disappointed, almost livid, let's talk about how you can yell at the world through the megaphone of the stage.

In this 2-day writing workshop, you will dig into your play, ask it new questions, and emerge with a clear vision for rewrites.
Instructor: Melissa Ross (Writer, Of Good Stock at MTC, Nice Girl at Labyrinth)

Instructor: Stefanie Zadravec (Writer, The Electric Baby at Two River Theatre Company)
Does your play say what you think it’s saying? Spend this 2-day workshop breaking open your play and tuning your sense of how a play “lands” on its ear.

Classes begin in September. 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.

The poll is closed - naughty words will remain un-bleeped


The voters of the NYCPlaywrights Podcast poll overwhelmingly voted to allow un-bleeped naughty words.

Thanks to everybody who participated in this poll.

For more about the Podcast check out playwrightspodcast.com 

Sunday, July 29, 2018

FUNHOUSE IV seeks 10-minute plays (Seattle)

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Fee is waived for Dramatists Guild members and others - see highlighted section below.

FUNHOUSE IV
a play anthology
November 29 – December 1
Theatre Off Jackson, Seattle, WA
Produced in Association w/ Theatre Off Jackson
Created by Brian Toews
Directed by Anna Ly, Brian Toews, Chris Quilici, Katie Greve, and Mario Orallo-Molinaro

WHAT IS FUNHOUSE?
Funhouse is recurring play anthology inspired by The Twilight Zone, Black Mirror, Saturday Night Live, and Adult Swim. It is a collection of subversive and experimental original content. Each show is comprised of a series of short plays that, when viewed together, give audiences an experience similar to that of walking through a funhouse. As soon as you think you know what’s coming next, the room starts spinning and the floor falls out from under you. Our show serves as a rotating platform for diverse up-and-coming playwrights, directors, actors, and designers. The creators of Funhouse want artists to take bold risks in their storytelling.

HOW DO I FUNHOUSE?
Submissions of original ten-minute plays will be accepted beginning June 4th, 2018. The deadline is July 31st, 2018; late submissions will not be accepted. Writers will be notified of our selections September 2018. The selected plays will be given a full production within the capabilities and budget of the producers. A $40 honorarium will be given to all selected playwrights.

Submit scripts at funhouseanthology.com/submissions
Submissions must be received by August 1st, 2018 to be considered; late submissions will not be accepted.

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

NO-FEE OPTIONS
1) If you identify as a part of any historically or presently marginalized group, we are able to waive your submission fee. Please select the "I am exempt" option when submitting your work.
2) If you cannot pay the fee for any reason and still want to submit, please let us know at funhouseanthology@gmail.com and we can work something out.
3) The fee will be waived if the playwright can prove they are a member of the Dramatists Guild. 

SUBMISSION FEE INTENTION
The reason we made the submission fee such a low cost is so we could help supplement our operating budget while still making submission accessible to all. We aim to create a sustainable, recurring production, and charging a small submission fee helps us reach that goal.

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

SUBMISSION GUIDELINES

1) Submission must be an original, unproduced 8-10-minute play at time of submission. Plays that have had staged readings will be accepted. Legal clearance of materials not in the public domain is the full responsibility of the playwright.

2) A limit of THREE plays may be submitted by each playwright.

3) Maximum length: 10 pages not including title pages. Plays should run in the 8-10 minute range. Longer submissions will not be considered. Plays less than 10 pages are encouraged.

4) Scripts may be comedy, drama, horror, fantasy, sci-fi, parody, and/or musical.

5) This is a show for mature audiences (18+). We encourage subversive and/or experimental work. Need some inspiration? Check out our Pinterest Board for images to inspire you: https://bit.ly/2wVORtI

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

Playwright’s first and last name
Mailing address
Phone number
E-mail address
A brief biography (100 words or less).

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

8) All scripts must be in English.

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

10) Selection will be made by Brian Toews and the Funhouse IV directors and inclusion is solely at their discretion. All decisions are final.

11) All submitting playwrights will receive an email notification upon receipt of their scripts.

12) Notification of final decisions will be made by e-mail by September 2018.

The NYCPlaywrights Podcast poll is closing & so is the call for submissions

The NYCPlaywrights Podcast call for submissions is closing tonight - send your play or monologue by 11:59 tonight. More info here.

The poll will close at the same time. Take the poll & help us figure out what the people want - thanks! ❤️


Saturday, July 28, 2018

2019 POLYPHONE FESTIVAL

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DUE AUGUST 1, 2018 11:59pm

Polyphone is a nationally recognized festival of the emerging musical at the University of the Arts in Philadelphia. For the last four years we’ve brought composers, librettists, directors, choreographers and music directors from the field onto the campus of the Ira Brind School of Theater Arts at UArts to work with student casts and creatives on never before produced musicals.

Each year we program four new musicals. Each musical is cast from around 150 auditioning students, workshopped and rehearsed for six weeks, and teched for three days. During the festival week, each musical receives three performances. The final presentations are off-book, staged concert productions with a full band and lighting design. The process allows the authors to make changes over the rehearsal period and see a musical on its feet for the first time. On the last day of the festival, we perform all four shows in a 12-hour marathon on two stages. This year Polyphone will be housed in the Philadelphia Arts Bank Theater and The Wilma Theater on S. Broad St.

Each year Polyphone plugs over 100 undergraduate theater students into the process of new musical development. In the process we support emerging artists with a paid opportunity to make their work, give students on-the-ground training in the creation of new work, and give adventurous new musicals time and space to develop, free from the pressures of commercial interests, producing theaters, or reviews.

AS A POLYPHONE AUTHOR YOU RECEIVE:

  • Artistic Fee.
  • (for Non-Philadelphia artists) housing stipend, travel reimbursement to Philadelphia.
  • Paid professional director, music director, and choreographer. If a project has an attached director, music director, or choreographer, we will work to bring them on board.
  • Student cast, band, and creative assistants.
  • Dramaturgical, logistical and technical support from the festival creative leadership and the UArts community.


ELIGIBILITY:


  • We are looking for original musicals with a cast of 7 or more characters. A cast of 10-15 is ideal. We define a musical as a performance in which music is a primary mode of storytelling. This can include ensemble-based, devised, experimental and/or operatic work.
  • The musical should have a completed first draft and ideally will have been read at least once in a workshop or concert setting.
  • Authors and lead creatives must be based in the NYC or Philadelphia regions during the rehearsal and festival period. Non-Philadelphia artists are housed for weekend rehearsals, tech and festival weeks. There is no housing for the full 6 week rehearsal period.
  • Lead creative team members should be available for rehearsals Friday Nights, Saturdays and Sundays January 18 – February 17. And for three tech rehearsals between Feb 19-24. And for at least one show during festival week February 26-March 3.
  • Artists that are current graduate or undergraduate students are not eligible with the exception of UArts students and MFA students at the Pig Iron School for Advanced Performance Training.
  • Please Note:
  • Polyphone is a hybrid educational and creative opportunity. Polyphone guest artists are asked to play the role of educator and artist during the rehearsal period.


Polyphone Festival performances employ minimal costumes and props, and no scenic design.

Authors may submit more than one musical in a separate applications

The festival staff is especially motivated to program voices and stories that are traditionally underrepresented in the musical theater canon.

DUE AUGUST 1, 2018 11:59pm
Send the following in an email to Jen Jaynes, Submission Administrator: jjaynes@uarts.edu


  • Subject: Polyphone Submission 2019
  • Name of Musical
  • List of authors (including websites + phone numbers + email addresses)
  • Brief description of Musical (100 words or less)
  • Briefly describe the developmental history and any future plans for the musical.
  • Briefly describe the work on your show you’d most like to get done during Polyphone. (100 words or less)
  • Is there a director, music director or choreographer attached to the project? If so please list names and contact information. If you are submitting an ensemble-based piece describe the structure of your ensemble. Typically we bring a core group from an ensemble.
  • Link to audio files of demos or live recordings from the show being submitted. (links must be active until November 1)

Attach:

CVs of Authors, script of the musical being submitted.

Nylon Fusion Theatre Company This Round's on us: Can you TOUCH Me?

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Nylon Fusion Theatre Company is currently accepting 10 minute plays.

This Round’s On Us: The - Making Sense - Festival
Can you TOUCH Me? August 8th, 2018

Technological advances have always been a part of life from the wheel, loom, and engine to the computer, internet and now virtual reality.  Most of these we can say with certainty aided us in our lives and helped make the world a better place.  But with the increased reliance on (and use of) technology, have we lost a bit of what makes us human and binds us together?  For our 2018 season, we will focus on the human sensory experience in any and all interpretations and perspectives.  We look forward to your submissions.

To be considered This Round's On Us please submit/email the following: A cover letter, brief synopsis, resume and full script to nylonsubmissions@gmail.com Please be specific as to which project you are submitting to. Write on the SUBJECT LINE For example: This Round’s On Us: Can You Hear Me? and your name.

NOTE:-- all chosen plays are produced (including casting) by Nylon Fusion Theatre Company.
--
Deadlines for “Political Play Series”
To be considered please submit/email the following: A cover letter, brief synopsis, resume and full script to nylonLIT@gmail.com
Subject Line: Name of Play and Playwright.

We will contact you if your work matches what we’re looking for.
Thank you!

Nylon Fusion Theatre Company

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