Sunday, August 20, 2017

Camargo Foundation residency


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The Camargo Foundation, with generous support from the National Endowment for the Arts and the Jerome Foundation, is excited to announce a four-week residency program for mid-career/established African-American and African playwrights.

Four participants from the United States and four from the African continent, all of whom are interested in the intersection and interaction, whether historic or contemporary, between the United

Eligible applicants have an interest in the African diaspora as an influence and factor on their craft, work, and thinking.

• Eligible applicants are established or mid-career artists who assume primary responsibility for creating the texts of theatrical productions and/or performance. This program recognizes that practice is increasingly interdisciplinary (including performances that embrace a combination of live theatre/dance/film, for example), can include both spoken and musical work, and can assume different scales and forms (from solo performances to story telling to large scale theatrical spectacle). This program is designed for artists who play a primary or exclusive role in creating the text component of live theatrical or performance work where spoken language is a critical and primary component, whatever the scale and form. Text creators of course may play additional roles, such as directing, designing and/or performing without compromising their eligibility. Actors, choreographers, designers, directors, etc who have not been a primary creator of texts, however, are not eligible to apply.

• Eligible applicants have had at least three different texts/plays fully produced for public audiences.

• If prior grantees of the Camargo Foundation, Jerome Foundation or National Endowment for the Arts, eligible applicants have successfully complied with all reporting requirements, including (where applicable) submission of all required final reports.

• Students enrolled in undergraduate or graduate degree programs at the time of application are not eligible to apply.

• Eligible applicants are at least 21 years old at the time of application.

• Work developed during the residency may be in any language. In the interests of Camargo’s interdisciplinary, multicultural community, eligible applicants are able to communicate well in English. A basic knowledge of French is useful, but not required.

Applications must be submitted no later than October 19, 2017 (midnight Paris time). Late applications will not be reviewed.

Applications should be submitted via Submittable and can be accessed at: https://camargofoundation.submittable.com/submit Applications must include the following:
1. Proposal Name;

2. Proposal Summary (up to 100 words): a brief summary of the proposed project or possible areas of research that you would like to engage in during this exchange;
3. Proposal Narrative and Relevance of Resources (up to 1,000 words): please describe in detail any proposed project or possible areas of research you would like to engage in during this exchange. Please articulate specifically how the resources provided by the Camargo Foundation will support your proposed project or research;
4. A rationale (up to 300 words) for wanting to participate to the program (up to 500 words): please describe how your work expresses an interest in the African diaspora as an influence and factor on your craft, work and thinking; 

5. A current CV, including a list of plays fully produced, with year of first full production; 

6. Work samples, either in the form of written work sample, audio recording, or video. Recent work is strongly encouraged, but applicants should feel that the samples represent fully accomplished and finished work; works in progress are strongly discouraged. All work samples should be drawn from work created in the last five years. All panelists will read at least 10 pages of all scripts and/or view up to 5 minutes of a recording. Applicants who choose to submit a full script or longer performance tape should specify which 10 pages (or 5 minutes) the panel should read (or view), and attach a short description. The applicant must be the primary creator of the submitted sample. Student work is not acceptable.
7. Two references: submitters whose applications manage to get to the final stages of review might be asked to provide recommendation letters from their referees at a later stage.

Technical questions about the application should be directed to <apply@camargofoundation.org>.

The Madison Short Play Festival : Unpresidented

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Broom Street Theater seeks submissions of ten-minute scripts for
The Madison Short Play Festival : Unpresidented

Unpresidented will be performed at Broom Street Theater in Madison, WI in October/November 2018. (Exact dates TBA)

Plays should somehow revolve around the theme of the American Presidency. Authors may feel free to take that as currently/historically/fictionally as they please.

Authors will receive full credit and complimentary admission to the show, plus a DVD of the performance, but unfortunately, we cannot pay royalties. Playwrights retain all rights to their own work. If selected for production, playwrights will be asked to sign a waiver granting Broom Street Theater performance rights to the work, and the right to use the playwright’s name and image in associated publicity.

Previously published/produced work is admissable, provided that the playwright includes a publication/production history with their submission.

As a courtesy, if your play is a world premiere, we ask that any future productions of your play mention Broom Street Theater in the program or publicity.

There is NO FEE for submission, as submission fees are loathsome and befoul the nostrils of the angels.

We will accept no more than two submissions per playwright.

Playwrights from the Madison, WI area – or with ties to the Madison, WI area – will be given precedence. However, we’re suckers for excellence coming from anywhere (especially overseas!) and we love establishing new relationships with playwrights.

The deadline is March 1, 2018, but you don’t want to be that writer whose work is buried under an avalanche of last-minute submissions. Submit early for leisurely consideration!

How to Submit

Email your script in pdf or Microsoft Word format to submissions@bstonline.org. Please make sure your contact information is included in the file with the script.

Use the subject line – “Unpresidented”.

In the body of your email, tell us how your play relates to the theme of the festival. Tell us a little bit about yourself. Tell us what, if any, ties you have to Madison, WI. (It’s okay if you don’t have any.) Include the word Roosevelt somewhere in the body of your email. That’s how we identify people who carefully read the submission instructions.
Restrictions

Your play must fulfill the following restrictions:

Plays must be ten minutes or less in length.

Plays may only feature speaking roles for up to four actors. Four additional actors are available for crowd scenes/background, etc…

That’s it for restrictions. We’re okay with nudity, swearing, entrails… – or naked, swearing entrails.

If you have questions, please email Doug@bstonline.org. (Do not, however, send your submissions to Doug or he will become cross.)

Saturday, August 19, 2017

Cecile’s Writers Magazine seeks plays

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Cecile’s Writers Magazine is part of Stichting Cecile’s Writers, a nonprofit organisation (Dutch Chamber of Commerce number: 54563682). Our aim is to create a free digital magazine where intercultural authors can publish their work.

Read more in About Cecile’s Writers…
Submission Guidelines

Please read these guidelines before sending in your submission. If you do not follow the guidelines your submission will be rejected.

We are happy to announce that Cecile’s Writers Magazine is Open for Submissions. Submissions may be sent to us at any time.

Author
We accept submissions from intercultural authors:

Authors for whom English is their native language but currently reside in a non-English speaking country (or have resided in a non-English speaking country for at least 3 years).
Authors whose parents have different cultural backgrounds (either by ethnicity or by nationality)
Authors for whom English is not their native language but choose to write in English.

Authors who do not fit any of the above categories but still feel they have an intercultural voice are also welcome to submit their story. When submitting please do briefly explain why.

The concept is about the authors and not the subject matter. The stories themselves do not necessarily need to highlight intercultural subject matters.

Please note that you must be 18 years or older to submit.

Genre
All genres of fiction are welcome. We prefer character driven stories as opposed to plot driven stories.

In non-fiction, we accept short memoirs, personal essays and literary essays.

The maximum word counts are as follows:

Flash Fiction: 1,000 words
Short Stories: 7,500 words
Novelettes: 21,000 words
Novel Excerpts: 6,000 words
Plays: 9,000 words
Personal Essays / Memoirs: 6,000 words
Literary Essays: 6,000 words
Poetry: Max. 3 poems (see separate submission guidelines for poetry for more details)


Author’s Rights

Cecile’s Writers Magazine retains the exclusive first rights of publication for a period of 6 months after it has been published on the website. The author retains full copyright of any work published.

We do not accept work that has been previously published elsewhere (or is expected to be published elsewhere), this also includes work published on blogs.

Author’s Information

The author’s name and email address should be typed at the top of the first page with the word count of the story. We also ask the author to include a brief biographical note with their submission (max. 200 words) as a separate attachment, mentioning what it is that makes you an intercultural writer.

Response Time

We will do our best to respond to your submission within six weeks. In busy periods (July/August and December) this could take up to 12 weeks.

Simultaneous Submissions

We accept simultaneous submissions since we want an author to have every opportunity to be published. We do ask that an author inform us immediately when his/her work has been accepted elsewhere.

Format

We only accept electronic submissions in one of the following formats: .doc, .docx, or .txt
Manuscripts should be in 12-point type in one of these fonts: Arial, Cambria, Helvetica or Times New Roman
Manuscripts should be double-spaced with 2.5 cm margins
Manuscript pages should be numbered at the bottom of the page
The title of the story and the author’s name should be visible as a header on all pages

Technical Difficulties

If you have any questions or encounter technical difficulties, please contact us at: editors@cecileswriters.com
Ready to submit? Please fill in the submission form.
We look forward to reading your work.

Shakespeare's New Contemporaries

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We're looking for remarkable playwrights from all walks of life. Do you have a great play that vibes off of Shakespeare's canon? Can you write a great play to be a companion piece to one of Shakespeare's plays? We want to see it.

Is your play ready to go? For the first round, we're looking for submissions that vibe off of The Merry Wives of Windsor; Henry IV, Part 1; The Comedy of Errors; or The Winter’s Tale.

The first two productions will be mounted during our 2018/19 Artistic Year. The first, in the 2019 Actors’ Renaissance Season (January - early-April) will accompany either The Merry Wives of Windsor or Henry IV, Part 1. The second, during the 2019 Spring Season (mid-April - mid-June) will accompany either The Comedy of Errors or The Winter's Tale. ​​

Submissions are accepted on a rolling basis. However, to be considered for the first year, please submit by February 15, 2018. ​

The play should take advantage of and be producible using Shakespeare's Staging Conditions*:
  • Cast size 10 - 12
  • Universal lighting
  • Direct address
  • Character doubling and cross-gendered casting
  • 2(ish) hours
  • Minimal sets
  • All sound effects created in real time, unplugged, by the cast
Each winning playwright will receive a $25,000 cash prize, plus travel to and housing in Staunton, Virginia for the rehearsal period and opening of their production.

SUBMISSION FORM
http://www.sncproject.com/submit.html

We will announce the next round of plays approximately 1.5 years before the deadline of each cycle. Check this site for updates or sign up for e-mail notifications.

Friday, August 18, 2017

Ticket give-away: COME LIGHT MY CIGARETTE

NYCPlaywrights will be giving away a voucher good for a pair of tickets to see COME LIGHT MY CIGARETTE. 

We are giving this voucher on a first-come, first-serve basis this Saturday via the mailing list weekly eblast. In order to be eligible you have to be a member of the NYCPlaywrights mailing list.

JOIN THE MAILING LIST HERE!

If you don’t get the free tickets you can get still get discount tickets to see the show - $30 tickets (reg. $49) with discount code CLMC30.

More information about the show & discount here.


The Hodder Fellowship

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The Hodder Fellowship will be given to artists of exceptional promise to pursue independent projects at Princeton University during the 2018-2019 academic year. Potential Hodder Fellows are composers, choreographers, performance artists, visual artists, writers, or other kinds of artists or humanists who have "much more than ordinary intellectual and literary gifts"; they are selected more "for promise than for performance." Given the strength of the applicant pool, most successful Fellows have published a first book or have similar achievements in their own fields; the Hodder is designed to provide Fellows with the "studious leisure" to undertake significant new work.

 Hodder Fellows spend an academic year at Princeton, but no formal teaching is involved. An $81,000 stipend is provided for this 10-month appointment as a Visiting Fellow. Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply. 

Applications must be submitted by September 19, 2017, 11:59 p.m. EST online. 

Composers, Performing Artists, and Visual Artists: Submit a resume, a project proposal of 500 words, and examples of ten minutes of performance through link(s) to sites such as YouTube, Vimeo, Flicker, etc. 

Visual artists should provide up to 20 still images organized into a single PDF file and submit as part of their online application. 

Composers may send 1-2 scores as a PDF file and submit as part of their online application and/or supply a link to a website. 

 Writers: Submit a resume, a 3,000-word writing sample of recent work, and a project proposal of 500 to 750 words. We cannot confirm receipt of applications nor can we accept applications submitted after the deadline. Limits on the statement size (500 words) and sample size (3,000 words) are strict. To learn more (including FAQ, profiles of past fellows, etc.): arts.princeton.edu/fellowships.

Theatre Roulette 2018

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Theatre Roulette is MadLab’s annual shorts festival, a tradition that has lasted more than 15 years. Theatre Roulette began as an “invitation-only” festival, then expanded to taking local submissions, then to taking submission from across the United States, and now receives over 2000 scripts annually from every corner of the world.

To maximize your chance of selection, please read all the guidelines carefully before submitting.

All submissions should be send to submissionsmadlab@gmail.com.
Please put “THEATRE ROULETTE SUBMISSION” in the subject line.

Theatre Roulette is a juried festival.

Due to the overwhelming number of scripts we received in 2016, we will only be accepting the first 1500 scripts submitted in 2017.

Submissions must arrive no later than September 1st, 2017.
Submission will be chosen and applicants informed if his/her piece was chosen on/or before February 2nd, 2018.

SUBMISSION GUIDELINES
Scripts should be between 5-20 minutes in length. Scripts of greater lengths will be considered, but due to time constraints, it is unlikely that unsolicited full-length plays will be selected for the festival, unless you are a Nobel or Pulitzer winning writer, in which case, your script will automatically be accepted for production as long as you waive your standard royalty, which would probably be more than the budget for the entire festival. If you are not sure whether or not you have won a Nobel or Pulitzer Prize, please find out through the glory of the world wide web and let us know.

You may submit multiple scripts. If you are submitting multiple scripts, please include them all in a single email.

Please include your name, address, phone number, and email address in the body of your email message.

MadLab will also be accepting full collections of shorts. This would be a group of plays that are meant to be performed together and would constitute a complete night of plays.

Script submissions WILL NOT be returned to the applicant; MadLab will destroy all evidence of your creative instincts upon a funeral pyre at an undisclosed location in order to protect both the innocent and the guilty. Ashes will NOT be returned to you unless you purchase a commemorative urn from MadLab at the bargain basement price of $999.95.

You must email your script to us. Please send your script attached as a Microsoft Word document or PDF format. Scripts should be emailed to submissionsmadlab@gmail.com. Please put “THEATRE ROULETTE SUBMISSION” in the subject line. If “THEATRE ROULETTE SUBMISSION” is not in your subject line, your submission may not be received. All submissions will receive a reply email to ensure that your submission was received.

For ROULETTE, MadLab pays $50 to each playwright.

If you’ve made it through all of this, congratulations. At least you’ve got the potential patience to deal with the travails of theatrical production. If you have any questions, please email them to Artistic Director Jim Azelvandre at jima@madlab.net

Thanks for your interest. Good luck with your submission, and regardless of the outcome here, be sure to keep writing and producing new works.

Thursday, August 17, 2017

Discount tickets: COME LIGHT MY CIGARETTE


COME LIGHT MY CIGARETTE

Written & Directed by Arnold L. Cohen
Music Director Mason Griffin
Featuring:
Michael J. Farina
Kaye Tuckerman
Erikka Walsh

Theatre at St. Clement’s – 423 West 46th Street (Between 9th and 10th Avenues)
Come Light My Cigarette is an edgy and suspenseful new musical in which a young actress is driven to confront the two most turbulent relationships in her life—her father, with whom she shares a volatile and shameful past and her ex-lover, a powerful and controlling woman who was instrumental in making her a success.

Limited Engagement – 8/8 – 9/3 Only!

Performance Schedule:

Tuesday: 7pm | Wednesday: 7pm | Thursday: 7pm
Friday: 8pm | Saturday: 2pm & 8pm | Sunday: 3pm

Performance Schedule Subject to Change

Special Offer - Save Over 35%!

Tickets $30 (reg. $49)

THREE EASY WAYS TO BUY:

ONLINE: Visit TicketCentral.com and enter code CLMC30

PHONE: Call (212) 279-4200 between 12pm & 8pm and mention code CLMC30

IN PERSON: Present this offer at the Theatre at St. Clement’s Box Office - 423 West 46th

Street (Between 9th and 10th Ave); Box Office opens 60 minutes prior to curtain.

Please note that the Theatre at St. Clement’s is not wheelchair accessible.

For more information, visit www.ComeLightMyCigarette.com

*Tickets regularly $49. Offer valid through 9/3/17. Blackout dates may apply. All sales are final - no refunds or exchanges.

Offer subject to availability. Not valid in combination with any other offers. Normal service charges apply to phone and internet orders. Performance schedule subject to change. Offer may be revoked or modified at any time without notice.

Billie Burke Ziegfeld Award 2017

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The Ziegfeld Club, one of New York City’s first performing arts charities to benefit women is proud to announce the second Billie Burke Ziegfeld Award to honor a female composer in musical theatre. The recipient will be honored in November 2017 at the New Amsterdam Theatre, and will receive a prestigious grant of $10,000 plus a year of professional mentorship. The recipient will be selected by an expert panel chosen by The Ziegfeld Club Board of Directors.

The grant which aims to celebrate an emerging female composer, or composer/lyricist who compellingly demonstrates outstanding artistic promise in musical theater composing was inspired by a noticeable lack of female composers being produced on Broadway today. The Ziegfeld Club enables the recipient to put the grant to the best use possible to help further the composer’s creative endeavors.


Download an application form for the 2017 Billie Burke Ziegfeld Award here!

Important Dates

The application for the Billie Burke Ziegfeld Award will be open from July 31st- September 8th 2017.here!

Finalist interviews will be held in person on September 22nd, 2017 in New York City. The recipient of the award will be notified in late September 2017.

Application

Applications for the Billie Burke Ziegfeld Award must include the following:

1) Demo recordings of 3 contrasting songs from at least two separate works of musical

theater. Professional recordings are appreciated but not necessary. Piano-and-vocals are sufficient. The songs should be sent as individual MP3 files, and labeled with both the candidate’s name and the songs’ titles (Last Name, First Name- Title). Applicants retain all copyright of their work. Please do not submit live recordings.

2) Dramatic context and lyric sheets. Please include piano/vocal music, or scores if available.

3) An Artistic Statement of one page or less (no more than 500 words) describing your work in musical theater, and how the Billie Burke Ziegfeld Award will aid you in your artistic and professional goals.

4) A current Resume that lists your experience and production history as a musical theater composer. Applicants will be considered eligible as emerging artists if, in the judgment of the committee, they have not already received substantial recognition in American musical theater.

5) A completed Application Form.

Note: If you receive this grant, it will be awarded through Fractured Atlas, pending acceptance into their fiscal sponsorship program. For more information about Fractured Atlas and their fiscal sponsorship program, please visit www.fracturedatlas.org


To submit an application for the Billie Burke Ziegfeld Award, please send the required materials to: submissions@theziegfeldclubinc.com



Frequently Asked Questions

Who should apply?

The BBZA is open to an emerging individual female composer, or individual composer- lyricist who compellingly demonstrates outstanding artistic promise in musical theater composing, and who can clearly show how the grant money and mentorship will further her artistic career.

When can I apply?

The application for the Billie Burke Ziegfeld Award will be open from July 31st- September 8th, 2017.

I’ve applied for the award in the past; can I apply again?

Yes.

I write with a collaborative team. Can we apply together?

No, the BBZA Award is only open to an individual female composer or individual composer-lyricist.

Can I apply if I am still in school?

The BBZA award is not intended as a scholarship. Ideal candidates should be working professionals.

Are there any age restrictions?

No, although an ideal candidate must classify as emerging, meaning that they have not already received substantial recognition in American musical theater.

What are the criteria for selection?

The ability to show professional initiative, outstanding artistic promise in musical theater composing, and who can clearly show how the grant money and mentorship will further your artistic career.

Can the songs I submit be from different works?

Yes, they must be from at least two different works.

Can I still apply if I cannot be in New York City in September for an interview?

Yes, however, in person interviews are encouraged. A Skype interview can be arranged if necessary.

FUNHOUSE II SCRIPT SUBMISSIONS: Original theatre inspired by The Twilight Zone, Black Mirror, and Adult Swim

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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.

The fee will be waived if any playwright can prove they are a member of the Dramatists Guild.


FUNHOUSE II
SCRIPT SUBMISSION
Performances October 19-21
@ The Slate Theater in Seattle, WA
Directed by Brian Toews, Dylan Gervais, Maddy Noonan, and Mario Orallo-Molinaro

What is Funhouse?
Funhouse is quarterly late-night play anthology inspired by “The Twilight Zone”, “Black Mirror”, “Mr. Show”, “Saturday Night Live,” and Adult Swim. Funhouse is a collection of subversive and experimental original content. Our show serves as a rotating platform for up-and-coming playwrights, directors, actors, and designers with ties to the Pacific Northwest. The creators of Funhouse want artists to take bold risks in their storytelling.

Funhouse was created by Brian Toews. The first show was co-produced and directed by Anna Ly, Brian Toews, and Chris Quilici. It received its premiere at Eclectic Theater in Seattle, WA June 2017 to a sold-out run.

Submit Your Original Script
Submissions of original ten-minute plays will be accepted beginning July 2nd, 2017. The deadline is August 25th, 2017. No plays will be accepted after August 25th, 2017. The number of plays to be produced will be at our discretion and will depend on the mix of submissions. Writers will be notified of our selections September 1, 2017. The pieces selected will be given a full production within the capabilities and budget of the producers. There will be a $25 honorarium given to all selected playwrights.

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

The submission fee will go toward our design budget and the cost needed to rent the space.
No-fee options:
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.

The fee will be waived if any playwright can prove they are a member of the Dramatists Guild.


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

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

● Playwrights may submit multiple scripts but the max number of plays produced will be one per playwright.

● Maximum length: Plays should run in the 10-15 minute range but can be shorter. Longer submissions will not be considered.

● Scripts may be comedy, drama, horror, fantasy, sci-fi, parody, musical, anything. NOTE: Funhouse II will premiere close to Halloween. You may or may not let that inform your narrative.

● This is a show for mature audiences (18+), and we encourage subversive and/or experimental work.

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

○ Playwright’s first, last name, and preferred pronouns
○ Mailing address
○ Phone number
○ E-mail address
○ A brief biography (100 words or less)
○ If you are a member of a historically or presently marginalized group, please indicate if you would like your submission fee to be waived.

● Submissions may be emailed to funhouseanthology@gmail.com
Email submissions must be received by August 25th, 2017 to be considered.

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

● Selections will be made by directors Brian Toews, Dylan Gervias, Maddy Noonan, and Mario Orallo-Molinaro and is solely at their discretion. All decisions are final.

● Notification of final selections will be made via email by September 1, 2017.

Wednesday, August 16, 2017

NEO Ensemble Theatre is accepting one act plays

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NEO Ensemble Theatre is accepting 15-40 minute one act plays for our 2018
season.

All styles and subjects will be considered as our themes vary throughout the season. If chosen, writers may be asked to rewrite aspects of their play to fit a specific production theme.

Submissions will be accepted between July 20th and August 30th, 2017.

Submissions received outside of this period will not be considered. Only one play per playwright may be entered.

Submissions are free, however no royalties or payments will be provided to playwrights should their play be chosen for the production.

Plays should be submitted electronically in PDF format with "NEO One Act Submission" in the subject line to: PlaySubmissions@NEOEnsembleTheatre.org

In your email please include your name, a brief bio, contact information, and the plays production history (if it has been previously produced where and when).

Due to the number of submissions playwrights will only be contacted if their play is selected.

Tuesday, August 15, 2017

Fellowships for Creative and Performing Artists and Writers

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The American Antiquarian Society (AAS), a national research library and learned society of American history and culture, is calling for applications for visiting fellowships for historical research by creative and performing artists, writers, film makers, journalists, and other persons whose goals are to produce imaginative, non-formulaic works dealing with pre-twentieth-century American history. Successful applicants are those whose work is for the general public rather than for academic or educational audiences. The Society's goal in sponsoring this program is to multiply and improve the ways in which an understanding of history is communicated to the American people.

The fellowships will provide the recipients with the opportunity for a period of uninterrupted research, reading, and collegial discussion at the Society, located in Worcester, Massachusetts. At least three fellowships will be awarded for residence of four weeks at the Society at any time during the period January 1 through December 31.

For fellows who reside on campus in the Society’s scholars' housing, located next to the main library building, the stipend will have the room fee deducted from the $1850 stipend. (Room fees range from $700 to $500 per month.)

The stipend will be $1,850 for fellows residing off campus. Fellows will not be paid a travel allowance.

Funding for this program began with a grant to AAS from the Lila Wallace-Reader's Digest Fund. Additional funding for the awards is derived from income from endowments established by the Robert and Charlotte Baron Fellowship, William Randolph Hearst Foundation, and Jay and Deborah Last.
Fellowship projects may include (but are not limited to):

  • historical novels
  • performance of historical music or drama
  • poetry 
  • documentary films
  • television programs 
  • radio broadcasts
  • plays 
  • libretti
  • screenplays 
  • magazine or newspaper articles 
  • costume designs
  • set designs 
  • illustrations and other graphic arts
  • book designs
  • sculpture 
  • paintings 
  • other works of fine and applied art
  • nonfiction works of history designed for general audiences of adults or children 

Application Procedure

Applications are due October 5, 2017. 

Application instructions for the Fellowships for Creative and Performing Artists and Writers are included in the online application.

For further information about the Fellowships for Creative and Performing Artists and Writers, please contact Cheryl McRell, Program Administrator at AAS, at cmcrell@mwa.org.

Sundog Theatre is seeking one-act play

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Sundog Theatre is seeking one-act plays for  "Scenes from the Staten Island Ferry 2018"

This is Sundog Theatre's 16th annual presentation of new, original, short one-act plays about our favorite boats that take us from Staten Island to Manhattan and back
--the Staten Island Ferries.

Guidelines:

--Submit original plays not previously produced or published, with a signed note affirming that.

--Plays should be at least 15 minutes long (max 25) and should be set on the Staten Island Ferry.

--Plays should be contemporary, involve 2-3 characters and require no special set pieces other than benches or railings found on the Ferry, limited and easily accessible props, costumes, and no special sound or lighting requirements.

NOTE: This year, please incorporate a science fiction and/or supernatural element.

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

No musicals or long monologues since plays are memorized by actors in a short time.

--As in life, a little humor is good.

Remuneration: The six authors whose plays are chosen will receive $100 each and their plays presented five dates: April 14, 15, 20, 21, 22, 2018 in Staten Island.

Submission:

--Please send two copies, bound or stapled, blind submission
(removable cover page with title, author, and contacts) to
Sundog Theatre, "Scenes 2018", PO Box 183, Staten Island, NY 10301.

For "blind submission" requirements: please do NOT put your name on each page.

Do include the title of your play on each page.

--Include a brief synopsis and 70-word playwright bio.

--Postmarked no later than December 31, 2017.

--No electronic submissions.

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

--There is no fee for submission

Notification: Playwrights of selected plays will be contacted directly and their names listed on Sundog's website early 2018.

Please do not contact Sundog to see whether or not we are using your play.

Some possible topics to get your creative juices flowing (do not limit to these):
  • Space travel
  • Time travel
  • Superhuman
  • Apocalyptic and post-apocalyptic
  • Fantasy 
  • Supernatural Fiction 
  • Superhero Fiction 
  • Ghost Stories 
  • Spirits 
  • Seances 
  • Past Life Stories

Monday, August 14, 2017

7th Annual One Act Play Festival at OLT

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Old Library Theatre (OLT) invites submissions for its 7th Annual One Act Play Festival. Winner of the NJACT Perry Award for Best Production of an Original Play in 2015 (and nominated again for our 2017 production!), this festival showcases original one act plays on our main stage!

This year’s festival will kick off our 51st season with performances January 26, 27 & 28, 2018. Auditions will be held in November 2017.

Submission criteria is as follows:

– All plays must be complete, one act works, running 15-30 minutes, with six or fewer characters.
– No musicals, please.
– Plays will be mounted with no budget, though they will be fully staged with necessary sound and lighting.
– Please e-mail submissions or questions to info@oldlibrarytheatre.net by September 15, 2017. Playwrights who have not had plays produced in previous festivals will receive priority in selection.

All performances take place at George Frey Center for Performing Arts at 10-10 20th Street in Fair Lawn, NJ. Performance times are Fridays and Saturdays at 8pm, and Sundays at 2pm.

La Mama Experiments Play Reading Series

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NEXT SEASON | Experiments 18: Parts for Meryl Streep

As the title suggests, The 18th season of Experiments Play Reading Series is focused on playwrights whose work features a dynamic leading character worthy of the "best actress of her generation." Although we are sure Ms.Streep would masterfully bring to life any of these parts, our mission is to select work based on the themes Meryl has championed throughout her career; empathy, diversity and activism. Using these pillars as our guide, each month, La MaMa's Experiments 18 will showcase a play centered around a strong and inspiring lead character who can be of any ethnicity, religion, gender identity, national origin, disability and sexual orientation.

E-mail New Play Submissions to LaMaMaExperiments@gmail.com for consideration! Please submit scripts in PDF format.

Woodside Players of Queens Fall 2017 Play Festival

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Submissions are now being accepted for the Woodside Players of Queens Fall 2017 Play Festival, to take place in November.

Seeking short plays (no more than 10 pp), from playwrights from the five boroughs of New York City only.

Also seeking monologues (no more than 4pp). Musicals welcome! Basic set requirements.

One submission per playwright. No unpleasant profanity, as this is a family friendly festival! No submission fee.

Please include name, address, telephone number and email address on your submission. We do not produce your work, we provide a venue for you to present actors performing your play. There are no costs involved for anyone. Seeking actors and directors, too!

Deadline: September 15 2017

Email: submissions@pineyforkpress.com

Sunday, August 13, 2017

ACME NEW WORKS WINTER FESTIVAL XVII for 10 minute plays

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PERFORMANCES- JANUARY 12, 13, 14, 19, 20, and 21, 2018

CALL FOR SUBMISSIONS- DEADLINE: SUNDAY, SEPTEMBER 10, 2017
Acme Theater of Maynard, MA is proud to announce that it is now accepting submissions for its 17th annual New Works Winter Festival. The festival will be performed over two weekends in January 2018. Selected plays will be divided into two festival tracks and will be performed three times total over the course of the two weekends. At the conclusion of each festival track, one playwright from each track will be awarded the audience choice award, known as "The Charlie".

Submission Guidelines:

1) Maximum submission limit of ONE (1) play per playwright.

2) Plays must be unpublished works. They may have already been produced elsewhere, but any published works will not be considered.

3) Scripts must be limited to a length of ten (10) pages or less in standard script format and be able to be legitimately performed in 10 minutes. Please keep type sizes at 10 pts or greater, double spaced, and leave some margin space.

4) Any subject matter welcome, comedy or drama. Please no overuse of strong language.

5) Your script will be limited to the use of any/all of the following set pieces provided by Acme:

- 6 standard wooden chairs
- 1 dining room table
- 1 coffee table
- 1 tall table/desk
- 1 end table
- 1 podium
- 1 small love seat
- 1 park bench

Hand props will be allowed, but nothing else.

6) Selected playwrights will be given the option to provide their own director, actors, props, etc., or have Acme provide someone from our pool of eager and capable directors for you and cast the play from our festival auditions in November 2017.

Acme Theater is a 72-seat black box in Maynard, MA with full light and sound equipment. Acme will provide sound and light operators, the stage and a 45 minute tech time the week before we open so that casts can become familiar with our space prior to the festival.

Submission Deadline: Sunday, September 10, 2017

Please email script in .doc or .pdf format to Tom Berry at acmenwwf@gmail.com .

Scripts sent to any other email address will not be accepted. Selected playwrights will be notified by November 2017.

Small Fish Radio Theatre Annual Horror Show 2017

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Deadline is midnight, September 15, 2017.
Submissions must be specific to the Horror genre.

Gothic, Supernatural, Non-Supernatural - whatever invokes FEAR and DREAD!

ALL SUBMISSIONS MUST ADHERE TO THE FOLLOWING:

Short Plays - No more than 10 minutes in length.

Five Actors or Less – This does not mean five characters or less, it simply means
your short play, story, or poem must be able to be performed by a maximum of five actors.

NO STAGE DIRECTIONS – While this may seem obvious given our
“radio” format, it is important to remember that your play is
conveyed through the dialogue, music, and sound effects.

Please do not submit recorded radio plays, stories or music.
We are not accepting produced radio plays.

Multiple submissions are acceptable, as long as you follow the guidelines listed above.

Additional playwright submissions resources may be found at http://playsubmissionshelper.com/blog.

Please send your submissions (or questions) to:
submissions@smallfishradio.com

Please follow us on Facebook for news of our next call for submissinos.
https://www.facebook.com/SmallFishRTT

Small Fish Radio Theatre and Thespinarium produces portable theatre for the ear. Since 2012 we’ve produced over 30 podcasts featuring the work of over 50 artists from around the world. We’ve recorded live at Chicago Fringe, Chicago Dramatists, The Biograph at Victory Gardens Theatre, and Simon's Tavern in Andersonville.
Small Fish Radio Theatre was a top-featured podcast on Atlanta Fringe Audio for four years running.
Whether recorded before a live audience or in the studio, our podcasts are offered for free here
on iTunes and via our website - smallfishradio.com.

To listen to our latest program, you may download the FREE podcast from iTunes and listen at your leisure, or go to our home page to listen there.

Saturday, August 12, 2017

HERE Artist Residency Program

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HERE Artist Residency Program (HARP)

HARP is designed to support collaboration across disparate art forms by nurturing hybrid artists in the development of dynamic live performances. HARP provides significant long-term artistic, financial, and administrative support, tailored to each artist's individual needs.

“In these times, it's become increasingly hard for artists to find a place to take risks, a safe haven where they can develop daring new work. One theater has regularly bucked the trend, making its mission to ensure that artists have a home for their R&D, and that theatergoers can sample the exciting results.” - OBIE Committee, on the Ross Wetzsteon Award to HERE

About HERE:

Since 1993, HERE has been one of New York’s most prolific producing organizations and today stands at the forefront of the city’s presenters of daring new work. A collaborative multi-arts space with two theatres and a gallery/lounge, HERE developed such acclaimed works as Eve Ensler’s THE VAGINA MONOLOGUES, puppeteer Basil Twist’s SYMPHONIE FANTASTIQUE, Trey Lyford and Geoff Soebelle’s ALL WEAR BOWLERS, and Taylor Mac’s THE LILY’S REVENGE. For over 15 years, HERE has invested in long-term developmental relationships with individual artists and artist collaborations. HERE builds a community that nurtures career artists as they create innovative hybrid live performance in theatre, dance, music, puppetry, media and visual art. Our artist residencies support the singular vision of the lead artist through commissions, long-term development, and production support. HERE’s programs and performances promote relationships among local, national, and international artists. Our space is a destination for audiences who are passionate about groundbreaking contemporary work and the creative process behind it.

'One of the most unusual arts spaces in New York---and possibly the model for the cutting edge arts space of tomorrow, ' (The New York Times); "the Downtown Lincoln Center" (Paper Magazine) "...HERE still manages to be the forum for fresh talents." - Ben Brantley of The New York Times



About HARP:

HARP nurtures the development of mid-career hybrid artists and their audiences, through cross-disciplinary exchange, peer-driven workshops, and panel discussions. HARP was conceived in 1999 to address an urgent need in the artistic community: a void of artistic and administrative support for mid-career artists. This lack of support was causing talented artists, in the most fertile periods of their careers, to leave the field. HARP was initiated to provide a much-needed forum to assist artists who are developing unique artistic voices and experimenting with new approaches to expanding the parameters of performance work.

As the works being developed are complex hybrid projects, each Residency will last for 2 to 3 years, renewed annually. At the end of each residency year, the artist and HERE mutually decide whether to continue the residency. It is unlikely that any project accepted in 2018 will go to production before 2020.

HARP RESIDENCY EXPECTATIONS:

Artists or collaborative teams chosen for HARP are expected to participate in the program by developing the work as outlined in their application and by actively participating in the member and public activities associated with the program. Since HARP is designed to respond to the ideas and needs of its members, the members themselves must be proactive in bringing those ideas and needs to HARP and to each other. We expect our members to be both good citizens of the HERE community as well as ambassadors to the public.

During the residency, HARP Artists participate in monthly artistic meetings, bi-monthly work groups focused on both artistic and business topics, regular individual meetings on budgeting, production, and fundraising issues, and formal and informal work-in-progress showings.

At the monthly meetings, artists show work, give feedback to other artist projects, engage in and contribute to artistic skill sharing. At the bi-monthly work groups, artists share career skills and learn from others, as well as from HERE staff and outside experts on topics ranging from grant writing to touring to budgeting to work samples.

Artists are also encouraged to show work in each stage of development. A number of work-in-progress showings, both public and private, allow members of HARP to contribute to the growth of their peers. Through this component, we create a balance of practical and theoretical work that exposes the whole group to a comprehensive experience. Each season, we present 8-10 public showings of HARP works-in-progress and provide HARP artists with a more formal opportunity to present stages of their work in CULTUREMART, our annual winter festival of workshop productions, before a public paying audience.

Each year, HARP artists participate in a one-week retreat at an artist colony where they are able to dedicate all of their energy to the creative process without the distractions of daily life. At times, when possible, we offer one- and two-week project-specific intensive retreats for second- and third-year HARP artists.

Three to five projects that are in development are selected for production each year. Each selected artist participates in all development activities, and collaborates with HERE to raise funds and develop appropriate resources and support for their production. Projects are produced at the scale appropriate to the work – there is no set formula for producing in the season – chamber or mainstage, four performances or 20, one performer or 25. It is our expectation that the works being developed in the program are being scaled to fit and will be produced in one of our spaces. Most works developed through HARP are fully produced by HERE.

The artists themselves shall retain ownership of all work initiated, developed, or workshopped during their residency. For the works that go to full production, HERE and the artists will negotiate a separate ownership and rights agreement. However, in all public materials about the artist or team the following must appear: "(Name of Artist or Team) was/is a member of HERE’s Artist Residency Program (HARP), 20 __ - 20__, NYC", and in all public materials relating to the work’s development, the following line shall appear: “Development of (Name of Work) was made possible through the HERE’s Artist Residency Program (HARP), 20_ - 20_, NYC." For works that go to full production the following line shall appear: “(Name of Work) was commissioned, developed, and produced through the HERE Artist Residency Program (HARP), 20_ - 20_, NYC.”



RESOURCES FOR HARP ARTISTS:

Artistic Development:

While in residence, the artist or team’s residency is linked to a specific project in development and an exploration of ideas and processes intrinsic to their artistic growth. HERE believes that artists must be in control of the work that they create. This control goes hand in hand with a responsibility to participate in all phases of their artistic projects from inception through all development stages to full production. HARP is designed to respond to the ideas and needs of its artists. The artists themselves must be proactive in bringing those ideas and needs to HARP and to each other; they shape workshop and discussion offerings, create performances, and work with HERE staff to publicize and promote HARP events.

Career Development:
HARP also includes hands-on administrative sessions to supplement our already strong artistic development process. We believe that in order for these artists to stay in the field, they must have the necessary skills to function as viable creative enterprises. HARP offers advice on business issues such as grant writing, project planning, budgeting, marketing, and nonprofit incorporation. Administrative sessions are led either by a HARP artist with the necessary skill, an appropriate HERE staff member, or an outside expert.

HARP artists also have access to an online resource managed by HERE that fosters these skills and asks the artists to participate in an online community discussion by posting work and responding to others’ work between meetings and presentations. Most important, frequent meetings provide community and address the needs of the whole artist. In addition, each member of the HERE staff dedicates significant one-on-one time with each artist to articulate the vision for the project in terms of producing strategy, audience development, marketing, fundraising, finance and production.

Facilities and Equipment:
HARP Artists have access to the HERE staff, including development, marketing, and general management team, and access to sample contracts, grants, and budget templates. Due to the lack of on-site rehearsal space and the heavy use of our theatre spaces, HARP is not primarily a space residency. However, HERE offers resident artists limited rehearsal space and equipment on an as-needed, as-available basis in our theatres. The Mainstage Theatre is a flexible black box theatre with a sprung wood floor which measures 46' x 46'. It can seat up to 150 (depending on the configuration of the seating platforms), and usually seats 99. The theatre has a complete lighting package including 92 dimmers and a complete sound system. The Dorothy B. Williams Theatre is a charming proscenium-style theatre with a 14' x 38' stage. The theatre also has the capability to transform into a flexible black box space. It has a fixed grid, a state-of-the-art lighting package including 75 dimmers and a complete sound system. The theatre has 63 seats and 8 stools. HERE has an extensive inventory of high quality equipment available for our artists’ use. HERE also actively develops partnerships with other organizations and landlords to offer dedicated rehearsal space to our resident artists.

Funding:
In addition to the extensive range of community, development, and production resources listed above, HERE offers each resident artist a developmental commission, work-in-progress (WIP) and workshop fees in order to develop their project. The developmental commission, paid out in monthly installments, is up to $5,400 total for a 3-year residency. HERE also provides each artist with an annual WIP fund of $1,000, as well as a fee of $2,000 for each workshop in our annual CULTUREMART festival. All of these funds may be used as each artist deems fit for their individual project. In addition, there are fees for creators and their collaborators in the budget for the final production. The budget is developed jointly by HERE and the artist. HERE allocates at least $30,000 towards the final production in addition to partnering with the artist to raise project-specific funding. Over a 3-year residency, HERE invests over $45,000 in cash in each project.

SELECTION CRITERIA:
HARP is designed to assist mid-career individual artists or collaborative teams (writers, performers, composers, directors, designers, dramaturgs, puppeteers, dancers, singers) working in a hybrid form in live performance. Hybrid form refers to the full integration (not just as backdrop) of two or more genres (theatre, dance, music, puppetry, media, and visual art) in the work.

We define a mid-career artist as one who has:

(1) completed their education within the last 8-15 years

(2) had at least a few significant residency or commissioning opportunities,

(3) created a body of work over at least 5 years and at least one full evening-length work, and

(4) earns some income from their art practice.

Artists must also meet the following criteria:

*The artist or team are residents of the NY metro area.

*The artist or team find themselves at a point in their career where they are developing a distinctive form/style/content of work, or are interested in stretching the previously accepted boundaries of their work by experimentation with form/style/content.

*The artist or team is interested in actively participating both in the community of HERE and in a peer-based program aimed at exchanging resources, ideas, critique, and support.

*The artist or team are proposing a project that is very early in its development process, meaning at its inception and has not been previously workshopped, and any underlying rights for pre-existing material for the project have already been secured.

Additionally, HERE believes that diversity is extremely important within the makeup of our residency program. HARP actively seeks this diversity both from the work itself in terms of genre and content, and in the background of the artists.

The selection panel includes HERE leadership, artists, and performing arts curators from NYC.

TIMELINE

Application Due Date: February 2, 2018 12 noon
Final Decisions Announced: March 16, 2018

Residencies Begin: April 1, 2018

The residence year extends annually from April 1 to March 31, with the exception of when a project is heading into final production.

APPLICATION INSTRUCTIONS FOR HARP RESIDENCY:

Name/Address:

Please provide full name and address of applicant. Only residents of the New York Metro area will be considered.

Project Summary:

Please provide a summary of your project.

Project Description:

What do you envision on stage and what will the audience experience be? Why does your project need the time our residency offers? Because of the long-term development process that we offer, we look for proposals that are in the very early stages of their growth - the seeds of an idea or an outline. A project that has already been workshopped is probably too far along to benefit from what the program offers. Please feel free to use bullet points if space demands are too limiting.

Artist Statement:

Please briefly tell the panel about your interest in this project, why this residency is a good fit for you right now, how you see yourself as a mid-career artist, and how you hope to develop over your residency. If more than one primary artist is included in this application, each primary artist should provide a statement in the space provided. If an ensemble is applying, one shared statement is appropriate.

Project Timeline:

This should be a 2-3 year timeline of how you will develop the work during the residency, indicating potential works in progress. This obviously will change and adapt over time, but it is helpful for the panel to see how you might use the flexible opportunities offered by the residency.

Short narrative bio and/or resume of the lead artist(s):

Please provide a resume or narrative bio.

Collaborators:

Please list other collaborators on the project. If you don’t know your collaborators yet, please indicate what kind of collaborators you may intend to bring into the project.

Work Sample & description:

Please pay close attention to work sample instructions listed below on the form and then tell us why this work sample is relevant to the proposed project. Please include year, performers, and contributing artists.



SUBMISSION REVIEW PROCESS:

After applications are reviewed by the panel, finalists will be interviewed by Kristin Marting, Artistic Director and Kim Whitener, Producing Director. Application DEADLINE: February 2, 2018 at 12 noon. Final decisions will be announced by March 16, 2018. Questions can be addressed to programming@here.org or 212-647-0202 x320.

The Robert J. Pickering Award for Playwriting Excellence

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This annual award was established to honor past member and playwright, Bob Pickering, and to provide a vehicle for playwrights to see their works produced. Over 30 plays have been produced over since 1984. $200 is awarded for first place, $50 for second place and $25 for third place.

Deadline:
Manuscripts must be received by December 31 2017
Types of plays accepted

Full length, unproduced plays and musicals. Children’s plays accepted. 

Unable to return without a self-addressed stamped envelope.
Selection Process:

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

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

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

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

Friday, August 11, 2017

Four Quarter Theater seeks 10-minute plays

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Four Quarter Theater, a NYC based theater ensemble, is currently accepting 10 minute plays for our fall season Autumn in New York!

In each quarter of the year, and aligning with the seasons, Four Quarter Theater aims to produce a new set of ten-minute plays. Each season is framed around a theme, which relates to the season in which the quarter falls. Each theme is open to artistic interpretation and is provided as a thematic framework to guide the playwright. The format of the performances will be staged readings in New York City.

Four Quarter Theater is currently accepting 10 minute plays for our fall 2017 season Autumn in New York. 

Below please find our submission requirements and additional guidance to successfully submit your piece to Four Quarter Theater. Please note that playwrights are eligible to submit one piece per season only. 

We are currently accepting submissions until August 27, 2017.
If you have any questions, please contact our Director of Submissions, Dana Trottier, at 4qtsubmissions@gmail.com, or view additional information on our website at fourquartertheater.com.

Submission Requirements

§ The play must be presentable in ten minutes (generally between 7 to 12 pages of dialogue).

§ The play should speak to the theme of the season in some capacity: Autumn in New York.

§ Cast should not exceed 5 actors.

§ There is a submission limit of one play per theme. The playwright must designate the theme submitted for in the subject line of the email (Autumn in New York).

§ Please do not submit first drafts. Due to the number of submissions, Four Quarter Theater can only read any play one time.

§ Original and never before produced plays are highly encouraged.

§ Submissions are accepted electronically only in PDF format at 4qtsubmissions@gmail.com and our current deadline for submissions is August 27, 2017.

Cover Letter in Body of Email

§ Title, author’s name, address, phone number, email address.

§ A brief description of the play—this need not be a summary, but may include description of the play’s world, the characters, the conflict, reason for writing, connection to theme, etc.

Script in PDF Format

§ Title page should include at least the title, cast of characters, time and place.

§ Script should be approximately 7 to 12 pages not including title page and include completed dialogue as plays cannot be edited after submission.

Selection of Plays

The play selection process is conducted by the Play Selection Committee. As many as seven plays are selected for each series (approximately 4 times a year). Only selected playwrights will be contacted. Plays not chosen for this quarter/year may be considered for future series if considered by the company to be theme appropriate.

Four Quarter Theater reserves the sole right to make all production decisions with regard to the plays selected. Four Quarter Theater reserves the right to photograph, audio and video record selected plays to be utilized for promotional materials; promotional video and audio recordings will only include clips of performances and never the full performance of the selected play. Any recordings will be shared with selected playwrights.

Four Quarter Theater is committed to highlighting work of emerging artists. There is no financial compensation for entries, nor is any financial commitment required by the playwright.

We look forward to reading your submissions.

Sincerely,

Dana Trottier
Director of Submissions
Four Quarter Theater

The Jonathan Larson Grants

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The Jonathan Larson Grants are intended to honor and recognize emerging musical theatre artists. Composers, lyricists, and librettists who work in musical theatre are the focus of the grants. ATW is committed to serving artists who are creating new, fully producible works for the theatre, and advancing the art form. The grants do not honor a specific piece or project.


The application deadline is Saturday, October 7th at 11:59PM EST. 

Grant decisions are made in February and the presentation of the grants are in March or April.

Grant awards are based on merit, and are intended for those artists with a demonstrated commitment and dedication to a career in musical theatre. Further, the grants are not intended to be scholarships, and artists applying for grants should be working professionally in the field.
Applications are accepted in the following areas:
  • Individuals may apply as lyricists, composers, librettists, or any combination of the three.
  • Collaborative teams may apply together as composer, lyricist, and/or librettist, or any combination of the three.
  • Collaborators who work together regularly are strongly encouraged to apply as a team. If your collaborative team has more than three individuals, please contact the ATW offices.
  • United States citizenship is not a requirement to receive the grant, but you must be eligible to work in the U.S. and reside/work here on at least a part-time basis and submitted work should be predominately in English.
  • Artists may apply only once per grant cycle. You may not apply as part of a team and as an individual applicant.
Prior Jonathan Larson Grant Recipients are not eligible.

(Applications that do not adhere to these general criteria will not be considered)

Required Materials – Applicants must submit the following through our online portal to be considered.

APPLICATION INFORMATION

Completed Application Forms, including:
General Information
Artistic Statement— on the form provided, describe your achievements and goals for your career as a creative artist or collaborative team (one per application). Please do not make specific monetary requests as part of the application.
Creative Curriculum Vitae—productions/workshops/readings, educational history, and including list of awards (one for each applicant or each member of a team, please submit multiple CVs in one, combined .pdf or .doc file).

SAMPLES OF WORK
Comprehensive Work Sample List—a list of all the song and libretto selections with authorship information. Work samples are only required in accordance with your application focus. For instance, if you are applying as a composer only, please only submit music, and dramatic context for the song. Do not submit a book or lyrics for adjudication. The same would be true if you were applying as a lyricist or book writer, only submit samples for the area or areas for which you wish to be considered.Once you have completed the Work Sample list, you will have the opportunity to upload your material.
Libretto—Please submit one-act only of a musical book (or if your work does not have a traditional act-break, an excerpt of 60 pages or less). .pdf format is preferred. You may start your libretto with a 1-page synopsis of the show in its entirety.
Audio Files/Song Selections—upload selected songs (accepted formats include MP3, MP4, WMA, WAV, ACC (M4A) and FLAC). Select individual tracks and pieces that reflect your best work.
Dramatic Context/ Lyric Sheets—describe the dramatic context and provide the lyrics for each song selection

Applicants may provide a letter of support/recommendation from theatre artists or educators.

About Selecting Work Samples:
Regardless, if you work creatively in all three disciplines (music, lyrics, and book) or you are applying as a collaborative team, you should submit combined work samples that represent the full range of your work. For example, Jonathan Larson might have submitted one application that included three song selections from Rent, two song selections from Tick, Tick…Boom!, and the book of Act II from Rent. Please do not submit a recording of an entire act or production. Select individual tracks and pieces that reflect your best work.

The Jonathan Larson Grants are intended to honor and recognize emerging musical theatre writers. We are aware that artists work in multiple disciplines; and while it is not necessary that you only work in musical theatre, selections of representative work submitted for the grant must be for musical theatre. Applications submitting oratorios, operas, symphonic scores, or film scores will not be considered.

Adapted Works: Should you choose to submit selections from work which is adapted from an existing work, you must provide proof of rights for that adaptation as part of your application.

Online Application
APPLY HERE FOR 2018 LARSON GRANTS

Urban Stages: SMALL CAST PLAYS

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Due: August 31, 2017
We are a small theater and while we do take on projects with large casts, we are more likely to produce plays that expertly utilize small casts. We are looking for plays with four (4) characters or less – doubling is fine. Plays entered under this category are given special attention and considered more immediately by our Literary Committee.

To enter, follow instructions above and write SMALL CAST PLAYS on the envelope you send your play in.

*These submissions ARE eligible for The Emerging Playwright Award.


HOW TO SUBMIT?
Submit plays to:
Urban Stages
555 Eighth Avenue, RM 1800
New York, NY 10018

Email submissions will not be accepted.

Full-length plays only:
- scripts must be firmly bound
- No changes or revisions accepted after submission
- No double-sided pages.
- 7 actors or less (unless otherwise noted)…doubling is fine

With your submission, please include:
- Biography and/or author’s history of the play
- Character breakdown
- Brief synopsis of the play.
- A small SASE envelope for a response letter.
*Whole plays will no longer be returned. All plays will be recycled.

Plays MAY HAVE BEEN developed or produced elsewhere, BUT NEVER PRODUCED in New York City.

There is no limit to submissions.
Subject matter and character variations are open.

There is no submission fee.

It usually takes up to six months for us to read and process your script.
We ask that you do not call or email our offices to inquire on the status of your play.

Plays from overseas and throughout the United States are accepted and considered.
BUT special attention will be given to playwrights who live in or near New York.

We recommend not spending extra money to send your play express, overnight or via other expensive services. We accept plays year-round and for special deadlines, we accept plays postmarked on the deadline date. For special deadlines, late plays are just entered among our general year-round submissions.

Thursday, August 10, 2017

The First Draft 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. Write your next play this Fall at Primary Stages ESPA!

This 10-week 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. This class is geared toward all writers, from those just starting out in the world of playwriting to experienced playwrights looking for a chance to start a new piece. Writing can often be a solitary process, but this class will allow you the opportunity to strengthen your writing skills while building connections with your artistic peers.

Section B: Eddie Sanchez (Writer, Barefoot Boy with Shoes on at Primary Stages)
Starts September 17
Eddie's class is all about being a safe place to try things. One week you may bring in a scene that totally slays, the next week, not so much. But this is the room where you can try.

Section C: Winter Miller (Writer, In Darfur at The Public Theater)
Starts September 19
Winter will seek for you to be an active participant in your own development as a writer and expect you to pay close attention to the puzzles and obstacles your fellow writers come up against, because the thing someone is trying to unlock may be a mirror for something your own play needs.

Section D: Joshua Harmon (Writer, Significant Other on Broadway, Bad Jews at Roundabout Theater Company)
Starts September 19  
Joshua's goal is to encourage you to write the play you want to write. He believes people write best when they are being built up, not torn down.

Section E: Leah Nanako Winkler (Writer, Kentucky at Ensemble Studio Theatre)
Starts September 21
This class will be a collaborative environment where you are encouraged to bring in unfiltered pages and give and receive feedback from classmates in a safe space. Leah views the first draft as a time to write and take risks without neurosis, and will urge you to write from the heart and let everything fall into place from there.

Section F: Crystal Skillman (Writer, Geek and Rain and Zoe Save the World)
Starts September 27
This is a class of the IMAGINATION. This class will be very much focused on what you are passionate to write a full length about and what is theatrical – and what must be a play.

This class is also available online! For more information, see Online Classroom.

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.

Seeking Provocative new Plays: The Owl and Cat Theatre

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One of Melbourne’s leading independent theatres is seeking new provocative plays to produce.

Our website: www.owlandcat.com.au

Submission Guidelines:

· MUST be in pdf format ONLY
· Plays should have an estimate runtime of 50min - 120min.
· Should explore contemporary themes.
· Should be thought-provoking/confronting in nature.
· Should be professionally formatted
    (e.g. using scriptwriting software such as Celtx and/or Final Draft)
· Musicals are NOT accepted.
· Previously submitted scripts are NOT accepted.
· No submission fee.

Applications Close: September 1st, 2017
Successful playwrights will receive a payment of AUD$150
Productions will run for 3 weeks, with a total of 12 shows.

Applications should be emailed to owlandcatscripts@gmail.com 
with the subject heading: 2017 Script Submission.

Theatre InspiraTO's 13th Playwriting Contest

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The contest is now open. Deadline to submit: November 20, 2017
This year's creative challenge: All about her.
The theme "all about her" must be an integral part of the play.

Details

The play must be a ten-minute play. The theme "all about her" must be an integral part of the play. The story can be a comedy, a drama, a parody, absurd or anything in between (in English only). We also accept musicals. The contest is open to anyone, in any part of the world, without geographic or age restrictions.

Please note: Just because one of the characters or all the characters are female does not necessarily make the theme “all about her”. Ensure that the play highlights a distinct female/feminine voice about the way she engages with the world or how she views the world.

How to submit

You must submit online (scroll to the bottom of the page) by November 20, 2017, 11:59 pm E.S.T. There are no fees. Once you submit you will be taken to a page confirming that we have received your submission. You may only submit one play.

The cover page should have the title of the play, the playwright's name and the list of characters. The pages should be numbered. The format should be easy to read. We accept previously produced plays (but not plays that have produced at InspiraTO before). The playwright must own the rights to the play up to June 17, 2018 (i.e. the script cannot be owned by a publisher).

We are particularly interested in scripts that aren't afraid to make bold choices: quality writing backed by imaginative staging.

What will happen

The plays will be selected by a committee from the Toronto theatre community. If selected, your play will be performed in Toronto, Canada from June 1 - June 16, 2018.

Between eighteen to twenty four, ten-minute plays will be selected and performed. 1st Prize: $500 CDN. Should your play be selected for inclusion in the festival, you are giving the non-exclusive right to Theatre InspiraTO to produce and perform the play in the 13th Annual InspiraTO Festival in Toronto (Canada's largest ten-minute play festival), in June 2018. The InspiraTO Festival will find the cast, crew and market your play. Authors retain copyright and full ownership of their plays.

Only those playwrights whose plays have been selected will be notified by January 1, 2018 (more likely by mid-December).

What does a good ten-minute play need?

A ten-minute play is distinct from a sketch, or a skit; it is a compact play, with a beginning, middle and an end. You need a character facing obstacles in pursuit of some specific goal. You need rising action, conflict, and a climactic moment and your play must tell a complete story.

Generally speaking, scripts (including the stage directions, character names and dialogue) that are over 1,900 words are more than ten minutes long on stage. This does not mean that all plays under 1,900 words are under ten minutes, so be wise: use Word Count and read the play out loud while timing the length (including all pauses). You don't want your hard work rejected because it was too long.

Get inspired. See your story come to life!

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Wednesday, August 9, 2017

Sky Cooper New American Play Prize

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Norton J. “Sky” Cooper established the New American Play Prize at Marin Theatre Company in 2007 to celebrate the work of the American playwright and to encourage the creation of bold, powerful new voices and plays for the American stage. The Sky Cooper Prize will be awarded annually to either an established or emerging playwright for an outstanding new work. The play selected as the Sky Cooper winner will receives a $10,000 award and a developmental workshop as part of the theater’s annual New Play Reading Series. The winning play will also be considered under option for a full production at MTC as part of the theater’s annual main stage season.

2017-18 Sky Cooper Play Prize Form
Welcome, playwright!

Submissions for the 2017-18 Sky Cooper New American Play Prize are open August 1-31, 2017.

Please complete the application form and upload your materials below.

SKY COOPER NEW AMERICAN PLAY PRIZE GUIDELINES:

• Submissions will be accepted from August 1-31, 2017.
• Submissions must use this online form; we do not accept submissions via email or standard post.
• Please upload your work sample as a PDF or Word document (.pdf or .doc/.docx) with a filename that includes your Last name, First name, and Title of Play.
Example filename: Wilson, August - Seven Guitars.pdf
• Please upload your professional recommendation as a PDF or Word doc (.pdf or .doc/.docx) with a filename that includes your Last name, First name, and Recommendation.
Example filename: Wilson, August - Recommendation.docx

• Submissions must be original, unpublished full-length plays in English in any genre.
• We do not consider musicals, translations, one-acts, or any play previously submitted for the prizes.
• We do not consider plays that have received or are scheduled for a full-scale, professional production prior to submission.
• Playwrights must be citizens of the United States.
• One play per playwright is allowed each year (if you submitted for the 2017-18 David Calicchio Prize, you must submit the same play for the Sky Cooper Prize).
• Playwrights submitting on their own behalf should submit a 10-page dialogue sample.
• Literary or theatrical agents may submit clients' full scripts for consideration.
• Sky Cooper submissions must include a professional recommendation, uploaded as a PDF or Word doc (.pdf or .doc/.docx)