Wednesday, January 18, 2017

Theatre East Call for 10 Minute Play Submissions

web site

Theatre East is now accepting submissions for our upcoming 5x5 Drama Series! The 5 x 5 Drama Series brings performances beyond the footlights and into non-traditional spaces like breweries, rooftops, apartments, and more in a unique immersive audience experience. Each of the 5 performances will consist of 5 short plays, performed by 5 casts, throughout all 5 boroughs. Fulfilling one of our core beliefs of making theatre accessible to all, 5 x 5 brings the stage directly to the people. And best of all, tickets are available on a suggested donation basis.

Submission Requirements:
  • 10 minute plays
  • One location/should be able to transfer to non-traditional spaces
  • (rooftop, brewery, apartment)
  • Minimal set/props
  • Simple costuming
  • Simple tech
  • Text driven
  • 3 characters or less
  • Include Production History in message box on submission page. If none, please indicate “World Premiere”.
  • Please submit no more than 3 scripts
  • Deadline for submission is January 31

We are only accepting submissions through our website at:http://theatreeast.org/production/2016-2017-5x5-drama-series/

For more information about the 5X5 Drama Series, as well as our company Theatre East, please visit our website at http://theatreeast.org/ .

Living Room Theater New Play Incubator: Cultural Identity

web site

Living Room Theater is seeking playwrights to develop plays on the theme “Cultural Identity” for its New Play Incubator. Playwrights will be divided into 2 groups and meet 3 times. In the course of 3 weeks, the playwrights individually will create a 10 minute play related to cultural identity. Each group will culminate in a staged reading for the public. Actors and director will be provided for the reading.

There is no fee to submit or to participate. Playwrights that have participated in the previous incubator are not eligible to apply at this time. Playwrights must be able to attend all meetings of at least one group. Please do not submit if you cannot make all the meetings of at least one group. All meetings/rehearsals/readings will be held in Manhattan. Non-New York based playwrights may apply but must be able to travel to the meetings/reading. No travel stipend is provided.

Group A Meetings

02/11/17 from 1-3pm

02/18/17 from 1-3pm (First draft due)

02/25/17 from 1-3pm

Staged reading date: TBD


Group B Meetings

02/12/17 from 1-3pm

02/19/17 from 1-3pm (First draft due)

02/26/17 from 1-3pm

Staged Reading Date: TBD


Please submit a resume, a 10 minute play, and a short paragraph in the email why you would be interested in writing about the theme “Cultural Identity” to lvtnewplays@gmail.com

Please specify which group you are applying for or if both groups work for you. Only selected finalists will be asked to interview the week of 01/30/17.

Submission deadline is January 20, 2017.
Living Room Theater has been producing and developing new plays in New York City since 2010. Our mainstage productions include Thicker than Water, The Ephemeral Lightness of Dreams, The Procedure, Pretty Little Mouth, 29x/y, Slam Team, Lola and the Planet of Glorious Diversity. Work we have developed through our Writers’ Circle and other readings include Micro Shrimp, Lost at Sea, Flappers In Chains, Frank, The C Word, For Our Own, Apples from Eve, and An Orchid In Winter.

Tuesday, January 17, 2017

Women in the Age of Trump semi-finalists - “We’re Not Playing” in LA

Allie Costa, one of the semi-finalists for the “Women in the Age of Trump” project (PRIVATE CITIZEN) liked play excerpts from other semi-finalists, which she saw on the NYCPlaywrights web site. She asked those authors if they would contribute their plays to the “We’re Not Playing Event” in Los Angeles:
  • STAMINA by Donna Kaz
  • SAYING THE NAMES by Andrea Fleck Clardy 
  • 2M2H by Eoin Carney.
More information on the movement, led by Little Black Dress Ink, founded by Tiffany Antone.

http://www.littleblackdressink.org/were-not-playing/
http://www.littleblackdressink.org/the-blog/
Database of the plays:
http://www.littleblackdressink.org/were-not-playing/

Details on the Los Angeles event - taking place at Samuel French Bookshop in Hollywood at 4 PM on Friday, January 20th
https://www.facebook.com/events/896844497118081/


We’re glad that NYCPlaywrights could be a part of helping playwrights make connections!

Write on!

Call for Submissions for Flying Solo 5

The Secret Theater’s Flying Solo Festival
Festival Dates: March 9th – 18th

APPLY HERE:
https://www.jotform.com/trimistopheles/-flying-solo-application-2017

READ THIS FIRST: We can accept all shows from short 10- 20 minute shows that are being workshopped to a 60+ minute finished piece. We will consider previously produced shows if you believe that you will attract an audience. Our criteria are that the show is good and deserves a platform.

What is Flying Solo?

• Flying Solo is a festival of solo shows that doesn't charge participation or submissions fees.
NYCPLAYWRIGHTS NOTE: there is a $50 tech fee
• Flying Solo doesn't ask for any rights, royalties or residual payments
• Flying Solo is presented in the Secret Theatre's 99-seat house.
• We can accept shows that have premiered or even in workshop mode - apply first and we'll talk. We'll only refuse a show that has previously produced if we feel its gonna be hard to get an audience.
• Preferential consideration given to students of Go Solo or Flying Solo alumni. If your show is 'on book' or very short [20 mins or less] you may be invited to participate in a showcase show of multiple shows. If your show is 30 - 60 mins then you will either be asked to do a stand-alone or a double bill.
• Flying Solo presents a $150 CASH PRIZE to the audience vote winner.
• In addition to the CASH PRIZE! There will be a door split too at 50/50% after the first 11 tickets! Therefore if we sell 40 tickets you will make $260! If we sell 60 tickets you make $440! Sellout and you'll make $791… hey then if you win add $150 that’s $941 for one nights work!
• We provide a tech/lighting designer/Board op for your run although you are welcome to have your own tech or SM do this.
• We will accept shows that have already appeared in Flying Solo if you and we both feel that it will find an audience.
• No fee to submit or produce. We supply all the basic production elements needed to support a new work – a stage, a small crew, box office and lobby staff, great sound and lights. There is a $50 tech fee. This money pays for a dedicated lighting designer for tech and for an SM/Board Op

Guidelines

• We accept all shows from 10 minutes to 60 minutes
• Finished 60-minute shows are offered either a stand-alone or double bill slot.
• Shows of longer than 30 and not more than 60 minute get one-hour tech per show. You should provide a tech script in advance to help you maximize this time.
• Short shows of 20 mins or less are accepted but will be presented as part of a multi-show showcase. Up to 6 shows but tech requirements must be minimal due to the between show change over.
• Tech rehearsals are held during the day and evenings from March 6th – 8th.
• Dedicated Tech/Lighting person assigned for entire run/all shows.

Submit via our dedicated form APPLY using url below
https://www.jotform.com/trimistopheles/-flying-solo-application-2017

Submission deadline: February 6th –
Please email questions to: stmanager@secrettheatre.com

Selected shows will be presented from March 9th - March 18th

The Play-Off a short play contest

web site

Torrent is currently seeking new and exciting 10-minute plays for their upcoming short play contest. There will be four (4) submission periods over the next few months, each focusing on a specific theme to be announced at the start of the submission period. 5 or 6 semi-finalists will be selected from each submission period to receive a staged reading from which the finalists will receive a slot in Torrent Theatre's Play-Off production in the spring of 2017. The first-place winner of The Play-Off (as decided by the audience and an esteemed panel of judges) will receive a cash prize of $200.

Please see below for guidelines and details.

SUBMISSION PERIOD 4:
*Dumbshows: Plays Without Dialogue*
Open December 1st - January 31st

--------------------------------------------------

SUBMISSION GUIDELINES​
1. Scripts should be submitted during the designated submission period.
2.Each script should be no more than 10 pages long.
(Not including the title page and character list)
3. Electronic submissions must be submitted as a PDF.
4. Plays must follow the Samuel French formatting guidelines.
5. File name must read Lastname_PlayTitle.pdf
(i.e. Smith_FloodTheMind.pdf)
6. Plays should contain no more than five (5) characters.
7. Children's plays and musicals are unlikely to be selected.
8.Semi-finalists and finalists will be announced on our website and
social media platforms.

For hard-copy submissions, please send an inquiry to torrenttc@gmail.com. We will then send you a submission address. Hard-copy submissions will not be returned.

Detroit New Works Festival

web site
  • Full-length or one-act plays and musicals accepted (no song cycles or adaptations)
  • Must address one of the following: equality and diversity, mental health, and/or social issues
  • Must have never been produced
  • Must be able to be produced with minimal set, costume, and prop requirements in accordance with Outvisible’s commitment to imaginative and minimalistic theatre
  • Must be able to be produced with eight actors or less
  • Musicals must be able to be played with only one pianist (production winner may be able to add additional instrumental scoring)
  • Must be able to attend festival April 21-23 in Allen Park, Michigan (just south of Detroit)

Round One

Outvisible will accept entries until midnight on January 31, 2017. 

Please read submission guidelines carefully or submit early in case revisions are needed. Submissions which do not meet guidelines will not be considered.

Submissions will be evaluated on the following criteria:
Script concept and structure
Inclusion of equality and diversity, mental health, and/or social issues
Feasibility of production in a small, black box space with no more than 8 actors and limited set/props
Likelihood of being produced successfully to appeal to a wide audience
Overall quality of work submitted

Five semi-finalists will be chosen.

Monday, January 16, 2017

36TH WILLIAM INGE THEATER FESTIVAL - CALL FOR PLAYS

web site

The New Play Lab of the 36th William Inge Theater Festival and Conference offers playwrights who are attending the Festival an opportunity to have their work seen by professional writers, directors, and actors from around the country. In addition, all play lab playwrights work directly with elite writers in hands-on writing workshops.

SCRIPTS: all scripts must be submitted in PDF format; any other format will be disqualified. No hard copy submissions are permitted. Your title page may not have any identifying information -- no author name or address -- or it will be returned to you. Give your script file the name 2017 + TITLE (for instance, 2017 Bus Stop.pdf).


IN A SEPARATE DOCUMENT, write the title of the play, your name and contact information, include a concise bio, a short synopsis of the play, and a summary of how you think your play would benefit from a play lab reading and panel response. Please give this accompanying document the name: TITLE only (i.e. Bus Stop.doc). Note: this document must be in Word (.doc) or RTF (.rtf) format, to enable us to copy your bio and synopsis into our Play Lab program.

Submit Script and accompanying Separate Document attached to an email to playsubmissions@ingecenter.org


NOTE: SUBMISSIONS WILL BE CAPPED at 720 plays.

WHAT IS THE SUBMISSION DEADLINE?

The deadline is midnight, January 31, 2017. No submissions will be accepted after that date.

WHAT IS THE INGE FESTIVAL NEW PLAY LAB MISSION?
The Play Lab is a creative enhancement for playwrights attending the Festival. As hosts of playwrights in residence and their resulting developmental workshops for the past 15 years, we approach new play development with both rigor and sensitivity. We are working to support attending playwrights who are as passionate about this process as we are, who look to further their work by a response from their peers.

WHAT SUPPORT DOES THE NEW PLAY LAB PROVIDE?
We provide a venue, cast, director, response panel and audience comprised of our local community, guest artists and scholars of the Festival. All conference attendees are responsible for booking their own travel arrangements and accommodations. In future years, we hope to offer sponsorships to offset these costs, but we are unable to do so this year. We do offer steeply discounted housing in our campus dorms, as needed.

If you are looking for a developmental opportunity that does not require festival attendance, consider applying for one of our four annual playwright residences of nine weeks’ duration, which result in a week-long developmental workshop, pay a generous stipend, and enable you to live and work in the Inge House. To apply for a residency, please visit our website: ingecenter.org, and click on the Residencies and Education tab on our home page.

WHAT IS EXPECTED OF THE PLAYWRIGHT?

Playwrights will be asked to discuss the play with their creative team prior to the festival, as available. The playwright is required to be present for the reading of their play and participate in the response by the panel immediately following.

WHAT KINDS OF PLAYS CAN I SUBMIT?

Plays must be one-acts. Musicals and plays for young audiences cannot be accepted. Submissions may have had a previous reading, workshop, or non-Equity production; as a rule, though, the play lab is intended to develop new works.

QUESTIONS:

For any and all questions, please address your email to: info@ingecenter.org

Watermelon One-Act Festival (Baltimore MD)

web site

Deadline: February 14, 2017

We welcome all original and unpublished works between 10 and 45 minute total running time (includes set up/breakdown and curtain call). Twelve to sixteen entries will be selected based on the quality of the writing, story/plot, and character development. Minimal technical requirements is advised as there are only 60 minutes for a technical rehearsal, all props and actors must fit into a 10- by 10-foot space (prior to set up and after breakdown), and there is no technical award.

​WOAF rules and a script submission form are available below. A sample adjudication sheet is provided for educational purposes.

A total of three (3) original and unpublished scripts can be submitted for each playwright. Please remember that a separate submission form is required for each play. The script along with its submission form must be emailed to watermelon@watermeloninc.org.

WOAF_FESTIVAL_RULES_2017.pdf

WOAF_Submission_Form_2017.doc

WOAF_Submission_Form_2017.pdf


WOAF_Adjudication_Sheet_SAMPLE.pdf


NOTES:

The production representative is the person submitting the play and the main point of contact. If the representative is not the playwright, a letter signed by the playwright giving WOAF permission to show a production of their play is required with the submission form.

For scripts equal in story quality, preference may be given to shorter scripts with minimal technical requirements.

Watermelon is NOT producing the play, merely presenting the finished product, which may be performed a total of two times if selected as a finalist.
Script submission is FREE. However, if selected, a non-refundable $100 entry fee is required to assist with defraying festival expenses.
​Please email us if you have any questions.

Sunday, January 15, 2017

Women in the Age of Trump Finalists


NYCPlaywrights announces the finalists of the Women in the Age of Trump project:

  • CLINTON VERSUS TRUMP SEX ROMP GO! by Xavier Toby
  • LAURA'S EARLY RETURNS by Ramon L. Delgado
  • SEARCH TEAM by Clinnesha D. Sibley
  • STAY WOKE by Chloé Duvant
  • WAIT FOR IT by Lisa Carstens
Excerpts from these plays will be recorded and posted to the NYCPlaywrights web site this winter.

Thanks to everybody who participated in this project!

Moonlit Wings International Playwright Contest 2017

web site

Winning theater-for-youth scripts receive workshop, written feedback and world-premiere at our celebrated Performing Arts Summer Camp programs.

DEADLINE: FRIDAY, MARCH 3, 2017
SUBMISSION FORM HERE

SUBMISSION CRITERIA:
- Plays or Musicals (straight plays are fine, although we will ask to work music into your play)

- Runtime: 20-40 minutes (longer scripts may be submitted but we will ask to make necessary cuts)

- LARGE cast, 8 minimum - 35 maximum, ensemble shows preferred, female driven or gender neutral casts encouraged. *We will not consider scripts with less than 8 characters.*

- Material suitable to be performed by talent ages 7-16

Women in the Age of Trump: LAURA'S EARLY RETURNS

LAURA'S EARLY RETURNS by Ramon L. Delgado is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."
Retired Professor Emeritus RAMON L. DELGADO  \is the author of eight published short plays, notably “Waiting for the Bus” in the Bantam Press collection Ten Great One Act Plays and the full-length play A Little Holy Water. Three of his one-acts are available from Samuel French. He was editor of The Best Short Plays series from 1981-1989 and is a member of the Dramatists Guild.
Thanks to Ramon L. Delgado for allowing NYCPlaywrights to publish this excerpt from his monologue LAURA'S EARLY RETURNS.
   MEGAN 
   (Ruminating in front of a blank laptop.) 
Laura passed away on election night –– with the flickering TV blaring early returns –– early returns, before the tide reversed and left behind a salty scum. Despite her illness, Laura had toiled like a whirling dervish to elect a first woman President –– volunteering to deliver placards, spending hours on the phone encouraging the supporters, responding politely to the cursing fanatics of the deplorable persuasion, massaging her ears after the only response was the angry bang of a receiver. 
Though I shared in her presidential choice, I was not the fanatic that Laura had become. We balanced each other that way, my laid back reflections energized by her all consuming commitments. 
When we learned a few months ago that there was nothing else the doctors could do, we both pray-- . . . well, I hoped and she prayed that she’d survive long enough to see the good ole U.S. of A. join the other enlightened nations –– nations such as India, Israel, Great Britain, Argentina, Brazil, Pakistan, Germany, and even the old Russia Empire with leaders of our capable gender. For her sake, I’m glad that when she passed on, she believed that our dream had come true.

The Players Theatre Short Play & Musical Festival

web site

Submissions for the 6th Annual February
Short Play & Musical Festival – SEX!
are Open!!

DATES & LOCATIONS:

February 8 – 26, 2017
The Steve & Marie Sgouros Theatre at The Players Theatre
115 MacDougal Street, New York, NY 10012

3 weeks, 4 performances weekly (Thursday through Sunday)
5 plays featured each week.

ELIGIBILITY:

Short Plays and Musicals with a performance time of 15 minutes or less, no more than 15 pages in length.

Writers are eligible to submit up to 2 plays.

THEME: “SEX!”

A little bit naughty and slightly steamy but very sexy. No one under 18 will be admitted to the performance so …..

All plays submitted must be centered on, or revolve around this theme.

** Note **

1) Playwrights are responsible for producing their own play – Host provides Theatre, technicians and box office

2) If selected, there is a $100 REFUNDABLE deposit required and a $50 NON-refundable tech fee required

Plays MUST be NO MORE 15 minutes in length and no more than 15 pages

Submissions open: December 08, 2016
Submissions close: January 20th at 5p
Play selection announced on; January 24th

Women in the Age of Trump: THE CURFEW

THE CURFEW by Drewcella Oya Mae Davis is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

DREWCELLA OYA MAE DAVIS is a playwright from Minneapolis MN who uses the rhythms derived from hoods and ghettoes, and Santeria traditions to inspire her plays. She considers herself a blackist, a term coined by her, it is someone who focuses on the disparities that come with being black in America.

Thanks to Drewcella Oya Mae Davis for allowing NYCPlaywrights to publish this excerpt from her play THE CURFEW.


(The stage opens to the apartment building of Amaze, AARon, Afina, and Anaya.  
Anaya is sitting on the couch she is staring out the window she stands up to reveals her stomach which is full of new life she holds her stomach and begins to pace back and forth than jumps on the couch and starts to look out the window again.  
Enter Afina the older sister of Anaya she is carrying two cups of tea she sets one on the table than makes her way to her sister. 
Anaya Jumps up to start pacing again almost hitting Afina. Afina jumps and spills some of her tea.)
   ANAYA 
I am so sorry 
   (Afina shakes her head) 
   AFINA 
Don’t worry about it.
   ANAYA 
I just don’t get it [BREATH] I don’t get them 
   AFINA 
They will be back love [BREATH] Don’t worry
   (Afina kisses Anaya on the head she helps her sit down) 
   ANAYA 
They got five minuets until the curfew Afina 
   (Anaya grabs her tea from the table takes a sip and sets it down .)
   ANAYA 
Black men have been killed for less[BREATH] Since they made him president 
   AFINA 
Whose they? 
(Anaya looks at Afina confused) 
   ANAYA 
The white man [BREATH] White women too they are the ones who voted for him. 
[BREATH] I don’t understand [BREATH] I mean white men yes but white women why would they vote for a man who says he wants to grab women by their- 
   AFINA 
Please don’t say that word. 
   (Anaya takes a breath.) 
   ANAYA 
Sorry[BREATH] Rape has basically become legal since he became president[BREATH] But what do you expect to happen when you make a man who has been accused of rape a president
   AFINA 
Anaya 
   ANAYA 
I mean most boys want to be like their president so 
   AFINA 
Anaya I don’t wanna talk about him right now[BREATH] Can’t we just talk about something else 
   ANAYA 
What else is there to talk about[BREATH] Society has gone to shit since he was elected it’s all around us [BREATH] Men raping women[BREATH] Black people getting murdered 
   (Anaya shakes her head she looks to her sister) 
   ANAYA 
I don’t know what I was thinking wanting to bring a baby into this world[BREATH] Two black babies whose skin will be as dark as their fathers 
   AFINA 
Hey don’t say that[BREATH] we will get through this and your not alone 
   ANAYA 
If A-ron don’t make it home by the curfew than I’ll be a single mother raising two boys all on my own

(Afina holds Anaya’s hand Anaya looks to her sister) 

   AFINA 
They are both gonna get here in time [BREATH] I’d be afraid if they were alone but together[BREATH] Amanze with his quick thinking and A-ron with his quick hands 
   ANAYA 
I just don’t understand this whole thing anyway [BREATH] Like who would declare a war on protesting it was peaceful 
   AFINA 
Guess old Trump got angry when he saw that black people didn’t respect him 
   ANAYA 
Black people weren’t the only ones who were protesting him becoming president [BREATH] Yet we were the only ones who had to suffer for it 
   AFINA 
At least he didn’t ship us off to working camps like he did to the immigrants[BREATH] I rather be shot dead in the street than have to go to one of those camps 
   ANAYA 
Yeah I hear you [BREATH] 
   (In her Trump voice) 
If you are gonna come into America you are gonna work like an American 
  (Afina stares at Anaya) 
   AFINA 
So has A-ron asked you 
   ANAYA 
Asked me what 
   (Afina looks at Anaya and smiles Anaya rolls her eyes) 
   ANAYA 
Not everyone wants that 
   AFINA 
You telling me you don’t think about getting married 
   (Anaya blushes) 
   ANAYA 
Sometimes but I don’t know if it’s A-ron’s thing [BREATH] Or my thing 
   AFINA 
It wasn’t Amaze’s thing either but it happened 
   ANAYA 
Amaze and AA-Ron are two different people 
   AFINA

Who come from the same people

Music Theatre of Madison seeks new musicals

web site

Music Theatre of Madison, a professional theatre company in Madison, Wisconsin, is seeking submissions from everywhere for our 2017 Festival of New Musicals. This will be the second year of the Festival (last done in 2015), which features readings of 3 or 4 musicals still in development as well as talkbacks with audiences. It is the only series of its kind in Wisconsin. Dates are still being determined for the 2017 festival, but it will likely take place in October-December of 2017.

Due Date: Please submit no later than February 1, 2017.
Length: One or two act musicals are welcome.

Content: We are open to a variety of subject matters and musical styles! We tend to favor stories that are thought-provoking, and we are especially interested in learning about musicals that deal with relevant social justice issues.

Instrumentation: The readings will be performed with piano accompaniment only.

Cast Size: We prefer musicals meant for casts of 8 or fewer.

Stage of development: At this time we are looking for completed scripts that are ready for a reading. They can have been read or workshopped before, but must not currently be licensing. If we choose your script, you will be given a deadline for any revisions, which must be completed before we start rehearsals. We will perform what you give us and get feedback from our audiences, which we will then share with you. We will consider the shows we select for further workshopping and full production in later seasons.

Submission process: There is no fee to submit your work. Please submit a synopsis and recordings or videos of 2-3 songs from the show. (Links pasted in the e-mail are fine). We will contact you if we’re interested in reading a full script. E-mail your submission to newmusicals@mtmadison.com. Those whose scripts are selected will receive a small stipend as well as detailed feedback from audiences. We are happy to work with you on what questions you’d like us to ask.

The company: Music Theatre of Madison is an eleven-year-old company dedicated to promoting the future of musical theatre. The company has presented 2 Midwest premieres, 12 Wisconsin premieres, and 18 Madison premieres of shows that were successful elsewhere but hadn’t yet made it to our state. Read more about us and our production history at www.mtmadison.com.

Women in the Age of Trump: RENEGE

RENEGE by Sara Ilyse Jacobson is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

SARA ILYSE JACOBSON's plays have received staged readings and productions at the Capital Fringe Festival, Planet Connections Theatre Festivity, Kennedy Center Page-To-Stage Festival, Chameleon Theatre Circle, Shelterbelt Theatre, Source Festival, , DC SWAN Day, Life and Death Matters Festival, Flush Ink Productions' Asphalt Jungle, Modern-Day Griot Theatre Company, Ticket 2 Eternity Productions, Live Arts' Barhoppers, Abstract Sentiment Theatre Co., Last Frontier Theatre Conference, and Estrogenius Festival. Sara is the recipient of a 2010 Individual Artist Fellowship from the D.C. Commission on the Arts and Humanities. www.sarailyse.com

Thanks to Sara Ilyse Jacobson for allowing NYCPlaywrights to publish this excerpt from her play RENEGE.
   LUKE 
So you’re a reader. 
   VICKY 
I read. 
   ( He looks at the magazine cover)
   LUKE 
The New Yorker. Classy. 
   VICKY 
I like the cartoons. 
   LUKE 
Pretentious, yet classy. 
   (She checks to see if the bus is coming.) 
For such an attractive woman, you sure have unfortunate taste in reading material. 
   VICKY 
Excuse me? 
   LUKE 
Have you ever noticed that the buses are never on schedule when it’s overcast? It doesn’t even have to be raining; a little grey sky will do it. 
   VICKY 
Hold on. 
   LUKE 
You disagree? I’m willing to put money on it. 
   VICKY 
I know what you’re doing. 
   LUKE 
Just making conversation, that’s all. 
   VICKY 
The dig about the magazine. 
   LUKE 
It was a joke. 
   VICKY 
You’re doing that thing...
   LUKE 
I don’t know what you mean. 
   VICKY 
That pick up technique where you insult the woman you’re hitting on, and then quickly change the subject. 
   LUKE 
I was kidding. 
   VICKY 
You’re NEGGING me! 
   LUKE 
No. 
   VICKY 
Trying to make me feel insecure. 
   LUKE 
That’s not how it works. 
   VICKY 
Aha! 
   LUKE 
It’s flirtation. 
   VICKY 
It’s offensive. 
  LUKE 
Negging disarms the target- 
   VICKY 
What am I, a WMD? 
   LUKE 
Let me explain- 
   VICKY 
You went to one of those seminars. 
   LUKE 
Did not. 
   VICKY 
Shelled out a couple of grand to spend two days in a Holiday Inn Express learning the Art of Seduction from some guy named Xenith or Dagger or Lothario. 
   LUKE (sheepish) 
It was a Howard Johnson. 
   VICKY 
Even better. 
   LUKE 
It was supposed to make you laugh. 
   VICKY 
It didn’t. 
   LUKE 
Apollo said it would catch you off-guard, pique your curiosity. 
   VICKY 
Apollo? You should demand a refund.

Saturday, January 14, 2017

NC State Musical Stages seeks musicals

web site

NC State Musical Stages will welcome submissions of completed full length musicals for its 2017/2018 season through March 1, 2017.

  • Selected projects will be given a 30-hour rehearsal followed by two performances of a staged or concert reading in Raleigh, NC as part of NC State University Theatre’s season.
  • Readings will be produced and directed by Kyle Dougan, director of the NC State Musical Stages program with assistance from NC State faculty, staff and students.
  • The NC State Musical Stages program will be cast with a majority of student talent, based on the needs of the musical. Shows offered readings will also be considered for a mainstage fully produced production to occur every other year.
  • All writers must submit their materials with their interest to be included in the program for each submission cycle.
NC State Musical Stages does not charge a fee to apply and accepts only electronic submissions.

All requested files must be placed in a single folder posted to a drop site such as Google Drive, One Drive, etc.
Send the media folder to Kyle Dougan, NC State New Musicals Director, and include only the following:
  • 100 Word Synopsis
  • Cast Size and character breakdown
  • Writer Bios
  • The show’s development history
  • First 30 pages of libretto only (Must start on page 1 and must include title and credits page)
  • 6 MP3 demo track- Must include the show’s first two songs
  • Any songs not in the first 30 script pages must include a description including placement in the show and the song’s function in the play
  • A list of attached parties if any (director, music, director, actors, agents, current contracts, etc.)
  • Incomplete submissions or writers not following specified submission guidelines will not be considered.
All writers will be contacted by March 15, 2017. Projects selected as finalists will be asked to submit the full book, complete score, and all show demos – these must be available at the time of request. A team of faculty, staff and students will be involved in reading the finalists’ shows. The chosen show will be notified by May 1, 2017. NC State Musical Stages artistic leadership may schedule a short interview with the writers to discuss their project and expectations for inclusion in the 2017/2018 season. Reading to be produced in the spring of 2018. Dates based on University and writer’s schedule.

Selected writing teams will receive housing, transportation, and $1750 stipend for their scheduled reading, contingent on funding. Writers will also be required to meet with students a total of 5 hours as masterclass leaders in addition to rehearsals for their reading.

Note: Only completed projects will be considered and finalists will be asked to submit their full libretto, score, and complete recorded demo. (must be unpublished with no prior large-scale production, musicals that have been submitted require proof of underlying rights if the work is based on copyrighted material.)

Please contact Kyle Dougan at kadougan@ncsu.edu with any questions.

Indie Boots Theatre Festival

web site

Regular Deadline: January 31, 2017. Final Deadline: February 14, 2017
Short play submissions are currently being accepted for the fifth annual Indie Boots Theatre Festival, featuring underrepresented perspectives on whose stories are worth telling, what's funny, and how the world works. 

The prompt for the 2017 festival is to use the word "Zoe" in the title of the piece. Plays under 10 minutes, comedies, and plays featuring underrepresented characters (women, LGBTQ characters, POC, etc) are especially encouraged. 

Finalists will be performed this spring in Chicago, IL as part of Indie Boots Theatre Festival 2017: The Zoe Plays. An audience award will be presented. 

Writers may submit more than one script. There are no premiere requirements. 

Selected plays usually run 5-10 minutes. (No minimum. 15 minute max.)

Cast size: 2-10 actors. No entry fee. 

To submit, please visit: www.indieboots.org/playsubmissions.html

Women in the Age of Trump: MEDUSA

MEDUSA by William K Hugel is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

WILLIAM K. HUGEL is a NYC based playwright whose ten minute play MEDUSA was first presented as part of the Dream Up Festival at Theater for the New City (Crystal Field, Artistic Director) and will be featured in Between Us Productions' Take Ten Festival this April. He is dedicating this performance to Donald Trump and anyone else that thinks they can stop the inevitable rise of the Powerful Woman. www.williamhugel.com

Thanks to William K. Hugel for allowing NYCPlaywrights to publish this excerpt from his play MEDUSA.

   MEDUSA

Now don't start with that craziness again!

   (ELIZA smiles)

I'm warning you!

(MEDUSA becomes nervous and reaches for her book. ELIZA approaches her.)

Don't touch me!

   ELIZA

She's making me strong, Mother.

(ELIZA strokes MEDUSA'S head, as if she were the plant. MEDUSA tries to reach for the book but is paralyzed, half frozen.)

   MEDUSA

Eliza, don't!

   ELIZA

(Putting her hand on MEDUSA's stomach.)

Don't you remember, Mother, when they cut out your liver and your spleen? Don't you remember, Mother, when you were a queen?

   MEDUSA

   (As ELIZA lets go of her, tearfully)

It's too much! I don't want to hear about it!

   ELIZA

Why do you think father left?

   (She circles the stage, looking out at the audience.)

Why do you think all the men are leaving? Because they're afraid. Afraid of Her. In Africa they slash at Her bold clitoris. In India they defile Her in the streets. They are terrified of Her.

   (Approaches the plant)

Look how She's growing! They can't stop Her! She's rank with lust! Remember when you were rank with lust, Mother Rank and powerful?

(MEDUSA smiles faintly as ELIZA approaches her. This time when ELIZA strokes her her strength spreads to MEDUSA, who begins to move rhythmically in her chair.)

What they did to Her in Europe, that was most insidious. They changed Her language, so we couldn't recognize Her anymore. They piled bricks over your grave, Mother. They invented abstractions and they buried you. And they built on top a world they thought they could control. But the earth is shaking now Mother, it's trembling with Her lust, the bricks are beginning to fall! Don't you feel the earth, Mother, undulating through your liver and your spleen? Don't you remember, Mother, when you were a queen?

(ELIZA pulls off MEDUSA's hat, revealing a mass of wild hair. As MEDUSA stands ELIZA strips off her dress. Underneath MEDUSA is wearing garments made of animal hides, bone, etc. MEDUSA moves and stands center, proud and strong. ELIZA circles the outer stage addressing the audience.)

Prehistorical? Yes. All we have are myths and stories. Oh, that's right, you can't prove it. Nothing was written down, you say? Men write things down: This was before men ruled the world. The question is, can you feel it? Can you feel it in your liver and your spleen, that you too, once were a queen?

Women in the Age of Trump: NEW ACTS FOR OLD LESBIANS

NEW ACTS FOR OLD LESBIANS by Carol Weliky is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

CAROL WELIKY's stories and poetry have appeared, variously, on large magnets around Brooklyn, New York, stamped in concrete at a Portland, Oregon transit station, in several small press journals, and in the anthology “What Does It Mean to Be White in America,” in which she explores intersections of white and Jewish identity. “New Acts for Old Lesbians” is her first play.

Thanks to Carol Weliky for allowing NYCPlaywrights to publish this excerpt from her play NEW ACTS FOR OLD LESBIANS.

   KATE
   (louder) 
Jayyy-Touffffe! 
   SANDRINE
   (laughing) 
That’s not stuffed. It means that you’re choked, suffocating. 
   KATE
Like Erica, remember last Thanksgiving, on that bone? That was one scary… 
   SANDRINE 
Like…mmm 
(searching for correct word) 
…asphyxié…asphyxiated! Smothered. 
   KATE
By any name. I had to marry a French teacher. 
   SANDRINE 
Stifled?
    ( Comes back over to KATE and plants kiss on her forehead.)  
And yes, one of the many benefits of being married to you, mon amour, has been getting to stay in the country, and actually have a teaching job… Muffled? Suppressed! Not that I didn’t love waitressing. That’s it – choking, suffocated, suppressed. 
   (Walks back to kitchen.)
   KATE 
Just fat as shit. That’s all I’m trying to say. 
   SANDRINE 
You’re 115 pounds with your clothes on, Katie – you need a fat layer. Christmas in Montreal, man. (remembering) Growing up I had a Kanuk, fur-trimmed, oh mon dieu! That thing was impenetrable, and you’d still be cold, come February. Of course, you couldn’t play hockey so
well in it, so jackets ended up flung off, warming the snow. No substitute for a good constitution
and a bit of blubber. 
   KATE 
I’m well on my way then. 
   SANDRINE 
With boots! 
   (Comes back into living room, with two glasses, and stops in front of KATE.) 
Kate, I’m sorry, but we have to talk about life after Christmas week, the eighth day – 
   (SANDRINE sets glasses down on table but continues standing.) 
I can’t live like this, without a plan.
   KATE 
We’ve been planning all year for it. Christmas vacation. We go, we come back. 
   SANDRINE 
And if I can’t come back! 
   KATE 
Then I buy boots. It’s not going to happen! 
   SANDRINE 
But if it does? You’re two minutes from Medicare and full pension, Kate – you can’t give those up. For me, for anything. 
   KATE 
You’ve said a dozen times you can still get a job in Montreal. Enough to support the two of us.
If we had to stay! Big if!

   SANDRINE 
Your home is here, Katie! You can’t just leave a lifetime, flat. 
   KATE 
My home is with you. 
   SANDRINE 
That was what marriage meant. And we hope will still mean: here, in our house, in our normalcy. But what seems normal lately, Katie? How long can we coast on not likelys and ifs? 
   KATE 
So, okay! IF something happens – 
   SANDRINE 
That’s right – 
   KATE 
You can’t stay! 
   SANDRINE 
You can’t go! 
   KATE 
It won’t happen!

Fantastic.Z 2017 New Works Festival

web site

Seeking submissions for the 5th annual New Works Festival at the Eclectic Theatre June 14-16 entitled Family.

Add your short play to our festival and help Fantastic.Z celebrates the bonds that break and bind us to the people we love. We're looking for 10-minute plays dealing with LGBTQ issues and our theme of family. We like comedy, tragedy, and everything in-betwen.

To submit your play or for more information contact submissions@fantasticz.org by the February 10, 2017 deadline.

Women in the Age of Trump: SWITCHING SIDES

SWITCHING SIDES by Gabriel Davis is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

GABRIEL DAVIS, MFA in Dramatic Writing, Carnegie Mellon School of Drama, Shubert Fellow. Published in "105 Five-Minute Plays for Study and Performance" (Smith and Kraus), "222 More Comedy Monologues" (Smith and Kraus), "Audition Monologues for Young Women" (Meriwether Publishing), “Best Contemporary Monologues For Kids Ages 7-15” (Applause Books). Read Gabriel's monologues at: MonologueGenie.com

Thanks to Gabriel Davis for allowing NYCPlaywrights to publish this excerpt from his monologue SWITCHING SIDES.
He wants me to cut my hair -to lose ten pounds. Last night, we’re making love -first off, he calls it “rumping” -we’re -after we’re through -he’s always so sweet after- playing with my -running his hand down my stomach. But last night he grabs a love handle and says “that’s super meaty”. Now what the hell is that supposed to mean?! I mean that’s a hint, right? So like I didn’t know how to take that kind of -I mean who says that, “super meaty” -I’m a woman, not some Dinty More Beef Stew. I fall asleep, don’t say anything to him about it, just smile and pass out -what a wuss, right? So I have this messed up dream -I’m in a fashion show, right -Brandon is a talent scout, but he’s not my boyfriend in the dream. And he looks at me and says “Oh yeah girl you’ve got real potential.” All these guys in white coats strap me to a chair and suck like thirty pounds of fat out of me through some tubes, and these little umpa lumpas are spreading it on bread, and Santa Claus is there taking it to little chil- anyway Brandon is like sculpting me. Giving all these orders, right, like “lose the upper body, enlarge the breasts, tighten up and round out the ass, fill out the legs, lose the face.” 
So there I am. I get out of the chair and look at myself in the mirror. I’m just a pair of legs, an ass, and two humungus breasts. Brandon looks at me and says “perfect, she looks super meaty” and I’m really confused, I mean genuinely confused, I mean crap, where’s my head, and I start screaming “where’s my head” “what did you do with my head” “HAS ANYONE SEEN MY GODAMNED HEAD!” And I wake up screaming “Head!” so loud that Brandon thinks I’m asking him a question and he says “Sure, I’m always down for some late night head.” I mean, what is that, right? 
And later when I ask him if he thinks, you know, if I’m beautiful, he says; “why don’t you dye your hair like that chick Kate Upton, I bet you’d look real sexy.” So maybe you can understand why I think men are pigs. Cause I mean who says that shit! None of my friends of the non-male persuasion would say that word, “Super Meaty” -what am I a hot dog.

WIT KAUAI SHORTS

web site

Women In Theatre is looking for new, original and unpublished plays for our sixth Kauai Shorts Play Festival, which will be held at KCC, Friday, May 26th and Saturday, May 27th
.
Play must be new, original and unpublished. You must be the sole creator of the play and entitled to confer performance rights.

Submissions must be received by email by January 31st, 2017.
Playwrights must be at least 18 years old. One submission per playwright.

Maximum running time is 10 minutes. Less is fine.

Cast maximum is six. No characters under the age of sixteen.

All scripts must be submitted in 12 point Courier or Times New Roman as word or doc. File.

Do not put your name on the script itself, as submissions are judged blind.

No elaborate sets or scene changes.

Twenty plays will be selected by a committee with consideration to be produced. One play will be selected to receive an honorarium of $200.

All scripts should include a separate title page with the following information:
  • Name, address, phone and email address of playwright
  • Cast of Characters with descriptions
  • A brief synopsis
  • Numbered pages

Plays selected for production will be listed on this website.

If chosen you grant performance rights, royalty-free, to Women In Theatre for the Festival.

The play remains the sole property of the playwright.

Plays which are staged will be video taped for archival purposes and playwright will receive a copy.

Any submissions not adhering to these guidelines may be eliminated from consideration.

To submit a play, use the form online.

Women in the Age of Trump: THE TOWER

THE TOWER by Diana Burbano is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

DIANA BURBANO is a Colombian immigrant, an actor, and a playwright. Works: Fabulous Monsters, a Festival51 winner, Picture Me Rollin’, Silueta, with Tom and Chris Shelton. Libertadoras, Policarpa and Linda for the 365 Women a Year project. Caliban’s Island is published by YouthPLAYS. dianaburbano.com
http://www.breathoffire.org/2015-10-week-summer-playwrighting-series/current-workshops/

Thanks to Diana Burbano for allowing NYCPlaywrights to publish this excerpt from her play THE TOWER.

   LANI
     (This is a big thing:)

Um... I thought it was amazing when you wore the pussy bow blouse on TV. That was-- I mean-- That was genius.

   MRS

   (Looks blank and impassive.)

Mmmm. (A pause.) I was born in a communist country, you know? I lived in a hell made of cinder blocks as a child. This..

   (She gestures)

This was a dream.

   LANI

Oh, for me too! I never dreamed I would ever work in a place like this. I was raised in...

   MRS

Hillary and Bill came to my wedding.

   LANI

Oh.

   MRS

I love it here. Surrounded by gold, protected.

   LANI

   (Blurts out)

Like Rapunzel. or Rasputin!

   MRS

I’m a happy bird.

   LANI

Ok. I should go Mrs...

   MRS

You American women think you are so, how you say, "enlightened." Up by your bootstraps, that silly phrase, what is it supposed to mean?

   LANI

To pull yourself out of...

   MRS

Yes, yes, but literally, where does it come from?

   LANI

I... I’m not sure. I could Google it.

   MRS

Don’t bother. Do you like being a tutor?

   LANI

It’s a good job.

   MRS

So you don’t like it.

   LANI

I’m doing it to put myself through college.

   MRS

Why?

   LANI

Why-- what?

   MRS

Never mind, Lani, my stylist picked that blouse. We had her fired.

   LANI

Oh.

   MRS

Please go now.

   LANI

Yes, Ma’am. (Turns to go.) Ma’am. My family came to this country as immigrants too. From Mexico. I was born there.

   MRS

You look white.

   LANI

My dad and mom love this country.

   MRS

Mmmm.

   LANI

You’re in a position to do so much...

   MRS

Being made fun of by liberal comedians? They mock the way I speak. My accent. I thought that wasn’t politically correct.

   LANI

That’s, that’s awful, truly.

   MRS

I want to be left in peace. Why would I want to serve America? This open, uncensored "culture" You all think you can say anything to anybody. It’s shameful.

   LANI

You’re an American.

   MRS

Yes, well... Not everything was bad about communism.

Friday, January 13, 2017

Fever Dream Festival seeks plays

web site

Benchmark Theatre is currently accepting submissions for their first annual Fever Dream Festival taking place summer of 2017 in Denver, Colorado. A celebration of science fiction, fantasy, horror and all genres in between, the Festival is a staged reading series of innovative plays with chimerical themes.

Submission Guidelines

Benchmark will be accepting submissions of short plays, one acts and full length plays from across the United States that are in the spirit of the Festivals' themes.

Submissions may be new or previously produced work. 

Only one submission per playwright, please.
 

Submissions should be sent electronically to submissions@benchmarktheatre.com with the subject "Fever Dream Festival Submission" and include:

• Cover letter with full contact information
• Brief playwright biography
• Synopsis including casting breakdown
• Full script in PDF or Word format


We will accept the first 300 submissions for the 2017 Fever Dream Festival until the deadline of January 31, 2017.

Women in the Age of Trump: IF SHE WERE NOT MY DAUGHTER I'D JUST GRAB HER

IF SHE WERE NOT MY DAUGHTER - I'D JUST GRAB HER by Paul K. Smith is a semi-finalist for NYCPlaywrights project "Women in the Age of Trump."

Thanks to Paul K. Smith for allowing NYCPlaywrights to publish this excerpt from his play.




   RAMÓN

Would be no problem at all -Would be so easy to just blow your head off. Women die every day.

   (RAMÓN exits).

   MEL-ANYA

So do men. . .

   NICK

   (Not seeming to notice Ramón’s parting words: )

(Does) Adolfo ever stay put?

   (Mel-anya shakes her head in disbelief.)

He doesn’t? You know, when I first came here -- found you’d married Adolfo Drumpf -- I was dumpfounded. I would never have pictured you, and him, together.

   (= Instead of you and me.)

   MEL-ANYA

Nor I, mon ami. Never, ever, ever.

   NICK

   (He looks at her closely, then:)

Mel-anya-- You may not want to stay here for this. Ramón -- Ramon!!!!!!!!

   (MEL-ANYA scurries out, exchanging looks with RAMÓN as he enters: her look says, ‘See, my avenger is standing up for me.’ A look that does not faze Ramón one whit.).

Ramón, where are you going? Get back here.

   RAMÓN

Mr. Drumpf wanted me to go with him—

   NICK

Not so fast. You think what you’re doing makes the grade? I don’t think so.

   RAMÓN

Oh what do I got to do?

NICK

You’re still an apprentice for this job. Don’t forget that. Lazaro! would you come over here?

   (An old gardener pads over, very leery.)

   NICK

At ease, Gomez. Ramón, this is Lazaro. Lazaro Gomez. Now Ramón, you keep this secret-- okay? You are not a Drumpf employee till until you pass “o peira” – until you pass the test. The test of a man. Well, guess what we have here? our gardener --Show Ramón your tools-- our gardener Lazaro is in the country without papers.

   RAMÓN

You mean he’s an illegal? Well, Mr. Drumpf hates illegals. They are like germs. We’re not safe from their impur-i-ties. From their contagion.

   NICK

And with germs -- we need germ warfare.

   (Nick puts a fat revolver in Ramón’s hand.)

Put yours away. This one’s clean. You understand the job, Ramón?

   RAMÓN

Yessir. No problemo.

   NICK

You know what needs to be done here. Ethnic cleansing. If you sincerely want to be hired.

   (NICK exits. RAMÓN checks the sights on the gun by firing it. Lazaro Gomez falls to the dirt, dead, still holding a gardening tool. The shot is a siren call to DRUMPF. He stalks in, sees Lazaro Gomez the gardener is dead. And sees Ramón holding the smoking gun. Takes command. NICK enters, deflects Drumpf’s fury from himself to Ramón. )

DRUMPF

My God what have you done!!? I said, take him out. Not, kill him: deport him.