Wednesday, March 18, 2015

American Mercury

Blood on the sidewalk.
An honors student tackled by cops
on a still street corner.
His head bashed
(again and again)
against the Virginia pavement
until his face unsheathes
bloody ripenings
harvests of teeth and skull
howling the question
(again and again)
'how did this happen? How did this happen,’
to swarming cops who can't even a muster
a modicum of ersatz indignation.
Whispered defenses and sulking slouch
(again and again)
while prostrate Black bodies lay limp
in injured, motionless 'resistance.'

Monday, March 16, 2015

15 Cliches

"At the end of the day
good looks fade,
but smarts last a lifetime,"
as my American as apple pie Mom
sets the dessert on the window sill.

"A stitch in time saves 9 but
the early bird catches the worm so
get up, get out, get into, get involved.

"Say it loud, I'm black and I'm proud
of flower power as we make love not war.

"There's no use crying over spilled milk
but dead men don't cry. They don't tell
any stories either.

"If you follow the money
and put it away for a rainy day
of watching pennies, so the dollars
make sense.

"Fight the power and the man
will always trying to keep you down.

"The roof, the roof, the roof
is on fi-yah as #blacklivesmatter.
But I can't breathe as these Nazi stormtroopers
jackboot thugs trample on my freedoms,
it's my right as an American to stay
suited, booted, and ready to get executed.

Tuesday, March 3, 2015

Get What You Want: March 2015


1.
Jerome New York Fellowship
deadline: March 18th
website: www.larktheatre.org/the-larks-jerome-new-york-fellowship/

The Lark’s Jerome New York Fellowship provides substantial artistic and financial support to an emerging writer of extraordinary promise and vision through an intensive two-year residency that provides resources and guidance to generate and develop a significant body of work.

Activities

The Fellowship Period is July 1, 2015 to June 30, 2017
In the first year, the Fellow will receive a stipend of $25,000, paid in monthly increments. In addition, the Fellow will have access to an “Opportunity Fund” of $5,000 for the purposes of travel, research, autonomous workshops, and so forth (the Fellow will request these funds in writing to the Artistic Director and no reasonable request will be refused).
In the second year, the Fellow will receive a stipend of $15,000, paid in monthly increments. In addition, the Fellow will continue to have access to any remaining balance in the Opportunity Fund.
Because the Lark’s programs are philosophically designed to put artists at the center of their own process, all residency activities will be based on an initial goal-setting meeting with the Fellow at the start of their term, in July 2015.  Fellows will be expected to work with Lark staff to design a regular schedule of program activities, including participation in several of Lark’s new play development programs, such as Playground, Monthly Meeting of the Minds, Winter Writers Retreat, Summer Residency at New York Stage & Film, Project Residencies, Studio Retreats, or Public Readings. The exact structure is flexible based on the selected Fellows’ specific needs, but Fellow will participate in a range of these or similar programs throughout their residency.
Additional activities will include:
–> Monthly one-on-one meetings with Lark’s Artistic Director John Eisner;
–> Regularly scheduled meetings with Lark’s artistic staff, including Director of Onsite Programs Lloyd Suh, Director of Offsite Programs & Partnerships Lisa Rothe, and Director of Scouting & Submissions Andrea Hiebler, as mutually decided;
–> At least 3, and up to 10 Roundtable readings of Fellows’ new plays in progress, to be scheduled throughout the residency period, at the Fellows’ request;
–> Opportunities to participate in offsite programs and partnerships in the U.S. or abroad;
–> Finance and entrepreneurial workshops including Lark’s Business of Art workshop.
Eligibility requirements:
–> Must be a New York or Minnesota state resident (though Fellows must commit to maintaining residency in New York throughout the fellowship period);
–> Must be a citizen or permanent resident of, and eligible to work in, the United States;
–> Must make a case for their status as an “emerging” playwright;
–> Must not have had more than two different works professionally produced at the time of application (meaning works produced on professional Actors Equity contracts or similar international contracts; Equity showcase/waiver productions are not included).
Finalists will be notified in May 2015.  Additional work samples will be required for all finalists, including a copy of one full-length play.
Notification for all applicants will take place by June 2015.

2015-17 Application

Please submit:
–> A cover sheet, including your name, address, telephone number and email address.
–> A one-page theatrical resume listing all productions, workshops, readings, commissions, publications, awards, etc., as well as education and training information;
–> A 10-page work sample of theatrical writing that best represents your current work as a playwright;
–> An Artist Statement (not to exceed two total pages) that answers the following questions:
- In what way(s) do you consider yourself an “emerging” playwright?
- How would this Fellowship and the activities described above be transformative to your work and/or life as an emerging playwright?
- What specific goals do you have in your work for the upcoming year and beyond?
Applications may be emailed in MS Word or PDF format to jerome@larktheatre.org.  Electronic submissions are encouraged.  Mailed submissions can be sent to:  The Lark Play Development Center, Attention: Jerome New York Fellowship, 311 West 43rd Street, Suite 406, New York, NY 10036.  Applications are due by 5:00pm EST, Wednesday, March 18, 2015.

2.
Brooklyn Arts Exchange’s Artist-in-Residence
deadline: April 20th
website: 
artistservices.bax.org/residencies/artists-in-residence/artist-residence-loi/

BAX AIR is tailored to each artist’s unique needs, process and artistic practice. Its structure develops peer support, collaborative problem-solving and constructive criticism. Each artist-in-residence receives 300 free hours of rehearsal space per year and an annual stipend. Artists have priority for BAX studios, and are asked to plan their space needs in three-month blocks. Throughout the residency, each artist has a monthly one-on-one consultation with Artistic Director Marya Warshaw, and group meetings with all six artists every six weeks. Group meeting topics include video documentation; developing relationships with producers; challenges of collaboration and co-directing; establishing a teaching practice; and finding life/work balance. All artists have opportunities to present works in progress and/or finished work at BAX with full production and marketing support from BAX. Following performances at BAX, BAX often assists artists in delivering their vision to a broader audience by co-producing their work in Manhattan venues, or establishing relationships with producers and funders that will allow them to move forward.

These exceptional artists are provided with an artistic home base for a one to two year period, giving them a tangible sense of permanence and place. BAX AIR is tailored to each artist’s unique needs, process and artistic practice. Its structure develops peer support, collaborative problem-solving and constructive criticism. Each 2014/15 artist-in-residence receives 250 free hours of rehearsal space per year and an annual stipend. AIR have priority for BAX studios, and are asked to plan their space needs in three-month blocks. Throughout the residency, each artist has a monthly one-on-one consultation with Artistic Director Marya Warshaw, and group meetings with all six artists every six weeks. Group meeting topics include: video documentation; developing relationships with producers; challenges with collaboration and co-directing; establishing a teaching practice; and finding life/work balance.
All artists have opportunities to present works in progress and/or finished work at BAX with full production and marketing support from BAX. Following performances at BAX, BAX often assists artists in delivering their vision to a broader audience by co-producing their work in Manhattan venues, or to establish relationships with producers and funders that will allow them to move forward. Opportunities are also available to curate, teach in the public schools, and work with BAX’s student population.



3.
HRC Showcase Theatre Playwriting Contests
Deadline: March 15th
website:
http://www.hrc-showcasetheatre.com/play_contest.html

HRC Showcase Theatre (Hudson, NY) – Each submitted play should be previously unpublished, run no more than 90 minutes (excluding intermission), require no more than six actors, and be suitable for presentation as a staged reading by Equity actors. No musicals or children’s plays will be considered. Several of the previous prize winners “BILLY AND RAY” and “HELLMAN VS McCarthy” have recently gone on to be produced off-broadway in New York. Judges will select the winner of the W. Keith Hedrick award ($500), which will be presented as the final staged reading of the season. Several of the previous prize winners “BILLY AND RAY” and “HELLMAN VS McCarthy” have recently gone on to be produced off-broadway in New York. The authors of the four runners-up also selected for readings will each be awarded $100. If you are interested in receiving the guidelines request them via an email athrcshowcaseplaycontest@gmail.com. Or visithttp://www.hrc-showcasetheatre.com/play_contest.html for more information. Deadline: March 15, 2015


4.
FADE TO BLACK Festival
Deadline: April 1st
The theme and subject matters of the work is open to the playwright's imagination.  
Scripts are open to African American playwrights across the U.S. Selected playwright finalists will be contacted no later than Friday, May 1, 2015. There is no fee to submit.
Grand prize winner is chosen by audience vote and will be awarded a cash prize of $100.00. All selected plays will be performed in front of a live theater audience.
To qualify for consideration, the scripts must conform to the following guidelines:  
Must be an original, unproduced, unpublished work written by an African American playwright. Must be at least 10 minutes long, but no longer than 10 minutes. (Generally 9-11 pages. | Industry standard - 1 page = 1 minute)

Should accommodate a “bare-stage” set requiring only a minimum of removable stage props and require basic lighting and sound cues.
To submit:
Complete the script submissions form on website
Email pdf of original work to: submissions@wmgellc.com. Email header should read: Submission: Fade to Black. Include your name and the name of the play.

On the front page of your script include your name, contact information, title of the play as well as any character descriptions. Only three (3) scripts are allowed per playwright.
All applicants must be at least 18 years of age.

5.
Gulfport Community Players Script Submissions (Gulfport, FL)
Deadline: March 15th
website: 

The Gulfport Community Players (Gulfport, Florida) are seeking original one-act plays. Plays selected will be performed during the 15th Annual Summer One-Acts Festival being held July 9-19, 2015. Playwrights are encouraged to submit family-friendly, 5-20 minute plays. Plays should be submitted between February 1 and March 15, 2015. The Players prefer light-hearted comedies and light drama. Scripts must be simple to stage and produce. To enter the competition, send two non-returnable hard copies of the script to: Gulfport Community Players, 1619 49th Street S, Gulfport, FL 33707. Online submissions WILL NOT BE ACCEPTED. The play reading committee will select between 8 and 10 plays. Playwrights will be notified by the end of April. For answers to specific questions, please email gulfportplayers@yahoo.com. Deadline: March 15, 2015

6.
Luna Stage
Deadline: April 15th
website: lunastage.org/submit-your-script.php

Luna Stage Theatre Company – Seeking script submissions from writers who are currently represented by a theatrical agent, hold an MFA in Playwriting, or are currently enrolled in an MFA Playwriting program.  Those who do not meet this criteria may also submit scripts only if it is accompanied by a letter of recommendation from the Artistic Director or Literary Manager of an Equity theatre.  You can also apply if your permanent residence is in the state of New Jersey.  No email submissions!  NO FEE.  All Submissions mailed to:  Luna Stage, 555 Valley Road, West Orange, NJ 07052  Email: submissions@lunastage.org. Deadline: April 15, 2015

7.
Stage Left Theatre Residency
Deadline: April 15th

The purpose of this residency is to give playwrights an opportunity to develop a play with Stage Left Theatre, moving from the conceptual stage to a production-ready script. We will be developing two projects, one in Fall 2015 and one in Winter-Spring 2016.  Playwrights will work closely with one of our ensemble directors and members of the literary team to design a process tailored to the particular needs of their project.  Residency projects will also be eligible for a public workshop in LeapFest, our annual developmental festival of new work, in Summer 2015. Thanks to a generous gift from the Cedars Legacy Fund, Stage Left will provide a stipend to both Residency playwrights, and can reimburse some travel expenses for out of town playwrights.

Application Requirements
While we will consider full manuscripts, you do not need a completed draft to apply.  Just be sure to send us any relevant materials (partial draft, written scenes, outlines, synopsis, etc.) to give us an idea of the current shape of your project and what your long-term goals are. If you do not have any material from the project being submitted that you are able to share, please also include a sample of your writing.  The deadline to submit this application is April 15th, 2015. We expect to announce our selections by the end of July. If you have multiple projects, please submit separate applications for them, in separate emails. We are unable to reconsider projects that have been previously submitted to either the residency or our regular rolling literary submissions program unless they have undergone major revisions.  Please indicate what revisions have been made when submitting projects with identical or similar titles and themes.  Failure to do so may result in your submission being rejected without reading.

About the Company
The mission of Stage Left Theatre is to develop and produce plays that raise debate and challenge perspectives on political and social issues, and we are only interested in submissions which fit this mission.

Submission Checklist
•      Resume                                          
•      Current Manuscript (or any script or treatment you have so far, or writing sample)
•      Synopsis (1 page or less)               
•      Completed Application form
•      Any supporting materials (I.e. artwork, brief history of the subject)  that will help us understand your idea


8.
P73 Productions
Deadline: April 15th
website: http://www.page73.org/programs/programs-application/

Page 73 has two play development programs available to early-career playwrights through this application. Playwrights may apply for either or both programs as they see fit.
Note that Page 73's Summer Residency is no longer open to applicants; participants in the Summer Residency will be selected by Page 73's staff from among the applicant pool and playwrights in our community.

The P73 Playwriting Fellowship
The P73 Playwriting Fellowship provides a year of comprehensive support to one early-career playwright who has received neither wide public recognition nor substantial production opportunities in New York City. Through this program, Page 73 provides artistic and financial resources to this writer as he or she develops one or more new plays of his or her choosing. The P73 Playwriting Fellow receives an unrestricted award of $10,000 and a development budget, managed by Page 73 over the course of the Fellowship year, up to an additional $10,000.
The P73 Playwriting Fellowship is best suited to writers who have reasonable goals that can be achieved with the resources provided by Page 73. These goals may include, but are not limited to, development of one or more new plays, assistance in building relationships within the New York City theater community, research, and/or travel. Applicants are encouraged to think creatively about using Fellowship resources to meet concrete goals that might not otherwise be possible. Please note that funds from the P73 Playwriting Fellowship do not cover full-scale productions. The Fellowship does, however, incorporate at least one public presentation – ideally a semi-staged workshop – of at least one play by the Fellow, produced by Page 73. Page 73 also helps Fellow identify and connect with collaborators, including directors, designers, actors and dramaturgs, for Fellowship projects.
The Fellow is associated with Page 73 for the calendar year, from January 1 to December 31. After being selected, he or she works with Page 73’s staff to develop a plan for the year and establish a timeline for the development work to be done on the new play or plays. The Fellow is also invited to participate in the Page 73 Summer Residency and Interstate 73 (described below) during the Fellowship year.
If the Fellow is not a New York City resident, he or she must be prepared to travel to New York during the Fellowship year in order to fully engage in the opportunities that the Fellowship provides. Fellowship development resources can be used to cover these costs.
Past P73 Playwriting Fellows are Kirsten Greenidge, Quiara Alegría Hudes, Jason Grote, Krista Knight, Tommy Smith, Heidi Schreck, Eliza Clark, Janine Nabers, Max Posner, Caroline V. McGraw and Clare Barron.

Interstate 73
Interstate 73 is Page 73’s yearlong writers group. Consisting of six to eight playwrights and led by Page 73’s staff, Interstate 73 meets twice monthly on weeknight evenings at our office in Fort Greene, Brooklyn. Participants bring in pages that are read aloud and discussed by the group. Each participating playwright is also given an opportunity for a reading of a completed work, which can be a public or private reading, depending on the playwright’s interests and needs. Page 73's staff works with each playwright to craft each reading to be as useful as possible for the writer.
Interstate 73 begins each year in January, and meetings run through December; sessions are typically suspended in August. Candidates for this program should not be involved in a similar year-long, institutional writing group concurrently with Interstate 73. As participants must be able to attend meetings regularly without inconvenience, Interstate 73 is offered only to writers who are residents of the greater metropolitan New York City Area. Please do not apply for Interstate 73 if you will not be a metropolitan NYC resident in 2016. Attendance at all Interstate 73 sessions is extremely important; please do not apply for Interstate 73 if you will be unable to attend group meetings in New York for a month or more during the period of the program. Page 73 selects participants from individuals who approach us through this application process as well as from individuals who have become known to the company through other means (professional recommendation, attendance at their work, etc.).

9.
Madlab 2016 Season
deadline: April 1st
website: http://www.madlab.net/MadLab/season.html

To maximize your chance of selection, please read all the guidelines carefully before submitting. All submissions should be send to andy@madlab.net. Please put “MADLAB 2016 SEASON” in the subject line. Submissions must arrive no later than April 1st, 2015. We are only accepting 500 submissions.

SUBMISSION GUIDELINES

We are looking for plays that are a bit off the beaten path.  Things that are different, edgy, strange, unique, etc.  I think you get our drift here.

Though we are up for anything, ideally, scripts should be long one-acts (70-90 minutes) or two-act plays (100-120 minutes). If you have something else longer, please feel free to send it on.

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.

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.

Due to our environmentally conscious president, 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 andy@madlab.net.  Please put “MADLAB 2016 SEASON”  in the subject line.  If “MADLAB 2016 SEASON” 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.

MadLab pays a royalty of $200 + 10% of our box office for any playwright that is gracious enough to allow us to produce his/her work.  We know this will not be anywhere near worth the time and effort you put into writing your play, but we are happy that every little bit helps.

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 Andy Batt at andy@madlab.net

10.
Franklin Furnace
deadline: April 1st
website: https://franklinfurnace.fluidreview.com/

PROGRAM DESCRIPTION The Franklin Furnace Fund awards grants annually to emerging artists to enable them to produce major performance art works in New York. Grants range between $2,000 and $10,000 based on the peer review panel allocation of funding received by Franklin Furnace.

Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of "emerging artist" and "performance art." So if at first you don't succeed, please try again. Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York. Full-time students are ineligible.

The Franklin Furnace Fund 2015-2016 is supported by Jerome Foundation, The SHS Foundation, the NYC Department of Cultural Affairs in partnership with the City Council, and by general operating support from the New York State Council on the Arts. Artists supported by funding from Jerome Foundation must live in the five boroughs of New York City.

11.
Princess Grace Award
deadline: March 31st
website: https://www.pgfusa.org/grants-program/guidelines#Playwriting

Princess Grace Award encourages emerging playwrights at the beginning of their careers so that through the New Dramatists Fellowship, they can develop their work as well as benefit from being a part of a unique, diverse, dynamic community of professional playwrights. An applicant’s status as an emerging playwright is evaluated during the adjudication process.
One playwright will be selected to receive:
• A grant in the amount of $7,500
• A one-season (September – June) artistic residency at New Dramatists, Inc. in New York City (For Award recipients living outside of the New York metro area, your on-site residency can be adapted according to your schedule with reimbursement provided for transportation costs to/from New York)
• Inclusion of your script in New Dramatists’ library
• Advocacy for the recipient and their script to New York and National theatre communities for the duration of the fellowship
• Mentorship from a New Dramatists resident playwright for the duration of the fellowship
• Opportunity for winning play to be licensed and published by Samuel French, Inc.
Guidelines:
• All candidates must be United States citizens or have permanent resident status.
Eligible playwrights must not have had any professional full-length productions other than those using the showcase code or in an off-off-Broadway theater with 99 or fewer seats.
(If your show used a higher contract tier than the showcase code, you are not eligible to apply. If your show received a festival production in a theater with more than 99 seats and did not use an Equity contract, you are eligible to apply.)
Development opportunities such as readings and workshops are admissible.
You must submit one unpublished, full-length play (A full-length play is a single play that constitutes a full evening of theater. For example, a 90-minute intermissionless play is a full-length play.)
• There is no restriction on subject matter
• Story, language, and characters must be original; no adaptations.
• May not have received a professional production as defined above

APPLICATION STEP-BY-STEP

Submission Window: March 1-March 31, 2015 6PM EST
To begin your application, click on the “Begin Application” button below. You will be asked to create a username and enter your email address. Once you have clicked “Submit,” you will receive an email with instructions on how to log in. From this point forward, you will be guided through a simple process collecting all of your admissions materials in seven easy steps:
1. Log in. You will be asked to confirm you are a US Citizen, or permanent resident.
2. Fill in your full name, address, and phone number.
3. Upload your bio, resume, or CV.
4. Upload One Full-Length Works (Plays and/or Books to Musicals) (The following files may be used: txt, pdf, doc, docx, rtf).
5. Upload your Personal Statement.
6. Should you wish to submit a letter of recommendation, enter the name and email of your reference. An email containing a link to upload their letter of recommendation will be sent directly to them.
7. Review your application, and click “Submit Your Application” to complete the process. You will receive an email confirming your application has been received.
You may save your application at any point and return to it later before submitting. Once the application window closes at 6:00 (EST) p.m. on March 31, you may not alter your application in any way.

12.
Theatre Nova
deadline: March 31st
website: http://www.theatrenova.org/

Theatre Nova in Ann Arbor, Michigan is a brand new, 501C3 non profit theatre launching its first season this year. We focus on new works and most of our season is filled, but another part of our mission is to produce playwrights of color that write stories for actors of color in non-stereotypical roles. This means we do not want to read another play about segregation in the 1960's or another play about Cesar Chavez or another play about 911. We do NOT want actors of color playing drug dealers, criminals, terrorists or slaves. Consider ways in which we can present the experiences of people of color in a way that is universal and speaks about the human condition more than stereotypes or historical conflicts. LGBT characters are greatly appreciated as well.

For this particular submission, we are accepting full-length plays from writers of color (male or female) with strong, three dimensional roles for actors of color (though there can be white characters in the play as well).  Think of Gina Rodriguez's golden globe speech "This award represents a culture that wants to see themselves as heroes." Because we are a new theatre, we can have no more than 5 characters in the cast.

Please include in the body of the email:
-A Synopsis
-A Character Breakdown (include races and ages of characters)
-Set Requirements
-Brief Description of how this play promotes actors of color in a non-stereotypical manner.
   As an attachment
-20 page sample of script (any section that shows the best work)
-Full Script (both as separate attachments.

Any submissions that do not follow the requirements above will be discarded. We will only respond if we are interested in pursuing your script. Please do not ask if we received your submission or send any other unsolicited follow through.

Email all requirements to RomanTeachesDrama@gmail.com