Posted: Sun Apr 12th, 2009 09:08 pm
1 st Post
did anyone else have trouble opening this month's loop? i kept getting the message that the file was damaged & could not be repaired. even when i went to gary's website, it still wouldn't open.
Posted: Sun Apr 12th, 2009 09:13 pm
2 nd Post
I'm sure Gary would not mind my copy and pasting. Since he's a member of this forum, he'll tell me if he does. ~Edd
THE LOOP 1
GET INTO IT
April 5, 2009
Vol. 3, Issue #89
© 2009. All rights reserved.
To Date Or Love A
Don’t Be So Boring
2009 Sewanee Writers’
Playwright Profiles: Kate
Fodor & Sheilah Rae
Ear to the Ground
Gary Garrison, Editor
Howdy, ya’ll. Hope all is well in your world and you’re writing’s going
swell. Gotta a couple of things to share with you that are coming up.
First, Anne Hamilton – who teaches out at Muhlenberg College, has volunteered
to supervise several of her theatre students to archive The
Loop. That’s right,cowboys and cowgirls, we gunna git archived! That
means you’ll be able to look for past articles, writing lessons, profiles on
playwrights, the Dramatists Bill of Rights, etc., just by flipping through a
webpage. Speaking of . . .
We’re going to the web. Yep, we’ve been talking about it for almost a
year, and now we’re about ready to launch it. Each month we’ll load The
Loop up on the website where you can scroll through various features (if
you want), and download to print just those things you want to print (like
the submissions). No fuss, no muss. And, in effect, we’re going green,
baby – you won’t have to use precious paper to print it off (unless you
want to print something off). We’re shooting for May 1; I’ll keep you
posted by shooting you an email. It’ll all still be for free, so nothing’s
coming out of your change purse. We’re discussing now whether you’ll
have to formally “sign in” to get to where you want to go, but haven’t
settled on anything just yet.
And finally, for those of you who wrote in and kicked my ass (emotionally)
for not writing, you can slow the mail down. I’m back to it. The truth
be told, I had to start writing again out of necessity and obligation. Once
I admitted to you guys that I’d stopped writing and that appeared in
print, an artistic director reminded me that I had a play to complete for
her theatre . . . and she was waiting, patiently (but not for very long, I’m
sure). Nothing like a deadline to kick it all in gear, is there? If you want to
see the jump-start play, check out the Boston Theatre Marathon in May.
And if you’re down in Miami in June, check out one of my short plays in
the City Theatre’s Summer Shorts. Ahhhhhhhh, it feels good to be writing
again. How could I ever let go of the hand of such a dear friend?
Scribbles (notes from the editor)
THE LOOP 2
THE LOOP is published in part through the generous support of PLAYWRIGHTS PLAYGROUND, NYC.
Director of Membership:
This is a sign actually found on the
internet...is there really a Loop
family wandering across the land?
Re Daniel Damiano’s article “Supporting The Theatre despite the ‘Fiscal
Crisis,” that struggle to fill seats has always been going on for black
theatre companies even during good times. Still, it is surprising to see that
the African American Playwrights Exchange (AAPEX) lists 83 AA theatres
(with websites) around the country and over 100 playwrights of AA
heritage or those who have written plays about the AA experience. Those
numbers are encouraging and suggest that we may be in the middle of the Golden Age of African American Theatre
and don’t even know it. A quick visit to AAPEX’s website ( http://www.africanamericanplaywrightsexchange.
blogspot.com) will show a very active community of playwrights and theatres.
Robert Honor’s one-act, The Groovy Adventures of Mrs. Emory & Thomas
Bristol has been selected for The Galapagos Art Space’s Natural Selection
Play Reading Series.
THE LOOP 3
Ohhhhhhhhhhh, I had me a good ol’ belly laugh
the other day. A Loopy/Looper (I’m trying to decide
what I’m going to call you guys from now on)
writes in and essentially details a disastrous first
date experience and then suggests that maybe I
should write a rant/column/something about How
To Date A Playwright. My first reaction was, “Ahhhh,
youth.” My second reaction was “well, yeah.
I mean, we’re different than most people and life
would be so much easier if we came with a warning
label – or at the very least, a ‘How to Care For….’
label.” I mean, God knows, it would have helped
me when I was single and trolling for love in ALL
the wrong places. So here goes:
TO DATE OR
• When you ask me what I do, and I say I’m a
playwright, it’s probably not conducive to the
great start of a relationship if you say, “I hate
the theatre,” or “who goes to the theatre anymore?”
Essentially, you’re stabbing me and my
art between the shoulder blades. You can hate
squash or beets, but you can’t hate theatre. I
mean, you can. You can hate anything you want.
But I can’t love anyone who says they hate a
large part of who I am.
• For the record, and to get this out of the way
EARLY on, being a playwright means months
and years of waiting/waiting/more waiting. The
only real control I have over my career is to be
the best writer I can be and to pursue fruitful
business relationships. So you can bust my
chops for not writing or not getting out there
in the community, but you can NEVER bust my
chops for not succeeding any faster than I do.
• When I give you something to read (because
you’ve hounded me to read something I’ve
written, or, I’ve hounded you to read something
of mine), regardless of the fact that I tell you
that I really want to know what you think, the
deep-down truth is, I want you to like it and by
association, like me – particularly if you want to
have a second or third date or another year of
AMMENDMENT: The truth is, I really do want your
sincere criticism, but if we don’t know each other
very well, it’s a tender area that we both have to
be mindful of. So you may have to pretend to like
work in the moment, and when the time is right,
tell me what you really think.
AMMENDENT TWO: If we see something I’ve written
on stage together, just understand that I’m in
an altered state after the curtain comes down. It’s
probably not the best time to talk to me about
much of anything. Just hold my hand; that I’ll probably
• I am artist of words, so chose yours with sensitivity
and care when talking about my work, my
career or my dream.
• When you ask me out and I say “I have to write,”
I really mean I have to write. I’m not blowing
you off. It’s my job, regardless of the fact that
I work eight hours a day at Walmart in the produce
section and then come home to work
again. That means, you’re probably going to
have to be all right with someone who spends a
lot of time either writing or in rehearsal.
• I am designed to be a multi-tasker: I can be passionate
about my writing AND you without either
of you suffering.
• Don’t look for a pedophile in my personal history
if I write one in my play. Just because I can
make a sound like a duck doesn’t mean I’m a
duck; it means I’m a good study.
• I’m probably going to cringe if you tell me how
to rewrite a line. I’d like to be open to it, but
you know, I’m just not. Don’t offer.
• Yes, you do have to go the reading of my play
that you’ve already heard two readings of. I
THE LOOP 4
want you there. I need you there, and I don’t
want to have to ask.
I think that just about covers it. Any questions?
A Looper from Missouri wrote in and ask that I run
this again after she had a miserable two weeks of
seeing theatre that was, well, in a word: boring.
DON’T BE SO
From the Guardian’s blog on theatre and performing
arts, by English playwright, Anthony Neilson
I was part of a theatrical movement once. As with
most movements, no one who was a part of it noticed
anything moving at the time. I still wouldn’t
know if a journalist hadn’t told me. “In-Yer-Face”,
it was called, which offended the more famous
of my fellow movementarians, but I was just glad
someone had noticed I was alive. As far as I can tell,
In-Yer-Face was all about being horrid and writing
about shit and buggery. I thought I was writing love
Fifteen years on, there doesn’t seem to have been
another movement, so I thought I’d try to start one.
Unfortunately, despite being pretty sure the next
movement will be absurdist in nature, I couldn’t
think of a snappy name for it so I gave up on that.
Then I thought I’d write a provocative Dogme-style
manifesto, but I only came up with four rules, and
I’ve already broken two of them in my new show.
Then I thought I’d write Ten Commandments for
young writers but a) that’sa little pompous, and b)
there’s only one commandment worth a damn, and
it’s this: THOU SHALT NOT BORE.
Boring an audience is the one true sin in theatre.
We’ve been boring audiences for decades now,
and they’ve responded by slowly withdrawing their
patronage. I don’t care that the recent production
of The Seagull at the Royal Court was sold out. To
95% of the population, the theatre (musicals aside
for now) is an irrelevance. Of that 95%, we have
managed to lure in maybe 10% at some point in
their lives, and we’ve so swiftly and thoroughly
bored them that they’ve never returned. They’re
not the ones who broke the contract. They paid
their money and expected entertainment; we sent
them back into the night feeling bored, bullied and
baffled. So what are we doing wrong?
The most depressing response I encounter when
I’m chatting someone up and I ask them if they ever
go to the theatre is this: “I should go but I don’t.”
That emphatic “should” tells you all you need to
know. Imagine it in other contexts: “I should play
Grand Theft Auto”; “I should watch Strictly Come
Dancing.” That “should” tells you that people see
theatre-going not as entertainment but as selfimprovement,
and the critical/ academic establishment
have to take some blame for that.
Many critics still believe theatre has a quasi-educational/
political role; that a play posits an argument
that the playwright then proves or disproves. It is
in a critic’s interest to propagate this idea because
it makes criticism easier; one can agree or disagree
with what they perceive to be the author’s conclusion.
It is not that a play cannot be quasi-educational,
or even overtly political – just that debate
should organically arise out of narrative. But this
reductive notion persists and has infected playwriting
root and branch.
I can’t tell you how often I’ve asked an aspiring
writer what they’re working on, and they reply with
something like: “I’m writing a play about racism.”
On further investigation, you find that this play has
no story and they’ve been stuck on page 10 for
the past year; yet they’re still hell-bent on writing
it. You can be fairly sure the play, should it ever be
finished, will conclude that racism is a bad thing.
The writer is not interested in exploring the traces
of racism that may lie dormant within their psyche,
nor in making the case for selective racism (just to
be “provocative”). This is the writer using the play
to project their preferred image of themselves; the
ego intruding on art; the kind of literary posing
THE LOOP 5
that is fed by the idea of debate-led theatre. And
if you think that example sounds naive, substitute
the word “racism” with “George Bush” or “Iraq” or
“New Labour”. Sound familiar?
Newspapers, or news programmes, are the places
for debates, not the theatre. The general public
don’t think: “Should I go to the theatre Friday, or
that socio-political theory class?” Further education
is not the competition. The pub is the competition,
the cinema, a night in with a curry and a DVD. We
are entertainers. What we do is not as important to
society as brain surgery, or even refuse collection.
But when the brain surgeon and the refuse collector
finish work, they come to us and it is our job
to entertain them - not necessarily just to distract
them, but to stimulate, to refresh, to engage them.
That’s our place in the scheme of things, and it’s a
responsibility we should take seriously. To let our
egos intrude is like the brain surgeon writing “Jake
Was Here” on your frontal lobe before he puts your
The way to circumvent ego (and thus reduces the
risk of boring) is to make story our god. Find a story
that interests you and tell it. Don’t ask yourself
why a story interests you; we can no more choose
this than who we fall in love with. You may not be
what you think you are - not as kind, as liberal, as
original as you ought to be - and yes, the story (if
you are true to it) will find that out. But while your
attention is taken up with its mechanics, some truth
may seep out, and that is the lifeblood of good,
I’m not saying we should all be Terence Rattigan.
The story you tell can be about anything, told in
whatever form is most effective. But that brings me
to my next point: accessibility.
To this day, I still leave plays wondering what on
earth they were about. I used to feel stupid for not
“getting it”, but not any more, because this I know:
it’s the artist’s failure, not mine.
It’s not necessary that every audience member gets
every level on which a play works (several, if it’s
good), but it’s important that they’ve understood
it, from moment to moment, while watching it. Little
Red Riding Hood is completely understandable
to five-year olds and yet academics are still writing
papers on its deeper meanings. This profound simplicity
is what all playwrights should aspire to. Not
only does it render a play accessible (on at least
a narrative level) to an inexperienced theatregoer,
it also encourages the widest possible scope for
interpretation. Much as it depresses me, as a living
writer, that the theatre business is still so in thrall
to dead playwrights, this narrative clarity is key to
So tell your story as you wish - but for God’s sake,
if it plays best as a linear narrative, don’t tart it up
for the sake of feeling innovative. There’s no shame
in a good story, well told. Contrary to the popular
maxim, do think about your audience. Ask yourself
if your non-theatre-going friends or relatives would
at least get the gist of it. If they wouldn’t, your
work is not yet done. (That said, never compromise
on the grounds of what they may be offended by.
Truth is not always comfortable but a dishonest
play is usually dull.)
Two asides. One, dialogue: there’s a lot of poetic
dialogue around. Sometimes a play is narratively accessible
but the dialogue is mannered to the point
of incomprehensibility. Some people like it, but I’m
suspicious. Poetic dialogue, done badly, leaves no
room for subtext. A lack of subtext is fundamentally
un-dramatic. And boring. And two, duration:
many plays are far too long. All writers should be
made to visit the venue where their play is to be
performed and sit in the seats with a stopwatch.
When your arse and spine start to sing, check the
watch. That’s your running time. Exceed it at your
Now - musicals. Much as the synopsis of We Will
Rock You sounds abysmal, it’s pulling in more punters
a night than some “serious” shows attract in a
week. There’s a dangerously dismissive response to
this uncomfortable truth among many of my fellow
practitioners, but it’s not hard to figure out why this
might be. Musical theatre offers song and dance,
of course; a certain unpretentiousness; a tangible
sense of “liveness”; magic; and, most importantly,
THE LOOP 6
It is time the “serious” theatre learns this lesson.
We have to give the audiences what they can’t get
anywhere else. Debate they can get in a newspaper.
Reality - well, they can get that on TV. We can
offer them “liveness”, but few plays, or productions,
take advantage of this. Too many screenplays
masquerading as plays and an over-reliance
on mixed media have imbued the theatre with a
heaviness it’s not best suited to. Some may argue
that technology is the key to spectacle, but most
theatres can’t compete with the West End technologically.
The spectacle we can offer is the spectacle
of imagination in flight. I’ve heard audiences
gasp at turns of plot, at a location conjured by actors,
at the shock of a truth being spoken, at the
audacity of a moment.
There is nothing more magical and nothing - nothing
- less boring. Oh, and if you can get a song or
two in there, all the better. My show has three.
The 2009 Sewanee Writers’ Conference (July 13-26)
will include one playwriting workshop led by Lee
Blessing and Dan O’Brien. Polly Carl, Producing
Artistic Director of The Playwrights’ Center, and
Gary Garrison, Executive Director of Creative
Affairs of The Dramatists Guild, will visit to meet
with playwriting participants. In addition, the
program features individual playscript conferences;
readings and craft lectures in playwriting, fiction,
and poetry; and many other literary and social
General admission decisions are made on a rolling
basis until all spaces are filled. Scholarship and
fellowship decisions will be announced in the
second half of April. In all cases, early application
Information, application forms, and submission
guidelines are available at http://www.
sewaneewriters.org/. For questions, contact
Cheri Peters, Creative Writing Programs
By Anne Hamilton
On a recent sunny afternoon I interviewed playwright
Kate Fodor, a NYC transplant who lives a
stone’s throw from Fonthill Museum in Doylestown,
Ms. Fodor has achieved great success with her first
play HANNAH AND MARTIN, winner of the Kennedy
Center’s Roger L. Stevens Award, and 100
SAINTS YOU SHOULD KNOW.
A former business reporter, Fodor started writing
plays only eight years ago, and has been produced
at some of the country’s most prominent theatres.
She is represented by the William Morris Agency.
Fodor’s work life is varied; she writes scripts, teaches
playwrighting at the University of Pennsylvania,
and edits publications in the healthcare and pharmaceutical
AH: How did you come to write your first play?
KF: In college and high school I did a lot of acting,
then after college I got into business journalism.
One day I was at lunch with a bunch of actors
and playwrights and they talked me into trying to
write a play. It took some real help and prodding
from friends who were working in the theatre in
order to get me over that first bout of panic at the
beginning. Then that play became HANNAH AND
THE LOOP 7
AH: How do you maintain your artistic drive while
separated from the New York theatrical community?
KF: I find it easier. I can actually hear my own voice
here better than I can in New York. In fact when I’m
in the middle of working on something I often will
stop going to plays, and reading plays because I
find I get other peoples’ voices stuck in my head.
I find that the clamor of voices isn’t quite so loud
AH: What is unique about living and working in
KF: One of the things about not driving is that I
walk a great deal. Walking time is always good for
sorting things out in my head. Also, my home office
has got two walls of windows. There’s something
about having an inviting space surrounded
by trees -- where it’s sunny and you can hear the
birds -- that makes that transition into actually sitting
down and writing less scary and more pleasant.
AH: What are your current projects?
KF: I am working on a commission for the Mark Taper
Forum (now called the Center Theatre Group).
It’s not an exposé, it’s sort of a flight of fancy based
on the pharmaceutical industry. I’m also working on
a screenplay with Killer Films about the Civil War.
AH: Can you tell our readers about your writing
KF: I have a rather long gestation process. I’ve
just turned in a commission to the Center Theatre
Group in L.A., which is sort of a flight of fancy based
on the pharmaceutical industry. I’ve been working
on it for a year and a half. With all the teaching and
outside editing that I do, I wait and wait for a “Writing
Day”, and the number of hours that I’m actually
at my desk is relatively low.
When I’m teaching, my writing goes a lot better
than usual. I learn from my students and am forced
to articulate some things that I hadn’t articulated
for myself before. The kind of interaction I find in a
writer’s group is really helpful.
AH: Do you feel like your plays have a particular
KF: Each time I try to write something very different,
especially in terms of style, tone and structure.
At least two plays have been about forgiveness--
essentially, the question of whether forgiving
someone is a virtue. 100 SAINTS questions whether
forgiveness is a saintly thing, and when it crosses
over the line into complicity. I write about how we
forgive each other, the necessity of forgiveness,
and also about its dangers and traps. HANNAH
AND MARTIN is a Holocaust play and 100 SAINTS
is about familial forgiveness.
AH: What kinds of themes are you writing about
KF: My new screenplay with Killer Films is set in the
Civil War and deals with historical and political issues,
especially race and slavery.
AH: It seems to me that you’re deeply interested
in investigating how to be a human being and how
to navigate through this life. You’re asking yourself,
“How can I be a good person?” and then writing
about it. That’s so valuable.
KF: Playwrights give everyone a voice. We resist
skewed, one-point-of-view, open and shut analyses
because we have to walk in each character’s shoes
to write the play. That thinking process creates a
prism effect where things are refracted. The characters
are figments of my imagination, but they’re
inside of me, fully formed.
AH: Thank you so much. I wish you all the best.
Lyricist/Librettist and Innovator
Sheilah Rae, a singer, songwriter, and recording artist,
works all over the country. She is also a lyricist
and librettist whose two musicals FUNNY, YOU
DON’T LOOK LIKE A GRANDMOTHER and I MARRIED
WYATT EARP were recently produced at the
Bristol Riverside Theatre on the Delaware in Lower
Sheilah’s first experience at BRT came in 2003 with
THE LOOP 8
a production of GRANDMOTHER, based on the #1
NY Times bestselling book by Lois Wyse. Co-written
by Wyse, and with music by Robert H. Waldman,
the humorous, heartwarming revue looks at
grandmothers in a whole new light.
“Bristol Riverside is a dream theatre,” says the
Westchester County, NY resident. “It’s gorgeous,
and at 300 seats, it’s a dream size for new work.
The grounds surrounding it are beautiful. And it’s
close enough to New York to draw top talent.”
She gives a great deal of credit to Founding Producing
Director Susan Atkinson, who directed the
piece. “The theatre balances its season and includes
both new work and tried and true plays. I
would go back there in a heartbeat if I had something
new to develop. They give it all their heart,”
says Rae. She has just gotten a publishing deal with
Samuel French, which will be able to reach many
more theatres with the revue.
Rae returned to BRT in 2005 with I MARRIED WYATT
EARP (Lyrics by Rae, Book by Rae and Thomas
Edward West, and Music by Michele Brourman).
The all-women musical set in Tombstone, Arizona,
features Josie, widow of legend Wyatt Earp, and
Allie, widow of Wyatt’s brother Virgil. A Jewish
woman, Josie left her well-to-do family in San Francisco
to join a travelling production of H.M.S. PINAFORE.
She ended up one of very few women in
Tombstone, and in love with Earp to boot. Artistic
Director Edward Keith Baker helmed the musical.
The unique story of the women’s lives is told
through their own eyes, and highlights their contribution
to the development of the West. “Josie
was provocative and gorgeous,” says Rae. Graciela
Daniele recently directed a reading of EARP with
the New York Theatre Barn in NYC which starred
Rae also conceived the idea of an exhibition on
women designers which found fruition in the New
York Public Library’s, “Curtain Call: Celebrating
a Century of Women Designing for Live Performance”.
This landmark exhibit at Lincoln Center,
co-sponsored by the League of Professional Theatre
Women, will close on May 2nd.
“As theatre people, we look at things that are happening
in a different way,” Rae reveals. “We’re
forced to view the world freshly and it keeps us
Anne Hamilton, principal of Hamilton Dramaturgy,
has eighteen years of experience in the professional
theatre in New York City. STAGE DIRECTIONS
magazine named her a trailblazer in her field. She
is an award-winning Columbia
University graduate and teaches
at Muhlenberg College.
Please visit Anne’s website at
Photo credit: Photo © 2008 by
Dan Z. Johnson
The American Theatre Critics Association (ATCA)
has selected six finalists for the 2009 Harold and
Mimi Steinberg/ATCA New Play Award, which recognizes
the best new scripts produced professionally
outside New York City during 2008.
The winner and two additional citations will be presented
April 4 at Actors Theatre of Louisville during
the Humana Festival of New American Plays.
The top award includes a commemorative plaque
and a cash prize of $25,000 – currently the largest
national new play award – with $7,500 for each
The finalists are:
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* “Becky’s New Car” by Steven Dietz is “a warmly
humorous and nimble romantic farce … a genial
consideration of loves lost and found, midlife and
middle-class ennui and American car lust,” said the
Seattle Times. It was produced in October 2008 by
ACT Theatre in Seattle.
* “Great Falls” by Lee Blessing is a wry drama about
a stepfather and his disaffected stepdaughter trying
to make connections on a road trip across the
American West. It was produced in February 2008
at the Humana Festival of New American Plays
at Actors Theatre of Louisville. Blessing won the
award in 2006 for “A Body of Water” and 1987 for
“A Walk in the Woods.”
* “Lydia” by Octavio Solis is a searing depiction
of a dysfunctional Mexican-American family in the
1970s dealing with issues of immigration, assimilation
and mental illness. It premiered at the Denver
Center Theatre Company in January 2008.
* “Our Enemies: Lively Scenes of Love and Combat”
by Yussef El Guindi depicts Muslim-Americans
struggling among themselves how to portray their
cultural identity and how deeply to assimilate in the
post-9/11 world. It was produced in March 2008 by
Silk Road Theatre Project in Chicago.
* “Song of Extinction” by E.M. Lewis starts as a realistic
examination of ecology, genocide, isolation,
music, family relationships and a host of other issues
but morphs into a dreamscape which weaves
the disparate strands into a cohesive pattern of inter-
connectedness. It premiered in November 2008
at Moving Arts in Hollywood. Lewis won ATCA’s
Francesca Primus Award last year.
* “Superior Donuts” by Tracy Letts is a comic drama
portraying the resurrection of a former ‘60s radical
who is hiding from disappointments and tragedies
by running a tiny Chicago doughnut shop. His isolation
is challenged by a young black man seeking
a job and running from some secrets of his own. It
premiered in June at Steppenwolf Theater.
Consideration for the Steinberg/ATCA awards is
limited to new plays not yet produced in New York
City by the end of the year. These six finalists were
selected from plays nominated by ATCA members,
then evaluated by a committee of 13 theater critics,
led by chairman Wm. F. Hirschman of the South
Other committee members are Misha Berson, Seattle
Times; Bruce Burgun, Bloomington Herald
Times and Back Stage; Michael Elkin, Jewish Exponent
(Pa.); Jay Handelman, Sarasota Herald-Tribune;
Pam Harbaugh, Florida Today (Melbourne);
Leonard Jacobs, New York Press, Back Stage and
The Clyde Fitch Report; Chad Jones, Oakland (Cal.)
Tribune; Elizabeth Keill, Independent Press (Morristown,
NJ); Elizabeth Maupin, Orlando Sentinel;
Wendy Parker, The Village Mill (Midlothian, Va.);
Michael Sander, Back Stage (Minn.); and Herb
Simpson, Totaltheater.com (Rochester, NY).
“This year’s entries dig deep into the soul of America
with timely issues about technology’s effect
on humanity and timeless issues about searching
for meaningful human connections,” Hirschman
said. “The nominated plays reflect an encouraging
range of well-known names and newcomers, young
voices and mature talents, the mainstream drama
and the surreal. Protagonists are as diverse as Arab-
Americans fighting about their image or Southern
white women planning a wedding to an African
American runner from Louisiana.”
These awards began in 1977, when ATCA started
to cite each year one new play produced outside
New York City. In 1985, the annual citations expanded
to three, and from 1986 one of those three
was given the ATCA New Play Award of $1,000,
with various newspapers providing financial subsidy.
In 2000, the award was renamed to recognize
the Steinberg Foundation’s generous annual gift of
$15,000, raised in 2006 to $40,000.
Honorees since 1977 have included Lanford Wilson,
Marsha Norman, August Wilson, Jane Martin,
Arthur Miller, Mac Wellman, Adrienne Kennedy,
Donald Margulies, Lynn Nottage, Horton Foote
and Craig Lucas. Last year’s winner was Moises
Kaufman for 33 Variations.
Each year’s honorees are chronicled in The Best
Plays Theater Yearbook, edited by Jeffrey Eric JenTHE
kins, alongside the 10 best plays produced that
year in New York City. For a complete list of the 80
plays cited from 1977 through 2008, go to http://www.
americantheatrecritics.org, under Awards.
The Harold and Mimi Steinberg Charitable Trust
was created in 1986 by Harold Steinberg on behalf
of himself and his late wife. Pursuing its primary
mission to support the American theater, it has
provided millions of dollars to support new productions
of American plays and educational programs
for those who may not ordinarily experience live
ATCA was founded in 1974 and works to raise critical
standards and public awareness of critics’ functions
and responsibilities and to recognize excellence
in the American theater. The only national
association of professional theater critics, with several
hundred members working for newspapers,
magazines, radio and television stations and websites,
ATCA is the U.S. national section of the International
Association of Theatre Critics, a UNESCOaffiliated
organization that sponsors seminars and
ATCA also presents the M. Elizabeth Osborn
Award, honoring emerging playwrights, and the
$10,000 Francesca Primus Prize, funded by the
Francesca Ronnie Primus Foundation, honoring
outstanding contributions to the American theater
by a female artist who has not yet achieved national
prominence. Annually it makes a recommendation
for the Regional Theater Tony Award, presented by
the American Theatre Wing/Broadway League, and
its members vote on inductions into the Theater
Hall of Fame.
For more information on ATCA, visit http://www.americantheatrecritics.
For more information on the Steinberg/ATCA
Award, contact Christopher Rawson, chair of ATCA’s
Executive Committee, at crawson@post-gazette.
com (412-216-1944), or Wm. F. Hirschman,
chair of the ATCA New Play Committee, at muckrayk@
This is a short segment of a public meeting held
in New York on the fate of small-to-medium sized
theatres in America. And though it was held in New
York, and about a community far away from a lot
of you, what’s said during this meeting is vital to
playwrights everywhere. Watch it, learn, respond.
EAR TO THE
Did you hear? Portland Center Stage, one of our
country’s most reputable regional theatres, released
its entire literary staff from employment.
How could anyone let go of the inspired Mead
THE LOOP 11
The Loop will no longer publish
submissions that have fees that are not
transparent to the reader – i.e., an
explanation of where the money goes. Period.
Look for the NEW symbol in the listings now. It tells
you that it’s a newer entry from the last month and
will hold that symbol for the entire month.
NEW WORKING TITLE PLAYWRIGHTS
PRESENTS: THE KICK-ASS SERIES: ACT TWO
FEE: For pricing and more information and to
reserve your seat today call 404.441.2716
This is The Second Installment of a Gonzo Playwriting
Workshop With Pamela Turner. Consider your life…
Now, consider your writing. In both cases, you
may be jumping ahead before you’re ready. With
the first, you are on your own, Baby, but with the
second, We Can Help. The most common complaint
expressed by theatres is that too many submissions are
underdeveloped and/or full of deadly mistakes. Our
remedy is applied over four consecutive work sessions
and then a workshop reading. First, through writing
exercises, group critique, and “example mentoring”, you
will start and finish a 10-minute play. Instruction will
focus on “the character’s journey” and will emphasize
the unique “rules” for a 10-minute play. You will have
reading assignments and writing assignments both in
and outside of class time. Second, you will hear your
play performed by professional actors in a public reading
followed by a formal critique conducted by Pamela
Turner and a guest reviewer.
The Course Sessions and 2009 Schedule:
April 4, 10am-1pm Part I - SETTING SAIL - The
April 11, 10am-1pm Part II - THE CALL OF THE
SIREN - The characters
April 18, 10am-1pm Part III - BEYOND THE
HORIZON - The story
April 25, 10am-1pm Part IV - FINDING LAND - The
April 26, 7:30pm A Kick-Ass Play Reading Event -
Workshop Reading and Response
All workshops held at Stage Door Players in Dunwoody,
Georgia and the Kick-Ass Play Reading Event at
Academy Theatre, Avondale Estates, Georgia. SPACE
For pricing and more information and to reserve your
seat today call 404.441.2716 or e-mail Jill Patrick at
NEW PLAYWRIGHTS INTENSIVE RETREAT:
VISION AND REVISION ASSISI, ITALY AUGUST
5 - AUGUST 18, 2009
Material: Application plus deposit
FEE: $1000.00 Deposit needed (see below for
additional Retreat costs)
ART WORKSHOP INTERNATIONAL. Live and
write in a 12th century town in the heart of Umbria
with a community of artists from around the world.
The workshop will focus on plays that are in process,
with emphasis on analysis and development of the
script. Writers will hear a scene or monologue daily and
will receive individual dramaturgy from the instructor.
In-depth and practical, this is a unique opportunity to
concentrate your creative energy and let go!
Artists developing solo shows are encouraged to attend.
Emphasis is on plot, organic structure and character,
with focus on building a relationship with the audience.
This aspect of the workshop is tailored for writers who
want to act, actors who want to write, and performers
wanting to create new work.
Jayne Wenger is a director and dramaturg whose
exclusive focus is on original material. She is the
past Artistic Director of the Bay Area Playwrights
Foundation. She leads workshops on play development
THE LOOP 12
around the country, is nationally recognized for her work
on new plays, and has developed the work of acclaimed
Early bird sign up (before March 15, 2009)
2 weeks: $3,950 ($304 per day)*
3 weeks: $5,240 ($262 per day)
4 weeks: $6,500 ($241 per day)
*Doesn’t include culinary course – see that webpage for
After March 15, price increases $200/week.
After March 15, 2009, price increases $200/week.
Includes shared double room with bath in an airconditioned
three-star hotel, daily breakfast and, fourcourse
dinner, instruction and studio, lectures, and all
gratuities. Non-participants, July 22 to August 18, $190
per day in a double room. Participants who arrive early
or stay a few extra days, $190 per day. If a spouse
or guest joins a participants before or after July 22 to
August 18, $350 a day for both. All prices subject to
minor change based on rate of exchange
Supplement: single with bath $250 per week for writers;
$350 a week for artists (with studio). Not Included:
Airfare, transportation to and from Assisi, field trips,
outdoor painting excursion fees and labs(model) fee.
Also extra: liquor, wine, laundry, and meals outside the
hotel. Reservations are limited and will be accepted
when accompanied by a deposit of $1000. Full refund
before May 15, half refund before June, 15. NO
REFUNDS FOR ANY REASON AFTER JUNE 15,
2009. TRAVEL INSURANCE TO COVER ALL TRIP
EXPENSES HIGHLY RECOMMENDED.
If you need a travel agent or any help with your travel
plans, please contact us: Tel: Toll Free (866) 341-
2922; FAX (212) 691-1159 Email: Bea Kreloff, bk@
artworkshopintl.com, or Chris Spencer, ces1000@
Please fill in, and print out application, and email or
mail with deposit.
MAKE CHECKS PAYABLE TO: ART WORKSHOP
QUESTIONS? CALL OR WRITE:
463 West Street #1028H, NY, NY 10014;
Toll Free 866-341-2922; Fax: 212-691-1159 Email: bk@
More information can also be found at http://www.
jaynewenger.com, and firstname.lastname@example.org.
SUMMER SHORTS4 (ND)
Material: 10 Minute Plays about “CELEBRATION”
YOUTH EDUCATION ON STAGE, Williston, North
Dakota puts out a call for their SUMMER SHORTS 4
which will be presented in July 2009. Since the theatre
is celebrating their 25th Birthday Season, we are asking
for your 10 MINUTE PLAYS for youth to focus on a
“Celebration” of any kind!!!
Remember, this is a Theatre using the talents of YOUTH
Ages 7-18 so material must be appropriate. No fee. No
royalties. But, all selected playwrights will receive a
T-Shirt, A DVD of the Festival, program Bio and news
credits. A panel of qualified adjudicators select over a
three night run, the 1st, 2nd & 3rd Place Finalists from
the EIGHT plays selected for Performance. And, the
Audience votes on the Audience Favorite.
Once again, we accept E-mail submissions; (being a
playwright myself, I understand the importance of this
method). (No Musicals)
Deadline: APRIL 10, 2009
Email to: Jack Dyville, Festival Producer-Director
ASIDE PRODUCTIONS (TX)
Material: Plays by High School or College students
living in the North Houston area during Summer
Play Script Submission Rules:
*Playwrights must be currently enrolled in high school
or college and be living in the North Houston (the
Woodlands, Spring, Conroe, etc.) area during Summer
*Must be a one act play shorter than 40 minutes (around
35 pages) with eight or less characters
*The play must be typed and pages numbered
*E-mail the script to playsubmission@asideproductions.
org as a Word document.
In the body of the e-mail include your name, date
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of birth, phone number, e-mail address, and mailing
address. Your name and contact information should
ONLY appear in the body of the e-mail and nowhere on
Up to three scripts will be selected for performance in
August 2009. Local actors and directors will take part in
helping the writer develop the script and make it ready
for performance. This will include several workshops,
rehearsals and the talk back after the performance.
The scripts will be judged on characterization, dialogue,
plot and the overall impression. Selected plays will be
announced in May 2009.
If you have any questions e-mail info@asideproductions.
NEW PHILADELPHIA THEATRE WORKSHOP
Material: Full Length Plays, written by Pennsylvania,
New Jersey, and Delaware Playwrights
No Fee Submission Opportunity for Pennsylvania, New
Jersey, Delaware Playwrights
Philadelphia Theatre Workshop ( http://www.
philadelphiatheatreworkshop.org) is currently reading
plays for its 2010-11 season. Currently in our fifth
season, PTW presents Philadelphia premieres of high
quality scripts from playwrights living in Pennsylvania,
New Jersey, or Delaware. Our plays are chosen because
they reflect diverse, contemporary human stories
and present characters, situations, and perspectives
not seen on other area stages. We are looking for
unproduced, full-length, contemporary plays that
require simple sets and costumes, with small casts and
low technical requirements. To see the kind of plays
PTW has produced, please visit our website at http://www.
Please submit a cover letter, synopsis, and 10-page
dialogue sample by email to: email@example.com by
April 30, 2009.
NEW APPETITE THEATRE COMPANY (IL)
Material: 10-Minute Plays
Appetite Theatre Company is currently accepting
submissions for its Sixth Annual Bruschetta: An Evening
of New Short Plays. Plays should be no longer than
10 minutes in length and playwrights are asked to
please limit their submissions to two. Only electronic
submissions will be accepted.
Send scripts as a word document or pdf to: appetite.
The first word of your email should be “Submission:”
followed by the title of your script. Please send each
submission in a separate email.
NEW THREE WISE MONKEYS THEATRE
COMPANY: SHORT LEAPS (CA)
Material: Short Plays (less than 15min’s), by San
Francisco Bay Area Writers
Three Wise Monkeys Theatre Company (3WM) is a
501(C)3 company started in 2001 by Dawson Moore,
Richard Bernier and Aoise Stratford. We are dedicated
to supporting, promoting and producing the best work
by San Francisco Bay Area writers of all demographics,
with an emphasis on youth, language, and theatricality.
We are interested in plays written for the stage that
concern themselves with issues involving the current
generation and demonstrate a unique use of language and
poetry. Although we aim to promote new work, this does
not always have to mean new writing and we are keen to
see new and unique adaptations and translations of older
works. Whatever the project, however, at 3WM we want
to facilitate the production and recognition of great new
theatre in the Bay Area, and part of that process means
fostering a collaborative and creative environment in
which both new, young voices and more experienced
theatre artists can thrive.
Short Leaps Submissions: Our annual event of
rehearsed stage readings held each year in the late
Summer or Fall.
Play submissions must meet the following criteria:
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• Submissions accepted annually, March 1 - April 30
• Plays must be less than fifteen minutes in length
• Plays must not have had a production in San Francisco
• Previous Short Leaps submissions are ineligible (unless
the script has
• Limit two submissions per playwright
• All plays must have a title page that includes: author’s
email, and telephone number
• Production history must be included in the body of the
• Email submissions need to be in either Word (.doc) or
Best submission method is via email to: scripts “at”
threewisemonkeys “dot” org
(SHORT LEAPS must be in the subject line)
Plays can also be snail-mailed to:
Three Wise Monkeys Theatre Company
PO Box 640326
San Francisco, CA 94164-0326
NEW TURNSTYLE THEATRE WORKSHOP
Material: Playwrights, Comedians, Writers,
Songwriters, Composers; Themes of commitment (or
failure to commit)
We are looking for new songwriters, composers,
playwrights, comedians, writers, to showcase in an
upcoming, themed revue. We are seeking creative,
collaborative individuals who are looking to be
showcased. Our working title is “Yes We Do/Yes We
Do not,” and will focus on themes of commitment (or
failure to commit).
Ideas can involve a wide spectrum touching on
commitment to faith, culture, government, relationships
and self. The submission can be stand-alone, or can be
an excerpt of a greater body of work—one of the goals
is to showcase a wide variety of artistry.
This revue will be work-shopped and performed late
spring in New York City, then be performed in other
major cities subsequently.
Send your submissions electronically:
If you can only mail in your submissions, email to
request a mailing address.
NEW EYEBROW PRODUCTIONS, WRITEBITES
Material: 5-minute Plays
Call for five-minute play submissions: Eyebrow
Productions is asking writers what they think can happen
in 5 minutes. From the fantastical to the mundane,
whether you’re waiting at a bus stop or witnessing the
apocalypse, Eyebrow is inviting writers to submit their
five-minute plays for an exciting evening of new writing.
The event, WriteBites (part of Eyebrow’s new writing
venture WriteTime), is encouraging writers from all
backgrounds and experience to submit material. Twelve
plays, to be performed by an ensemble of actors, will
be selected for the first event to take place at a London
venue, (to be announced), followed by a WriteBites
Scripts should be typed on single-side, and should be
approximately five pages long.
Please send submissions to:
WriteBites, Eyebrow Productions
13 Charterhouse Square
London, EC1M 6AX
Any scripts received after this date will not be
considered for the first WriteBites event, to take place
in May, but will be considered for the next evening
of WriteBites, set to be a regular event on the London
Eyebrow Productions is a young, vibrant theatre
company based in London. As well as producing shows
in Bristol, Edinburgh and Oxford, the company is most
well known for Showtime Challenge - an ambitious
attempt to stage and rehearse a full-scale West End
production in just 48 hours. Previous Showtime
THE LOOP 15
productions have included Sweet Charity at The Theatre
Royal, Drury Lane, and Me And My Girl at the London
Palladium last October.
Eyebrow’s innovative approach to theatre has been
recognized and supported by a number of highprofile
figures, including Dame Judi Dench, Stephen
Fry, Joanna Lumley, Gail Porter, Mel Smith and Mel
Giedroyc. For further details about script submissions
and more information about Eyebrow Productions,
please visit our website:
http://www.sendusascript.co.uk or email info@
LEBANON COMMUNITY THEATRE:
PLAYWRITING CONTEST (PA)
Date: 04-30-09 (Submitted by)
Material: Plays (10-20min’s), Theme: “Corner,
Cornered, and Corners”
Aspiring playwrights of all ages and experience are
invited to submit scripts for LCT’s 11th annual play
Plays will be judged on content, dialogue, ingenuity, use
of theme, and ability to be staged. Plays with special
effects, lighting or elaborate sets cannot be produced.
Previous years’ winning plays came from throughout
Pennsylvania, the Mid-Atlantic area,
and from across the United States and Canada.
The authors will maintain all literary rights to their own
All winning plays will be presented on the LCT stage
on August 20, 21, 22, 2009 at
8:00 p.m. and at a Sunday matinee on August 23,
2009 at 2:30 p.m.
For further information call: Mary Lou Kelsey at (717)
or send an e-mail message to firstname.lastname@example.org
Prizes: LCT’s Play Writing Contest Committee and the
LCT Artistic Board will judge the entries.
The winners will be notified by letter near the end of
Each winner will receive:
a) a $100 cash prize; and
b) one season ticket for LCT’s 2010 season for local
c) each of the winning plays will be performed on the
LCT stage; and
d) each playwright may direct and cast their own play if
they wish. Playwright directors will
be assisted by committee members; and
e) a DVD of the production of the winning plays.
Theme: All plays submitted should center on a common
theme, idea or concept.
This year’s theme is: “Corner, Cornered, and Corners”
*All plays submitted must be the original work of the
author and must comply with
guidelines of length and appropriateness for community
*Plays not on theme or not written for this contest will
not be judged.
*Play’s should be at least 10 minutes long, but must not
exceed 20 minutes of production time.
*Plays should have no more than three scenes using
limited sets, props and costumes. Only
simple on-off or fade lighting will be considered. The
cast of characters must be at least two, but should not
*Playwrights should keep in mind that they are writing
for the stage and not television or film, and must use
dialogue, not stage directions, to develop their play.
*There is no limit to the number of plays each person
*Please submit two copies of your play. Submissions
should be typed and double-spaced on one side only.
Both copies should be unbound and stapled on the top
left corner. Do not use any covers. Use a simple font
such as Times New Roman or Courier.
All plays must be submitted by April 30, 2009 and
must include on the title page
a short paragraph stating how your play makes use
of the theme.
Mail your plays to:
THE LOOP 16
P.O Box 592
Lebanon, Pa 17042
Production: Auditions for the winning plays will be
held at LCT on Sunday, July 19th and Monday, July
20th, 2009 at 7:00 p.m. All winning authors who want
to cast and direct their own play should be present.
Playwrights are encouraged to recruit potential actors;
and those auditioning will be considered for all winning
Download entry form: http://www.lct.cc/
NEW BUDDIES IN BAD TIMES THEATRE;
HYSTERIA: A FESTIVAL OF WOMEN
Material:Women from all artistic communities
are encouraged to apply, including film, dance,
performance art, installation art, literature, theatre,
music and all hybrids of any of the above
Buddies in Bad Times Theatre strives to fulfill the role of
the leading alternative facility-based theatre in Toronto.
We are committed to work that challenges boundaries of
theatrical and social convention.
As a company we celebrate difference and question
assumptions. Buddies in Bad Times Theatre is
committed to theatrical excellence which it strives for
through its play development programs, strong volunteer
base, youth mentorship initiatives and ever increasing
wealth of Canadian Queer Talent.
Buddies in Bad Times Theatre announces a call for
submissions for hysteria: a festival of women, the
largest multi-disciplinary showcase of its kind in North
America. Buddies is seeking submissions for its 5th
incarnation of this international showcase of female
talents from the worlds of theatre, dance, film, music
and visual art. Curated by Buddies’ Associate Artist
Moynan King, HYSTERIA is a vital female forum for
presentation, discussion and exchange, unlike any other
in the country.
Women from all artistic communities are encouraged to
apply, including film, dance, performance art, installation
art, literature, theatre, music and all hybrids of any of the
above. We are seeking new creations as well as existing
works by emerging and established artists from diverse
cultural, sexual and artistic backgrounds.
Submissions must include:
*2 copies of the completed application form per
submission (download at: http://artsexy.ca/pressroom.
*2 copies of a detailed project description and script
*2 copies of resumes of all confirmed participants
*2 copies of support material ie: slides, video (VHS &
DVD only), audio (CD or cassette tape only), photos,
press clippings, etc., (where applicable)
Please keep a copy of your submission. Hysteria
Participants will receive an honorarium.
Please send all submissions to:
Hysteria: A Festival of Women
Buddies in Bad Times Theatre
12 Alexander Street
Toronto, ON M4Y 1B4
(submissions will not be accepted by fax or email)
For more information please contact Moynan King at
Buddies in Bad Times Theatre at 416-975-9130 x 27
FUSION’S 4TH ANNUAL NEW PLAY
FESTIVAL, THE SEVEN (NM)
Date: 05-01-09 (Postmarked by)
Material: 10 Minute Plays, Theme: That One Thing
FEE: $5.00 only if submitted electronically, FREE if
sent snail mail
The Seven: New Works Fest June 18-21, 2009. Seven
new ten minute plays. Seven different directors. And a
stellar ensemble cast of New Mexico’s finest actors.
GUIDELINES FOR PLAY SUBMISSION
* Each script must be no more than ten pages long.
* Plays should be inspired by the theme That One
THE LOOP 17
* Each playwright may submit up to two scripts.
* Previously submitted plays, plays that have received
production and any unsolicited longer one-act or fulllength
plays are not accepted for consideration in The
* Each manuscript must include a title page with name,
address, phone number, and e-mail.
The preferred way to get ‘em to us is via e-submission.
We require a nominal $5 fee to offset print and
distribution costs, which you can pay conveniently online
*To begin, click on the “Add to Cart” button on the
website, which will place the required $5 fee in your
*Then, after you pay via credit card or PayPal, the
displayed receipt will include a WWW address that
allows you to upload your script. The receipt will also
be Emailed to you automatically. Copy and paste this
address into your web browser for a page that will
permit you to upload your script(s).
*If this is your first time visiting our ticketing site,
you’ll be asked to create a simple account that protects
your transaction and allows us to contact you if
something goes awry. All patron and artist information,
including email addresses, are kept strictly confidential:
FUSION never shares any information with any other
Alternatively, if this all sounds too high-tech or Big
Brotherish to you, or if you don’t want to part with
the $5, you may mail one copy each of up to two
different submissions to:
FUSION Theatre Company
Attn: The Seven
700 1st Street NW
Albuquerque, New Mexico 87102
(There is no submission fee with this option.)
DEADLINE FOR SUBMISSION IS FRIDAY, MAY
1, 2009! Whether submitted electronically by midnight
or postmarked for snail mail, that’s the firm deadline.
Entries will be acknowledged by e-mail once they have
been received by our literary manager. All playwrights
will be informed of the FUSION’s finalist selection no
later than May 8; winners will be announced by May
Staffing constraints prohibit our returning any
submissions. The volume of scripts submitted hampers
our ability to comment individually on each work;
therefore we do not offer criticism.
Again this year, theatre management has agreed to
provide a Jury Prize: a flight to lovely Albuquerque,
NM to see your professionally produced play! (Jury
comprised of nationally prominent theatre professionals
and FUSION’s own literary staff.)
NEW CHAMELEON THEATRE CIRCLE (MN)
Material: 10-Minute, One-Act, Full-Length, Musical,
or Theatre-for-Youth Plays
There is no submission fee! You much send three (3)
copies of each script, one (1) copy of our Tenth Annual
New Play Contest Entry Form. Do not bind any author
identification with your scripts. We will distribute the
scripts “blind” to our readers for complete objectivity.
Do not put playwright information on any page - failure
to do so will have your play pulled from the contest.
Include the show’s title on at least the first bound page.
Once the winning scripts have been chosen, we will
disclose the playwrights’ identity to our readers (and the
We do not accept plays that have been previously
produced. We do accept plays that have had workshops
and other readings. Receipt of play(s) will be
acknowledged only by request by e-mail. Scripts are
As in previous years, this year’s contest will have
*3-5 Winners will receive $25 each plus a reading at the
New Play Festival. All short plays will be entered in this
contest. Generally, scripts of about 15 pages or less will
fall into this category.
*1-2 Winners will receive $50 each plus a reading at
the New Play Festival. Any play that can be joined
with one or two other shows of similar length to make
up a complete evening of theatre will be entered in this
contest. Generally, scripts of about 20-60 pages will fall
THE LOOP 18
into this category.
*1 Winner will receive $100 plus a reading at the New
Play Festival. Any play that can constitute a complete
evening of theatre will be entered in this contest. It is
important to note that these shows can be one, two or
more acts - as long as it makes up a complete evening of
At the theatre’s discretion, we reserve the right to
designate, or not to designate, an Overall-Contest
Winner from any category and an Audience-Favorite
Winner from any category at the conclusion of the New
Play Festival. No additional prize-money is awarded,
just bragging rights.
Each playwright may submit up to two plays in any of
*One full-length play
*One ten-minute play
*One full-length play and One one-act
*One full-length play and One ten-minute play
*Two ten-minute plays
*One one-act and One ten-minute play
Please submit three (3) copies of each script, plus one (1)
entry form by May 4, 2009* (in hand, not postmarked)
Tenth Annual New Play contest
The Chameleon Theatre Circle
819 East 145th Street
Burnsville, MN 55337
*This is a rolling deadline. Any plays submitted after
this date will be considered for the following year’s
Download an entry form at: http://www.
NATIVE VOICES AT THE AUTRY 2009 - 2010
CALL FOR SCRIPTS (CA)
Material: Full Length Plays, Plays for Young
Audiences, or One-Person Shows, by Native
Native Voices at the Autry is devoted to the development
and production of new works for the stage by Native
2009 – 2010 Equity Productions
Native Voices at the Autry produces in Los Angeles
under a HAT “A” EQUITY Contract. For these
opportunities we will accept original material as well
as plays that have been developed or produced in other
venues. Selected playwrights will be notified by July 15,
Who should submit: All emerging or experienced
playwrights writing from the indigenous experience in
North America are encouraged to submit their work for
What to send: Native Voices at the Autry will only
consider completed full-length plays, plays for young
audiences or one-person shows that are text based. DO
NOT SEND one acts, ten minute plays or outlines. Solo
performance artists whose work is text based should
send full text in manuscript form. Please use a standard
All submissions must include: a 75-100 word biography,
a C.V. or resume, tribal affiliation, and full contact
information. Please include a Workshop and Production
History for the play you are submitting. Scripts will not
Where to send your submission:
Randy Reinholz, Artistic Director, Native Voices at the
4700 Western Heritage Way, Los Angeles, CA 90027-
Electronic submissions: will be accepted in Word or
PDF format. Type SUBMISSION in the subject line and
send email to email@example.com or nativevoices@
For more information: Email - Carlenne Lacosta
at firstname.lastname@example.org or nativevoices@
Phone - Rose-Yvonne Colletta at 323.667.2000, ext. 299.
Online - http://www.nativevoicesattheautry.org or http://www.
THE LOOP 19
EAST VILLAGE CHRONICLES, VOLUME 6
Date: 05-22-09 (Received by)
Material: Plays (20min’s max), inspired by the life
and history of NY’s LES
Metropolitan Playhouse, New York’s renowned explorer
of America’s Theatrical Heritage, is currently accepting
submissions for new plays inspired by the life and
history of New York’s Lower East Side.
Submissions will be evaluated by Metropolitan’s artistic
staff, and we will produce up to 10 of the submitted
plays in August 2009, as part of our 6th Annual East
Village Chronicles festival. As in prior years, the plays
selected will pertain to a chosen theme. For Volume 6,
plays should examine the reality of Getting By in the
East Village of today and in eras past. Playwrights are
encouraged to respond as directly or creatively as they
wish to this idea; how the plays relate to the phrase
“Getting By” is up to the playwright.
Submission Deadline: Completed scripts must be
RECEIVED, by mail or e-mail, by 5:00 pm Friday, May
Address submissions to:
220 E. 4th St.
New York, NY 10009
Submissions by e-mail accepted and encouraged!
Guidelines: We are seeking plays of no more than 20
minutes that can be played by 4 or fewer actors. The
plays will be presented with at least three others in a
given evening, and as a consequence, should not require
elaborate set or properties. Metropolitan Playhouse will
produce the plays on our 3/4 thrust stage in our 51 seat
theater. The plays will be directed by directors engaged
by Metropolitan to coordinate and rehearse the entire
The plays will be performed by a core company of
actors, cast specifically for the festival, each of whom
will perform in at least two festival plays. Because we
are forming a company, while playwrights’ input is
welcome (that is, highly desired!), final decisions must
remain with Metropolitan’s artistic staff.
Performance Dates: August 7 - 23, 2009
For more details visit:
NEW INNERACT PRODUCTIONS/ NYC REPERTORY
Material: Scenes, Monologues, spoken word about
the Life of Men of Color
InnerAct Productions/ NYC Repertory Theatre is
seeking submissions (scenes, monologues, spoken word)
based on the life and experiences of men of all colors for
a new upcoming production, “Act Like A Man,” to begin
production this summer.
Works should focus on any topic the writer chooses
to explore i.e., masculinity, childhood, friendship,
love, sexuality, sex, racism, employment, fatherhood,
dating, adolescence, aging, marriage, religion, college,
fraternities, health, illness, abuse, infidelity, etc., or bring
Structure: scenes, monologues, ensembles pieces,
spoken word/choreo poems. Serious, comedy, thought
provoking, matter-of-fact, fun, real. All scenes do not
have to be written by men, they do not have to include
only male characters (but can).
Deadline: Submissions may begin immediately until
Submit material to:
Dr. John Shévin Foster, Artistic Director
138 S. Oxford St., Suite 2C
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Brooklyn, NY 11217
Send via MSWord attachment (Windows)
Include information about yourself and your work.
InnerAct Productions/ NYC Repertory Theatre
Celebrating 10 years of “Quality Theatre of Color!”
InnerAct Productions: Quality Theatre of Color!, is
an nationally recgonized not-for-profit, 501(c)3, theatre
production company committed to making available
to practitioners of color a greater opportunity for
professional caliber work and compensation in the
theatre industry. It is the company’s objective to produce
for the general public quality performances created by
and for artists of color, and to produce within the central
theater district of New York City wherein the work of
these artists can exist as part of the American theatrical
experience. InnerAct Productions is a member of ART/
NY -- The Alliance of Resident Theatres/New York
NEW RISING STAGE (CO)
Material: One Act Plays (30 min’s or less), by
Rising Stage, a Boulder-based non-profit theatre
company is seeking scripts for its 2009 One-Act Play
Reading/Production Festival. Selected scripts will have
public readings in spring and summer, 2009, and the
festival winners will be included in a full production in
the autumn of 2009.
Rising Stage will be working closely with the Boulder
Chapter of the playwrights’ support group Colorado
Dramatists in the reading series and production.
Script requirements and submission instructions:
*All playwrights must be Colorado residents.
*Scripts must be unproduced, one-act plays of 30
minutes or less.
*Maximum of 6 actors.
*Reasonably simple set and technical requirements.
*Electronic submissions in Word or pdf format.
*Attach scripts to an email and send to
For more information, email thequantumleap@yahoo.
com or phone Mark at (720) 304-3090.
NEW (BOA) BAY ONE ACTS FESTIVAL (CA)
Material: One-Act Plays, by San Francisco Bay Area
This annual event showcases the work of many
and the plays are published in the Bay One Acts
is given to world premieres and plays with a limited
Plays must be by San Francisco Bay-Area writers and
must meet the following criteria:
• Submissions accepted annually, May 1 - June 30
• Play must be longer than fifteen minutes and less than
• Previous BOA submissions are ineligible (unless the
script has major
• Limit one submission per playwright
• All plays must have a title page that includes: author’s
email, and telephone number
• Production history must be included in the body of the
• Email submissions need to be in either Word (.doc) or
Email to: scripts “at” threewisemonkeys “dot” org (BOA
must be in the subject line)
NEW NO SHAME THEATRE (VA) [READ
THIS, even if you don’t submit, nice message]
Material: Full-Length and Short Plays
At the risk of opening the floodgates before we’re really
ready...I wanted you to know that I’m now the Artistic
Director of a new small 50-95 seat blackbox theatre that
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specializes in new works. We just got our 501c3 and
expect our certificate of occupancy any day now. That
theatre is Studio Roanoke.
We are set up primarily to be an experiential learning lab
for the students in the MFA playwriting program I run,
but I also believe that our students benefit from working
on and working with other playwrights who might not be
in the program. Also, in the full disclosure department,
being in the program is no guarantee of a production if
their play is not production ready.
In addition to the monthly developmental workshop
productions, our theatre will be doing something similar
to the Mill Mountain CenterPieces free public readings,
but calling them Lunchboxes.
We also are trying to build an audience closer to the
Downtown Scene from New York in the 80’s than the
commercial theatre audience that Mill Mountain was
catering to, so pieces can have more of an edge than
MMT was looking for. (I worked in one of those theatres
in the 80’s--HOME for Contemporary Theatre and Art
with Randy Rollison. That’s our model and Randy,
Morgan Jenness, Paul Meshejian, and Bonnie Metzgar
are all on our Board of Advisors)
We gots no money. Seriously. Although our founding
patron bought the building and did the renovations to
convert it to a theatre space, we haven’t yet got the
dough for rigging it out, seats, equipment, or other
important stuff. We have a projected start up cost of
about $100,000 to get all that stuff and are looking for
the first 100 people to donate $1000 to do so. To date
we have raised $9,000. Our annual operating budget is
expected to be around $180K. We haven’t raised any
of that yet. I liken this leap of faith to signing up for a
production date before you start writing.? I used to do
that a lot in college.? Nothing motivates like a deadline
and we have scheduled our first performance for April
28th. Biology Lesson and Other Experiments by Sandy
We do have some creative partnerships, like the
University, and a lot of people willing to donate sweat
equity even if they have no cash to donate.
Our budget includes a $65 per performance playwright
royalty for productions, $25 for readings with a DVD
of the event and moderated talk back? I’ll always make
sure playwrights get paid first...even if it means getting
chased down the street by my angry exploited staff of
interns and volunteers. Angry playwrights run too fast.
You don’t need to hear all the terrors I have about
budgets, just know that I’m committed to treating writers
well, have made writer’s royalties a priority, and my
own salary pretty far on the back of the list...I’m willing
to exploit myself on behalf of the theatre we’re starting
here and the work we’re hoping to do.
Anyway, on to what you are reading this for--the
Studio Roanoke takes submissions year round for
consideration in our regular season of new works,
readings, and even referrals to other theatres better suited
to your submission whenever that is the case.
LUNCHBOX SUBMISSIONS: Short, unpublished
plays (25-35 minutes in length) with an emphasis on
family friendly material that is appropriate for a general
audience at lunchtime. While your gripping drama
about assisted suicide might be great writing, if people
won’t feel like going back to work after hearing it, it
isn’t right for this series. Small cast, minimal production
requirements preferred. Plays should be complete
works, no cuttings of longer material. No adaptations
or musicals, please. Writer paid $25 and provided
with DVD of the reading and moderated talk back. No
provision for travel to attend rehearsals or the reading.
GENERAL SUBMISSIONS: Unpublished fulllength
and one-act plays of any style or genre except
adaptations. Preference given to small casts with
minimal production requirements. Writer paid $65 per
performance if selected for production. While we will
attempt to accommodate the writer in rehearsal and at
performance, no promise of accommodations or travel
expenses is extended.
PRESENTATION PROPOSALS: If you have a
suitcase piece which is self contained and currently
touring that might fit both our mission and space,
let us know! Send a complete project description
with supporting materials, press kit, and other useful
information (accommodations requirements, dates
available, minimal compensation, etc) and if we’re
THE LOOP 22
interested in hosting your show, we’ll see what we can
work out in order to make that happen.?
For example, we’re hoping to bring Sean Lewis’
KILLADELPHIA and at least one of Mike Daisey’s
monologues in when they are near DC.
Paper copies of all submissions is preferred, because we
can’t afford the printing costs and we hate reading plays
from a computer screen.
Send your script to:
PO Box 1749
Roanoke, VA 24008
We don’t return scripts (they usually have coffee stains
and scribbled notes anyway) so send only a business
sized reply SASE with the submission. We recycle
scripts we don’t hang onto or refer to other theatres.
There is no reader’s fee, but remember that the only
way to ensure that we have the very best people reading
your work with the limited resources we have available
without charging a fee to cover compensating those
readers is to encourage you to only send us your very
Donations to the cause won’t affect script selection, but
if you’re inclined to support what we’re doing with a
fully tax deductable contribution, email me off list and
I’ll give you that information. We’re so small that even
a couple of bucks goes a long way to getting a lot done.
Our website is still being created, what is there right now
is just a placeholder. It will be fabulous when it goes
live. Honest. http://www.studioroanoke.org.
We haven’t got our emails up and running yet either--it
is all very new and you’re hearing about it here first--
so until then you can contact me via my hollins contact
information in the sig below.
Todd Ristau, Director
Graduate Program in Playwriting
PO Box 9602
Roanoke, VA 24020-1602
NEW BOARSHEAD THEATRE (MI)
In its 43-year history, the BoarsHead Theater has been
a leader in new play development, and has proudly
presented numerous regional, national and world
Committed to the development of new works,
BoarsHead gladly accepts script submissions from
playwrights and agents. Frequently, the theater presents
staged readings, workshops and full productions of the
best new plays being written.
We are happy to give consideration to your play,
provided it is submitted according to these guidelines:
Due to the volume of submissions we receive, we are
no longer able to accept new works by e-mail. All
submissions should be sent by standard mail delivery.
SUBMISSION BY MAIL
If you are interested in mailing a script to BoarsHead for
consideration, send the following:
*20 pages of sample dialogue
*A detailed synopsis and character breakdown
*The play’s production and workshop history (if
*Playwright & creative team biographies
All submissions should be addressed as follows:
425 S. Grand Ave.
Lansing, MI 48933
Unfortunately, the above materials cannot be returned.
NEW NEW LEAF THEATRE (IL)
NEW LEAF THEATRE SEEKS SUBMISSIONS. We
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ask that submissions serve New Leaf’s mission to create
intimate, animate theatrical experiences that renew both
artist and audience. Visit http://www.newleaftheatre.org/
work.php for details.
SUBMIT A PLAY: New Leaf is pleased to consider
new plays that serve the New Leaf Mission for
inclusion in our mainstage season. Email synopsis,
character breakdown, and 10 page sample to write@
WHAT WE DO: New Leaf Theatre creates intimate,
animate theatrical experiences which renew both artist
That is our mission. It is what we do, every day, every
time we hit the stage to present a work of theatre. But
what does it actually mean?
To the members of New Leaf Theatre, the concept of
renewal is central to everything we do. Renewal, for
us, is about touching the lives of everyone we come
in contact with, from audience members to business
partners, actors to designers, stagehands to company
With everything we do, our aim is to remind people
that life can be as good as they make it. We want to
touch others - audience and artists alike - with the art
we create, to fill them with a sense of joy through fully
We also seek to create a quality of work that is both
intimate and animate. We want to bring a sense of
intimacy and sharing, of communal experience, to the
stage. We want each production we create to be animate,
infused with life and soul and vigor.
NEW URBAN SAMURAI PRODUCTIONS
Material: New Plays
Urban Samurai Productions is a theater group based
in Minneapolis, Minnesota. We accept new play
submissions year round. Please visit us at http://www.
urbansamurai.org and speak to our resident playwright,
Aaron Christopher. We’d love to read your play!
Send us a PDF version to: email@example.com
. Or you can mail it to us at the address below.
Urban Samurai Productions
PO Box 580397
Minneapolis, MN 55458-0397
SHUBERT FENDRICH MEMORIAL
PLAYWRITING CONTEST (CO)
Shubert Fendrich, the founder of PIONEER DRAMA
SERVICE, passed away in December of 1989. In tribute
to him, the Shubert Fendrich Memorial Playwriting
Contest is held annually to encourage the development
of quality theatrical material for educational and
CONTEST GUIDELINES: Individuals currently
published by Pioneer Drama Service are not eligible for
this contest. Pioneer Drama Service employees and their
families are also excluded.
This is an ongoing contest, with one winner selected
for each calendar year. The winner from the previous
calendar year will be announced each year on June 1.
All plays accepted for publication will be considered
contest finalists. The contest winner will receive a
$1,000 royalty advance in addition to publication.
Entries should be sent to:
Pioneer Drama Service
P.O. Box 4267
Englewood, CO 80155-4267
A completed Contest Application must accompany each
submission. Go to website to download: http://www.
CINCINATTI PLAYHOUSE IN THE PARK
Material: Full-Length Plays, Musicals and
Adaptations (Agent Submission OR Letter of
Script Submission Procedure: Cincinnati Playhouse
in the Park accepts submissions for full-length plays,
musicals and adaptations. The materials requested
THE LOOP 24
for both new and previously produced works are the
same. Playwrights should submit their work through
established literary agents. If you do not have agent
representation, send a letter of inquiry, playwright
bio or resume, character breakdown, brief synopsis
and ten-page dialogue sample. Please include your
play’s production history, if any. Musicals should be
accompanied by a tape or CD of selections from the
score. Do not send sheet music or DVDs.
We will review your submission and let you know if we
are interested in reading the entire script. Please include
a stamped, self-addressed envelope if you wish to have
your materials returned. Unsolicited scripts will not
be read. We do not accept electronically submitted
Please mail your submissions to:
Cincinnati Playhouse in the Park
Attn: Literary Department
P.O. Box 6537
Cincinnati, OH 45206
ORANGE HANKY PRODUCTIONS (NYC)
Material: Original Gay Plays (1-2HRS)
Orange Hanky Productions is accepting submissions
of original gay plays for future reading series and
Orange Hanky’s mission is to produce original plays
which raise the bar on gay theater, tackling the issues
facing gay people in a truthful, raw and fresh way.
OHP seeks out plays which break new ground in the
representation of gay characters, plays in which simply
being gay is not in and of itself the conflict. Orange
Hanky’s productions present situations which are
uniquely gay but are motivated by needs and fears which
resonate with everyone, regardless of sexuality.
Or, to put it simply: no closet plays, please.
Submitted plays should be between one and two hours
in length, and must contain significant LGBT content.
Plays may have had prior readings and workshops, but
must never have had a production in New York.
To apply, please email to firstname.lastname@example.org
your script and, in a separate document, a cover letter,
including your contact information, the title of the play,
a brief (no more than one paragraph) log line, and (if
applicable) the play’s previous reading, workshop and
non-NY production history. Please send this cover letter
as a separate attachment, not in the body of the email.
WRITE ANGLE PRODUCTIONS: TEN
MINUTE PLAY AWARD
Material: 10 Minute Plays
Send us your 10 minute plays and see your script on the
web! Award winners will remain on our contest page
for at least one month or until we find a new play that
Email your scripts to Ken Crost at email@example.com.
Make sure the subject of your email is Contest. We
prefer that all scripts be in Microsoft Word format
(though most formats will work). It isn’t necessary to
resend your script for each month’s contest, but you can
send a different script each month. Only one script per
playwright per month will be accepted.
Please note: because of the number of scripts received,
we can’t provide a critique of your play. Sorry.
Material: UNCHARTED: Music; TRAGEDY
TOMORROW: Comedy; OUTLOUD: Plays
SUBMISSION GUIDELINES: As New York’s premier
hub for emerging artists and new work, Ars Nova
is committed to developing and producing eclectic
theater, comedy and music to feed today’s popular
culture. To that end, Ars Nova strives to create daring
collaborations, meld disciplines and give clear voice to a
new generation of artists. Founded on the principle that
a professional and safe environment where risk-taking
is encouraged will cultivate a community of innovators,
our fundamental mission is to reinvigorate the world of
live performance by supporting smart, surprising new
work from the next wave of emerging artists.
THE LOOP 25
Unsolicited submissions are often considered. Artists can
submit material for the following ongoing series (please
indicate in your materials which series you would like to
be considered for):
UNCHARTED: Ars Nova’s monthly concert series,
featuring a wide range of composers and songwriters
on the brink of being “discovered.” All styles of music
are welcome, from Broadway to the Billboard 100 and
everything in between. This series has quickly become
a regular hot spot for music lovers and industry tastemakers.
To be considered for the UNCHARTED series, please
send a CD and biographical information, as well as any
press clippings or reviews you have. It’s also helpful to
include information about upcoming performances we
TRAGEDY TOMORROW: This series brings the raw
underbelly of New York’s alternative comedy scene to
the Ars Nova stage, showcasing innovative, alternative
and irreverent comedic storytelling and variety arts.
To be considered for TRAGEDY TOMORROW, please
send a description of your work (no longer than one
page), biographical information, any press clippings
or reviews, a DVD of your work if you have one, and
directions to any online material we could watch. It’s
also helpful to include information about upcoming
performances we could attend.
OUT LOUD: Ars Nova’s bi-weekly play reading series
dedicated to supporting the development of brand new
work by emerging playwrights.
To be considered for OUT LOUD, please send a
synopsis and ten-page sample of your play, along
with a playwriting resume and a cover letter detailing
any previous development the play has undergone.
Writers are also encouraged to invite us to readings or
productions of their work. Please note: full scripts will
not be considered unless requested based on the ten-page
Material for all the series is reviewed throughout the
year. Due to the high volume of submissions and the
time and attention given to each one, it can take us up to
six months to respond; please be patient.
If you would like your materials returned, please include
a self-addressed, stamped envelope.
All materials should be sent to:
511 West 54th Street
New York, NY 10019
Posted: Mon Apr 13th, 2009 04:43 pm
3 rd Post
edd, all puns aside, you're my fairy godmother!
Posted: Mon Apr 13th, 2009 04:52 pm
4 th Post
I've heard that before. LOL
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