Saturday, November 29, 2008
The Annual Fresh Fruit Festival will be held in NYC in July, 2009. The Festival’s goal is to present the whole spectrum of LGBT lives as expressed in performance, dance, theatre, video, film, spoken word, visual and music arts. Full-length pieces will be presented a minimum of four performances. Visual pieces will be shown for the entire two week period. Shorter performance works will have a minimum of one or two performances. Notification by Mid-March.
FRESH FRUIT PROVIDES THE FOLLOWING SUPPORT: Performance Venues; Publicity - flyers, press mailings, listings, email blasts; Advertising; On-line ticketing services; Production insurance; Limited tech and a dress rehearsal as determined by the technical director; Limited rehearsal space at the discretion of the technical director; Production staff: festival stage manager, light and sound technician, festival house manager; Sound system (2 tape decks or CD players, mixing board, amp, speakers, and 2 microphones run to the stage); Rep lighting plot with 1 “special” focused for each show; Front of house staff; Festival programs; Marketing.
For details and application: www.freshfruitfestival.com.
The mission of MultiStages is to encourage new collaborations between emerging/established playwrights and artists (from within and outside the theater arena), and to develop new artistic ideas through the creation of multicultural, multidisciplinary works that celebrate a fusion of art forms rarely found in today's theater. By supporting these cross-collaborations, new works are created that enrich, explore, and reinvent the world. MultiStages is the recipient of the 2008 Manhattan Community Arts Foundation Award. For questions, contact Lorca Peress at firstname.lastname@example.org.
Why You Should Apply: Great exposure and networking: Last year Intimate Exchanges was picked up for a run in London's West End, and Exit Cuckoo found an Off-Broadway producer. More individual attention and assistance: Our festival has a high ratio of paid staff per participant, so expert help is near by when you have questions or need help. Flexible financial plans can help you make a higher return on each ticket sold. Parties: We offer free space and a case of beer for your opening-night party, and we have an awards ceremony after the Festival. Reviewers: We get extensive coverage from New York's critical corps. Reviews are posted on our Web site.
Why You Should Apply NOW: Early approval: We'll let you know sooner that you're in the Festival, so you can start planning the myriad details of your production. We give priority to scheduling requests made by early applicants. The MITF seeks an eclectic and diverse collection of works and therefore welcomes all kinds of submissions: international, domestic, musicals, plays, experimental, multi-media, etc.
Below are submission details.
For DUTF 2009, the staff will accept twelve theatrical works; six full-length productions (60-90 minutes) and six shorts (30-45 minutes). Each work is performed only once during the festival. Three of the outstanding works produced during the festival will receive $1,000 in cash in the following categories of Best Play, Best Short and Audience Awards.
Please forward all materials to Marie Denise Jean-Louis, email@example.com, by 5pm on Friday, 12/19, or via mail at Downtown Urban Theater Festival, c/o Arcos Communications, 341 West 38th Street, 12th Floor, New York, NY 10018. Must include: biography with contact information of the playwright’s name, address, telephone number and email address, and photo; synopsis of theatrical work; complete script of theatrical work; biographies of actors, director, and crew, if available; description of stage set (if any) and production needs (i.e. sound and lighting).
Downtown Urban Theater Festival (DUTF) has been recognized as one of the world’s best festivals for new works and described as “not only prestigious, but a slice of heaven for playwrights who want the chance to freely express themselves” (Theater Festivals, 2005). From an inclusive, multicultural perspective, DUTF presents works that echo the true spirit of urban life and speak to a whole new generation whose lives defy categorizing along conventional lines. It has been a catalyst and an outlet for some of NYC’s most vibrant and creative playwrights and has presented 64 original theatrical works for more than 7,000 urban theater-goers.
Thursday, November 27, 2008
S. Robert Morgan,
You Are Invited!
The Artistic Community is cordially invited to closed table readings of new and current plays in development in The Essential Theatre’s New Play Reading Series. There is no admission requirement. Space is limited and all interested artists, literary personnel and invited guests are asked to RSVP by calling (202) 328-0569 or by E-mailing. All table readings will be held in room 221 of the, Martin Luther King, Jr. Memorial Library located at 901 G Street, NW, on the following dates:
Monday, December 1st 6:00 P.M.
Stuck in Winnemucca
Reading of third draft
Monday December 8th 6:00 P.M.
Blues Theme for Talladega
Reading of first draft
The Martin Luther King, Jr. Memorial Library is accessible by metro rail using the red, green or yellow lines via Gallery Place using the Galleries exit at 9th and G streets and the blue, orange and red lines trains to Metro Center using the 11th & G streets exit. The library also has free underground parking that can be accessed via 10th street and G Place. All interested artistic and literary personnel are asked to RSVP by calling (202) 328-0569 or E-mail through the click-through above.
About The New Play Reading Series
The New Play Reading Series is created to give voice to the work of new and established playwrights. It is in substance an incubator that serves to nurture the work for a three-year period in a supportive and collaborative environment with other artisans, actors and directors. Further, it is a forum where audience members are welcomed to engage in an open dialogue with the playwright and director about the issues presented in the material as well as techniques used to present them. The New Play Reading Series was initiated in the spring of 1992.
Wednesday, November 26, 2008
Date: 2008-11-26, 3:04PM EST
Violence against women and girls is a global epidemic that affects the health and economic stability of women, their families, and their communities.
At an individual level, gender-based violence and coercion is a gross violation of human rights. Moreover, a society that tolerates violence against women— where women are denied basic human rights and protection under the law, and where perpetrators of violence go unpunished — is not a just, stable society.
The FreeGirl Foundation, Inc., a not-for-profit corporation, was created to eliminate the dehumanization of women by promoting awareness and the prevention of gender-based violence and to empower women and girls everywhere. The FreeGirl Foundation is working to improve the quality of life of females by advancing their independence, security, education, health, self-reliance and freedom.
We are currently looking to create a theatrical production titled "FreeGirl" that will be based around gender based violence and will be an endeavor that will help us create awareness and at the same time put our foundation on the map. We are looking to identify a talented and proven playwright who believes in our mission that can help us brainstorm a plot and craft a script, dialogue, music, relevant issues/conflicts/ and character developement within the play. One of our team members is a multi-optioned screenwriter so you would have creative support and it would be a collaborative effort.
The finished project would make its rounds locally with the ultimate goal of it becoming a national major production along the lines of the Vagina Monologues or something similar.
Net profits will go to support The FreeGirl Foundation. If interested in helping us make the world a safer place for women and girls everywhere please visit us at www.myspace.com/FGFoundation and email Ron at firstname.lastname@example.org.
Source: Craig's List
Tuesday, November 25, 2008
Friday, November 21, 2008
Coalition of Theatres of Color Invites you to a free public hearing addressing the impact of the financial crisis on Theatres of Color (NYC)
Wednesday, November 19, 2008
The Red Harlem Readers (RHR) is dedicated to provide a venue for established and new writers and actors; as well as to engage the community in the literary arts through concert readings of plays, poetry, essays and short stories. The discussion that follows intends to provide a stimulating atmosphere of networking and further collaboration.
As told to us by our neighbors "RED HARLEM" became a joking way, among Indian people who lived here 30-40 yrs. ago, to describe an active and thriving Native American community between 106th and 110th including Morningside Heights. The Red Harlem Readers takes its name from those Native American people who lived and worked in this neighborhood.
RHR was co-founded in May 2007 by Richard Gaffield, Cordis Heard and Laurence Holder because they felt the need to provide a space where writers could hear works they were developing before interested and involved audiences. Ronald Wyche became an associate in the early Fall of that year and has been a very important contributor of weekly events, talent and audience. We've been reading poems, plays, screenplays, essays and novels almost every Sunday since; that's 67 pieces the first year and 20 pieces so far this season. Laurence left last summer to start another reading space further uptown.
The Indian Cafe on Broadway between 107th and 108th is a natural fit. The bar area on any given night offers challenging discussion and the Sunday afternoon readings with discussion following is a logical offshoot. One of the owners, Chander Malik is a NYC bollywood film producer and very generous with their staff and Indian spiced tea. We started reading around tables in the smaller loft area and the owners suggested we move the readings to the larger enclosed sidewalk cafe area. We've read the plays of Edward Albee, Anton Chekov, Laurence Holder, Elaine Jackson, Henry D. Miller, Owa, Lanford Wilson and Ronald Wyche. Poetry by Jawanza Bakari, Count Stovall and Sonia Sanchez has been read by the authors and Elain Graham, Yaa Asantewa, Jacqueline Gregg and many many others.From l to r: Co-director Ronald Wyche, M. Ndigo Washington and Jawanza work on the introductions.
To participate as writer, director, actor reader and/or arts administrator, please email us: email@example.com.
Co-directors: Richard Gaffield, Ronald Wyche
Associates: Debi Frame, Anne Geffel, Cordis Heard
Sunday, November 16, 2008
The Lincoln was opened in November 1928 as the Ogden Theatre and Ballroom. It was built through a collaboration between local African-American real estate owner and entrepreneur Al Jackson, African-American fraternal organization the Grand United Order of Odd Fellows, and African-American construction company owner Carl Anderson. Jackson was determined to provide the community with a theatre which catered specifically to African-American patrons and performers, and engaged the fraternal organization to manage it and Carl Anderson to build it.
The name was changed to the Lincoln Theatre in 1938, and over the years, hosted jazz greats including Madame Rose Brown, Harry Edison, Tiny Bradshaw, Stomp Gordon, Hank Marr, and Rusty Bryant, along with legends such as Count Basie, Duke Ellington, Miles Davis, Etta James, James Brown, and Columbus native Nancy Wilson. One of the most notable pieces of history was the debut of a three-year-old Sammy Davis Jr., who ran on stage to dance at the Lincoln in his first recorded performance.
The Lincoln was abandoned in the early 1970s and sat empty for three decades. Now owned by the City of Columbus, the theatre is undergoing an $11,000,000 restoration, and is a major factor in the revitalizing of the King-Lincoln District, the center of the historically African-American neighborhood in Columbus. The theatre is home to the Jazz Arts Group, and houses concerts, classes, and many community events, including productions from the Columbus Childrens' Theatre. Hines will helm three productions at the Lincoln Theatre each year in the genres of musical theatre, dance and concert performance, all in collaboration with local African-American performance artists and groups in residence at the Lincoln. Also while in Columbus, Hines will hold a jazz/hip hop dance workshop for young people.
The Lincoln Theatre is managed by the Columbus Association for the Performing Arts (CAPA); for more information on the Lincoln and its history, visit http://www.capa.com/columbus/venues/lincoln_about.php
Friday, November 14, 2008
Artistic Director, WPI
Dir, Multicultural Theatre, WMU
Thursday, November 13, 2008
— By Simon Saltzman, CurtainUp.com
Learn more and how to buy tickets at: http://www.passagetheatre.org/cms/index.php
OPENS DECEMBER 4
The article on Bodega Ave. came out today in the Viva section of the New York Daily News. Here is the link: http://www.nydailynews.com/latino/2008/11/12/2008-11-12_brooklyn_roomies_create_online_comic_str-1.html
Thanks so much for all your help!
Tatiana has also gotten on Telemundo talking about Bodega Ave. The show's called "Las Comadres Con Gloria B" and it airs 5am to 6am Mon-Fri. The Bodega Ave. bit aired Mon Nov 3/08. It can be found here: http://www.lascomadrescongloriab.com/inc_VideoVODMain.asp?IdVideo=360
And her "What is a lesbian woman"? bit aired Oct 30/08: http://www.lascomadrescongloriab.com/inc_VideoVODMain.asp?IdVideo=331
Spread the word!
Sunday, November 9, 2008
Friday, November 7, 2008
Deadline: 12-01-08 (Postmarked or Delivered by)
Material: Full-Length or One-Act Plays
Staged readings of new plays, each one produced for an audience and accompanied by a production critique with audience participation. Selected plays may also be considered for production in the Department’s theatre season.
*Entries must be original full-length or one-act plays which have neither been produced nor published. (NOTE: Special interest will be given to scripts that increase awareness of health disparities that exist among African Americans and other minority groups in the U.S. ).
* Each playwright may submit only one script.
*Scripts must be typewritten or word processed and securely bound within a cover.
*Title page must include name, street and email (if applicable) addresses and phone number(s).
*Each script must be accompanied by two (2) stamped, self-addressed business envelopes.
*All playwrights will be notified when plays selected for staged readings are announced in March. One to three staged readings will occur in the spring (depending on length of plays).
*Only scripts selected for staged readings will receive critiques. Critiques will follow staged readings and involve audience participation. Playwrights must be present for critiques.
* The NCCU Department of Theatre reserves the right to accept or reject any play submitted.
* Scripts will not be returned unless accompanied by a self-addressed envelope with sufficient postage. All entries will be handled with extreme care, but North Carolina Central University is not responsible for lost or damaged scripts.
* Scripts should be mailed or delivered by December 1 to:
ATT: Karen Dacons -Brock
Department of Theatre
P.O. Box 19593
North Carolina Central University
Durham , North Carolina 27707
or Office 106, Communications Building , corner of Fayetteville and Lawson Streets, NCCU campus.
SELECTION PROCESS: Selection of scripts for staged readings will be made by a panel of select NCCU theatre faculty and a Theatre Alumni Association member. North Carolina Central University reserves the right to use the names of the plays and the authors’ names in publicity and promotion. North Carolina Central University reserves the right to videotape staged readings for archival purposes.
Source: The Loop
Material: Full-Length Plays
Dedicated to the discovery and nurturing of new playwrights and new plays. Professionally staged readings will be conducted of three selected plays from those submitted to the series. The playwrights will be invited to be present at these readings and honored at a reception following. One or more of the plays may be included in the regular season with a full production on the main stage.
*Plays which have been produced professionally are ineligible. (Eligibility not affected by workshops, readings, community or academic production)
*Plays must be full length
*No musicals or children’s plays are accepted at this time
*Please include with the script, a synopsis of the play, a character breakdown, production requirements, time and place, a production history, and playwright’s biography.
SUBMISSIONS: Submit plays by December 1, 2008. Please note: Any plays submitted after this date will be considered for the following year’s series. Selected plays will be announced by February 1, 2009 and staged readings will take place in the spring. Three playwrights will receive an honorarium. Check our website for exact production dates and announcement of selected plays. Mail hard copies of plays or letters of inquiry to the address below: manuscripts will be returned only if accompanied by self addressed and stamped envelope; acknowledgement of receipt only with enclosed SASE or postcard.
Eudora Welty New Play Series
New Stage Theatre
1100 Carlisle Street
Jackson, MS 39202
Source: The Loop
COLUMBIA COLLEGE THEATER DEPARTMENT: THE ANNUAL THEODORE WARD PRIZE FOR AFRICAN-AMERICAN PLAYWRITING (IL)
Material: Plays by African-American Playwrights
The annual playwriting contest sponsored by Columbia College Chicago Theater Center. Nationally acclaimed for recognizing the outstanding individual accomplishments of African-American playwrights, along with their growing importance to the shape and direction of American drama in our time.
The goals of the contest are as follows: To uncover and identify new African-American plays addressing the African-American experience that are promising and producible; To encourage and aid playwrights in the development of promising scripts; To offer an opportunity for emerging and established playwrights of African-American descent to be exposed to Chicago’s professional theater community through staged readings and/or fully mounted productions.
For more information on the submission process, and prizes, please contact contest facilitator, Chuck Smith at 312.344.6136.
Source: The Loop
The Lark is committed to providing access to all writers, regardless of age, ethnicity, experience, or whether they have agent representation. The Open Access Program ensures that the Lark’s programming reflects both global and U.S. ethnic diversity. The Lark distributes a call for submissions to the industry-at-large, seeking new plays and new voices, and the work is then carefully reviewed by a volunteer committee of readers, the Literary Wing, and the highest-ranking work is showcased in an annual Playwrights’ Week Festival. A submission to this annual festival is the ONLY way that the Lark is able to support unsolicited play submissions.
* Given that one of the primary goals of our open access program is to increase the number of writers we serve, alumni who have previously presented in a Barebones, Playwrights’ Workshop, Studio Retreat, Playwrights’ Week, or Public Reading are not eligible to submit.
Please download application at www.larktheatre.org/programs/submission.htm and mail completed submission materials to:
Lark Play Development Center
c/o Literary Wing Submission
939 Eighth Avenue, Suite 301
New York, NY 10019
Please note that all applications should be typed. Incomplete submission materials will be discarded!
SUBMISSION CHECKLIST: One full length play. One completed application form.
*No more than ONE FULL-LENGTH play per playwright will be considered.
*List only the play title on the cover page-no personal information.
*Please do not submit unbound scripts or permanent spiral binding.
*We prefer scripts bound in clear plastic covers.
*Double-sided pages are appreciated if possible.
*Do not attach application materials to script.
*Each submitting playwright should expect a final response by summer 2009.
*Please, no calls to the office.
If you have any questions or would like more information please email: firstname.lastname@example.org.
WHAT KIND OF PLAYS ARE WE SEEKING?
*Works that are ambitious, fresh, playful, engaging, energizing, provocative, powerful and theatrical.
*Works that reveal unheard and vital perspectives.
*Authors with clear goals about their writing who are open to the Lark’s developmental process.
Source: The Loop
Material: One-Act and Full Length Plays (with political vision)
We are now accepting applications into our Residency for Black Playwrights. The residency begins in Fall 2008 and lasts through August 2009. It entails:
- A commission to write a new play that features a Black LGBT protagonist.
- Entry into Freedom Trains Play Development Workshop.
- Two (2) staged reading performances of each work at Fire! New Play Festival in August 2009.
- Facilitation of The Open Workshop, a playwright’s salon where writers bring in work to receive feedback from their peers and Resident Playwrights.
- Freedom Train hosting an Offstage Series Discussion around the socio-political issues of each playwrights new work. - An honorarium.
By the end of 2008, our second year, we will have supported the development of eight new plays and political theatre. And in alignment with the Train’s goal to besiege NYC theatre with our distinct worldview, former resident playwrights have gone on to Public Theater’s Emerging Writer’s Program, Emerging Artists Theater’s One Woman Standing Performance Series, and Ensemble Studio Theater’s Youngblood Residency.
The Residency Selection Committee weighs the following key application areas in their judgment: strength of writing and form, the playwright’s vision for political theatre, and prior production experience.
- Submit an one-act or full-length play. This should showcase your theatre aesthetic, writing, and vision for political theatre. It does not have to be a work that has a Black LGBT protagonist.
- Submit a play synopsis of the one-act or full-length play (75 word max).
- Submit a resume detailing your playwriting experience. Also, please include any teaching artist experience or background as a playwright within any formal or informal writer’s group or workshop.
- Submit a playwright statement (2 pages max) detailing: (1) your goals for the residency and (2) tell us about the play you plan to write by sharing the central struggle or any dramaturgical research or your impetus/drive behind writing the play. Finally, (3) share how you plan to structure and facilitate a session of The Open Workshop.
- Applicants should send materials via email (.doc files only) by Friday, November 14th, 2008 to: email@example.com.
QUESTIONS: Direct questions to firstname.lastname@example.org or visit our website www.
freedomtrainproductions.org. No phone calls please.
Wednesday, November 5, 2008
Saturday, November 1, 2008
With multiple productions of his work around the United States and in Great Britain, McCraney -- who is also an international writer in residence with the Royal Shakespeare Company through 2010 -- continues building his reputation as one of theater's most promising new voices. Producers in his hometown, however, have yet to present any of his plays. Directed by Tina Landau, In the Red and Brown Water runs April 24-June 21 with the other two (directed by Robert O'Hara) joining it in repertory May 14-June 21. For information, visit http://www.mccarter.org/.