Sunday, April 28, 2013

Ten Minute Play Workshop: TMPW Session #92: Aurin Squire's "St. Augustine, F...

This was a fun venue to have a short script cold-read and analyzed by other writers. I would recommend it to others as it was very helpful.

Ten Minute Play Workshop: TMPW Session #92: Aurin Squire's "St. Augustine, F...: Tonight's TMPW session was packed with professional writers and Aurin Squire's " St. Augustine, FLA.'


Wednesday, April 24, 2013

Faking the Funk

I've been thinking a lot about 'faking the funk' in Buddhism and I think it's one reason why people leave the practice. They put separation between their roots and Buddhist traditions. And it creates a disconnect of disowning the past for an exotic future. I've been thinking about this because of the wandering time of year when people drop out or get lost in their own minds. I have been re-examining my own shit and I have to bring my home into Buddhist practice. The beings in meditation should look like my family and friends and not always like these wild yogis from a thousand years ago. Not to say that some times I don't need the archetypes, but it becomes phony if its not connected to gospel music, soul food, hip hop, Miami, Brooklyn, and queens. But my practice is now with all the people who got me here. I forget that in a very subtle way. 

Faking the Funk can be very subtle. New York City is filled with opportunists who are faking it. And even though, on the outside everything looks normal, on the inside there is a phoniness which resonates out to others. It is the differences between bringing the plastique or the realness. The 'realness' is the grounded soul. In the Black church they call it being 'anointed.' But what makes someone anointed isn't having God. It's having nothing BUT God. That means an 'anointed' singer will some times go off-key, wander on notes but he or she doesn't care and -surprisingly- neither does the crowd because they know they're being taken some place. Whitney Houston was an anointed singer who -despite all her troubles- was able to clear a spot in her heart and let the spirit drop in when she sang gospel. Audra McDonald, on the other hand isn't. And Audra is a world famous, precise and pristine singer and student but she has admitted that she doesn't have that 'anointing' in her voice. There is too much getting in the way. 

I think as Buddhist we can be 'anointed' but we have to 'come as we are.' We can't fake the funk. We have to clear that spot in our heart and allow it to come to us. Odds are it'll come as stuff that was deeply embedded with us as children; in other words, not wild-looking Indian deities with 50 arms. Those archetypes were for Indian kids who grew up with that. But if I don't acknowledge that, then I'm putting up a very subtle cultural block. 

I'm going to be honest: I don't like kirtan music. For the music part I find most of the stuff I hear by Americans to be a noisy, pretentious racket from a bunch of hipsters. And there is a huge part of Buddhism that's taken up by superficial, pretentions of what 'we're supposed to do and like and say.' And this is attractive to disconnected people who are wandering/searching. And most of them end of being either spiritual tourists or sticking with one exotic religion and 'faking the funk' their entire lives and wondering why they don't have that 'first feeling' they got when they started studying Buddhism. It's because that initial burst wasn't rooted to their reality, it was just a sugar rush of the new. And if it's not rooted then the deeper wisdom that's in Buddhism won't penetrate. 

But when I'm in auditions this weekend and actors are singing gospel songs like "Grandma's Hands' and 'This Old House' and I find myself spontaneously and without much effort, weeping, then I know where my music home is to my spirit. There's a wisdom in these songs which is ancient and so obvious. Now the White guy next to me is politely listening and he's sort of/kind of moved, but he's not dropped in. Not because he's ignorant, it's just not his home, musically. Nothing wrong with that.

Home: James Taylor. He sings and I'm there. I don't know why but it's chilling. My Lama makes me do dance class b/c that's where my movement home is. Now this is tricky because I actually do like yoga A LOT. But she said the way to yoga for me would be through dance so I take classes at Alvin Ailey and other places. 

But I will say that after doing my first meditation retreat, I was introduced A Course in Miracles and I found it eerily perfect how well it syncs up with Buddhism. ACIM is the words of Christ but it has a surprisingly strong 'emptiness' factor to it around the action of 'forgiveness' or 'forgiveness with pure non-duality of realizing where stuff comes from.' After reading that it did perfectly make sense how there could be a God and how that does not at all contradict with Buddhism b/c ACIM goes through karma, emptiness, and how God is completely removed from the world of duality (b/c God is a non-dualistic thing and everything in this universe was created out of duality). And when I read that it was 'yes, yes, of course!! Duh!!' 

And I can still do my Tantric meditations, wisdom studies, and then pick up a book about Jesus and go 'yes, yes, this relates to this section of Tantra or Mind-only, or Sutrists.'

Anyway, that is my dropped-in ramblings on these matters. Don't fake the funk. Because society will polite you to death. I will say my advantage (of my upbringing) is that in my home if something is bullshit my parents would call it out as 'phony.' And I run from situations and people like that. And my parents had a lot of traditional 'black American things' but also a lot of alternative or surprising interests because they were true to themselves and their comfort. 

Wednesday, April 10, 2013

34: An Honest Assessment

I begin my 34th year on this planet in a state of flux. I sit here trying to make sense of everything. I have projects, friends, and a lot of great inspirations. My spiritual practice has hit another platform from which I can operate. My inner sense of peace has expanded so that, even under extreme pressure, I can come back to center. And at the same time I'm left wanting more.

On the physical end of things, finances could be better. Juggling freelance projects means having to scramble around to pay the rent. Healthcare coverage is out of the question along with a fancy gym membership, yoga classes, and the things I would like to be able to have for security. My savings are minimal to non-existent.

Career-wise I haven't had a show produced in years. Yet my credentials and credits continue to expand with producing projects, dramaturgy, writing/directing for web. I don't know if any grants are coming in or what the next year may hold. I have given thousands to charities to help others. This is money that -obviously- could have been used for those fancy gym memberships, healthcare, buying designer clothes, and other things. In general I try to give half of everything to charities and not-for-profit orgs. I do this with the belief in karma and planting seeds. And I have experienced the enormous benefit. But some times I wonder why is it so slow?

My parents are in a relatively-stable state with my Dad bed-bound and my Mom taking care of him. I don't know what the next few months and few years will be.

There is so much uncertainty. Yet, when I look back over the last several years, all the uncertainty has transformed itself into amazing experiences, opportunities, and friends.

As I enter this 34th year I feel both like a lot has been achieved and yet there is something lacking. It would easy for me to say that what's missing is material things. Yet, there's no doubt that some material things would give me a feeling of more stability.

If prayers and written words do matter, then I guess I'm writing this down as a living record. Ever since I was a child I would do this and, generally, I attained all that I put my mind to over the last 3 decades.

So entering my mid-30s, it's too late to turn back out of fear. There is so much more to do. I just have to put it out there and open myself up.

I do desire a larger and more prosperous work life. I want to focus on writing/producing a few things at a time, at increased pay and other professionals. I want to serve in a more efficient way with my writing and philanthropy flowing together. There is so much potential in this next few months. Now I have to do the internal work in my mind and with my spirit. I'm going to have to ask for a lot of help, guidance, and love.




Monday, April 8, 2013

April 2013: GET WHAT YOU WANT


1.
Playwrights Realm Writing Fellows
 Deadline: May 3rd
 Playwrights Realm offers an annual writer’s fellowship for emerging playwrights. All forms of theatre scripts are accepted from plays from a rough draft to a production-ready state through a process of monthly review and revision in a challenging, motivating environment. Fellows also get valuable input from their talented co-fellows and established theater professionals in monthly meetings.  The experience is designed to widen an artist’s network of resources and establish a foothold in New York theater. Finalists for the program will be interviewed in the spring and final selections will be announced in the summer.
 Writing Fellows Receive $2,500 Award, internal reading, final reading for public audience, prime real estate on the Playwrights Realm couch, use of the Playwrights Realm office for printing, writing, meetings, etc. And an occasional hug.


2.
Portland Stage Little
Deadline: ongoing

Little Festival of the Unexpected is an annual event dedicated to public readings of new works. Three to five playwrights are in residence each year at the festival as they continue to develop their scripts with input from actors, directors and audience members.

DETAILS
Each playwright in residence receives a stipend as well as housing during the festival. Limited support for travel is also available.
Past Little Festival of the Unexpected scripts have a successful track record of full productions both here at Portland Stage and at other professional theaters around the country. Almost Maine, which was developed at the 2003 Little Festival, went on to become the most commercially successful mainstage production in PSC history. Many other Little Festival works have gone on to productions elsewhere, including successful Off-Broadway runs and television filming for PBS’ American Playhouse.
Little Festival of the Unexpected Submissions Submissions for the upcoming Little Festival of the Unexpected are accepted year-round on a rolling basis. All submissions received after January 1 will be considered for the following year’s festival. Only one submission is accepted per playwright.

Plays are eligible for development at The Little Festival of the Unexpected only if they have not previously been professionally produced or workshopped with Equity actors. This restriction includes Actors Equity showcase and waiver productions. Plays that have had readings or non-AEA productions are still eligible.

Literary agents may submit complete scripts at any time.
Playwrights may submit 10-page dialogue samples for consideration. Dialogue samples must be accompanied by a synopsis, production history and character breakdown.

Submit by mail to:
Portland Stage Company
Attn: Literary Manager
PO Box 1458
Portland, ME 04104


3.
CARL DJERASSI FELLOWSHIP
DEADLINE EXTENDED: APRIL 20

Please spread the word! The Wisconsin Institute for Creative Writing has extended the deadline for its $27,000 Carl Djerassi Fellowship in Playwriting. We will accept applications postmarked as late as April 20.

The Carl Djerassi Fellowship in Playwriting was established by scientist and author Carl Djerassi to encourage beginning-to-mid-career playwrights whose work is not only performed, but also has intrinsic literary value. To realize Dr. Djerassi's vision, the University of Wisconsin-Madison's Program in Creative Writing annually awards a fellowship to a playwright whose plays can be read and discussed as works on the page as well as performed on the stage. Playwrights whose works have been published as well as performed are especially of interest. Past Djerassi fellows include Dan O'Brien, Michael Weller, Len Jenkin, Sarah Gubbins, Martín Zimmerman, and Elaine Romero.

Applicants to the fellowship must have completed or be scheduled to complete an MFA or PhD in Creative Writing or Playwriting by August 15, 2013. For details regarding the responsibilities and privileges of our fellows, please visit the Wisconsin Institute for Creative Writing website. All applications must be postmarked by April 20, 2013 and should indicate "Djerassi Playwriting Fellowship" clearly on the envelope. There is no application form or entry fee, though applications must include the following materials: (1) a cover sheet listing your name, address, phone number, email address and the title of your writing sample. (2) a resume or curriculum vitae. (3) two letters of recommendation. (4) a single writing sample (i.e. one published play or one unpublished manuscript). Your name must not appear anywhere on your manuscript.

Applications should be sent to the following address:
Sean Bishop, Coordinator
Wisconsin Institute for Creative Writing
Program in Creative Writing
University of Wisconsin
600 N. Park St., H.C. White Rm 6195A
Madison, WI 53706


4.
THE ARCH AND BRUCE BROWN FOUNDATION
Deadline: June 30th

The Arch and Bruce Brown Foundation will accept submissions for its 2013 Playwriting Competition between March 1 and June 30, 2013. Electronic submissions must be received by midnight on June 30, and mailed manuscripts must be postmarked by the deadline.
All works submitted (full–length dramas, comedies, musicals) must be original and in English. All works must present lesbian, gay, bisexual or transgender life in a positive manner and be based on, or directly inspired by, a historical person, culture, work of art or event.

There is no entry fee. Prizes are as follows: First Prize, $3,000; Second Prize, $1,500; Honorable Mentions, $500. Prizewinners will be announced before the end of the year.

For complete submission guidelines, visit the foundation’s website: aabbfoundation.org, or write to Arch and Bruce Brown Foundation, P.O. Box 26124, Brooklyn, NY 11202.

Production Grants

The foundation also offers grants to production companies to offset expenses in producing theatrical works (plays, musicals, operas, choral works, orchestral works with text) and film or video. All works must be based on, or inspired by, history and present LGBT life in a positive manner.

Proposals may be submitted throughout the year. For complete details and proposal submission guidelines, visit the foundation’s website: aabbfoundation.org, or write to Arch and Bruce Brown Foundation, P.O. Box 26124, Brooklyn, NY 11202.


5.
InterAct Theatre 20/20 New Play Commissions
Deadline May 1st

InterAct Theatre Company is pleased to announce that the fifth round
of submissions for its 20/20 New Play Commissions will have a deadline
of Tuesday, May 1, 2012.

Long established as one of the country’s most devoted producers of
provocative new plays, InterAct seeks to use the 20/20 Commissions to
fund the most adventurous, complex, and dramatically interesting plays
of tomorrow. Commissions should embrace and explore the wide range of
stories that unfold when the larger forces of our world impact the
individual. Twelve commissions and grants have already been awarded to
plays ranging in style from hard-hitting drama to absurdist
surrealism.

For this round of commissions we want to focus on our hometown. Plays
that speak strongly to or about Philadelphia will be given extra
consideration, as will locally grown writers. However, submissions are
NOT LIMITED to Philly and Philadelphians. Passion is the most
important part of your proposal. Also keep in mind that two plays
recently submitted as both a sample play and a development grant - IN
A DAUGHTER'S EYES by A. Zell Williams and MICROCRISIS by Mike Lew -
ended up receiving productions on our main stage. So there is
additional value to submitting a proposal!

About InterAct Theatre Company

InterAct Theatre Company, located in Philadelphia, PA, is the home of
America's most thought-provoking plays. In its twenty-four seasons,
InterAct has introduced Philadelphia audiences to a canon of plays
exploring the most important issues of the past two decades: From the
fall of communism to the rise of fundamentalism, from religious
extremism to American consumerism, from AIDS to genocide. Satire,
farce or drama: an InterAct play will always provoke thought and spark
dialogue.

InterAct is a founding member of the National New Play Network and the
Philadelphia New Play Initiative.

About InterAct’s 20/20 Commissions

There are two types of awards associated with the program:

  • Development Awards (ranging from $500-$1000) - through which
InterAct commits funds toward the further development of a play,
including dramaturgical consultation, private and public readings and
workshops. Development Awards are given to works already in progress,
but not yet production ready.

  • New Play Commissions (ranging from $5000-$10,000) - in which a
new and wholly or substantially unwritten play is commissioned and
similarly aided in its development by InterAct.


Up-to-Date Playwriting CV:  Be sure to include the development
history, if any, of the proposed work.
One copy of a previously completed full-length script:  Submitted
scripts need not have received previous productions for submission. If
possible, please submit a script that fits within InterAct’s central
mission. If you do not feel that you have a script suitable to our
mission, you may send whatever script you feel best exemplifies the
quality and style of your writing.

Please note:

The postmark deadline for completed fifth cycle applications is
Midnight EST May 1, 2012, and InterAct will notify all playwrights of
its decision via email by September 17, 2012.
  All parts of the application should be submitted as PDFs sent to
2012commissions@interacttheatre.org. Please label the PDFs clearly
following this format:

      - Jean Genet Statement
      - Jean Genet CV
      - Jean Genet The Maids (Sample)
      - Jean Genet The Balcony (DA Submission)

  Only full-length plays are eligible for commission or development.
Musicals and bills of related one-act plays will not be considered.
Collaborations are welcome.
  For all 20/20 New Play Commissions, InterAct reserves the right of
first production.
  There is no fee to apply.

Applications should be emailed to 2012commissions@interacttheatre.org.


6.
Stage Left Theatre (looking for plays to fill their season)
Deadline: April 15th

Zev Valancy, the Literary Manager of Stage Left Theatre in Chicago, is looking to develop and produce plays that raise debate on social and political issues. As part of the "develop" portion of that mission, 2013-14 Playwright Residency has been created. We will be accepting applications through April 15th.

We're looking for two scripts that fit our mission--plays that raise debate on social and political issues. We'll being developing one in the fall and one in the spring with ensemble directors and our literary staff. Both will be eligible for inclusion in LeapFest 11, our developmental workshop festival, in summer 2014. The scripts don't need to be complete to be submitted--we encourage scripts anywhere in the process. Our goal is for them to reach the production-ready phase, using a combination of dramaturgical feedback, table reads, workshopping, invited reads, and other tools, as determined by the needs of the play and playwright. Playwrights from anywhere in the country are eligible, but we're unable to help with transportation expenses.

More information and the application are available here at our website:

Any other questions can be addressed to me at scripts@stagelefttheatre.com.
Please do not contact me here, as this is my personal address.

7.
Fable Theatre
Deadline: mid-April

Fable Theatre is the story-telling branch of Fable Farm, a community supported agriculture collective. In addition to growing fresh vegeta! bles, flowers and herbs for upwards of 100 families a week, we produce plays. We are looking for a full-length play to produce as the 2013 summer main stage production.
Would like to premiere your work on an outdoor summer stage on a farm? After hundreds of guests have finished their meals made from the food harvested from the land, they will take their seats on burlap covered hay bales under bright stars on a warm summer night and the play will begin...
We are searching for 'homespun' material, not necessarily related to agriculture or with an outdoor setting. We are NOT interested in children's theatre, but need to steer clear of excessive profanity. We are looking for a small cast and high drama. (think Chekhov with a cast of four) : )
We hire New York based actors, directors, and designers and house them on the farm as artists-in-residence.
Submissions are currently open to find the writer of this year's play. If you are a writer interested in submitting! , respond to this Mandy ad or email TheatreOnAFarm@gmail.com t! he following:

  • A Summary Of Your Play
  • A Character List And Short Character Descriptions
  • Your Bio
If we are interested we will contact you to discuss this opportunity further!
(i.e. financials, castings, a play reading, etc...)
Thank you for your time and we look forward to reading your work!
Fable Theatre
-
DEADLINE TO SUBMIT PLAYS: MID APRIL
Although we recommend submitting ASAP as we will MOVE if we fall in love with a piece!
- .
If you were eligible to this vacancy, please email us your resume, with salary requirements and a resume to Fable Theatre.

If you interested on this vacancy just click on the Apply button, you will be redirected to theofficial website


8.
THE NATIONAL NEWBORN FESTIVAL

Deadlines:  April 1st - May 31st, 2013 (There is no reader's fee for plays submitted during these dates)
June 1st - July 1st, 2013 (Require a $10.00 reader's fee)

MTWorks’ National NewBorn Festival sponsored by the Psychology Club and Department of the City College of New York is our annual full-length playwriting competition and reading series. We celebrate today’s innovative playwrights that boldly take risks in theme, structure, time-period, location and diversity (ethnic, economic, gender, sexuality or creed). MTWorks’ mainstage productions are selected from National NewBorn Festival winners.                                                                                                               

Finalists automatically enter The Living Room Series, a private cold-read performed by our exceptional MTWorkers.


The winning playwrights will be awarded:


  • One full reading of their work in a festival environment.
  • Assigned professional director and cast to work on their play.
  • “Playwright Spotlight” Newsletter received by over 3,000 members of the NY Theatre Industry.
  • Networking "Meet the Playwrights" Event.
  • Complimentary tickets to MTWorks shows, invited dress rehearsals and other special events.
  • Artistic and professional support from the MTWorks staff.
  • Eligibility for the MTWorks Board of Director's Excellence in Playwriting Award.
  • Eligibility for MTWorks' Audience Favorite Award.
  • MTWorks' Mainstage productions are selected from National NewBorn Festival winners.
  • Talk-Back.
REQUIREMENTS:

We are currently only interested in full-length plays (at least 90min in length).

Applicants must submit the following:


  • A full copy of your play in word or pdf format.
  • A half (1/2) page synopsis.
  • If you applied for NewBorn before, you must submit a different play.
  • You can only submit one play per year per program (it is OK to submit one play to FIRE-WORKS and one play to the National NewBorn Festival the same year).
  • We are interested in plays that have not been produced in New York City (readings are OK)
  • All material must be emailed (all together in one email) to plays@mtworks.org with [NEWBORN: title of the play and your name] on the subject line.



9.
American Lyric Theatre Composer/Librettist Program
Deadline: initially April 1st but extended to April 8th


The application deadline for the upcoming season of the Composer Librettist Development Program is quickly approaching, and so far this year, we have very few applications from librettists. In fact, only 10% of applicants are librettists!  It seems that we have not done nearly as good a job reaching out to playwrights and lyricists as we have to composers - something which I hope we can still correct.
We are going to extend the application deadline until April 8th.  I would be most grateful if you could forward information about the program to any talented playwrights or lyricists you know who you feel could benefit from the CLDP, and who truly have an interest in writing for opera. As the program is now open to participants from around the country, I am hoping that we can attract new applicants who previously could not take advantage of this opportunity.
The full details of the expanded program are on our website at:

10.

P73 PLAYWRITING FELLOWSHIP

Deadline: May 1st


Each year, Page 73 offers the following three development programs to early-career playwrights:  The P73 Playwriting Fellowship, a nationally recognized fellowship program that supports one playwright for a full year with financial, production and career resources. Interstate 73, a writing group consisting six to eight emerging playwrights who are given the resources to develop new plays with a group of their peers. The Page 73 Summer Residency at Yale, a one-week summer residency on the Yale University campus for three to four early-career playwrights. These programs serve as many as fifteen playwrights per year.
DETAILS

The deadline for the 2013 Page 73 Development Programs Application is May 1st, 2013

Eligibility Requirements for Page 73′s Development Programs:

The applicant must be a US resident at the time of participation.

The applicant must have completed at least 2 full-length plays or at least 3 one-act plays.

The applicant must have made a commitment to playwriting as a professional goal.

The applicant must have never received a production of his/her work in New York City that was larger than an Actors’ Equity Showcase Code presentation.

The applicant must not be enrolled in a degree/certificate program at the time of participation.

Page 73 only accepts submissions via this online form.

If for some reason you are unable to submit via this form, or have questions about these programs or this application process, please contact Associate Director Michael Walkup at michael@page73.org.

11.
Rockefeller Foundation: Bellagio Grant (yes, playwrights are included)
Deadline: May 1st

The Bellagio Residency program offers scholars, artists, thought leaders, policymakers and practitioners a serene setting conducive to focused, goal-oriented work, and the unparalleled opportunity to establish new connections with fellow residents, across a stimulating array of disciplines and geographies. The Bellagio Center community generates new knowledge to solve some of the most complex problems facing our world and creates art that inspires reflection, understanding, and imagination.

The Center sponsors three kinds of residencies—for scholars, creative artists and practitioners. Creative Artist Residencies last four weeks. We are especially interested in applicants whose work connects in some way with the Rockefeller Foundation’s issue areas, and we also select each cohort for diversity to ensure that interdisciplinary and international connections remain an integral part of the Bellagio experience. In addition, the Center offers collaborative residencies for two to four people working on the same project.
Collegial interaction with other residents is an essential dimension of the Bellagio experience. Meals and informal presentations of residents' work afford an opportunity for dynamic discussion and engagement within and across disciplines. During special dinners, residents often interact with participants in international conferences hosted in other buildings on the Center's grounds.

12.
Undiscovered Voices Scholarship
Deadline: June 7th

The Writer’s Center seeks promising writers in the Washington area earning less than $25,000 annually to apply. This scholarship program will provide complimentary writing workshops to the selected applicant for a period of one year, but not to exceed 8 workshops in that year (and not to include independent studies). We expect the recipient will use the year to make progress toward a completed manuscript of publishable work.
Previous winners include Nicole Idar (2012), Gimbiya Kettering (2011), Lee Kaplan (2010), and Susan Bucci Mockler (2009).
The Writer’s Center believes writers of all backgrounds and experiences should have an opportunity to devote time and energy toward the perfection of their craft.
The recipient will be able to attend writing workshops offered by The Writer’s Center free of charge. In addition, he or she will give a reading from his or her work after the close of the scholarship period (June 2013) and will be invited to speak with local high school students on the craft of writing.
To apply, candidates should submit
a)  a cover letter signed by the candidate that contains the statement: “I understand and confirm I meet all eligibility requirements of the Undiscovered Voices Scholarship.” The cover letter should include information on the impact this scholarship would have on the candidate.
b) contact information for two references who can speak to the candidate’s creative work and promise
c) a work sample in a single genre:

  • 8 pages of poetry, no more than one poem per page
  • 10 pages of fiction, double-spaced, no more than one work or excerpt
  • 10 pages of nonfiction (essay, memoir, etc), double-spaced, no more than one work or excerpt
  • 15 pages of a script or screenplay
These items should be sent in hard copy to

The Writer’s Center
Attn: Laura Spencer
Re: Undiscovered Voices Scholarship
4508 Walsh St
Bethesda MD 20815


13.
Don & Gee Nicholl Fellowships in Screenwriting
Deadline: April 10th

Screenwriters who have not earned more than $5,000 writing fictional work for film or television are eligible for this fellowship. Entry scripts must be the original work of one writer, or the collaborative work of two writers, and must be written originally in English. Adaptations and translated scripts are not eligible. Up to five $30,000 fellowships are awarded each year to promising new screenwriters. From the program’s inception in 1986 through 2010, over $3 million have been awarded to 126 writers.
The online application must be completed and script uploaded by April 10th. All entrants will receive notification of their status by e-mail sent no later than August 1 of each year. Quarterfinalist letters are e-mailed by August 1;fellowship recipients are announced in October.  For application materials and information, visit http://www.oscars.org/awards/nicholl/index.html


14.
Soho Lab Writer/Director Lab
Deadline: May 13th

Apply online (completely paperless, yay!): http://sohorep.org/writerdirector-lab

The Soho Rep Writer/Director Lab was founded in 1998 to explore and develop the work of a new generation of theater artists and to foster new collaborations between writers and directors in the beginning stages of the creative process. Writers and directors must apply separately. At the start of the cycle, each writer and director invited to join the Lab are matched with one another.

Writer Applicants should submit a 10 page writing sample from a full-length play, as well as a short description / synopsis (no more than 250 words) of that full-length play. Applicants should also submit a resume, as well as one reference and contact details for that reference. Second round applicants will be asked to submit the play that the writing sample came from. This play should not be the play you wish to work on in the Lab, as Lab writers will write brand new play. In the late summer, writer finalists will be asked to interview and also to propose an idea for a new play.

Director Applicants should submit a resume, one reference and contact details for that reference, as well as written responses to the following two prompts. (Each response should be limited to 250 words):

  1. Tell us about a current artistic obsession of yours. The obsession should be related to your work and/or your process.
  2. Avoiding self-deprecation, describe a production of yours that failed – why it failed and what you learned (be specific).
In the late summer, director finalists will be asked in for an interview and also to provide some form of visual representation of their work.
Participation includes attendance at all Lab meetings and readings during the 2013/14 cycle.