Thursday, April 30, 2015

These and Those Animals

Take offense to looters smashing storefronts and kicking car windows.
Compelling cinema on your hi-def flat screens.
The masked thug marauding through nightmares excuses your fear.

Drunken mob.
Biker gangs.
Lynch party.
Unwashed hordes.
Deviant Huns.
Mau Mau Mongrels.
Animals (according to my friend)

Shaka Zulus decapitating orphaned babies out of Darwinian mercy.
It's more primal to fear animal behavior than human designs.


The abstraction of evil lurks in the line items.
Bill riders, amended clause, and fine print.

The fine print is not evil.
It is just so small that you don't see the damaged planned. 
Etchings on the back of the eyelids extincting cultures in legalese
so clean that the abomination seems preordained.

No one has nightmares about the fine print.
Basic user agreement and the long scroll to the bottom.
Click the 'yes' box.


Animals haul TVs and computers out of gashed security gates.
Viruses carried in the microchip unleash more carnage than any riot.
We don't fear the TV maker, manufacture, or media mogul.

But if violence and bad dreams disqualified one from the human race,
then I know a few parliaments and parlors as gilded zoos.

Tuesday, April 28, 2015

Small Torture

Even shorter than short.
It's between you
and someone else
...and we all hate her.
The list is so small
you're almost not there.
It's just you and your shadow.
We have not made our minds
but the list is Liliputian.
So micro that you wouldn't
even know if you were on it.


It was a close call.
You missed it by that much.
I just made up the word
because none exist to describe
the infinity of chances
in a fateful splinter.


Did you feel that?
Luck just waved her hand
right above your head
Almost touched a hair.
You didn't feel it?
Maybe you're just numb
to close calls,
and the short cent.
Almost maybe's
in an endless sprint.

Sunday, April 26, 2015


I’m trying to tell a story
but the words get in the way.
Indented implies and royal pauses
implicate language’s conspiratorial play
to confuse and obscure the causes,
of rubbish gathered from the day.

I’m going to build a skyscraper
rising unending stacks
tower of babel is a series of floors
swaying paragraphs that crack
as mounting meter of rampart soars
iambic measures we track.
I’m slowly daming this river
whose currents never cease
logic and lyrics vortex pool
divert me from the path of peace
and roping myself with trade and tool
to streams of tales I release.

I’m whipping this beast to tame
unbridled animals rage
lashing scars of meter rest
saddling the wild sage
that keeps the gallops best
on to this domesticated page.

Friday, April 24, 2015

The Gospel According to F#ggots



Aurin Squire

Written By Aurin Squire

Directed by Aurin Squire and Zi Alikhan

Friday-Saturday, May 1-2 @ 8:00pm
Sunday, May 3 @ 6:00 pm

Tickets: $16 General | $10 Low-Income [Buy Tickets]

CAST: James Edward Becton, Israel Gutierrez, Joey Lozada, Nathaniel Ryan, Donnell E. Smith

“The Gospel According to F#ggots” is a multimedia queer translation of Biblical text through verse, video, and vogue. It’s a Church pageant play remixed and remastered into an epic journey that combines poetry, movement, and music.

If Jesus was a radical rabbi who walked around in a dress with 12 men…wait, that’s what he actually was but he has been whitewashed into by capitalism, patriarchy, and heterosexuals into a shaming, punishing, saint. He has become a sacrificial lamb of the cross. But that’s not what he preached about. If he were alive today, Jesus would probably vote for Nader, live off-the-grid, and ask people to love in whatever form i takes: homo, hetero, queer, transgender, transgressive, progressive. This is the story of the new Jesus, which reads more faithfully to how the old Jesus probably lived and thought back then, and why he was such a radical figure.
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About the Artists

Aurin Squire (2014/15 Artist in Residence) is an award-winning multidisciplinary artist and activist. His plays and installation art has been seen at numerous venues throughout Western Europe, Canada, Great Britain, and across the United States. Squire is a 2-time winner of the Le Compte Nuoy Prize from Lincoln Center and is completing his two-year Lila Acheson Wallace Playwriting fellowship at The Juilliard School. He also has 2014-2015 fellowships at the National Black Theatre and the Dramatists Guild of America. As a journalist, his work has appeared in The New Republic, Talking Points Memo, Brooklyn Rail, The Chicago Tribune, Miami Herald, and ESPN. Squire has served as a writer/producer for several web projects around queer culture, voting rights, and activism. He has been a member of the Lincoln Center Lab and the Ars Nova Play Group.

Zi Alikhan (co-director) | Zi was raised in suburban Northern California by two Indian immigrants. After two years as a Sociology major at UC Berkeley, Zi transferred to NYU to pursue a BFA in Musical Theatre at the Tisch School of the Arts. It was at NYU that Zi first learned that theatre could be more than just tap dancing on a boat, that theatre could be a change agent and social tool. At NYU, Zi developed a love for documentary plays, queer theatre, new play development, and re-interpreting classic texts through contemporary social lenses.

James Edward Becton, a graduate of Niagara University and product of Stella Adler, is beyond honored to breathe life into this fantastically artistic statement. James Edward is associated with The Classical Theatre of Harlem, the New York Theatre Workshop, LaMama, and The Workshop Theatre Company, just to name a few. He has worked with directors Austin Pendleton, Sue Lawless, George Ferencz,and Frank Licato. To see more of his work and experience, feel free to stop by his website:

Israel Gutierrez hails from San Antonio, TX via San Benito, TX in the Rio Grande Valley. He has been seen in shows like NY/Off Broadway: Caligula, Theatre Row; Aurin Squire’s To Whom It May Concern; Romeo and Juliet, Pulse Ensemble; Jackson Heights Trilogy, Theatre 167. Select Regional: Comedy of Errors / Hamlet, Virginia Shakes; Laughter on the 23rd Floor / The Imaginary Invalid / Kimberly Akimbo, The Schoolhouse Theatre; St. Louis Rep, New Court Theatre. TV/FILM: Elliot Loves (HBO, TLA Dist, dir Terracino); Macys Stars on Broadway (CBS, dir Ryan Stana, 2009 Emmy Award, Best Special Event); I was also on Dance Moms. Ensemble Master Class at The LAByrinth. BFA, Acting, Webster Conservatory. AEA/SAG/AFTRA

Joey Lozada hails from Connecticut. He attended the American Musical and Dramatic Academy. Recently Joey has been seen in: Pedro Pan (Truf, Roger), The Tempest (Hip to Hip, Trinculo), and Defacing Michael Jackson (Red Shirt, Obadiah). As always, thanks to my friends and family for their constant love and support.

Nathaniel Ryan | Life has been an amazing journey so far for me. Growing up in New York I never dreamt of being an Actor and Model. I remember I wanted to make video games or be a pro wrestler. The dreams of my childhood slowly faded away and I settled for running track and field in high school and college. My dream of going to the Olympics was denied with continuous arthritis in my knees. After working for several years in Corporate America in the financial industry I decided life behind a desk was not for me. I moved back to New York, into the house I grew up in, in 2011. Being back in New York has taught me a lot and I have talked about it in my monthly blog ‘Train 2 Broadway’. My goal.. to be the best actor that I can be.

Donnell E. Smith | Baltimore-born, Donnell E. Smith has come a long way, initially starting his creative pursuits as a Singer & Songwriter. Since transitioning to Actor, he always makes a point of immersing himself in projects that fulfill the thrill and challenge he seeks. He is IMMENSELY THRILLED to continue the journey of “The Gospel…” and humbly thanks his family, friends & mentors for their invaluable love & support, thus far. “This is for they who have ignited, nurtured, influenced and elevated the passion that burns from within, out. I share Ephesians 3:20.”

To learn more about Aurin Squire and The Gospel According to F#ggots visit

Monday, April 20, 2015


Vanishing lifespans of love.
Used to be years and months.
Shortened to holiday weekends
and then in between meals.
Infatuation condensed to
flickering light shutters.
Opening and closing aperture edit
engagement and divorce,
infatuation and amnesia.
lust and disease.

Deja vu is now any previous pause,
fading echoes of endearment,
this lingering glance of a hand,
the cool remains of pillow’s sigh,
a burning veil of lips crinkling
into white smoke,
waning shadows
that linger in the back of eyes.

Saturday, April 18, 2015

Vulgar Folks

1st whip n' piss of spring on my subway.
Goat-stench of a man staggered up,
yanked his licorice black cock
into fluorescent view.

Passengers scramble to the other side
but I stayed close and cozy,
a curious need for depravity.
Warm waves from his spongy pink slit
splashed across the floor
lapped against the steel pole.
I considered tossing Old Faithful out,
as he was in the high-tide of mid-piss
...but that we would be rude.

Stuffing his exhaustion back into jeans
the goat-man grabbed a glob of vaseline
from his wet pockets and smeared
the yellow congeal over his face into
a shiny mask of petroleum.
he spread across his head and down his neck

I got off train and the streets were blocked off
police tape and roving cops circumambulate
an ominously isolated van in middle of road
and the words 'SWAT Team' being mentioned.
And all this after a folk song musical
that Disney-fied Woodie Guthrie and his life.

The most vulgar act of the night was the musical.

Thursday, April 16, 2015

Gypsy Dolls

These gypsy beggars drug their babies
better to carry them all day.
Lolling doll heads cradled to withered sunken chest
Needle stigmata on tiny hands
wet with vodka shots and whiskey sweats
of this parading nightmare
through subways cars,
down alleys noosed to scribbled signs
made by pushers and pimps.

Shackled to that promissory fix
in exchange for the beggars cup.
Milkless breast weeping black tar
on dirty scarves worn to cover
cigarette burns, track marks, razor scars.
Insertion points to punish and pleasure
women sold into bondage.

Interchangeable parts: the women and babies.
Paired up and pushed out to saunter
with kabuki masks of horror.
Strike pity in the hearts of pedestrians,
street vendors, cops, passengers.
Even the clouds shower them in tears
knowing man’s carnal machination
snare unwanted newborns and prostitutes
into a charity masquerade.

These babies want for no food now,
only the syringe soothes their noddings
and placid drools. Their uncrying eyes shut
to the blinding light of day.
they only see at night now,
only the moon is known to
their burning bodies.  

When they are killed it’s by overdose,
wanting all day sleep and no profit impediments
the men shoot them full of heroin
until they stop thrashing about
and become that perfect little beggar doll.

Their seizures wake the women,
writhing in the tied-cloth shoulder cradles
Little fist-shaped hearts tear tissue,
rupturing tender muscles
into shocked contortions.

And out comes the bloodshits.
And out comes foaming fermented vomit
gurgling cries, lightning stabs their eyes
flung back eyelids reveal silver and purple iris
fluttering like falling leaves.

Some times the women carry the dead babies
for the rest of the day as props.
snaking through the Port Authority,
running down your back, poking out your eyes
carrying the swollen stones that used to have names
but will now be churned back into
the nameless pity that creeps like well water
into the eyes of Gods.
And here comes that gasping exhale,
when lungs empty the ethereal into wind.


they are parched past participle
Dessicated dehydro jangling on
strings of half-chances.
shadow puppets animated
by southern sultan with caravans
of harems, wenches, and briefcases
bulging with aphrodisiac sacks.

get that drip drop opp,
hang on a hair of hope,
whisper in a dog whistle.
fishhook minnowing miracles
masquerading as Moby Dick.
when only trace remains,
chalk shadows as outlines
of sidewalk corpses splattered.

starving people fight over scraps.
and brothers scrap for loosies
and lost causes between pauses.
fed from crumbs swept off
master’s table and stomped down floorboards
dogs eat down here below the house
in this trench of tripe,
offal and hookworm bellies.  
hushpuppies tossed to night,
send the wolves away from servant slaves
cooking in the smoked hut behind the big house.

this is a hunger that eats itself.
intestine envelopments constricts
acid dissolve tongues and lets us drink

our own tastes and famine.

Thursday, April 9, 2015

A Fading Orchestra

Slender sore throb of vibrato in delta marshes.
I tune the strings, plucking notes sharp and flat
high C electric at the bridge, dips my shoulder.
Baritone G flat grumbles in the red shell of my knee.

The orchestra plays out of tune.
The orchestra plays in the gap.

Each instrument adjusting rusted brown strings
termite infected sawdust in bass chest.

The orchestra musicians don't need a composer,
they don't even need to practice staccato timpani
accompanying piercing piccolo stabs.

Gershwin Rhapsody in Blue:
opens sour and sarcastic clarinet
curves akimbo, loosening the register.

The orchestra Traviatta and Figaro
in my splintered wood.

I become the sunken symphony chamber
clamoring the air with scored sheets falling to feet.

There is no orchestra playing, only notes now.
Each instrument a concave mirror
imploding into a coffin chrysalis.
Musicians smash their bows, crack dripping hands
slicing taut drum skin as it pours out dark vintage.

Echo notes. Mayhem crashes all around
and then the last fading ache
against the pitch black deaf. 

NYC Ghazal

*a ghazal is an Arabic form of poetry in un-rhyming couplets where every second line is themed after the preceding one*

U rarely c fruits in papers,
unspooling fertility monuments.

Every burnt offering a sinuating song
leminscate serpents swallow their tails.

Plague theorem lamentation
pivot, ratchet, hatchet blood cycles.

Even Apollo's brilliant shadow too much,
so Gods trouble themselves unless disguised.

Hidden in allusions, catacombs in us,
unconscious divination of a penitent.

Sunday, April 5, 2015

Get What You Want: April 2015

I AM SOUL Residency (National Black Theatre)
Deadline: May 1st
Website: I AM SOUL

I AM SOUL recognizes one black playwright annually whose work demonstrates exceptional artistic merit and excellence in the field. Alongside NBT’s Theatre Arts Director, the selected playwright will develop a new play during the 18 month residency. The program will provide the playwright with a stipend [pending funding], administrative and dramaturgical support, in-house readings, one 29-hour workshop and a workshop production in NBT’s following season

With I AM SOUL, NBT seeks to deepen the artistic relationship between black theatrical institutions and black playwrights, and to begin to re-establish black theatrical institutions as the foremost supporters and producers of new works created by black playwrights.

Deadline: May 31st

The Arch and Bruce Brown Foundation will accept submissions for its 2015 Playwriting Competition between March 1 and May 31. Electronic submissions must be received by midnight on May 31st, 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:, 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:, or write to Arch and Bruce Brown Foundation, P.O. Box 26124, Brooklyn, NY 11202.

Stage Left Theatre: Downstage Left Residency
Deadline: April 15th

The purpose of this residency is to give playwrights an opportunity to develop a play with Stage Left Theatre, moving from the conceptual stage to a production-ready script. We will be developing two projects, one in Fall 2015 and one in Winter-Spring 2016.  Playwrights will work closely with one of our ensemble directors and members of the literary team to design a process tailored to the particular needs of their project.  Residency projects will also be eligible for a public workshop in LeapFest, our annual developmental festival of new work, in Summer 2015. Thanks to a generous gift from the Cedars Legacy Fund, Stage Left will provide a stipend to both Residency playwrights, and can reimburse some travel expenses for out of town playwrights.
Application Requirements
While we will consider full manuscripts, you do not need a completed draft to apply.  Just be sure to send us any relevant materials (partial draft, written scenes, outlines, synopsis, etc.) to give us an idea of the current shape of your project and what your long-term goals are. If you do not have any material from the project being submitted that you are able to share, please also include a sample of your writing.  The deadline to submit this application is April 15th, 2015. We expect to announce our selections by the end of July. If you have multiple projects, please submit separate applications for them, in separate emails. We are unable to reconsider projects that have been previously submitted to either the residency or our regular rolling literary submissions program unless they have undergone major revisions.  Please indicate what revisions have been made when submitting projects with identical or similar titles and themes.  Failure to do so may result in your submission being rejected without reading.

Deadline: April 15th

The P73 Playwriting Fellowship provides a year of comprehensive support to one early-career playwright who has received neither wide public recognition nor substantial production opportunities in New York City. Through this program, Page 73 provides artistic and financial resources to this writer as he or she develops one or more new plays of his or her choosing. The P73 Playwriting Fellow receives an unrestricted award of $10,000 and a development budget, managed by Page 73 over the course of the Fellowship year, up to an additional $10,000.

The P73 Playwriting Fellowship is best suited to writers who have reasonable goals that can be achieved with the resources provided by Page 73. These goals may include, but are not limited to, development of one or more new plays, assistance in building relationships within the New York City theater community, research, and/or travel. Applicants are encouraged to think creatively about using Fellowship resources to meet concrete goals that might not otherwise be possible. Please note that funds from the P73 Playwriting Fellowship do not cover full-scale productions. The Fellowship does, however, incorporate at least one public presentation – ideally a semi-staged workshop – of at least one play by the Fellow, produced by Page 73. Page 73 also helps Fellow identify and connect with collaborators, including directors, designers, actors and dramaturgs, for Fellowship projects.

The Fellow is associated with Page 73 for the calendar year, from January 1 to December 31. After being selected, he or she works with Page 73’s staff to develop a plan for the year and establish a timeline for the development work to be done on the new play or plays. The Fellow is also invited to participate in the Page 73 Summer Residency and Interstate 73 (described below) during the Fellowship year.

If the Fellow is not a New York City resident, he or she must be prepared to travel to New York during the Fellowship year in order to fully engage in the opportunities that the Fellowship provides. Fellowship development resources can be used to cover these costs.

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

Undiscovered Voices Scholarship
Deadline: June 20th

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.

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

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

Next Act New Play Summit
Deadline: June 1st

Submissions are now being accepted for Capital Repertory Theatre’s Fourth Annual NEXT ACT! New Play Summit. Accepting full length plays only. Multi-cultural and ethnically diverse pieces encouraged. Comedy and Drama welcome!

Now in it’s fourth year, the weekend long NEXT ACT! New Play Summit 4 is designed to complement the Upper Hudson Valley’s rich diverse populations. The festival directly reflects the theatre’s mission, “to create meaningful theatre generated from an authentic link to the community.” NEXT ACT! takes place October 31 - November 2, 2015 and will feature readings of four never-before produced plays, with additional special events throughout the weekend.

As in years past, the theatre is devoted to finding a play that can be produced in an upcoming season. Evidence of this devotion can be found in theREP’s 2014 production of THE GOD GAME by Suzanne Bradbeer, the 2015 production of HOW WATER BEHAVES by Sherry Kramer, and next season’s production of NAKED INFLUENCE by Suzanne Bradbeer, all of which started at NEXT ACT!.
-Plays cannot have been previously produced, though previous readings are allowed.
-No more than 7 characters. Please do not submit works in which actors play multiple roles, unless it is a device used to illuminate generations.
-Plays previously submitted to NEXT ACT! will not be considered for this years’ Summit.
-Agent and non-agent submissions accepted.
Submission Deadline: END OF DAY – Monday June 1, 2015
-Playwrights should submit a short one-paragraph synopsis that illuminates the plays entire plot including its ending; character descriptions and the first 10 pages (only) of their play, along with a photo/resume and bio.
-Email your submission to Margaret E. Hall, assistant to the artistic director, at with 2015 SUBMISSION in the subject line.
-A small stipend and limited travel available for playwrights selected.
-Electronic submissions preferred.
-Playwrights selected for the Summit will be notified by the end of August.
-Three plays will be selected to have readings (with an eye towards a potential future production) during the annual 3-day Summit, which takes place October 31 – November 2, 2015.

9Thirty Theatre Company
Deadline: May 31st

9Thirty Theatre Company (9TTC) accepts submissions from March to May each season. Please note that due to our small staff we are unable to respond to submissions that are not accepted. Please adhere to the guidelines below. Send submissions in either a .doc or .pdf format to In respect of our commitment to the environment please do not mail submissions to our office.

9TTC produces works that incorporate environmental issues as part of the part, characters, or theme. We are uniquely dedicated to Eco Theatre, connecting humanity and nature, in various forms.

We accept original one acts, and full length plays and musicals.

We do not accept one-person shows, children's shows, screenplays, or works without environmental themes. 9Thirty Theatre Company also does not produce works that have already been produced in New York City.

To have your work considered, please submit the following as one file:
• cover letter, including your contact information
• brief synopsis of piece (500 words or less)
• character descriptions
• 20 page dialogue sample
• brief production history of the work (if applicable)
• bio for yourself and any other collaborators
• if submitting a musical, please include at least 3 recorded demo tracks

To be considered for 9TTC's all submissions must be received by midnight on May 31st.

For Visual Artists

We are accepting pieces for display in our lobby at performances, from visual artists of all mediums whose work is in concert with our mission. This may include art made from found objects, sustainable materials, non-toxic and eco-friendly products, etc.

About Project Proposals

Please include the project name, history and plan of action, project description (please include what your work is exploring or a synopsis), and any research you have done.

Brooklyn Arts Exchange
Deadline: April 10th

The residency best suits an artist in the process of discovery, transition and/or is in a transformative stage of development. It is essential that the AIR be self-directed and be willing to engage in a dialogue with BAX.  While there are many services BAX is able to provide, no residency can meet all the needs of an artist. Hence, BAX will do its best to direct and advise artists in the search for additional support and services throughout this residency. Artists are chosen through application, work sample and interview. We support choreographers, playwrights and performance artists. The residency supports research and conception, readings, showings and workshops, rehearsals and production. There are six participating artists each season who receive up to two years of uninterrupted artistic, technical and administrative support as well as 300 hours of rehearsal space. They are also provided with a $3,000 yearly stipend, and the use of BAX as a fiscal conduit for fundraising purposes. Artists may apply for additional funding using this designation.

The residency year runs from July 1 – June 30. In November and February artists participate in Open Studio showings to friends, colleagues and the public and include post showing conversations. AIR  are required to attend each other’s Open Studio showings. AIR’s present in their own full weekend in Spring 2016.  These performances are fully produced which means they are of no cost to the artists who are provided with a fee, lighting/sound designers and board operators, both front and back of house staff, all publicity and marketing and outreach support to develop new audiences.  AIR meet approximately every six weeks throughout the year for three hour meetings. They share their success and challenges. BAX is a place for artists to engage in “real talk” as opposed to “getting the gig”, to speak honestly about their struggles and by doing so achieve artistic maturity. Once the work has been produced BAX often assists resident artists to seek a broader audience to establish relationships with other producers and funders.
BAX has provided an artistic home for new theatrical ideas and experimental artists whose themes or ways of working might not have found an alternative home base.  Some of the individuals and groups who have benefited from residencies at BAX include: Faye Driscoll, Levi Gonzalez, Max Steele, Nia Love, Marjani Forte, luciana achugar, Dan Fishback, Young Jean Lee and Catharine Dill. To become more familiar with our programming you can also visit us at
Selected artists will have the opportunity to establish an artistic home. This home includes:
  • Building a dynamic relationship with both the Executive Director/Artistic Director and other key staff members that includes work/livelihood issues, goal setting, accessing resources, to name a few.
  • Being a participatory member of a peer group
  • Technical support for presenting and long-range planning for your projects at BAX and beyond.
  • The residency includes 300 hours of free rehearsal space in any of our four studios (note, there is limited availability of rehearsal space in July/August. AIRs receive priority booking of space, September—June.)
  • REQUIRED: Open Studio showings in November 2015 and February 2016.
  • REQUIRED: A full production of residency work in our AIR Festival between April – June 2016 (usually 3 evenings)
  • An opportunity to curate in year two.
  • Stipend of $3000
  • Please note that due to audience development considerations we request that the work you develop not be presented elsewhere in the NYC area for two months before or after your BAX performances. Exceptions to this can only be made in consultation with the Executive Director. Artist cannot apply if they currently have (or will have concurrently) other residencies in NYC. Work developed may not have a commitment to premiere in another venue during the residency period.
  • An opportunity to apply for a second year of residency

Luna Stage New Moon Reading Series
Deadline: April 10th

Please review Luna Stage's production history prior to submitting to get a sense of what type of work we tend to produce, and to gauge whether or not your work might be a good match for us. Luna Stage has two theatres, seating 99 and 45 people respectively. On the second Monday of every month (from October to May), we hold a New Moon Play Reading. We often select work for further development from these readings.
Who Can Submit
  • Luna Stage accepts script submissions from playwrights who are currently represented by a theatrical agent, hold an MFA in playwriting, or are currently enrolled in an MFA playwriting program.
  • If a playwright does not meet the criteria listed above but still wishes to submit a play to Luna Stage, we will accept a script if it is accompanied by a letter of recommendation from the Artistic Director or Literary Manager of an Equity theatre or a professional organization that focuses solely on the development of new works for the stage.
  • Additionally, Luna Stage will accept open submissions from playwrights who make their permanent residence in the state of New Jersey.
PLEASE NOTE: Playwrights with agent representation are welcomed, and even encouraged, to submit their work on their own. The scripts do not need to come from the agent, or be bound in the agency's materials. Just indicate the name and contact information of your agent on the script or in your cover letter.
If you have any questions about whether or not you meet any of these criteria, please
What To Submit
Please read the following submission requirements very carefully.
Script submissions will be accepted from September 15th through April 15th (postmark date).
Please limit your submission to one script per season, unless additional materials are specifically requested. We do not accept electronic submissions of scripts.
A) If you are a playwright who meets the criteria listed above in #1 or #2 and this is the first time you have ever submitted your work to Luna Stage, please send a hard copy of the following materials:
  • A cover letter including all contact information and the relevant development and/or production history of the play. Please provide an e-mail address for response, as this is our preferred method of communication.
  • 2 copies each of a resume, a synopsis of the play, and any relevant press materials (this is optional). Please note that a synopsis should be just that: a brief (no more than 1 page) description of the events of your play, from beginning to end. Please do not include a promotional blurb or a review in place of a synopsis.
  • A clean copy of the full script. Please do not bind any support materials in with the copy of the play.
  • For submissions of musical theatre, please consider the size of our space prior to submitting, and follow the same submission guidelines as listed above. Please also include a CD of musical selections.
  • Please do not include a SASE of any size unless you do not have access to e-mail. Notification will be made through e-mail. Scripts will not be returned. Unused scripts will be recycled. If you include a SASE for confirmation of receipt, we will do our best to return it in a timely fashion.
  • Additionally, if you are NOT currently represented by a theatrical agent, do NOT hold an MFA in playwriting, or are NOT currently enrolled in an MFA playwriting program, please include a letter of recommendation from the Artistic Director or Literary Manager of an Equity theatre or a professional organization that focuses solely on the development of new works for the stage.
B) If you are a playwright making your permanent residence in the state of New Jersey, and you have never submitted your work to Luna Stage in the past, we will accept a sample of your work as an open submission. Please follow the same submission requirements listed above (in section A), but please submit a 20-page sample of one script rather than the entire text. It is strongly suggested that you include the 1st 20 pages of a given text as opposed to a section from the middle of a play.
C) If you are a playwright who meets any of our criteria for submission but has previously submitted work to Luna Stage, prior to submitting again, please send an e-mail query Please do not send attachments with this e-mail. In the body of an e-mail text, please write a short note with a brief description of the play you wish to submit. Please wait for a response prior to submitting.
You can expect a turn around time of 3-6 months on script submissions. We thank you in advance for your patience and for your interest in our theatre.

MetLife Nuestra Voces
Deadline: June 1st

Since 2000 MetLife Foundation and Repertorio Español joined forces to establish The MetLife Nuestras Voces National Playwriting Competition to discover -our voices- the best Latino plays and bring them to the attention to the American theatre community. These original works relate to Latino culture, history and life in the United States while at the same time reflecting the universality of the human condition. It has been our privilege to promote and develop new plays and encourage bright new talent by providing this forum.

Plays that do not meet these requirements will not be considered.
  • Playwrights may be Latino or of any other ethnic or racial background as long as the play’s subject matter and characters resonate with Latino audiences and accurately depict the Hispanic experience.
  • No screenplays, one act plays, musicals, adaptations or translations will be accepted.
  • New and un-produced plays preferred. Plays that have had readings or a workshop production are acceptable.
  • All plays must be original and full-length (minimum running time: 1 hr., 30 min) and can be written in Spanish and/or English.
  • Playwrights must be at least 18 years of age and residents of the United States or Puerto Rico.
  • Previously submitted scripts are accepted unless they have already placed in the top 10.
Selection Process:
  • Each script will be read by two qualified independent judges selected by Repertorio Español, on a blind submission.
  • Winners will be announced six to seven months after the deadline.
  • Each participant will be notified of the results by e-mail. We request that participants do not contact the office to inquire about the competition’s results.
Round 1: Finalists will receive a staged reading at Repertorio to further develop the script.

Round 2:
  • Grand Prize Winner: $3,000 and a full production at Repertorio Español (Grand Prize Winner must be available for Awards Ceremony)
  • 2nd Place: $2,000
  • 3rd Place: $1,000
Send all of this information and the requested materials via e-mail before deadline Monday June 1s, 2015  using the subject line “Nuestras Voces: Title-of-your-play” with the following information within the body of the e-mail:
  • Your full name
  • Your cell phone number
  • Your mailing address (street address, city, state, zipcode)
  • How did you hear about the competition?
  • 4-6 line synopsis
  • 4 -6 line description of how your play relates to the Latino / Hispanic American community
Unfortunately, we cannot accept any changes or re-submissions once the script has been submitted.
Send the following as an attachment:
One ELECTRONIC COPY of your script (PDF, Microsoft Word, Plain or Rich Text Formats Accepted) -- in one document with numbered pages and a title page that lists the title and year the play was written ONLY.
Please OMIT your name from the script and do not send other biographical information or reviews.

Royal Court GRIT
Deadline: April 10th

We’ll populate the building with your moments of resistance over the submission period. So keep your eyes peeled and your spirit strong, ready to pin down tiny acts of defiance.  Plays can be submitted to the Royal Court anytime between 8 December 2014 – 10 April 2015.

1) Your play can be entirely invented or discovered and reframed.
2) The form your submission takes is your choice but it must fit in the palm of your hand, or its equivalent e.g. on the screen of your phone, written on your palm, a speaker in your hand or an image on a postcard. Beyond this, be creative.
3) The play must be a play - and by that we mean it must contain actual or potential drama. How you interpret this is up to you.
4) We would respectfully request that you do not put yourself or anyone else in danger as part of this project.
Submissions will be selected by a group of readers – we won’t be able to display every piece of GRIT but keep an eye out and you may well spot yours. We will also upload all valid submissions to this tumblr.

Plays can be submitted to the Royal Court anytime between 8 Dec – 10 April. Please include your name, address, age and contact details with your submission
Send your play to
Subject: “Everyday Acts of Resistance”

Dramatists Guild Fellowship and Musical Fellowship
website: May 4th

APPLICATION DEADLINE: Applications for the program commencing in Fall, 2015 must be received by the Guild no later than 5:30pm on May 4, 2015.  Please read all of instructions carefully.
APPLICATION REQUIREMENTS: Applicants will be eligible for the program with any of the following qualifications:  1) Participation in a graduate program in theatrical writing within the last five years;  or 2) Participation in an organized theatrical workshop within the last ten years;  or 3) Comparable experience, such as one or more professional productions, and a recommendation by a theater professional or theater educator;  or 4) Pertinent, documented practical experience.  All applicants must be residents of New York or the surrounding metropolitan area for the time of their fellowship.   Applicants must also be prepared to meet on alternate Monday evenings of every month, and to make themselves available, if possible, to participate in observerships, assistantships, etc. when those opportunities arise.
DRAMATISTS GUILD PLAYWRITING FELLOWS: Please submit a cover letter answering the following: “Describe an experience in which somebody’s input on your work as a writer affected or inspired you”; a resume containing pertinent contact information for you; 20 pages of a script you have written.  Please name submission as follows:  LastNamePlayTitle (for example:  NottageRuined.pdf.  The document(s) must be e-mailed as a PDF.
DRAMATISTS GUILD MUSICAL THEATER FELLOWS: If you are applying as a Musical Theater Fellow and you write both music and lyrics, you may apply alone as a “self-contained” writer.  Members of collaborative teams must apply together.  Collaborative teams with composer and lyricist should also consider applying with their librettist partner, or, at the very least, make their librettist partner available whenever that project is being discussed.  Unfortunately, we cannot accept people who write only lyrics or only music or only libretti without a writing partner, as we cannot pair collaborators.  The cover letter and materials submitted should make it clear whether you and your collaborator(s) are applying as a team or whether you are applying as a self-contained writer.
Please submit a cover letter; a resume containing pertinent contact information for you; mp3 files of four (4) songs with lyric sheets; a brief description of each song as to its plot placement, a brief synopsis of the musical, and the complete libretto, if one exists.  Musical submissions need not be elaborately produced; piano and voice is sufficient.  Please note that we can only accept music in the mp3 format.  PLEASE
E-MAIL EACH SONG SEPARATELY and name them as follows:  LastNameMusicalTitleSong# (for example:  FlahertyRagtime#1.mp3)  The other documents must be e-mailed as a PDF.

**IMPORTANT CHANGES:  This year, we will be accepting electronic submissions ONLY. E-mail all submissions to

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