Saturday, March 25, 2017

Trumpcare: DOA (2017-2017)

The reason why the Republicans don't have an alternative to Obamacare is b/c Obamacare is THE Republican Healthcare Plan. The conservative think tank Heritage Foundation created most of the components of Obamacare aka the ACA plan in the 1990s. Republican Gov Mitt Romney implemented a version of ACA in Massachusetts. This is why I don't like the ACA/Obamacare but can admit it sort of works in a quasi-free market, quasi-gov Medicaid sort of way. Obamacare was created back in the 1990s when the GOP was concerned about actually governing and creating feasible policy...and even then it took several years of effort from serious policymakers and wonks. The current Republican party has no governing wing. They have Paul Ryan powerpoint slides, polemicists, conspiracists, and propagandists appealing to the least informed and most reactive part of their base who don't have a basic understanding of governance. Nothing good can come out of anger, ignorance and entitlement...which is the GOP triad right now. We are seeing a breakdown in the entire political process b/c we have fomented a race-based, xenophobic, misogynistic toxic brew directly from the comment section of Breitbart and into our body politics. And it's killing us. But for now this poisonous kleptocratic klan has inadvertently saved Obamacare...which is actually the bipartisan policy of their political forefathers.

What is next for healthcare? There is only one feasible place to go from here and that's a single payer system. This is not hyperbole but a necessity. Left-wing allies are saying that Obamacare is a precursor to the single-payer but I am skeptical.  I am NOT saying get rid of Obamacare. But I am skeptical of it leading to the single-payer utopia.  Left-wing libertarians still believe in the 'deliberate speed' approach (an oxymoronic term from the civil rights era when desegregation was told to be happening with both speed and cautious slowness). I think the deliberate speed approach is a stalling tactic of the ruling class until they can think of another cultural scapegoat or create an even more complicated and circuitously confusing Rube Goldberg-contraption that reroutes the money into their accounts.

By the way liberal libertarians, 'deliberate speed' doesn't work. It's been 60 years since Brown vs. The Board of Education and our nation is still divided along race in schools, churches, neighborhoods, hospitals, and every single aspect of life.  The country remains largely segregated in fact (despite no longer being that way in law). This is 'deliberate speed' in action. If you think you're going to get a single payer system by being nice and capitulating to the powers that be, then let me introduce you to 400 yrs of Black History.

If there is any questions as to the next step then let me clear: you will NEVER get to a single payer system through Obamacare. Will not happen. Ever. And I acknowledge the program has helped people, but I am also talking about rising premiums and outrageous drug prices which are creating a long-term dilemma. If  you are fine with this stitched together Frankenstein monstrosity then guess what: you get to keep your plan. But any sideways efforts you make in approaching a corrupt system -like health care- will fail. Half-measured attempts will be co-opted, infiltrated, weakened, misrepresented, and appropriated back into the system in the most flavorless way so as not to disturb the profiteers.

When you have the numbers -and we the people do have the numbers- you must approach corruption head-on. Directly. You must swarm, surround, stun, and disarm completely. In the civil rights movements, Blacks were in the minority so we had to employ a different approach: getting fair-minded whites to see the issue through peaceful protests, a media campaign, and letting bigots attack blacks on camera to create moral outrage. But when you are in the majority, the 99% of Americans, there is no need to charm insurance companies with sweet deals b/c you are feeding the corruption. Direct, strong, focused action with simple goals: MEDICARE FOR ALL.

Medicare For. Every. Body. Man, Woman, child. No one left behind. Medicare for all.

Friday, March 17, 2017

NEA, Budget Cuts, and the Arts

I read about the budget proposal to eliminate the NEA and NEH and had several conflicting thoughts as a 'liberal libertarian.' I support the arts and humanities. And I don't necessarily agree with eliminating federal gov funding. But I also know that the NEA isn't inherent. It has been around since the 1960s. Before the NEA there was the WPA, Federal Arts Project, Federal Writers Project, and a much-more comprehensive umbrella of arts programs started by FDR. And these orgs were formed out of the Great Depression and gave rise to a new boom in American arts. So there appears to be a human need for the arts that is so deep that it can not be undone by one president or one budget. It will flourish and flow in other ways at the state, local, and crowdsourced levels. I also think that if the NEA had to a raise a budget from artists and stars it would far exceed the $140 million it gets from the feds. I would give every month...just like I do to the ACLU, the NAACP, BLM, and other orgs. I give b/c I am aware of the need.

In some ways it appears as if Americans have to panic or face the risk of losing something in order to really cherish. I support the arts and -this sounds terrible- but the NEA is just a delivery system of that support. I don't believe the doom and gloom that the fed gov cutting the NEA will end the arts. On the contrary...I think we're much stronger than we believe ourselves to be when called upon to act. We are more generous, smart, and capable. Maybe that's my libertarian side talking, but I am not a slave to one administration or one person's budget. I have a multitude of resources. I think this way now in LA with TV money. I thought this way at Juilliard. I thought this way when I was struggling to pay my rent. I thought this way when I had to produce my own show and only had $100 (the show won a few awards and I made my money back ten fold). And I thought this way through many failures, shortcomings, successes, debt collectors, awards banquets, mutual funds, hits, and misses. I will continue to think this way regardless of economic or external circumstances. I know this about myself -but more importantly- I know this about the arts and the spirit that drives it. We will thrive.

Monday, March 13, 2017

Trumpcare and the Backlash

Years ago I was driving around New Jersey and killing time before picking up a friend. Out of ghoulish curiosity I switched the radio to some conservative talk shows to get my daily supply of Vitamin Cray. I would say 50% of the callers had rage directed at other Republicans for not being conservative enough, 30% were angry at Dems for turning the nation into a gunless communist gay abortion clinic, and then 20% were angry at weirdo-fringe stuff for things like Illuminati/Masons/ aliens/George Soros conspiracists.

It was revelatory experience to listen to caller after caller rant against GOPers because they compromised with Dems to get something done. The Trumpcare and the backlash against Paul Ryan has taught me that the GOP exists in a constant state of implosion and purge b/c the party platform is so illogical that anyone trying to implement it is either a) removed from reality or b) a sociopath c) going to have to compromise or d) all of the above. What ends up happening is that someone takes over as 'the leader' and then tries to actual lead with a GOP plan (like Trumpcare) and it's a catastrophe, but also deeply unsatisfying to a certain segment of the population that wants us to live in this Walden Pond utopia without public roads. It is these GOP voters' outrage that drives the media machine. These same voters never seem to piece it all together that the principles they stand for is the cancerous and corporatist rot hollowing out the country, not faithless legislators or activists judges. This leads to a party purge because the hatred conservatives have for Dems is only surpassed by their hatred for each other.

As a side note I do think this rush to rage is out of a deep psychic and transgenerational loneliness. So if we're waiting around for 'old white' generation to die out it won't work because the problem of social disconnection is a lot deeper than age. You have millions of lonely people, a few thousand extremely passionate people with access to radio, tv, and the internet. Passion is the ultimate aphrodisiac.  Passion is the basis of community which is what we crave as social animals. Humans will convince themselves of almost anything to be in a community. Even if that community is virtual or aural-based. As someone who has worked with addiction for a long time it all comes from a spiritual deficit. Cults, drug use, right-wing fascism. It comes from vast areas of the country being lonely, having no spiritual foundation, loosened morals, even looser understanding of logic, a weakened ability to discern truth. Until we solve that will be fighting on a million different fronts with destructive illogical fanatics -whether it's the environment or healthcare or the economy or religion- because these people aren't in the fight for improving culture. They are in the fight for the community and to quell their loneliness. They are in this battle b/c it makes them feel connected, even if they tear down the columns of civilization in the process. They will renounce every moral principle and even their own family for a pat on the head from the right master b/c these are damaged people who feel like they have been left behind. And demagogues foment their power from other people's ignorance and helplessness.

Demagogues use this passionate helplessness to keep stirring unrest. There is no end in sight, there is no cultural fix because the goal is never to 'fix' anything but to keep people in a state of disease and rage. In regard to the current situation with the GOP, there situation is Sisyphean in its redundant hopeless. It's all purge and implode. Any feasible policy initiatives disintegrate into this wish for some machine gun-toting, Reagan-faced centaur that does not exist in any realm.

Trumpcare manages to fit option d: a combination of the worst and a heartless compromising of a raging sociopath with no sense of reality. It will continue the cycle of implosion and purge as we lurch even farther to the right. 

Thursday, March 9, 2017

The Nil Age

I am relatively healthy, don't have any chronic conditions, eat well, meditate, don't do drugs or smoke. I know that I am probably paying more for health care so that I can help out people with more severe conditions, the elderly, those with bigger emergencies, addicts, and others. I am FINE with that. In fact it's an honor to think that I can be on one side balancing things out. At another point in my life I might be more reliant on health care and have to depend on young adults paying into to support me. Civic responsibility and pooling resources isn't some libtard fantasy. it's how a society survives. Why is this such a hard concept to grasp? I understand not liking taxes, but it seems like there is ever growing section of the population doesn't understand how that or anything works. It's like hating the rain but then being mad when the crops don't grow. One thing leads to the other. Cause and effect. And this cognitive dissonance has been replaced by the most base and destructive virus of greed. This virus deeper than Trump, the cruel healthcare bill, the initiatives to pollute public water, poisoning the residents of Flint. These are all symptoms of some basic misunderstanding. It is an Ionesco satire without a punchline. it is a primal scream of cruelty and madness incarnated into political infotainment. It is nihilism.

Sunday, March 5, 2017

Bliss and Awe: An Approach to Political Theatre

When the dry ice rolled off the stage and floated across my thin child-like arms I was hooked. As theatre artist we create the vessel for awe by using a mixture of words, movement, and rituals to mold a vase. And then we conjure and call forth and allow the empty space to be filled. We have to be careful what we call forth because there is an awesome power we hold in our possession.

It was 1986 and I was sitting in a tiny, dingy black box at Miami Dade Community College. My parents took me out that evening because they wanted to see a show called “Dreamgirls.” I had no expectation of theatre because I had never seen any before. I was a child of TV. When we walked into the tiny community college theatre I was skeptical. What could happen in a space this small and black? This was my first theatre experience and I soon discovered the power of awe. As theatre artists, we have a power that can be used in a constructive or frivolous way: we create rituals to give a sense of awe. Unlike TV or movies, our approach is highly symbolic and representational.

Fast-forward almost 30 years later and I'm in a tiny theatre in the East Village. I'm dramaturg'ing a concert show about the Rwanda genocide. The director decides to invoke some of that representational magic and ritual with the mundane object: the black binders with the scripts. He coaches the male actors to use the binders as machetes and axes to bring down on their hands at key moments. They're simulating the decapitation and horror that spread over 100 days in Rwanda. The sound of limbs being severed sounds like cabbage according to survivors.


The pound their feet on the ground while sharply bringing their binders down into cupped hands. A few days later, we are in this tiny space along with UN delegates from Rwanda, survivors, and American audience members. The chopping begins with the binders. The tension rises in the room as the play progresses. Some of the delegates are leaning forward. Their expression could be mistaken for smiling if it wasn't for the water gathering around the rim of their eyes. One of the Rwandan delegates runs outside and past me.  I follow her. She is coughing, choking, and tears are streaming down her face. She apologizes for her outburst and walks back and forth in the hallway.


The female actors conjure the spirit of the maimed and wounded by curling their hands up. An African drummer gently taps the opening beat to The Beatles “Blackbird.” Their lost hand transforms with music into that Blackbird flying in the sky. Dancers come out who now transform that Blackbird back into a personification of what they have lost of themselves. Several audience members are openly weeping as the dancers flitter about, comfort the female actors and dance away. The world returns to their situation, their lost hand, their loss of womanhood. It all happens in a few simple moments. The vessel is created, the ritual is invoked, and the audience is moved, each in their own way. Each person fills the vase with their own experiences of loss, betrayal, and injury. We aren't in Rwanda. We are in a tiny theatre in the East Village with people crowded on top of each other. Cynical New Yorkers, genocide survivors, Rwandan diplomats. We are a village.  We are living an experience of truth through this ritual. For thousands of years humans have gathered around theatre for these rites. We need them now more than ever. 

Thursday, March 2, 2017

Russian Tango: The Steps to Perjury

In regard to Ku Klux Kremlin Jeff Sessions: you can not go from saying something never happened, to then admitting it did happen but you couldn't remember it, to then saying you actually DO remember it happening and it was no big deal, so there's no reason to worry. This is trajectory of THE worst kind of lying: perjury.

Paul Manafort
1. I did not do anything w/ Russians.
2. I did do it but I don't remember.
3. Now I remember and it wasn't a big deal.

Michael Flynn
1. I did not do anything w/ Russians.
2. I MAY have done it...but I can't remember.
3. I do remember now and it was no big deal. It was just chit chat. No reason to investigate.

Jeff Sessions
1. I never met with Russians.
2. I may have met with them but I couldn't remember.
3. Now I remember meeting with them and I definitely know it was no big deal...b/c I have such a good memory.

Wednesday, March 1, 2017


BAX Artists in Residence
Deadline: March 1st

BAX asks artists to submit a Letter of Intent to be selected to submit a full proposal for the Artist in Residence program.The Letter of Intent can only be submitted online no later than Wednesday March 1, 2017 at 5:00pm. All applicants will be notified by Friday March 10, 2017.

Applicants selected to submit a full proposal will be asked to respond to additional questions and provide work samples. All materials will be due by Friday March 31, 2017 at 5:00pm. Finalists will be notified by Friday April 21, 2017. In person interviews will take place the weekend of April 22-23. Final notifications will be made on or before Monday, May 1, 2017.

Selected artists will have the opportunity to establish BAX as an artistic home to develop work for a one year period (with a possible extension of another full year). This home will also include:
Building a dynamic relationship with both the Executive Director/Artistic Director and other key staff members that includes discussing work/livelihood issues, goal setting, and 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 18-19, 2017 and February 3-4, 2018.

REQUIRED: A full production of residency work in our AIR Festival between April - June 2018 (usually 2 evenings)
An opportunity to apply for a second year of residency
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.
BAX will consider original work only, not the re-staging of existing work. BAX is deeply invested in developing original voices and work that explores new ground.The residency will include premiere or work in progress performance of work created at BAX.

Artists applying for the 2017 Artist in Residence program are ineligible to apply for the 2017 BAX Space Grant Program.

Space Grant Program
The Space Grant Program is designed to give artists from all 5 NYC boroughs based dance, theater and performance artists the opportunity to create new work in a setting that is conducive to working deeply and exploring new territory.

BAX offers two different types of Space Grants. Grant #1 (Summer) is a work period, Grant #2 (Fall) includes a performance component. Both Space Grants include 100 hours of free rehearsal space. Summer space grantees will participate in a show & tell on Tuesday, August 8 from 7-9 p.m. showing 5-10 minutes of work developed and participating in a conversation with other space grantees, Executive Director Marya Warshaw and BAX staff. Fall Space Grantees will have an interim showing Saturday, November 4 from 2-4 p.m.

Grant #1 Summer Space Grant - Work Period only (June 1-August 18, 2017)
This is a work period only and has no performance attached to it. The rehearsal hours for this grant take place between June 1 and August 18, 2017 on weekday evenings or weekends only. It is ideal for the artist who already has a performance commitment for Fall 2017 and cannot abide by the exclusionary period BAX requires for presentation (see Fall grant period) OR an artist who is embarking on a research period for an upcoming work and does not wish to present. Summer space grantees will participate in a show & tell Tuesday August 8, 2017 7-9 p.m. showing 5 - 10 minutes of work developed and participating in a conversation with other space grantees, Executive Director Marya Warshaw and BAX staff.

Grant #2  (Fall Space Grant) - Work Period followed by a showcase performance (September 5 -December 2, 2017)
The Space Grant performance showcase is scheduled for Friday & Saturday, December 1-2, 2017. It allows the artist an opportunity to perform the work (or an excerpt) developed during the space grant in front of an audience at the conclusion of the rehearsal process in a showcase format with a post-performance discussion. A performance stipend is provided in addition to the awarded rehearsal space.  Fall Space Grantees will have an interim showing Saturday, November 4 from 2-4 p.m.

Artists applying for the 2017 Space Grant Program are ineligible to apply for the 2017 Artist in Residence program.

For more information about the Artist in Residence program and application process, visit

For more information about the Space Grant program and application process, visit

Next Act! New Play Summit 6 
Deadline: March 31st

Submissions are now being accepted for Capital Repertory Theatre’s Sixth Annual NEXT ACT! NEW PLAY SUMMIT!

Next Act! now in its sixth year, is an expansion of Capital Repertory Theatre’s (theREP) commitment to the development of new work. At the same time, the weekend long summit is designed to complement the Upper Hudson Valley’s rich diverse populations. The summits directly reflect the theatre’s mission, “to create meaningful theatre generated from an authentic link to the community.” Next Act! New Play Summit 6 takes place October 20 - 23, 2017 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 productions of Suzanne Bradbeer’s The God Game (2015) and Naked Influence (2016), Sherry Kramer’s How Water Behaves (2015), and Bob Morris’ (2017) production of Assisted Loving; Dating With My Dad, all of which started at Next Act.

Accepting full length plays only.
(No Musicals.)
Multi-cultural and ethnically diverse pieces encouraged.
Comedy and Drama welcome!


Eligible plays can not 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 – Friday March 31, 2017.


Playwrights should submit one document, as a Microsoft word or PDF file attachment. This document must include: a short one-paragraph synopsis – that illuminates the plays entire plot including its ending; the character descriptions and the first 10 pages (and only the first ten pages) of their play. Submission documents must be void of playwright’s name and contact information.

Submissions that do not conform to the guidelines stipulated will not be accepted.

Email your submission to with 2017 SUBMISSION in the subject line. (There is a spam filter on this email account to protect it from hackers. First time users please prove that you are human by following the link to ensure your submissions delivery.)

A small stipend and limited travel available for playwrights selected.

Electronic submissions preferred.


Playwrights selected for the summit will be notified at the beginning of August.

Three plays will be selected to have readings (with an eye towards a potential future production) during the annual 4-day summit, which takes place October 20 – 23, 2017.

Capital Rep is a professional LORT D theatre, established in Albany in 1981.

P73 Fellowship/Interstate Writers’ Group
Deadline: April 2nd

The P73 Playwriting Fellowship provides a year of comprehensive support to one early-career playwright who has not received a professional production in New York City (please see eligibility requirements below). 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 and the Fellow over the course of the Fellowship year, up to an additional $10,000.

The Fellow is encouraged to think creatively about using Fellowship resources to meet concrete goals that might not otherwise be possible. 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. Please note that funds from the P73 Playwriting Fellowship do not cover full-scale productions, nor does Page 73 commit to producing the work of the Fellow. The Fellowship incorporates at least one public presentation by the Fellow. Page 73 also helps the 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 may also be invited to participate in the Page 73 Summer Residency and, if eligible, 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.

Past P73 Playwriting Fellows are Kirsten Greenidge, Quiara Alegría Hudes, Jason Grote, Krista Knight, Tommy Smith, Heidi Schreck, Eliza Clark, Janine Nabers, Max Posner, Caroline V. McGraw, Clare Barron, Nick Gandiello, and Hansol Jung.

Interstate 73 Writers’ Group

Interstate 73 is Page 73’s yearlong writers group. Consisting of six to eight playwrights and led by Page 73’s staff, Interstate 73 meets twice monthly on weeknight evenings at our office in Fort Greene, Brooklyn. Each playwright receives a stipend for participating. Participants bring in pages that are read aloud and discussed by the group. Each participating playwright is also given an opportunity for a reading of a completed work, which can be a public or private reading, depending on the playwright’s interests and needs. Page 73's staff works with each playwright to craft the reading to be as useful as possible for the writer.
Interstate 73 begins each year in January, and meetings run through December; sessions are typically suspended for a period in the summer. Please consult the eligibility requirements below. Page 73 selects participants from individuals we meet through this application process as well as from individuals who have become known to the company through other means.

John Doe Residency
Deadline: March 6th

John Doe seeks to realize, and in realizing engender, experimental artistic visions. Our artists extend the language of form with hands on material, and material in space. As part of the continuing production and presentation process, the John Doe residency provides artists with a studio term culminating in a solo exhibition.

Residents will be provided with a 250 sqft studio space located in the gallery’s annex, equipped with all necessary communal facilities and high speed internet. Access to the studio will be available 24 hours a day, 7 days a week, and residents are expected to be on site at least 4 days a week during the residency period.

Artists of all disciplines and nationalities are eligible to apply.

Applications are currently accepted through March 6th, 2017, for residency sessions between April 1st to June 30th, 2017.

Amenities / Equipment:

- Small wood shop
- 3D printer
- Photography backdrop (paper)
- High speed internet

Terms of Residency:

- 4-6 weeks duration
- Closing Exhibition
- Days on site: >4 per week
- Workspace Provided
- No companions


- Artist Statement
- Portfolio: 10-20 Work Samples
- CV

Please send all submissions to

More Info:

Disciplines: All Disciplines, Curatorial, Digital, Film & Video, Fine art, Installation, Land Art, Light and Projection, Media Arts, Moving Image, Music & Sound, Painting, Performance, Photography, Poetry, Printmaking, Sculpture, Sound, Theater, Visual Arts.

Location: Brooklyn, New York, United States

Djerassi Residency
Deadline: March 15th

Residencies are awarded competitively, at no cost, to national and international artists in the disciplines of choreography, literature, music composition, visual arts, media arts, and science.There are 6 residency sessions; 5 are 29 days long and 1(the Open House Session) is 36 days long. There are 11 - 12 residents with varied disciplines in each session.

We seek applications from emerging and mid-career artists, for whom appointments as resident artists may make a significant difference to their careers, as well as from established artists with national and/or international reputations. Applicants are evaluated by panels of arts professionals in each category.

The Residency Program is designed as a retreat experience to pursue personal creative work and share in collegial interaction within a small community of artists. It is unpaid with no practical training or educational components involved. In this spirit residents are expected to commit themselves for the entire residency session awarded to them.

Residents accommodations on the ranch are determined according to artistic discipline and creative project. Living quarters and studio space consist of a four-bedroom house a unique, remodeled twelve-sided barn and the Diane Middlebrook Studios.

The rooms in the Artists' House are set up to accommodate writers, each with a large desk, work space, and outdoor deck. The Artists' House also contains the main kitchen, living and dining area, a library, laundry facilities, shared bathrooms, and a large deck.

The Artists' Barn contains three visual art studios, a large dance studio, a darkroom, and a music composition studio with a baby grand and electric piano. The studios are rustic with wood burning stoves and modest sleeping lofts. There is also a kitchen, a large common area, shared bathrooms, and laundry facilities in the Barn.

The Diane Middlebrook Studios consist of four private live/work studios for writers, media artists and other artist with clean/non-messy projects. The studios each have private bathrooms and outdoor space.

The Program employs a chef who prepares communal dinners Monday through Friday, and provisions both kitchens. Residents are expected to prepare their own breakfasts, lunches, and weekend dinners using ingredients supplied by the Program. We offer vegetarian and gluten free meals, although we cannot guarantee a gluten free environment.

2017 Umbria: Next Generation
Deadline: March 15th
Website: UMBRIA 

An intensive residential retreat for young theatre and dance creators under 35 years old, designed to give time and support to projects that are still in their initial phase of conception and development.

Next Generation is a special program open to individual artists, companies and informal groups during which the artists will have the opportunity to begin experimenting with ideas for new performances (theatre, dance, performance, etc.). The artists will have the opportunity to work individually or in groups on their own projects, while immersed in the natural inspiring environment of La MaMa Umbria. An international group of La MaMa artists and producers will be invited to follow the retreat as mentors, offering a series of daily workshops and activities aimed at stimulating the creative process, and encouraging the exchange and dialogue among the various participants. Periodically the artists will be asked to share their process with other participants and to provide constructive feedback. At the conclusion of the retreat, the artists will showcase their work for an invited public composed mainly of artists, theatre and dance presenters.

This program is meant as an incubator for new performance projects in an embryonic stage and will not be open to projects that are already in an advanced phase of development, which require a more production oriented residency. It’s purpose is to discover new talents and nurture the emerging of new promising performative ideas. Some of the artists may be invited to apply for a further residency period at La MaMa Umbria in order to advance the development of showcased ideas.

This program is open to a maximum of 15 participants. It is supported by the Ministry of Culture and the Region Umbria, thus it will be free of charge. Participants will be responsible to cover the costs of their own travel, lodging and food. (Lodging and food at La MaMa Umbria is estimated to not exceed 400 Euros for ten days.) La MaMa can assist participants to find solutions at special discounted rates. Participants will have access to all the spaces, facilities and equipment owned by La MaMa Umbria and will be able to interact with professional mentors about specific needs and requirements.

Interested candidates must submit the application form, and the following:

-biography and role of each participant;
-motivational letter expressing how this opportunity will serve the project;
-description of the project idea to explore during the residency;
-online samples (video, audio, images, reviews, etc.) of past work of the candidates;
- technical requirements and other special needs.

Franklin Furnace Fund Award
Deadline: April 1st.

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

Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. Every year the panel changes, as do the definitions of "emerging artist" and "performance art." So if at first you don't succeed, please try again.

The Franklin Furnace Fund 2017-2018 is supported by Jerome Foundation, the NYC Department of Cultural Affairs in partnership with the City Council, and by general operating support from the New York State Council on the Arts.

Artists from all areas of the world are encouraged to apply; however, artists selected by the panel are expected to present their work in New York. Artists supported by funding from Jerome Foundation must live in the five boroughs of New York City or the state of Minnesota. Full-time students are ineligible.

To apply to The Franklin Furnace Fund, please read the application guidelines carefully and apply using our online application form. Please note: In order to access the online application form you must first complete a brief questionnaire that will help determine your eligibility. If eligibility is confirmed, you will be provided with a link to the online application.

Deadline: April 1, 2017

Guidelines for the Franklin Furnace Fund 2017-18:

Online Application:

UCSD: African American Experience
Deadline: May 27th

The University of California San Diego’s Theatre and Dance Department seeks from all enrolled undergraduate students submissions of previously unproduced, unpublished scripts highlighting African American experience in contemporary or historical terms.

Scripts must be original, unpublished, unproduced and free of royalty and copyright restrictions. Plays which have had staged readings are acceptable. Scripts must be 50 pages or longer, typed. Manuscripts must be submitted electronically (see below). You must also include your contact information (name, email, and address); play title, number of characters, institution affiliation, and a one page story summary.

A $1000 honorarium will be awarded to the winning playwright.
A stage reading in April of the winning script in the Wagner New Play Festival. This festival is attended by students, local patrons, and twelve national theatre professionals.
Travel and housing costs to and from UC San Diego to be present for the performance.

Luxembourg Arts Prize
Deadline: May 31st

The Luxembourg Art Prize aims to reveal and promote talented artists who have yet to establish a profile on the contemporary international scene. Its function is to discover artists, and it is open to any artist, amateur or professional, with no limits on age, nationality or place of residence. The Prize is aimed at artists working in one or more of the following media: drawing, printing, installation, painting, performance, photography, digital art, sculpture, sound art, video, mixed media, decorative art (textiles and material, glass, wood, metal, ceramics, mosaic, paper or other techniques).

How do I enter?

Artists have to create a Candidate Space on the Luxembourg Art Prize website and complete the entry form on-line. Everything takes place via the Luxembourg Art Prize website. Only entries submitted on-line via the artist’s personal Candidate Space will be accepted. Candidates may update and complete their submissions on-line as many times as necessary until the deadline for submissions.

Entry fee
Entry for the Luxembourg Art Prize 2017 is subject to the payment of an entry fee to be paid on-line. The entry fee is €45 (about 49 USD or 39 GBP or 48 CHF or 63 CAD or 5,463 JPY).
The entry fee pays for the time spent examining the entries by all the members of the selection committee. Talent is independent of age; we hope to receive submissions from artists young and not so young who have real personality and whose works will delight us.

The winner of the Prize in 2017 will receive an award of €25,000 (about 27,020 USD or 21,517 GBP or 26’725 CHF or 35,125 CAD or 3,035,000 JPY) to fund the production of further work and an individual exhibition in a prestigious gallery. The finalist artists will be included in a group exhibition in the gallery. The Luxembourg Art Prize is a unique opportunity to enter the international professional art circuit and to have your work seen by major private and institutional art collectors. You will have the chance to be supported and personally advised by Hervé Lancelin.

Unlike other prizes or art salons, the Luxembourg Art Prize is designed to boost your career by exhibiting your work in an international gallery and giving you a high level of visibility. Hervé Lancelin has been an art enthusiast for nearly 50 years. He is a member of ADIAF, a prestigious association of major European collectors. He has been a member of the selection committee for the Marcel Duchamp Prize in collaboration with the Centre Pompidou in Paris and has been a trustee of the Amis du Musée d’Art Moderne, d’Art Contemporain et d’Art Brut (Friends of the Museum of Modern, Contemporary and Outsider Art) in Lille for several years.

Who pays the artists' costs?
All the costs associated with travel to and accommodation in the Grand Duchy of Luxembourg for the nominated artists and one other person of their choice will be paid in full by the Gallery in 2017. This includes transport and insurance for the works of art, air and train tickets and full-board accommodation in a four-star hotel.

The gallery will organise return travel for the nominated artists and their companions by train or air. The gallery will send travel documents to the nominated artists and their companions within the ten days before the opening of the nominated artists’ group exhibition.
The gallery will also book hotel rooms for the purpose on the basis of dual occupancy (each artist with his or her companion).
The candidates are invited to research as early as possible whether their journey to the Grand Duchy of Luxembourg will require a visa (

How does the Artistic Committee make its choice?

The Artistic Committee is already looking forwarding to getting to know your work and examining your entry carefully. They expect you to fulfil certain criteria, which may appear subjective but are nevertheless important.

For example, the Committee may be sensitive to the following points: the originality of the work, technical mastery, coherence of the work, freshness, novelty, historical continuity, the artistic, literary, historical, scientific or philosophical references in your work, the message conveyed, the poetry that emerges from the work.

The Committee hopes to find works that have been produced in a unique moment of grace experienced by the artist at the time of their creation. These magical creative moments are what make a work unique and unlike any other.

Orlando Shakespeare Festival Playfest 2017
deadline: March 1st

Orlando Shakespeare Theater will be performing seven new plays for the PlayFest 2017 weekend, November 2–5, 2017. In Round 1, we will accept submissions from January 1, 2017 through March 1, 2017 of 10 pages from new plays to be considered for PlayFest 2017.

We look for scripts that are appropriate for our Goldman Theater, an intimate proscenium theater that seats 118. Typical cast size for the Goldman Theater is 1–8.

We are especially interested in scripts that speak to the issues that our audiences are experiencing right now. Past PlayFest plays have dealt with issues of racism, autism, gender, Alzheimer's, immigration, etc. Our Shakespeare and classical productions deal with “timeless issues” and we like for our new plays to deal with modern “issues of our times.”

For a script to be eligible for inclusion in PlayFest 2017, a play does NOT have to be a world premiere, but it must be a “new” play. For our purposes, that means it cannot:

1. Have had more than two previous professional (AEA) productions before PlayFest 2017
2. Have been published
3. Have had an AEA production in New York City or Orlando
4. Most importantly, the author must still be developing and working on the script.


For unsolicited scripts, please send us the following from January 1, 2017 through March 1, 2017:
1. A brief bio about you (100-150 words)
2. A brief synopsis of the play (100-200 words)
3. A brief character breakdown (1-2 sentences that describe each character)
4. 10 pages from the script

Please send us your BEST consecutive ten pages, not necessarily the first ten. We want to be able to get a strong sense of your use of language and dialogue to tell your story. We do not have the staff necessary to read full unsolicited scripts, but we are excited to read your best 10 pages and then ask for your full script as a part of Round 2. Full script submissions for Round 1 will NOT be read or considered for PlayFest.

All submissions should be emailed as PDF electronic submissions. Please send to

For Round 2, we request full scripts from our unsolicited 10 page submissions, as well as agent- submitted scripts, and previous PlayFest alumni scripts. We will be accepting Round 2 submissions from January 1, 2017 through June 1, 2017.

For Round 2, please send us
1. A brief bio about you (100-150 words)
2. A brief synopsis of the play (100-200 words)
3. A brief character breakdown (1-2 sentences that describe each character)
4. Full script
5. Optional: if you have letters of recommendation or references, we would be happy to read those as well.

All submissions should emailed as PDF electronic submissions. Please send to

From June 1–August 1, we will select up to 15 plays as semi-finalists for PlayFest. From those semi-finalists, we will select the final seven which will appear in PlayFest.

The final plays for PlayFest 2017 will be selected by August 15th, 2017

Woodward/Newman Drama Award
deadline: March 1st

The BPP is accepting submissions for the 2017-18 Woodward/Newman Drama Award. Submissions are due by March 1, 2017. The top 10 finalists will be announced at the end of May with the winner announced in June 2017.

Full-length plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes). Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, subsequent activity does not change the acceptability of the script.

Each submission must include a synopsis (1 page or less) including the cast size. A separate page should include a brief bio of the playwright, and production/development history if applicable.

Each submission must include a cover letter with contact information and a $10.00 reader fee. Agent submissions require no fee. The fee will be waived for Dramatist Guild members with an enclosed photocopy of a membership card. The BPP only accepts U.S. checks or money orders (Make check payable to "BPP"). No international checks or money orders will be accepted.
Make sure to note with your submission that you have paid the reader fee online.

It is preferable for musicals to include a demo CD. The complete score is not necessary but may be included. All plays are read by BPP's literary personnel led by and including the Literary Manager and Artistic Director.

We do not accept email submissions. Scripts will not be returned. Blind submissions are not necessary. Please include all contact information. Plays submitted in previous years will be accepted.

The BPP reserves the right not to name a winner and/or name a winner but not commit to a reading or production.

Send to:
Woodward/Newman Drama Award
Bloomington Playwrights Project
107 W. 9th Street
Bloomington, IN 47404
Scripts must be postmarked by March 1, 2017, and received no later than March 10, 2017. We are not responsible for postal delays, and recommend you not choose to send Media Mail unless you are submitting several weeks in advance.

For further information, write BPP, Attn: Literary Manager, 107 W. 9th Street, Bloomington, IN 47404. For faster replies, please email us at

ATHE’s Jane Chambers Playwriting Award
Deadline: March 1

The Women & Theatre Program (WTP) of the Association for Theatre in Higher
Education (ATHE) invites submissions from female playwrights for the annual
Jane Chambers Award. The Jane Chambers Playwriting Award recognizes plays &
performance texts created by women that present a feminist perspective &
contain significant opportunities for female performers. Experimentations
in form and subject matter welcome. This annual award is given in memory of
lesbian playwright Jane Chambers who, through her plays such as A Late
Snow, My Blue Heaven, Kudzu, & The Quintessential Image, became a major
feminist voice in American theatre. The Award consists of $1000, free
registration to attend the Association in Theater in Higher Education's
conference in early August & a rehearsed reading of the winning piece at
that conference, hosted by WTP, with ATHE. The winner should attend the
conference's awards ceremony.

The judges are guided to read the plays looking for both artistic
excellence and feminist perspectives, and to stay open to experimentations
in form.

Schubert Fendrich Playwriting Contest
Deadline: Rolling

To encourage the development of quality theatrical materials for the
educational, community and children's theatre markets, Pioneer Drama
Service is proud to sponsor the annual Shubert Fendrich Memorial
Playwriting Contest.

This is an ongoing contest, with a winner selected by June 1 each year from
all eligible submissions received the previous year.  All eligible plays
accepted for publication will be considered contest finalists, from which
the winner will be selected.  The contest winner will receive a $1,000
royalty advance in addition to publication.

deadline: March 1st

NC State Musical Stages will welcome submissions of completed full length musicals for its 2017/2018 season through March 1, 2017.

Selected projects will be given a 30-hour rehearsal followed by two performances of a staged or concert reading in Raleigh, NC as part of NC State University Theatre’s season.
Readings will be produced and directed by Kyle Dougan, director of the NC State Musical Stages program with assistance from NC State faculty, staff and students.
The NC State Musical Stages program will be cast with a majority of student talent, based on the needs of the musical. Shows offered readings will also be considered for a mainstage fully produced production to occur every other year.
All writers must submit their materials with their interest to be included in the program for each submission cycle.
NC State Musical Stages does not charge a fee to apply and accepts only electronic submissions.

All requested files must be placed in a single folder posted to a drop site such as Google Drive, One Drive, etc. Send the media folder to Kyle Dougan, NC State New Musicals Director, and include only the following:
-100 Word Synopsis
-Cast Size and character breakdown
-Writer Bios
-The show’s development history
-First 30 pages of libretto only (Must start on page 1 and must include title and credits page)
-6 MP3 demo track- Must include the show’s first two songs
-Any songs not in the first 30 script pages must include a description including placement in the show and the song’s function in the play
-A list of attached parties if any (director, music, director, actors, agents, current contracts, etc.)

Incomplete submissions or writers not following specified submission guidelines will not be considered.

All writers will be contacted by March 15, 2017. Projects selected as finalists will be asked to submit the full book, complete score, and all show demos – these must be available at the time of request. A team of faculty, staff and students will be involved in reading the finalists’ shows. The chosen show will be notified by May 1, 2017. NC State Musical Stages artistic leadership may schedule a short interview with the writers to discuss their project and expectations for inclusion in the 2017/2018 season. Reading to be produced in the spring of 2018. Dates based on University and writer’s schedule.

Selected writing teams will receive housing, transportation, and $1750 stipend for their scheduled reading, contingent on funding. Writers will also be required to meet with students a total of 5 hours as masterclass leaders in addition to rehearsals for their reading.

Note: Only completed projects will be considered and finalists will be asked to submit their full libretto, score, and complete recorded demo. (must be unpublished with no prior large-scale production, musicals that have been submitted require proof of underlying rights if the work is based on copyrighted material.)

Please contact Kyle Dougan at with any questions

PLAYA Residency
Deadline: March 1st

PLAYA is a retreat for creative individuals who are committed and passionate about their work, and who will benefit from time spent in a remote location. At PLAYA, we offer seclusion and quiet in a natural environment and the opportunity for interaction, if desired, with a cohort of residents and the local rural community. A residency provides the time and space to create substantive work or to research and reflect upon one’s creative or scientific processes. Away from the urgencies of daily life, residents can focus on their projects, immerse in a desert landscape of basin and rangeland, and find inspiration through self-directed inquiry.

PLAYA is a nonprofit organization supporting innovative thinking through work in the arts, literature, natural sciences and other fields of creative inquiry. PLAYA was organized in 2009 and began its Residency program in May 2011. For all of the latest information, including upcoming residency opportunities go to our application page.

Located in the Oregon Outback, near Summer Lake in Lake County, PLAYA manages its Residency program and a range of community and educational outreach activities. Residencies are provided without a fee offering the gift of time and space to eligible applicants, and span two multi month sessions each year. When our regular Residencies are not in session, our program opens our facilities to groups or individuals whose primary focus and activities align with PLAYA's mission and values. In particular, we hope to bridge the dialogue between the arts and sciences through thematic place based programming, presentations, symposiums and workshops. The intention of all of our programming is to support creative individuals who are committed and passionate about their work, and who will benefit from time spent in PLAYA's inspirational remote location.

PLAYA  provides a variety of opportunities to engage with the local communities of Summer Lake, Paisley and Lake County, Oregon through free programs and educational activities.

Bingham Camp Theatre Retreat
deadline: March 29th

Bingham Camp Theatre Retreat is looking for composers and lyricists of color interested in having their new musical developed this year as part of its third season. The new musical must be able to be performed with a multiethnic cast and require no more than 8 actors. The winning submission will have a workshop this fall as part of BCTR’s third season at the Bingham Camp in Salem, Connecticut under the artistic direction of Devanand Janki. Materials are due by March 29th, 2017. You will receive confirmation of receipt by email within a week.

BCTR is an annual ten-day retreat at The Bingham Camp. Each season, participants work on the development of a single new play or musical. In addition, there are opportunities for readings and exploration of other work while on-site. It culminates in a presentation to an invited audience of local supporters, national art advocates and other professionals. Under the artistic direction of Devanand Janki, the creative environment is collaborative and supportive, with the ultimate goal of creating high-quality work that has potential to be produced commercially so its message can reach larger audiences. The quietude of the countryside around Bingham Camp offers the opportunity for participants to work without the interruption and distraction of a city. All artists receive a small stipend plus housing and meals.

Please mail submissions to:

Bingham Camp Theatre Retreat
c/o Devanand Janki – Artistic Director
255 West 108th Street, Suite 1D
New York, NY 10025


Digital Submission can be sent to:


All submissions should include:

Single page synopsis
Single page character breakdown
Demo of score (3 songs maximum)
Sample of corresponding dialogue (5 pages maximum)
Brief production/development history (note: properties with prior full productions will not be accepted.)
Our next project for development will be announced in May 2017.

Fade To Black Festival
deadline: April 1st

Fade To Black is Houston's first national play festival to showcase the new works of African American playwrights! Each year we select the plays of ten finalists from around the U.S. and produced them before a live audience. On the last day of the festival, a grand prize winning playwright (chosen by audience votes) will be announced. Winner receives a cash prize!

Your play must not be previously produced by yourself or another theatre. 
Your play must not be published. 
You must be the African American author of the play.
The theme and subject matters of the work is open to the playwright's imagination. 
Local Houston directors and actors are encouraged to participate.  
Selected playwright finalists will be contacted no later than Monday, May 1, 2017.  
There is no fee to submit.
Grand prize winner will be chosen by audience vote and awarded a cash prize. 
Only three (3) scripts submissions are allowed per playwright.
All applicants must be at least 18 years of age.

Your play must be an original, not previously produced, unpublished work written by an African American playwright. 
“Produced” - Your play was marketed for production date(s) by either you (its playwright) or a theatre company and was performed before an audience who purchased tickets to see the event.
Staged readings are not considered productions. If your play has only had public or private readings, but has not been produced as a full scale stage performance, you are permitted to submit the play.   
​"Published" - Your play is an officially published work and commands royalties from the producing theater each time it is performed.
Submission form must be completed. (
Your play must be submitted in pdf format. 
Your play must be between 8-10 minutes long.
Generally 8-10 pages of dialogue. Industry standard: 1 page=1 minute).
Your play should accommodate a “bare-stage” set requiring only a minimum of removable stage props and require basic lighting and sound cues.  
Play must not be a musical. 
Play must not be written for children or youth. 
Play must not be a re-submission of previous Fade To Black festival seasons. 
Play must not be considered a translation or adaptation.

Complete the script submissions form. (
After submission form is completed, email pdf of original work to:
Email header should read: Submission: Fade to Black. Your name and the name of the play
Your play should include cover pages including: Your name, contact information, title of the play as well as any character descriptions or pertinent details you have regarding the play. 

deadline: March 15th

Nickelodeon seeks a writing assistant for an animated preschool television show with production offices in New York City. The ideal candidate is highly organized, and should have a demonstrated interest in writing. Knowledge of Final Draft is a plus. The role is meant to be a training position for individuals interested in pursuing a career in writing for children's television.

Job responsibilities include:
- Assisting the Script Coordinator
- Attending writing meetings and taking detailed notes
- Contributing to writing brainstorms
- Tracking changes to scripts as they progress through the production cycle
- Drafting promotional materials for Press/Network representatives
- Working with the Script Coordinator to manage the writing schedule
- Acting as a liaison between the writing staff and all other departments

Please send resume, cover letter, and up to two dramatic writing samples (at least one of which should be a spec script of a children's TV show) to Veronica Siverd at Please submit all materials by March 15, 2017 for consideration.

CBS Writers' Mentoring Group
deadline: May 1st

There are many different paths writers can follow to get their first foothold in being hired in television. As part of its ongoing commitment to create additional access for writers of diverse backgrounds CBS’ Diversity Institute has launched a different kind of writers program which highlights one of those paths. The focus of this six month program is on opening doors: providing opportunities to build relationships with network executives and show runners; to support new and emerging writers in their efforts to improve their craft; and to develop the interpersonal skills necessary to break in and succeed. The Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and the decision-making processes, with the goal of preparing aspiring writers for later employment opportunities in television. Each participant will be teamed with an executive mentor.

A CBS network or studio executive with whom they will meet on a regular basis, to discuss their work, get creative feedback on their material and get advice and support in furthering their career.
Once a week, participants will be invited to attend a small workshop-style meeting with various CBS show runners and other industry professionals. Speakers include executive producers, agents, managers, development and current executives and show runners. The purpose of these gatherings is for participants to gain a better understanding of how the business works from many different perspectives as well as creating the opportunity to make critical networking connections. Another important part of the Program is the opportunity for each participant to spend time observing in a writing room, as well as in the CBS current and development departments. Each participant will have help in creating a rigorous career action plan and there will be on-going support in evaluating and achieving those goals. Another important benefit of the Program is the development of a close-knit peer support group that will sustain participants through the program and beyond. The CBS Writers Mentoring Program helps aspiring writers to understand the unwritten rules of breaking in and moving up. It is a combination of mentoring and networking opportunities. Program opportunities such as mentoring, workshops, and observing can be scheduled around participants’ existing work commitments. In order for a participant to get the most out of the Program a meaningful commitment of time and effort are required. It’s been found that in order to derive the greatest benefit from the Program, participants should be available to 1) attend a once a week (evening) workshop and 2) attend meetings or observe in various situations for a minimum of five full days (not necessarily in sequence) over the course of the six-month Program.


The primary focus of The CBS Diversity Institute’s Writers Mentoring Program is to provide access and opportunities for talented and motivated diverse writers. Aspiring diverse writers with a strong desire to write for CBS television series are encouraged to apply. You must be 21 or older to be eligible. SUBMISSION PERIOD:   IS NOW OPEN  All completed application materials must be received between March 1, 2017 and May 1, 2017. Any submissions received before March 1st or after May 1st, 2017 will not be considered. No hand delivered submissions will be accepted. Finalists will be notified in mid September 2017 (or such later date as may be determined by CBS). The Program is scheduled to begin in October, 2017 and continues through April 1, 2018. CBS reserves the right to make adjustments to Program schedule.

Application Materials

Each submission must be complete in order to be considered. A complete application packet includes:

Letter of Interest
Work Resume or Bio
Two (2) Writing Samples: one (1) half-hour or one-hour episodic spec script based on a current prime time television series which aired, or was released, during the 2016/2017 season on any network or cable channel, including Netflix, Hulu or Amazon and (1) original work of writing – (original pilot, stage play or short fiction story). Original material should match in tone the spec script.
A signed Submission Release form for the writing samples.
Please submit all documentation in PDF form.

Contact information must include an e-mail address for further communication from CBS. Applications cannot be processed until they are complete. Writing samples will not be returned.

Apply for the 2017 -2018 Writers Mentoring Program here:

NEXT ACT: Capital Rep
deadline: March 31st

Next Act! now in its sixth year, is an expansion of Capital Repertory Theatre’s (theREP) commitment to the development of new work. At the same time, the weekend long summit is designed to complement the Upper Hudson Valley’s rich diverse populations. The summits directly reflect the theatre’s mission, “to create meaningful theatre generated from an authentic link to the community.”  Next Act! New Play Summit 6 takes place October 20 - 23, 2017 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 productions of Suzanne Bradbeer’s The God Game (2015) and Naked Influence (2016), Sherry Kramer’s How Water Behaves (2015), and Bob Morris’ (2017) production of Assisted Loving; Dating With My Dad, all of which started at Next Act.

Accepting full length plays only.
Submissions MUST be sent to the email address or they will NOT be accepted!
(No Musicals.)
Multi-cultural and ethnically diverse pieces encouraged.
Comedy and Drama welcome!

Eligible plays can not 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 – Friday March 31, 2017.

Playwrights should submit one document, as a Microsoft word or PDF file attachment. This document must include: a short one-paragraph synopsis – that illuminates the plays entire plot including its ending; the character descriptions and the first 10 pages (and only the first ten pages) of their play. Submission documents must be void of playwright’s name and contact information.

Submissions that do not conform to the guidelines stipulated will not be accepted.

Email your submission to with 2017 SUBMISSION in the subject line. (There is a spam filter on this email account to protect it from hackers. First time users please prove that you are human by following the link to ensure your submissions delivery.)

A small stipend and limited travel available for playwrights selected.

Electronic submissions preferred.

Playwrights selected for the summit will be notified at the beginning of August.

Three plays will be selected to have readings (with an eye towards a potential future production) during the annual 4-day summit, which takes place October 20 – 23, 2017.

deadline: March 25th

ROJA ART LAB is an artists-run, non-profit initiative, which provides a creative arena for artists who are ambitious for their work and open to challenges of an environment that demands experiment, co-operation and exchange. We are looking for participants who will engage with local community, investigate and reflect on materials and place, innovative use of various medias (installation, land art, performance, video, sound, painting, sculpture, ceramics, time-based, photography, etc.) The residency culminates in a public celebration, performances and exhibition of individual and collaborative works that have emerged over the time of being together for 15 days.
We are very interested in the new forms and new approaches that could be outcome from the site specifics of the residency.

Artists are resident for the duration of the 15 - day workshop. We are planning to have 8 artists in the ROJA Art Lab. A series of visitors will be invited to attend throughout the art laboratory to encourage critical debate and dialogue. This will include presentations, lectures. Before physical production there will be project presentations and concept discussion meetings, in which the specificity of each artist will be contextualized.
Applicants should be interested in interdisciplinary dialogue and open to collaboration.

ROJA ART LAB has received funding from the State Culture Capital Fund of Latvia, and is supported by private individuals and organizations. Residency provides housing (, meals, studio, materials along with technical support and basic facilities.
We are working hard to offer all the selected artists fully funded places excluding their travel to and from Roja. Artists, especially those from outside Latvia, are encouraged to seek financial help through national or regional funding organizations, charitable trusts, etc. We will provide all necessary recommendations, papers and any other possible help, when artist is selected.

ROJA LAB has improvised outdoor studios for work, meetings, seminars and presentations. We do have basics equipment for work with wood, metal and ceramic etc. We have broadband Internet connection, sound system and video projector. Specific tools residents have to bring with them.
ROJA LAB has an open air wood-fire / high-fire ceramic and raku kiln on the bank of river Roja.
For specifics projects (performances / exhibitions / projections / shows etc.) there is possibility to rent out facilities in town.

To apply please send:
A completed application form. You have to use online form:
Fill it out, save as PDF file and send to doc)
Eight digital images (JPG format) or short video (you may also provide your website address, Vimeo, or You Tube address).
Application and images must be labelled with surname (family) name, followed by an underscore in the file name. For example: John Smith will label his submitted images as Smith_(title of image or doc.)

Applications should be sent by 25 March, to:

Curator of ROJA ART LAB
Māris Grosbahs