Sunday, July 30, 2017

In Remembrance of My Aunt Dolly: Int't Woman of Mystery and Adventure

My childhood coin collection started when Aunt Dolly came back from London handed me some coins with Queen Elizabeth II's face etched in the medal. I had never touch or seen anything but American money. What the hell is this? She told me that these were coins from England. My adolescent mind was blown: other money, other countries, other customs, otherness. In one instance I made a quantum leap into awareness: there is an entire planet of otherness. Something as simple as this blew my adolescent mind. I looked up London and the UK. On her next trip she brought me back coins with different languages on them and even some paper money. France, Italy, Germany, Greece. I began reading about these new worlds. I kept the coins in an old wooden jewelry box. When I was bored I would put some of the coins in my hand and -with eyes closed- try to guess the nation by the indentations around the edges and the feel of the different faces. I would memorize the different rectangular shapes of the paper money and then I imagined I was a blind person who could travel with through my supernatural ability of touch. I would pick up a German Mark and be in Berlin looking at the Wall, or hold a Franc in my hand in order to go to the Eiffel Tower. Aunt Dolly taught me that being Black wasn't synonymous with being provincial. I didn't have to be small. My life is limitless and as diverse as the currency of the world. I started putting the coins in different plastic bags, sorting them by country and amount. I keep the paper money at the bottom of the box. Whenever I felt constricted or confined, I could reach into my coin collection. When I went to Mexico for the first time I remembered Aunt Dolly and I wanted to bring her back some pesos, but I knew she already had them. When I was in London I set aside some British pounds in her honor. When my childhood body was stuck in Florida, she gave me my first 'mental passport' to explore. She was my travel companion in this life...and she will be there in the next. Rest in Peace, Aunt Dolly. I love love love you.

Monday, July 24, 2017

Marlton House Memories

On Thursday I have a meeting at Marlton Hotel. I am excited to be back on my old stomping grounds, but on very different terms. A decade ago I lived in the same building when it was a scuzzy, partial-dorm for New School University. I was a grad student and RA for the students. Marlton housed both students as well as old-time pimps, drug dealers and chess hustlers who worked Washington Square Park for money (and couldn't be kicked out b/c of NYC tenant laws). No one thought anything of putting up hayseed freshmen in a building where prostitutes would ride the rickety elevator after a long night of work. I remember finding little baggies of cocaine spilled across the stairs to the student lounge, presumably from a late-night of debauchery. I remember a Swiss student going on a coke bender b/c I was the RA on duty that had to 'bring him back down to earth' and tell him he had 24 hrs to immediately leave the dorm forever. There was another student who was starring in porn movies while still in school.

Every room was a tiny studio with a bed, desk, closet/dresser combo, and a minifridge/mini-microwave. Old wiring and dusty circuit breakers meant that almost all excessive electronics were banned so -of course- everyone had hot plates in their room, DJ turn tables, and video game consoles that would short circuit a floor and plunge everyone into darkness. Each floor had a shared bathroom at the end of the hall and the pipes would knock and scream. The Hell's Angel bikers would hang out down the block at Grey's Papaya, a 24-hr hot dog stand where you could get the greasiest 99 cent hot dog smothered in stinky sauerkraut and spicy mustard. Students, bikers, homeless, and hookers would be there late into the night scarfing down dogs with the obligatory pina colada drink that was just flavored sugar water dispensed by the gallon. Hell's Angels would then go roaring by the Marlton Dorm at around 2 or 3 am during the week and back to their HQ in the East Village.

You couldn't keep the windows open during the day because the wind might change directions and blow black chimney smoke from a nearby building into your room, covering everything in black soot.

Electric Lady Studios (where Jimi Hendrix recorded) was across the street. Manhattan Theatre Source (great little theatre) was also across the street and near the legendary TLA Video Store. There was one laundry mat for the entire block and it was run by a pervy, ruddy-faced Russian guy who would ask me over to his place while I washed my clothes. I would smile and pretend like I couldn't understand what he was saying b/c of his thick accent until he would get embarrassed and drop the matter. I found out later that he would ask many of the students over to his place, so maybe he was just trying to be friendly...or maybe he was going to chop us up into little pieces and make love to the severed parts; I guess we will never know!!

This was NOT NYC in the 1970s or even the 1980s. This was in the 21st century. This was Marlton House 10 yrs ago. The property was sold, gutted, and turned into a luxury hotel. Grey's Papaya is gone and is now a high-end juice bar. TLA Video has been closed for over 10 yrs and nothing is in its place. The entire block smells like french bread and fruitty soap. Oh well.

Sunday, July 23, 2017

A Course in Miracles and Diamond Cutter

I am listening to an audio book of the ACIM-inspired book "The Disappearance of the Universe" while reading Geshe Michael Roach's "The Diamond Cutter." Over the last few years I have returned to both sources again and again. I think they represent part of my trinity: science, spiritual, psychology. Disappearance takes care of the psychology while Diamond handles the spirituality. And then for science I have been interested in "The Physics of Miracles." and some other quantum mechanics texts. It seems like there is a link of pure non-duality between the material science of the West, spirituality of the East, and the point where the East and West meet in the creation of modern psychology and our understanding of the mind.

There are still discrepancies between the three branches in my mind. But the gap between the three is closing as I continue to review the material. ACIM doesn't claim to be a religion, but it's a psychological practice of forgiveness that can be performed by atheists. Christians, Buddhists, anyone. And while "Diamond Cutter" originates from Lord Buddha, the principles of the ultimate wisdom can be practiced by anyone as well.

I feel like I'm getting closer to understanding the mind-body duality of the world and the journey toward pure non-dualism. According to ACIM most religions of the world deal in duality. Buddhism is considered a step above because it is -at least- addressing non-duality. For me, the issue that I have been thinking about for years can be boiled down to a few discrepancies.

1) hypothesis that Buddhism connects us back to the oneness of the mind, but that there is still one more step after that: connection back to God.  Conversely ACIM states that it is seeking a reconnect with God and would rather skip that intermediary step.

2) In Buddhism the issue of God is never fully addressed, probably because it is hard to prove the existence or non-existence of a changeless Being in a world that is changing. Instead Buddhism focuses on interdependency and the indivisibility. Interdependency is the positive or shifting image based upon karma. Indivisibility or suchness or emptiness is the foundation or screen that karma is projected on to every moment. But to be clear that screen doesn't exist from its own side. It only exists with the object and it has no levels of change according to scripture. Emptiness of a pen exists and it is changeless and then when that pen is destroyed the emptiness goes away immediately, as oppose to karma which deteriorates. Of course higher levels of Buddhism says that even karma is destroyed every single moment, even though it appears to grow.

In ACIM they claim that anything entangling with matter isn't real or the ultimate and so the world is a byproduct of my neurotic mind. So even studying the highest form of interdependency doesn't result in the ultimate, because it's still about my mind. Granted, the mind being addressed is the quantum mind that is out of time and space. And according to ACIM this is the mind that Buddha got in touch with and that it's still very powerful, but still one step removed from God. ACIM also claims that once someone has attained a mastery of self to reconnect with that ultimate quantum timeless mind then it's very easy to reconnect with the God that stands outside of time and space as well.

3. Extension vs. Creation. ACIM differentiates between masters and angels. Angels were never born, masters were born. Masters came into the world and corrected themselves. They were created through a mistake of duality, just like all bodies. Angels couldn't be created because God doesn't create. Therefore angels are an extensions of God. This seems like splitting hairs but I do wonder about that difference of extension vs. creation. And if angels are an extension and I have to rejoin with God through forgiveness, is there a part of me that is also that 'God extension' which is buried underneath my worldly mind as well as the quantum mind out of time.

4. Forgiveness = emptiness = quantum wavicles.

If forgiveness is the psychological process and emptiness is the scholastic and meditative quandary to consider, is quantum wave/particle split the physical embodiment in the world. According to science all is energy and it is just waves of energy. And then when my focus is pulled toward something that wave condenses or seems to condense into a particle or point. This becomes matter. In Buddhism there is a Master Kamalashila meditation which posits the questions: if you can't see atoms with the eye, how could you ever see an elephant since it's made out of atoms. Now, of course we can see an elephant but the question is 'how?' Elephant is a mental image or a point, but technically an elephant is just waves of energy that has no form. It's condensed into form when I focus on it and think 'elephant.' So quantum physics claims that there is a wavicle: something that is both a wave and a particle at the exact same time until it's forced into a point by mental awareness. And this creates the separation between 'me' and 'them.'

So I am wondering if there is any way to combine the Master Kamalashila meditation of mental images with the forgiveness practice of ACIM and the study of wavicles?

Saturday, July 22, 2017

Driving into Overtown

We missed our exit off the highway. My mom wanted to use the HOV lane which was blocked off from normal traffic, so when it came time for our Wynwood exit we were trapped. Once the lane ended I got off in downtown Miami. I turned the car around and we found ourselves in Overtown. The buildings were still crammed together along tightly packed streets of fluorescent tropical colors. The main area of Overtown was two blocks of buildings. I saw a fenced-in field where some cocks were feeding.

Driving through the old neighborhood rekindled my mom's memories. She said that in the 1960s you could walk from Overtown to the beach. This was before the highways and walls blocking in the vibrant neighborhood that used to be called the Harlem of the South. The segregated beach was Virginia Key and it was a hidden gem. My mom said white seemed to prefer the stretches of uninterrupted white sands. Blacks ended up with the beaches with palm trees and blue crabs hiding in the grass. She said there was a toy locomotive that would snake along Virginia Key beach. Beachgoers would ride the locomotive in between the bushes and at various points. There was a dance floor, and snack bar.

The groceries stores were owned by the Chinese, although my mom couldn't remember whether they were Jamaican Chinese or Chinese. Each grocery store had a ledger and you would buy things and it would be put in your ledger and subtracted from the paid amount. When a customer's ledger reached 'zero' they had to put more money down.

There was a restaurant called Nasty Man's, that had flies in the window (this I actually know because I've used this detail in one of my plays). She said the whole vibe befitted the establishment's name so she stayed away. 

Wednesday, July 12, 2017

Fire in the Sky

it seemed like there were hundreds of different fireworks going off in the Miami sky on the 4th of July. Some of the explosions were a part of an 'official' display, but most were individuals setting off rockets, flares, and other explosions. I know that it's dangerous and ethically questionable for everyone to have their own fireworks but I was in awe of this rambunctious archaic un-zoned, communal celebration that turned the night into pyrotechnical anarchy. As I drove back across the bridge and up I-95 I was surrounded by rockets, roman candles, flares, shooters, and the deafening boom of cherry bombs and whistlers being set off on both sides of road. Each neighborhood was lit up with these dangerous (and possibly illegal) displays of reckless expression. From Miami Beach, to people on the bridge and then across the bridge, to Overtown and Liberty City, up through Little Haiti and North Miami, in Opa Locka, Carol City, and Miami Gardens there was halos of smoke and fire. When I got back to my parent's place were kids crowded in the street with an arsenal of rockets. They were setting off bombs and glowing neon green and red missiles. I watched them from the porch before I got scared that I would be shot or catch a rocket fragment. America: you are terrifying, reckless, homicidal, beautiful, irresponsible, free, and always living on the edge of chaos.

GET WHAT YOU WANT: 7 yrs of lists!!

Get What You Want started seven years ago. It was a list of grant opportunities that I sent out to Freedom Train Production's 4 Black LGBTQ playwrights. I had about 6 contests listed and it was no bigger than half a page. I figured someone might benefit from having a list of opportunities. I was always told that information is power, and sharing information gives people agency. After FTP dissolved in 2011 I kept sending out the GWYW list to about a dozen black playwrights in NYC and storing it on my wordpress blog (now defunct). And then I added a few more writers to the monthly emails and then a few more. When the monthly list hit a hundred subscribers I remember thinking that this far exceeded what I had envisioned. And then it hit 200, 300, 400 people. And then New School started using the list to send to its student, and then Pace, and then a few other institutions picked up the list. I started to keep this list on my very low-tech blog ( I can see how many hits it gets. A few thousand people connect to it every month, which ends up being tens of thousands of links every year. Over the years I have gotten emails from people telling me that GWYW helped them win them a commission or grant. It is surreal. Seven years ago this summer, Get What You Want was a half a page of content sent out to 4 people. We were the outsiders and the artists overlooked in theatre. We were tired of complaining about being mistreated. We wanted to take action. And this small step was the beginning of a strange journey. Happy summer bday GET WHAT YOU WANT.

Sunday, July 2, 2017

Get What You Want: July 2017

**NEW DRAMATISTS RESIDENCY** (new addition to the list)
Deadline: July 31st

New Dramatists pursues a singular mission: To provide playwrights time, space, and resources to create work, realize their artistic potential, and make lasting contributions to the theatre. We offer our playwrights an artistic home and self-guided laboratory for seven years, free of charge, in the company of their most gifted peers. Our playwright company consists of emerging and mid-career writers collectively embodying an artistic, cultural, ethnic, and geographic diversity rarely found in the American theatre.

What do we offer?
 Playwright led, and authority over, seven-year residency.
 A company of playwrights and a vibrant extended artistic community.
 An organization where playwrights are the host artist.
 Support for the individual and collective interests of the resident playwrights.
 Flexible playwright-driven artistic development opportunities through 1-2 day readings and extended working
sessions as part of The Playwrights’ Laboratory.
 Flexible working spaces in our studio, theatre, and classroom.
 Flexible writing spaces in classroom and library.
 Private writing studio (the Russell Room).
 Meeting space in the classroom and library.
 Temporary residence rooms in 7
th Heaven, which can also be booked as writing space.
 Casting, director, and other collaborator assistance.
 Dramaturgical, career, and artistic advisement.
 National playwright and new play advocacy.
 Supervision over what unpublished plays are kept in New Dramatists’ Library.
 Grants, Awards, and In the Works Bulletin of Playwright Opportunities.
 Retreats.
 Web-based resources, including your own profile page on ND’s website and the opportunity to host podcasts.
 Complimentary script photocopying.
 Complimentary theatre tickets.
 A one-year free membership to the Dramatists Guild during the first year of residency.
 Wi-Fi.
 Bottomless coffee, tea, and water.
 Washer and dryer.
 Childcare reimbursement for playwrights through the Howard Gilman Foundation and the Lilly-Ruhl Fund.
All these services are provided free of charge.

BMI Musical Workshop 
Deadline: August 1st (for composer/lyricists)

The Workshop runs September through May in New York City. Prospective members must make their own living arrangements in the city or be able to commute weekly.

During the first year, composers and lyricists are paired off and are asked to create appropriate songs based on scenes from various sources. The writers perform their assignments, which are then discussed by the other writers and the moderators. There are analyses and discussions of current and past musicals, with an eye to understanding form and structure. Every effort is made to insure that each writer retains his or her individual style.

In the Workshop’s final phase (Second Year), teams work on a musical. The Workshop functions as a forum and a sounding board for works in progress, as music and lyrics are critically evaluated and open dialogue is encouraged.

At the end of each Second Year, the Workshop Committee determines which writers from the group are invited to join the Advanced Workshop. Not everyone is asked. This Workshop is intended for writers of professional caliber who are expected to contribute to the vitality of the musical theatre scene.

The Librettist Workshop reads and critiques its members’ work in a moderated roundtable discussion format, with material going through various drafts from on-one synopses to fully scripted scenes. There are occasional cold readings of an entire project.

Application Materials:
Composer: Three contrasting compositions - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.

Lyricist: Three contrasting lyrics in PDF format - uptempo, comedy song, ballad.
Composer/Lyricist: Three contrasting songs - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.

Librettist: A script sample of at least ten consecutive pages. Material written for the stage is preferred, but screenplays or teleplays are acceptable. Material need not include songs. Please include a sample of comedy writing.

Note that if you apply as a composer and a lyricist, you will be accepted as one or the other (that is, as either a composer or a lyricist) and you will be assigned different collaborators over the course of the year. If you apply as both a composer/lyricist and a librettist and are accepted as both, you will spend your first year as a composer/lyricist only, as the two groups meet at the same time.

Select applicants will be invited to audition in early September. Librettist are accepted on the basis of their written materials and are not required to audition.

At the auditions, composers and composer/lyricists will be asked to perform at least two contrasting theatrical compositions; lyricists will be asked to recite samples of their theatrical lyrics. All auditions must be done live, using a piano.

Schedule & Fees
The First Year Workshop meets Monday at 6:15 p.m. The Second Year Workshop meets Tuesday at 5:30 p.m. The Advanced Workshop meets Monday at 4:00 p.m.

There is no fee to apply for or participate in the BMI Lehman Engel Musical Theatre Workshop.

EWG Public Theatre
deadline: August 31st

The Emerging Writers Group is a component of The Public Writers Initiative, a long-term program that provides key support and resources for writers at every stage of their careers. It creates a fertile community and fosters a web of supportive artistic relationships across generations. Time Warner is the Founding Sponsor of the Emerging Writers Group, and provides continued program support through the Time Warner Foundation.

Writers are selected bi-annually and receive a two-year fellowship at The Public which includes a stipend. Staged readings of works by Emerging Writers Group members are presented in the Spotlight Series at The Public. The playwrights also participate in a bi-weekly writers group led by The Public’s literary department and master classes led by established playwrights. Additionally, they have a chance to observe rehearsals for productions at The Public, receive career development advice from mid-career and established writers, and receive artistic and professional support from the literary department and Public artistic staff. Members of the group also receive complimentary tickets to Public Theater shows, invited dress rehearsals, and other special events, as well as a supplemental stipend for tickets to productions at other theaters.

 Deadline: August 15th

The Yale Drama Series is seeking submissions for its 2018 playwriting competition. The winning play will be selected by the series' current judge, Ayad Akhtar. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center’s Claire Tow Theater. The prize and publication are contingent on the playwright's agreeing to the terms of the publishing agreement.

There is no entry fee. Please follow these guidelines in preparing your manuscript:

1. This contest is restricted to plays written in the English language. Worldwide submissions are accepted.

2. Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children's plays are not accepted. The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.

3. Playwrights may submit only one manuscript per year.

4. Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.

5. Plays may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.

6. Plays must be typed/word-processed, page-numbered, and in Yale Drama Series play format.

7. The Yale Drama Series reserves the right to reject any manuscript for any reason.

8. The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.

The Yale Drama Series Competition strongly urges electronic submission. By electronically submitting your script, you will receive immediate confirmation of your successful submission and the ability to check the status of your entry.

Electronic submissions for the 2018 competition must be submitted no earlier than June 1, 2017 and no later than August 15, 2017. The submission window closes at midnight EST.

If you are submitting your play electronically, please omit your name and contact information from your manuscript. The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography where indicated in the electronic submission form.

If you would like to submit an electronic copy of your manuscript please go to:

The Yale Drama Series Competition strongly urges applicants to submit their scripts electronically, but if that is impossible, we will accept hardcopies.

Submissions for the 2018 competition must be postmarked no earlier than June 1, 2017 and no later than August 15, 2017.

Crystal Ruth Bell Residency (Beijing)
Deadline: July 17th

For the fourth edition of the Crystal Ruth Bell Residency, Red Gate & China Residencies are inviting people to apply for a funded residency in Beijing for the months of November and December 2017. We are calling for people of all types of creative practices, of all passports, ages, gender-identities, abilities, and interests to send us proposals for projects to pursue in Beijing this winter around the principle of"care" - in any way the term makes sense to you.

We are calling for people of all types of creative practices, of all passports, ages, gender-identities, abilities, and interests to send us proposals for projects to pursue in Beijing this winter around the principle of"care" - in any way the term makes sense to you.

Performers, filmmakers, poets, writers, researchers, photographers, choreographers, chefs, designers, developers, activists, scientists, architects, and all kinds of visual artists are encouraged to apply with a project proposal that reflects some of Crystal's interests and driving forces: generosity, loyalty, friendship, justice, and bikes.

The Crystal Ruth Bell Residency covers:

- Live/work space in Beijing
- Funding for travel and visa expenses
- Airport pickups, welcome dinner and orientation upon arrival
- Project support and coordination
- Artist talk & studio visits (optional)
- USD $1,000 research stipend (enough to cover meals and daily living expenses in Beijing)
- Materials & production stipend (variable based on proposed project)
- Open studio exhibition

The Pier Commission – £8,000 artist commission (London)
Deadline: July 14th

The exchange invite proposals from practitioners to transform London’s longest pier into a piece of art for the period of Totally Thames. We are looking for artists, designers, architects, performers, curators, and other creatives to propose an ambitious contemporary arts installation that will shine a spotlight on one of Erith’s greatest assets.

This opportunity is sponsored by Orbit and Wates.

£8,000 commission available to develop a site-specific work based on Erith Pier throughout a three-week period in September 2017 coinciding with Totally Thames. This is a unique opportunity for practitioners to present work as part of this world-renowned festival.
Deadline for submissions: Friday 14 July 2017
Private View: Tuesday 5 September 2017

Blueproject Foundation (Barcelona, Spain)
Deadline: July 24th

Blueproject Foundation opens yearly a call for artists-in-residence, a public programme open to all types of formats, ideas, artistic and cultural proposals.

The residency programme at Blueproject Foundation is one of the main focuses of the foundation, its objective being to offer support in the production of new projects and give visibility to emerging artists.


The artists will be judged according to the quality and professionalism of their projects by an external international jury along with the foundation’s team. The artists or collectives that were selected will enjoy a one-month residency in El Taller followed by the exhibition of their work in Sala Project.


The opening period for the open call varies annually, usually oscillating between May and July, while the development of the winning projects takes place during the following year. The exact dates of the Open Call will be announced on the web, together with the requirements and registration/application form.

Nashville Ingram New Works Lab
deadline: July 24th

The Ingram New Works Project was launched by Nashville Repertory Theatre in 2009 thanks to the generous support of Martha Ingram. With the mission to support the creation of new works for the theatre, Nashville Rep created a project that includes the New Works Lab.

The Ingram New Works Lab is intended to be an artistic home for early career playwrights to share and develop new work, hone craft, receive support, and springboard themselves into the next phase of their writing career.

Applications are open for the 2017/18 Ingram New Works Lab residency. Selected playwrights meet monthly in Nashville to develop a new play during the course of the residency. It's a year of dynamic developmental support for your new play, radical hospitality, and a great excuse to come play with us in Nashville. Travel and Housing provided. Submission deadline is July 24, 2017. Submission guidelines and more info at the link

EST Youngblood
Deadline: July 17th

EST/Youngblood is currently accepting applications for membership beginning in the 2017-2018 season. Applications are open to New York City resident playwrights under 30 years old. Membership includes attendance at all weekly meetings, monthly (or more frequent) performances, readings and retreats. There is no set term of membership, and members often stay through the season that includes their 30th birthday. If you have any questions, please contact

Application Requirements:

WRITING SAMPLE - up to 25 pages. This can be part of a longer piece or a one-act. Send whatever you think best represents where you are as a playwright right now.
LETTER - The "why Youngblood" letter. Tell us about yourself and why you are interested in membership in the group.
RESUME - Your current playwriting resume.
FULL-LENGTH PLAY - A completed full-length play in its entirety. Note: this can be the full play from which the initial 25 pages was excerpted, or an entirely different piece. In most cases, this additional material will only be read if you are selected as a finalist.

Blue Ink Submission (American Blues Theatre)
Deadline: August 31st

Submissions will be accepted July 1, 2017 through August 31, 2017 @ 11:59pm. The winning play will be selected by Producing Artistic Director Gwendolyn Whiteside and the Ensemble. The playwright receives a monetary prize of $1,000 and a developmental workshop or staged reading at American Blues Theater in Chicago. Cash prizes are awarded for finalists, and semi-finalists too.

There is a $5 administrative fee. All proceeds of the fee are distributed for playwrights’ cash prizes.

David Calicchio Emerging American Playwright Prize
Deadline: July 30th

Norton J. “Sky” Cooper established the Emerging American Playwright Prize award at Marin Theatre Company in 2007 in honor of David Calicchio’s lifelong career as a playwright and in support of Marin Theatre Company’s commitment to the discovery and development of new and emerging American playwrights. The Calicchio Prize will be awarded annually to a professionally unproduced playwright for a new work that shows outstanding promise and a distinctive new voice for the American theatre. The play selected as the Calicchio Prize winner will receive 2 public staged readings at Marin Theatre Company as part of the theatre’s annual New Play Reading Series. The playwright will receive a $2,500 award, as well as travel and accommodations for the MTC rehearsal period (25 hours).

Ars Nova Play Group
Deadline: July 23rd

This vibrant and eclectic group of emerging playwrights gathers twice a month at Ars Nova to share new work and get feedback. The group offers members the chance to develop their plays with peer support, form collaborative relationships and build a strong sense of community within Ars Nova. In addition, members receive dramaturgical support and artistic matchmaking advice from the Ars Nova artistic staff and development opportunities through public readings and workshops.

Play Group is a two year residency in which members become a part of the Ars Nova Resident Artist community. In addition to biweekly meetings where members share new work and receive feedback from their Play Group peers, members also receive dramaturgical support and artistic match-making advice from the Ars Nova artistic staff; invitations to Ars Nova shows, Resident Artists mixers, and to see the work of Play Group alums around the city; two Play Group writing retreats; and the opportunity to further develop and showcase one of their plays in a weeklong workshop that can culminate in a public reading.

All playwrights who identify as emerging are eligible to apply. In selecting new members, we will take into account the strength of the submitted play, what the writer stands to gain from membership at this point in her/his career and the overall balance of voices and styles within the group. Writers of all genders, races and abilities are strongly encouraged to apply.

Great Smoky Mountain Artist in Residence (National Park Service)
Deadline: mid-November 2017

Each artist donates a mutually agreed upon piece of original work, representative of their stay in Great Smoky Mountains National Park (GSMNP) within one year of completion of the residency. The artwork is donated to park partner, Friends of The Smokies (FOTS), a non-profit organization that supports the park by raising funds and awareness. FOTS may offer the piece for consideration in the park's permanent museum collection, or sell it to raise funds supporting the Artist-in-Residence Program or other park needs.

Artists agree to share all copyrights for artwork donated to Friends of Great Smoky Mountains National Park, giving FOTS shared ownership and rights to reproduce it. The artist retains a non-exclusive use license and may make use of the artwork for personal and professional promotion using the language, "Produced under Artist-in-Residence Program at Great Smoky Mountains National Park".

Artist Participation as Volunteer-in-Park
Selected artists work with the Parkwide Volunteer Coordinator to develop a residency theme that makes it possible for the park to generate visitor awareness and enrichment opportunities. Artists are scheduled to facilitate three public programs tailored to their individual medium, experience and interests. These may be in the form of participatory workshops, hands-on learning, demonstration, performances, exploratory walks, outreach in classrooms and community, or another means of engagement that aligns with park protocol. Artists provide equipment and supplies needed to lead the programs.

When and How To Apply
Submit application materials and samples as indicated below. Insufficient or excess materials, may be cause for application rejection, as is proposed use of work already in progress through a residency.

A panel of professionals from diverse disciplines will choose up to 6 finalists. Selection is based on artistic merit, statement of purpose and appropriateness to residency at this national park.
Panel jurors give thoughtful consideration to each applicant's statement of purpose (proposal) regarding how their creative insight and offerings may be made accessible for park visitors, volunteers, staff and local community. Great Smoky Mountains National Park seeks to inspire people of all ages, backgrounds and cultures to connect and discover the meaning of national parks in their lives. Through our vibrant Artist-in-Residence program the park invites exploration, experience, innovation, education and stewardship.

Spring/Summer/Fall Residency mid-May through November 2017
All applicants must submit:
1. A Resume and Summary of Creative Works
2. Statement of Purpose: What do you hope to gain through time spent at Great Smoky Mountains National Park? How might you share your insight, experience and creative contribution with park visitors and people of the local community?
3. Three choices of beginning / ending dates for your stay. Residencies are a usually a minimum of 4 weeks, maximum of 6 weeks. Offer dates from mid-May 15 through November 2017.
Visual Artists: Submit six digital images at 300 dpi (jpg or tif) on labeled CD. Include a list of images with title, medium and image size (height and width). Images should show only the actual work - Backgrounds, frames or mats should not be included.

Writers: Submit no more than ten double-spaced, typewritten pages of manuscript or electronic file in either Microsoft Word or PDF format.

Musicians / Performing Artists: Submit CD or DVD indexed to identify a 5 - 7 minute segment for jury review. If submitting MP3 files, include CD or DVD as back-up in case there are compatibility issues.

Composers: Submit CD or DVD (sound collage, track or orchestral work) indexed to identify a 5 - 7 minute segment for review. If submitting MP3 files, include CD or DVD as back up in case there are compatibility issues.

Mail Application Packet / Notification of Selection: The Artist-in-Residence Program, Attention: Parkwide Volunteer Coordinator, Great Smoky Mountains National Park, 107 Park Headquarters Road, Gatlinburg, TN 37738 -- Due to the number of submissions, applicants do not receive confirmation that their submission has been received by the park. Artists selected for a Residency will be notified on or before April 14, 2017.

The Artist-in-Residence Program is supported by Great Smoky Mountains National Park, in partnership with the Friends of Great Smoky Mountains National Park and Arrowmont School of Arts and Crafts. Funding for the AiR Program is provided by Friends of Great Smoky Mountains National Park.

Jerome New York Fellowship
Deadline: July 31st

The Lark’s Jerome New York Fellowship provides substantial artistic and financial support to an emerging writer of extraordinary promise and vision through an intensive two-year residency that provides resources and guidance to generate and develop a significant body of work.

Must be a New York City or Minnesota state resident (though the Fellow must commit to maintaining residency in New York City throughout the fellowship period); Must be a citizen or permanent resident of, and eligible to work in, the United States; Must self-identify as an "emerging" playwright; Must not have had more than two different works professionally produced at the time of application.

The Fellowship Period is January 1, 2018 to December 31, 2019.
In the first year, the Fellow will receive a stipend of $25,000, paid in monthly increments. In addition, the Fellow will have access to an “Opportunity Fund” of $5,000 for the purposes of travel, research, autonomous workshops, and so forth, for the duration of their fellowship and for up to one year after its completion. (The Fellow will request these funds in writing to the Artistic Director and no reasonable request will be refused).

In the second year, the Fellow will receive a stipend of $15,000, paid in monthly increments. In addition, the Fellow will continue to have access to any remaining balance in the Opportunity Fund.

Because the Lark's programs are philosophically designed to put artists at the center of their own process, all residency activities will be based on an initial Fellowship goal-setting meeting at the start of the term in January 2018.  The Fellow will be expected to work with Lark staff to design a regular schedule of program activities, including participation in several of Lark’s new play development programs, such as Roundtables, Playground, Monthly Meeting of the Minds, Winter Writers’ Retreat, New York Stage and Film Vassar Retreat, Project Residencies or Studio Retreats.  The exact structure is flexible based on the specific needs of the selected Fellow, who will participate in a range of these or similar programs throughout the course of the residency.

Lanseboro Jerome Artist Residency
Deadline: July 31st

The Lanesboro Jerome Artist Residency Program, located in Lanesboro, MN (pop. 754), aims to provide an immersive, meaningful experience for emerging artists from Minnesota and the five boroughs of New York City. The program is unique in that it provides an entire rural community and its myriad assets as a catalytic vehicle for engagement and artistic experimentation, with staff working with each resident to create a fully-customized residency experience. Lanesboro Arts’ goal is to be flexible and accommodating to the artists, allowing them access to local resources needed for conceptualizing and realizing their place-based work. Lanesboro Arts recognizes “place-based work” as work that is specifically inspired by and designed for the place in which the work takes place; it can be a new project, or an interpretation of the artist’s current work tailored to engage the community of Lanesboro. The emerging artist residency program was designed to align with and amplify Lanesboro Arts’ vision for communities–especially rural communities–to embrace artists as economic drivers, culture bearers, community builders, and problem solvers.

The application deadline for residencies taking place in 2018 is July 31st, 2017 at noon. Jury review will take place in August and applicants will be notified by September 15, 2017 at the latest as to the status of their application. Selected artists residents and runners-up for 2018 will be notified by September 29, 2017.

Artists must be residents of Minnesota or the five boroughs of New York City to be eligible to apply. To be considered, eligible artists must submit their application through an online webform on Lanesboro Arts website. Complete program details are below. Please contact Adam Wiltgen at 507-467-2446 or with any questions.

is inherently innovative and visionary
has a track record of success, and shows significant potential for growth
is informed by place and community
centers on public engagement; that is, the public’s interaction with the work is part of the process and the product
is accessible to people with diverse backgrounds

Lanesboro Arts defines “emerging artist” as an individual who has great potential in their artistic practice but has not yet received major recognition for their work. Each applicant’s resume will be thoughtfully reviewed by the panelists, who will consider the significance, scope, geography, and timing of artists’ previous exhibitions, critical reviews, commissions, performances, grant awards, residencies, fellowships, publications, and productions. (Generally, the best candidates are those who have no more than three of the major professional accomplishments noted above.) Current degree-seeking students are not eligible for the residency. Age is not a factor in determining an emerging artist.

Artists of all disciplines are eligible to apply.
Artists must be residents of Minnesota or the five boroughs of New York City.
Artists are paid $1,000/week and are provided studio and lodging space.
Artists are eligible to apply for 2 or 4 week residencies, and residency dates can be flexible (and split between two visits if that best suits your practice). Lanesboro Arts Residencies can be scheduled any time in 2018 except for May, June, or July. Residencies scheduled in March or August are preferred and would be most optimal, however Lanesboro Arts staff is interested in considering proposals with flexible and dynamic artists for the months of January, February, September, October, November, and December. Residencies begin on the 1st or 16th of each month and end on the 15th or last day of each month for periods of 2 or 4 weeks.
Lanesboro Arts does not cover material or transportation costs; these expenses should be factored into the $1,000/week stipend.
Artist groups are eligible to apply, but the weekly stipend is the same and must then be split amongst the collective.
Artists are required to list their top three choices of dates for their residency, but finalists will work with Lanesboro Arts to determine the best dates for all parties.
Lanesboro Arts will work with each individual artist to customize their residency, aligning resources and connections to make their time in Lanesboro as fruitful as possible.
Artists must submit their application through the online webform on Lanesboro Arts website.

Beijing Playhouse
Deadline: August 30th

Beijing Playhouse is looking to identify writers who have previously produced comedy stage plays who would be interested in having their works adapted for the Chinese market. Seeking modern comedies and farces with 6-12 cast size with a strong production track record.

For Beijing Playhouse’s 2019/2020 season we may be looking for modern comedies that are specifically about China and targeted to the Chinese market. We are also looking for playwrights who are interested in having their produced comedies localized for a Chinese audience.

We’ve localized other plays to great success by introducing Chinese characters and settings and jokes into these shows. Taking a tried and tested story, like Snow White or A Christmas Carol, and localizing it for the Chinese audience has proven very popular.

While these traditional shows have been successful, there appears to be stronger interest in localizing a very modern comedy. So we’re looking for authors who are interested in the Chinese market. Our goal is in keeping the gist of a playwright's story and tightly written script, but resetting it in a Chinese location, changing jokes to Chinese jokes, changing some characters to Chinese characters, and adding Chinese language.

Beijing Playhouse is the English theatre in Beijing; for the last 12 years the largest locally produced-in-English theatre in the country. We produce standard US theatre chestnuts like Guys and Dolls, Oklahoma!, Romeo and Juliet and Wizard of Oz. Last December we did an audience interactive pantomime version of A Christmas Carol. So theatre producers here are looking to us to bring and adapt good shows from the US.
The particulars around rights/royalties would be worked out with the playwright.
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