Friday, November 16, 2018

Money in the Arts

MONEY! It's the dirty secret in the arts that nobody wants to talk about, but everyone knows is there in the room. Ever since I was 18, money has dictated most choices I have made. Northwestern gave me full financial aid that was 2/3 scholarship and 1/3 loans I took out on myself, while my first choice school of Trinity University offered me $3000... via work study (gurl, bye). New School University won out over other MFAs b/c I got 90% scholarship and the rest I covered by being an RA. The Juilliard fellowship was FREE with a fellowship stipend (hallelujah) and I still worked side jobs and committed to three other paid fellowships to stay afloat.

I'm super grateful to institutions like Northwestern, New School, and Juilliard. Thanks to tremendous support, my loans are manageable. They don't give me nightmares, unlike some of my colleagues who have six-figure debt.

I have been asked 'why did you get into TV writing' and I resist the urge to scream 'BITCH, I NEEDED MONEY.' Instead, I usually give some well-crafted answer about the freedom of TV writing and how we're in the golden age. Btw, the golden age is being driven by playwrights who jumped into TV b/c, well... 'BITCH WE NEEDED MONEY.'

If I didn't have money as the primary deciding factor in my life, I wonder if I could have written a great decalogue of plays or started up my own theatre company, or self-produced off-broadway, or traveled to Europe or traveled to some place that required me to get a passport before the age of 30. In fact, I was up for a foreign fellowship in my 20s, but one of the main requirements was that I needed a passport. I didn't have one b/c the idea of foreign travel seemed 'high-class.' When the theatre offered me a fellowship slot, I was too embarrassed to say that I couldn't afford it and that I didn't even have a passport. I turned it down and stayed in Brooklyn. I ended up writing a short play for a few hundred dollars...and I was very happy to earn that money.

I still get antsy about not getting paid on time. Even if it's only a few hundred dollars from a small company, I have a startle reflex. It's an instinct that goes back to a time when I would have to hunt down payments, politely stalk clients, repeatedly ask for money in a way that was incessant without seeming desperate, even though the rent was due and someone might be taking their sweet time in writing a check. I still remember being paid a few thousand by the National Museum of American Jewish History in the same week that another client decided to renege on a deal and not pay me my last $300...just cause they didn't feel like it. And they knew I didn't have any power. And I obsessed about the $300, when I should have been celebrating the bigger payment. I still remember companies like Theatre for the New City that dangled off-broadway production opportunities for a year if I could get matching funds, had me run around and actually get $10k, and then renege on a signed deal just b/c they felt like it. I was a hustling artist whose primary focus was money and, therefore, I was disposable. I still remember having to smile, bite me tongue, wipe my brow from the hustle and sweat of working to please their needs, and saying 'thank you' b/c we all know that appearing rude is worst than someone just not paying you or lying or yanking money or an opportunity away at a whim.

I still get nervous every time payroll is a bit late. I'm trying to change. To be more forgiving, to not be so mistrustful of other people when it comes to money. I am trying to offer financial support to others when I can because I have been very fortunate. I am trying to let go the tiny slights and 'what if's.' It's a process. I still check my bank account daily.

Thursday, November 8, 2018

2018 Midterm Reflections

Before the 2018 election, I thought the institution of American democracy would change when white ppl put more passion into loving their kids than the hating black and brown people; and then voting with that drive. The main question isn't if, but how to get this portion of the electorate to care? Progressives have made inroads into getting tribal and fearful sector of the US population to look at the big picture. Due to that work, there has been progress: Dems flipped over 300 state and national legislative seats last night, appear to have a 30 seat gain in the House which they now control, won 7 governorships, and triggered a wave of 100 women elected to Congress. But despite the good news, this wasn't a Blue Wave.

Under the current system, a true revolution is impossible. It's frustrating, but a real political wave doesn't happen in one election cycle or with a few charismatic figures. A national party is like an intricate web which means you can't just pay attention to the big webs (President, Senator, Governor). The power depends on the thousands of little interlocking positions (state rep, councilmen, commissioner, sheriff). Sadly, the Dem party has been in decline for a generation in the South, rural America, and the Midwest.

In the last 3 election cycles (before 2018), the Dems lost over 900 seats in state and city governments. They don't excite or speak to their base, but spend their time fundraising, speaking in bland phrases, and managing the decline, managing the widening inequality, managing the injustice. Since Occupy Wall Street and #blacklivesmatter, the Dem party has taken a detached view of what excites the base. Yes, Pelosi and Schumer decline to speak out against gov abuse at home or abroad, but Obama was also silent. Obama saw the rise of Occupy Wall Street and sat on the sidelines. The poisoning of Flint, Michigan happened under the last administration, which gave everyone a pass. Eric Holder was AG and chose not to prosecute anyone on Wall Street. #Blacklivesmatter was barely tolerated among Dem candidates. The hottest Dem party ideas and movements were squashed and the youngest thinkers were excluded, and the party has been dying as a result. On Tuesday, the Dem party won back hundreds of seats around the country. That's a start but they have lost 3 times as much in the past decade. It's going to take more than one spurt of rage in an election cycle to rebuild a party. We can't keep depending upon Clinton/Obama cult of personality figures. It takes infrastructure and I hope that it will be rebuilt with the activists.

Thursday, November 1, 2018


Deadline: Nov. 1st

We invite artists to apply with projects that would benefit from a residency in Berkeley for 1–4 weeks. Berkeley Rep will provide transportation, housing, rehearsal space, basic technical support, and a modest stipend. Applicants must be available for residency between June 4–30, 2019. Previous applicants may reapply. There is no limit on the number of projects an artist may apply with. We do accept applications from international artists.

Projects may be anywhere along their development path: from an idea without anything on paper yet, to a complete draft of a text. Whether you are a writer simply needing a room in which to write or an ensemble wanting intensive rehearsal time, we encourage you to apply. Artists from other disciplines interested in creating theatre pieces are also very welcome. If your project is ready for a small audience, we are happy to provide that, but there is no requirement for any kind of culminating event. Past participants have held events that were open to the public, no final presentation at all, small closed readings, and everything in between.

This is a developmental residency. Projects looking for a full production are not eligible. If you are applying for an adaptation, please have the underlying rights already secured. We do not accept scripts along with application forms. If a proposed project makes it to the second round, we will then request a work sample, which may include whatever may already be written, if applicable.

Deadline: Nov. 1

The EST/Sloan Project commissions, develops and presents new works delving
into how we view and are affected by the scientific world. These plays
examine the struggles and challenges scientists and engineers face from
moral issues to the consequences of their discoveries.

The Project is designed to stimulate artists to create credible and
compelling work exploring the worlds of science and technology and to
challenge existing stereotypes of scientists and engineers in the popular

Commissions will be awarded to individuals, groups and creative teams for full-length and one-act plays and musicals. Commissions range from $1000 to $10,000. Commission amounts are determined on a case-by-case basis, as are deadlines for drafts, finished work, and research support (if appropriate). Extant, full-length works may be submitted and are judged on a script-by-script basis by the EST/Sloan Project staff. Rewrite commissions for existing scripts range from $1,000 to $5,000.

Commissions are also available for regional theaters who wish to sponsor a local project focused on science and technology, either by commissioning a new script or developing an extant piece. Regional commission amounts are determined on a case-by-case basis, ranging from $2,000 - $5,000.

The EST/Sloan Project is open to a broad range of topics related to the issues, people, ideas, processes, leading-edge discoveries, inventions, and/or history of the "hard" sciences and technology.

Physics (geological, nuclear, theoretical, etc.)
Biology (evolution, zoology, animal behavior, ecology, molecular, genetics, etc.)
Chemistry (industrial, biochemistry, etc.)
Anthropology and Archaeology

Computer Science
Software Development, Computer Development
Engineering (civil, chemical, mechanical, electrical, aerospace, vehicle design)
Space Research

Science Fiction
Medical Conditions and/or Victims of Disease
Psychology and Human Behavior
Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project commission should submit the following as their application for a grant:

A one- or two-page description or a simple outline/synopsis of the project. This document should describe the actual story being explored and include in the description of the story how the science being portrayed would be inherently dramatic in the piece. Focus on plot and character development, and, as it ideally will in the finished play, how the science comes out through plot and character.
A resume or biography of each collaborator involved.

Individuals, creative teams and theatre companies interested in receiving an EST/Sloan Project rewrite grant should submit the following as their application:

A draft of the script.
A one- or two-page cover letter detailing the development history of the play, your goals for a rewrite commission, and any questions you have about the current draft.
A resume or biography of each collaborator involved.
A selection committee evaluates the proposals and makes the final decisions. Candidates may be asked to revise aspects of their proposals, provide writing samples, and/or arrange a meeting to discuss their project as part of the selection process.

Deadline for artist proposals and script submissions: November 1, 2016
Deadline for regional development grants: December 1, 2016

Theatre companies interested in receiving an EST/Sloan Project regional development grant should submit the following as their application for a grant:

A current draft of the script, or a one- to two-page description or outline of the project.
A resume or biography of each collaborator involved.
A one- to two-page cover letter detailing the development history of the project and your goals for the commission.
An estimated budget for the project.
We accept scripts in the following manner...
Email (preferred):

Via regular mail:
The Ensemble Studio Theatre
Attn: EST/Sloan Project
549 West 52nd St.
New York, NY 10019
Phone: 212-247-4982

Deadline: November 1st

MiniFest is an annual festival of one-act plays featuring limited cast sizes and scenographic demands directed, designed, and performed by Acadia Theatre students. Every year hundreds of plays from around the world are submitted for juried evaluation.  A Play Reading Committee
creates a short list which is then submitted to an Executive Committee that selects four to six plays for an actor-centered staging by members of the Acadia Theatre Company.

-Anyone may submit up to two original scripts, provided that neither has been professionally performed.
-All script submissions must be in WORD format and be accompanied by a completed electronic application.
-Scripts will be chosen for their dramatic quality, but also for their suitability for staging by students in our Theatre program.  Scripts with limited number of characters and modest production requirements will be preferred.  Running times should not exceed 30 minutes.
-Minifest may present as many as eight plays over three consecutive nights.  Each may may be presented as many as three times.
-No recording of performances will be permitted.
-Successful playwrights will not be offered royalties.
-Late submissions will not be accepted.

Deadline: Nov. 5th

Normal Ave is proud to announce the NAPseries, a brand new festival of new plays, featuring 29-hour workshops of six new plays, networking events, and more.

The reading series will be led by Normal Ave’s newly appointed Literary Manager, Kylie Brown (Lifespan of a Fact) & Artistic Associate, Andrew Garrett (NYTW). The festival will feature three parties, six shows, twelve readings, hundreds of artists, and most importantly, you, the playwright.

This week is all about letting you be just the playwright. We'll take care of the rest. Participating playwrights will be provided with rehearsal and reading space, receive support developing the team and cast for their show, as well as access to the entire festival.
Make theatre. Make connections. Make it happen. We’ve got you.

Submission Deadline: Monday, November 5th
Festival Dates: February 4th-17th
Submission Requirements:
-Currently only accepting full length plays (No musicals at this time)
-Must be 18 years or older to participate
-Must be available to be in NYC during the festival

Deadline: Nov 12th

The Made in NY Fellowship, a partnership between The Mayor’s Office of Media and Entertainment (MOME) and the Made in NY Media Center by IFP, is a six-month fellowship program aimed at supporting new voices in media and creative technology from a wide range of backgrounds. If you’re a media or tech creator or entrepreneur looking for a community-minded space to successfully complete your project or launch your business, this fellowship is for you!

From inception, the Made in NY Media Center by IFP has been a space where storytellers create, collaborate and connect through a spectrum of programs, events and experiences. The Made in NY Fellowship utilizes the full scope of resources this space has to offer in addition to industry access, one-on-one mentoring, and workshops specifically designed for the Made in NY Fellowship.

For four years, the Made in NY Fellowship has supported over forty fellows in a variety of projects in filmmaking, podcasting, gaming and more. We are looking for a new wave of boundary-breaking creators looking for a space to take their project to the next level.

Six Made in NY Fellowships will be awarded to individuals, small businesses, and/or non-profit organizations in the media and technological spheres based on the strength and scale of their projects. Accepted fellows will be given six months of free workspace and with it the opportunity to create amongst a network of peers. You’ll also be paired with a carefully selected mentor, receive targeted support through a workshopping group led by a former Made in NY Fellow and participate in three full-day retreat sessions aimed at introducing you to key industry professionals.


Six months of dedicated desk space at the Made in NY Media Center by IFP
Targeted peer support via a group workshop led by a former Made in NY Fellow
Industry guidance from a mentor carefully selected for each project
Use of the Made in NY Media Center by IFP’s conference rooms, editing suite and podcast studio
Access to attend over 50 IFP and Made in NY Media Center by IFP screenings, networking mixers, panels and other events
Free classes via the Made in NY Media Center by IFP’s ClassWork Program 
One use of the Made in NY Media Center’s Theater and Lounge for a screening, panel, mixer, launch or other applicable event relating to your project or business
Three full-day retreat sessions aimed at introducing the fellow’s cohort to key industry players for their projects (these retreats are currently scheduled for the following Saturdays–– January 19th, March 23rd and May 18th)

Deadline: Nov 15th

The Lila Acheson Wallace American Playwrights Program offers a one-year graduate-level fellowship. You may be invited to continue your studies through a second academic year, thereby completing a total of 52 credits for the two-year fellowship period and earning an Artist Diploma (AD) in Playwriting. The Playwriting Program is tuition-free and typically accepts 4-5 fellows per year.

It is preferred that you hold an undergraduate degree; however, you will also be considered if you have advanced training equivalent to a bachelor’s degree or exceptional artistic accomplishments.

International students are welcome to apply, however, play submissions must be in English.

While there is no limit to the number of times you may apply to this program, you are encouraged to critically consider your personal and professional development between applications. If you reapply, you should submit a new play with each application, unless it is a previously submitted play that has been significantly re-written.

The $60 application fee is nonrefundable and must be paid through your application status page upon submission of your application. Your application is not considered complete until the fee has been received.

Deadline: Nov. 15th

After the 2018 Theatre Lab in Morocco, the Theatre Program will return to its homebase in Utah. The 2019 Theatre Lab welcomes theatre artists from the United States and the Middle East & North Africa (MENA). Participants in the 21-Day residency will be selected through an open application process. For theatre artists applying from Arabic-speaking countries, projects may be submitted in Arabic, English or French. Up to eight projects will be selected, including one project plus one playwright-in-residence from the Middle East & North Africa. Plays on any topic, musicals, dance theatre, performances and solo projects are all eligible. The Lab is not a production Lab, but offers a rare opportunity to focus on unfinished new work needing time and space in which to experiment, rewrite, re-conceive and take artistic risks. Sundance will provide an acting company (though applicants may suggest specific performers), a “day-on, day-off” rehearsal schedule, and rigorous dramaturgical support (in the language of creation), as well as underwrite all related expenses (including transportation costs, accommodations, visas, meals, stipends and support personnel).

Deadline: Nov. 16th

The 2019-20 OP NYC Greenhouse is NYC-based accelerator for directors, writers, composers and other generative artists to seed ambitious and unexpected work, form new relationships and develop a new generation of theater. For the Orchard Project, it aims to extend the strength of support that has set the organization apart into a resource for its growing network of artists.

Curated by Artistic Director Ari Edelson and Greenhouse Curator Mary Birnbaum, the Greenhouse provides two years of ongoing support to artists looking to generate new material and join the Orchard Project family. The program manifests in monthly meetings at the OP offices in midtown NYC, a summer work session at the Orchard Project (June 28-July 8, 2019), ongoing space support in NYC, and opportunities for further development based on the trajectory and progress of work created in the program.

Please note: unlike our normal professional residency program, the Greenhouse is intended for artists looking to instigate work with the Orchard Project rather than receive its support on existing work. That is not to say that work in early stages of development cannot find a home within the program, but rather to suggest that the focus is on the discovery and support of a group of collaborations within the program.

Unlike other programs, our process and focus is not to focus on the projects themselves, but on the diversity of the generative skills that each artist is bringing to the table. What that means is that the Orchard Project team and other artists who we have supported in past years assess whether the applicants are likely to create amazing work, and whether we think they will uniquely benefit from our support and the supportive atmosphere that makes the Orchard Project so special.

Please be sure to read the Orchard Project FAQ before applying. The FAQ includes very important details about the structure of the program and application process, including copies of key questions for you to work on offline if so desired.

Please note that the process for submitting an application is specific. We ask you to start an application, which you can return to and edit at any time. When you are ready to submit your application for review, we then ask you to visit our application payment page to submit a non-refundable application fee, which is tied to your Application ID. The fee to apply to the Greenhouse is $5 if submitted before November 15, and $15 if submitted after November 15. We accept requests for fee waivers at all times at

Deadline: Nov. 16th

Now in our third year, Corkscrew Theater Festival is a curated presentation of new work by early career artists concentrated over four weeks at the Paradise Factory Theater in the summer of 2019. This year’s festival, running July 10-August 4, will contain four fully realized productions receiving ten performances each, and four “reading slots” for work to be heard publicly for the first time. Corkscrew seeks projects that demonstrate real collaboration, especially if they are being created through innovative or nontraditional partnerships or models.

We believe in increasing access to professional production opportunities for a wide range of early career artists and enabling their success in those opportunities. We enthusiastically support under-represented artists of all or no genders, artists of color, and LGBTQIA+ artists. Corkscrew’s model is an extension of our belief that we can do more together than we can individually: by presenting our work in a festival setting that facilitates meaningful collaboration between and among its artists, we mutually benefit.

From selection to final curtain, we provide casting assistance, design roundtables, a weekly Writers’ Group, readings in springtime for each of the five productions, and regular face-to-face meetings with our festival staff. We guarantee at least sixteen hours of technical rehearsal time and curtain times at prime theater-going hours. As a festival large enough to break through the clutter, yet still intimately connected to its artists, we are uniquely positioned to pursue external validation in the form of reviews, press features, and audience testimony. While there are many summer festivals, we believe this artist-centric approach distinguishes us within the New York theater community.

The application is not meant to kill you! We’re looking for the following materials:

A full draft of a script

Lead artist bios (broadly defined as Playwright/creator, Director, Producer, any other notable creative partners).

One or more work samples (photos, audio, or video)

Short answers (100-200 words) to five open-ended questions about the project.

Applications will be accepted through November 16, 2018. Phone interviews will take place January 3-10, 2019. All applicants will be notified of their status by February 14.

Our application is live! Fill out this informational google form. This is where you’ll upload your short answers, script, and any other supporting materials.

Deadline: Nov. 16th

Our fellowship program is meant to support courageous artists in creating exchanges, experiences, and structures that highlight seemingly intractable social problems, inspire audiences, and energize folks to participate in and sustain long-term social change work. This is hard and time-consuming organizational, intellectual, and emotional work.

For these reasons, beginning this year we are separating our financial support to fellows from our content and audience-building work for the field into two separate programs. This decision reflects our dual commitment to supporting artists who engage in high risk and high trust work that wouldn’t benefit from increased visibility of the process, as well as to producing high quality video, web, and print content, and experiences that push the discourse and expand audience for the field of socially engaged art.

We are committed to providing relatively unrestricted funding that incorporates a collaborative research component. Field research conducted by ABOG’s Director of Field Research replaces grant reporting written by the artist, and is grounded in the goals and areas of inquiry defined by the artist and the perspective of project participants.

Selected Fellows will receive:
$20,000 in minimally restricted support
Comprehensive written Field Research Reports that utilize action research methodology
Expenses Paid 2-day Orientation Retreat in NYC to engage a cohort of peer artists and ABOG staff and board (a requirement for the fellowship)
Ongoing invitations to networking events for all ABOG Fellows and Alumni twice annually (attendance voluntary)
Ongoing promotion of fellow’s projects through ABOG social media networks and website
In addition to direct artist support, another primary goal of ABOG is to make the “invisible” parts of socially engaged art visible. We do this through documentary films, publications, web content, and public programming.

Fellowship Projects may become the focus of ABOG content and programming including:
Curriculum and advocacy that advance the field of socially engaged art
Inclusion in our new biannual periodical (available in print and free online)
Participation in documentary videos focused on curatorial themes of interest to the field
Other web content (podcasts, interviews, critical essays)
Participation in ongoing public programs

Deadline: November 20th

The play must be a ten-minute play. The theme of "Outcast" must be an integral part of the play.

Outcast (definition): a person who has been rejected by society or a social group or cast out

The story can be a comedy, a drama, a parody, absurd or anything in between (in English only). We also accept musicals. Please note: if you are sending a musical please include an audio recording of the music. The contest is open to anyone, in any part of the world, without geographic or age restrictions.

How to submit
You must submit online (scroll to the bottom of the page) by November 20, 2018, 11:59 pm E.S.T.  There are no fees. Once you submit you will be taken to a page confirming that we have received your submission. You may only submit one play.

The cover page should have the title of the play, the playwright's name and the list of characters. The pages should be numbered. The format should be easy to read. Please name your attachment with the title of your play. We accept previously produced plays (but not plays that have produced at inspiraTO before). The playwright must own the rights to the play up to June 9, 2019 (i.e. the script cannot be owned by a publisher).

What will happen
The plays will be selected by a committee from the Toronto theatre community. If selected, your play will be performed in Toronto, Canada from May 30 - June 8, 2019. Between fifteen to twenty-four, ten-minute plays will be selected and performed. 1st Prize: $500 CDN. Should your play be selected for inclusion in the festival, you are giving the non-exclusive right to Theatre inspiraTO to produce and perform the play in the 14th Annual inspiraTO Festival in Toronto (Canada's largest ten-minute play festival), in May and June 2019. The inspiraTO Festival will find the cast, crew and market your play. Authors retain copyright and full ownership of their plays.

Only those playwrights whose plays have been selected will be notified by January 1, 2019.

Deadline: November 30th

Campfire Theatre is on the hunt for emerging playwrights. We define “emerging” as a playwright that has not had more than two professional productions or a published script.

"Never been produced" means plays that have had small readings and workshops are fine, but plays that have been previously produced or published are not accepted.

If you are unsure if you are eligible, please email us at with details.

We will accept full length plays that are more than sixty pages, less than one hundred and twenty pages, and may have an intermission.

We currently cannot accept musicals. We can accept children's plays. We will accept plays of any genre. Each playwright may submit ONE play. If you have been selected for Campfire before, please observe a one year hiatus between the year you were selected and the next year you submit.



The Staged Reading Series accepts plays by emerging playwrights and offers them a fully staged reading at our festival in Boise, Idaho in September 2019.


Your play will be assigned a cast and director.

You will receive a prize of $100 for a selected full-length play.

Campfire Theatre Festival is not currently able to provide playwright travel stipends for the Staged Reading Series; however, if a selected playwright can provide their own travel to Boise for the festival, all efforts will be made to assist with housing.

The Spark Program accepts plays by emerging playwrights for a twenty-hour workshop process that culminates in a seated reading at the festival in Boise, Idaho in September 2019.


Your play will be assigned a cast, a dramaturg and director.

You will receive a prize of $100 for a selected full-length play.

You will receive airfare and housing for a week in Boise, Idaho.


The deadline for submissions is November 30, 2018. We will accept the first 300 full-length plays and close submissions when we receive that many, even if it's before the deadline.





Please complete the following Google form:

Please email the following to

A PDF copy of your script. The name of the document should be the name of your play. The script should be blinded (no names or identifying info please!). The play must be in a standard stageplay format or it will not be read.

A theatrical resume including contact information.

Thank you and we look forward to reading your play! Please direct any questions to our Literary Manager Sam Hamashima at

Deadline: Nov. 30th

TLC is sponsoring its 10th annual Emerging Artists Program which enables both individual creative artists and a group of artists to focus on their current work.  This program subsidizes one 2-week residency for 7 emerging artists and/or 2 person creative teams from the Minnesota and the 5 boroughs of New York, and one week-long residency for a group project that would have exclusive use of the facilities. Please note that applicants must live in either MN or one of the 5 NYC boroughs to be eligible to apply.

The residencies at TLC are intentionally interdisciplinary in nature. Artists from many disciplines can apply. Disciplines may include: playwriting, poetry, prose writing, painting, music composition, and dance.  We would be happy to accept applicants who sculpt, produce films, are photographers, work with crafts; we are, however, more limited in terms of the materials we can provide.  The underlying philosophy is to provide space and means of support for individual artists wishing to further their creative endeavors in the visual, literary and performing arts. The dramaturgical assistance of TLC director Liz Engelman is available if desired.

Individual/Creative Residency: Each artist from MN will receive an honorarium, meal, and travel stipend of $1,600, and each artist from NYC will receive $2,000.

Group Residency: Each artist will receive and honorarium, meal, and travel stipend of $1,000.

Individual Artist/Creative Team Residency: July 15-28, 2019.

Group Project Week: August 12-18, 2019.

Deadline: December 3rd

The Bellagio Arts & Literary Arts residency is for composers, fiction and non-fiction writers, playwrights, poets, video/filmmakers, dancers, musicians, and visual artists who share in the Foundation’s mission of promoting the well-being of humankind and whose work is inspired by or relates to global or social issues. The residency is for artists seeking time for disciplined work, reflection, and collegial engagement with a diverse community of academics, practitioners, and artists.

The Center has a strong interest in proposals that align with The Rockefeller Foundation’s efforts to promote the well-being of humanity, particularly through issues that have a direct impact on the lives of poor and vulnerable populations around the world. These issues include but are not limited to health, economic opportunity, urban resilience, as well as food and agriculture.

To most effectively integrate the important voice of the arts throughout residency cohorts at the Bellagio Center, we are now holding one annual open call for residencies. The program will continue to welcome the same volume of high caliber artists to Bellagio, reinforcing the Foundation’s commitment to the arts and demonstrating its perspective that the arts are integral to the discourse around complex global challenges and critical to the well-being of humanity.

To further strengthen the reach of the program and ensure high geographic and disciplinary diversity among residents, we are also working with a range of new arts organizations to surface promising candidates. We have established outreach collaborations with four organizations: Khoj International Artists’ Association in Delhi, Fundacion Jumex in Mexico City, Africa Centre in Cape Town, and United States Artists in Chicago. These collaborations will extend our networks to attract a greater number of geographically diverse, highly distinguished artists working in Asia, Latin America, Africa and the United States.

The call for applications to the Arts & Literary Arts residency program is now open. The application period begins October 1, 2017 with the deadline of December 1, 2017 for residencies in 2019. Applications are available on our online application portal along with detailed instructions and further information on applying to the Bellagio Residency Program. We strongly recommend that applicants carefully review this information prior to beginning an application.

Deadline: Dec. 11th

The New York Directing Fellowships bring extraordinary emerging stage directors into an extended program of creative advancement, industry-focused development, professional assistantships, and an opportunity to present their work to the field as part of the Off-Broadway festival DirectorFest, the nation's preeminent festival highlighting rising directorial talent.  The Fellowships nurture artistry, open doors, and usher in a maturation of skills and talent, preparing a director to work professionally at the highest levels the field can offer.



May 13-17, 2019: Professionals Week is an intensive immersion in the professional theater. Fellows will attend performances, participate in seminars and workshops with prominent industry professionals, and participate in discussions designed to prepare you for the demands and expectations of the field.


July 28-August 1, 2019: Fellows will participate in the Regathering Weekend and the Master Directing Retreat, an extended directing workshop under the guidance of a master director and teachers. Regathering Weekend will focus on practical skill acquisition, while the Master Directing Retreat will be held at a retreat center. Professional actors will join the directors for an immersive exploration of a specific text or playwright.


The New York Directing Fellows will assist on productions at major regional and/or New York theaters with leading theater artists. Each Fellow completes one or two assisting assignments depending on length and availability. These are designed for each director’s needs and curated by Drama League staff.


January 2020: The New York Directing Fellows stage one-act productions as part of DirectorFest, The Drama League's annual festival dedicated to the art of professional directing in the United States.  The festival takes place in New York City for an audience that includes artistic directors, producers, interested industry professionals, and others. DirectorFest is fully produced using professional casting directors, designers and production personnel. Post-production, the directors meet with theater professionals for an in-depth discussion of their work.


The stipend amount will be determined in April 2019.  For the 2017 cycle, the Stipend was $7,225 for the 17 active weeks of the fellowship (between late May and late January), paid in equal installments. The amount of the Stipend will be disclosed prior to acceptance.


Fellows are provided with housing in New York (if needed) during Professionals Week, Regathering Weekend, DirectorFest and the Master Directing Retreat; round-trip transportation to, and housing for, their assistantship assignments (if needed).

Deadline: Dec. 13th

The intent of the McKnight National Residency and Commission is to support an established playwright from outside of Minnesota who demonstrates a sustained level of accomplishment, commitment, and artistic excellence. Recipients of the Residency and Commission will spend the year creating a new play script over the course of several residencies in Minnesota, including opportunities to engage with the Twin Cities and Playwrights' Center community. Benefits include:

A $15,000 commission
At least two U.S. round-trip airline tickets
Housing during the residency period
Up to $5,750 in workshop funds to support the development of the play
A public reading of the commissioned play
Past recipients include: Kia Corthron, Erik Ehn, Idris Goodwin, Karen Hartman, Daniel Alexander Jones, Sibyl Kempson, Craig Lucas, Taylor Mac, Dan O’Brien, Betty Shamieh, Mfoniso Udofia, and Mac Wellman.

Applicants must be citizens or permanent residents of the United States. Applicants must be nationally recognized playwrights who have had at least two different plays fully produced by professional theaters at the time of application. Minnesota-based playwrights are not eligible for this fellowship. Recipients of 2014-15, 2015-16, 2016-17, 2017-18, and 2018-19 McKnight Artist Fellowships in any discipline are not eligible. Full-time students are not eligible. Staff and board members of the McKnight Foundation and the Playwrights' Center or their immediate families are not eligible. Recipients may not receive any other Playwrights' Center fellowships, grants, or Core Writer benefits during the grant year. If a recipient is a Core Writer, their Core term will be extended by one year. Applicants may only apply for one McKnight Artist Fellowship each year in any discipline. Recipients commit to spending up to four weeks in residency in the Twin Cities (not necessarily consecutively). Recipients must create a new play according to the terms set forth in the contract.

deadline: Dec. 13th

The Huntington is now accepting applications for the 2019-2021 Huntington Playwriting Fellow Cohort. To be eligible, writers must be live at least nine months of the 12-month calendar year in the Greater Boston area. Meetings will be held monthly, with some deference to writers’ schedules and production commitments. As we desire participants who can take full advantage of the program, all conflicts that will require applicants to leave the Boston area for an extended period of time, such as upcoming residencies or productions, will be included in consideration of an application, but do not preclude applying. Please contact us with any specific residency situations or questions.

Writers have been admitted at all career stages, from unproduced to veteran; we believe a strength of the program is intergenerational dialogue between working playwrights.

Admission to the program is based on the strength of the writer’s voice and theatrical vision, along with an alignment between the writer’s current goals and the Huntington’s ability to work in service of those goals.

Having an agent or manager is of no consideration in the application process.

To apply, please submit the following via email to no later than 11:59PM on Thursday, December 13, 2018. Early submissions are encouraged, and submissions are read roughly in the order they are received.

Application form with all information provided, including references
Professional resume – Please list all productions, residencies, readings, publications, professional affiliations, and other theatre background. If you work outside of theatre and/or the arts, we’d be interested to know that as well.
One-page artistic statement. Your one-page essay should be your succinct statement of why you are interested in participating in the Huntington Playwriting Fellows program. It may touch on any or all of the following questions:
What goals would you set for yourself during your residency at the Huntington, and how do these fit with your larger personal goals as an artist?
How would the HPF program contribute to your growth as an artist?
Why the Huntington?
What would your expectations be?
In light of the fact that the fellows program is primarily a writers’ collective, what sparks your interest in participating in one (or if you have before, what will you gain that is new)?
One completed, full-length play. Send us the play you have finished most recently. It is more useful to send a play that it is on its first or second draft than a play that you have been working on for several years. If this play is markedly different in tone, style, genre, or voice than your overall body of work, you are welcome to include a short paragraph contextualizing this play in conversation with prior work. Please do not send work that has been considered for prior application cycles of the HPF program, even if it has undergone revision. It is more productive for us to discover a new side of your voice than to learn about your ability to revise.

Deadline: Dec. 15th

Premiere Stages, the professional Equity theatre in residence at Kean University, is currently seeking scripts for their annual Premiere Play Festival. The deadline to submit is December 15, 2018.

Premiere Stages is committed to supporting a diverse group of writers; playwrights of all backgrounds, ages, and experience levels are encouraged to apply. We are particularly interested in scripts that explore contemporary issues and challenge and connect with our audience. We encourage writers to view our production history for a better understanding of the types of scripts we have produced previously.

Submission Guidelines
Plays must be full-length and have a cast size of no more than eight.
Plays must be unpublished and unproduced (readings and workshops are okay).
Playwrights must have strong affiliations with the greater metropolitan area (New York, New Jersey, Connecticut, Pennsylvania, and Delaware).
Musical submissions, adaptations (of existing plays or other sources), and solo shows will not be considered at this time.
Please contact Premiere Stages to inquire about submitting a script that has previously been submitted to the Play Festival.
Playwrights must be available for the development of their script (see schedule).
Submissions are limited to one script per playwright.
Submissions are accepted September 15, 2018 through 11:59 p.m. on December 15, 2018. All plays must be submitted as a PDF via email to Submissions sent early in the submission window are strongly encouraged. Hard copies will not be accepted.

Non-Agent Submissions
Premiere Stages will accept script samples & synopses from playwrights without an agent. Submissions must include:
Brief synopsis of the play (no more than half a page).
Character breakdown.
History of the play’s development (if any).
The playwright’s bio or resume.
Script sample from the play (no more than 10 pages).
Agent/Theatre Professional Submissions
Premiere Stages will accept full scripts from literary agents or theatre professionals affiliated with Premiere Stages.
Play Festival Schedule & Awards

From September 15, 2018 through December 15, 2018, Premiere Stages will accept submissions. All plays submitted to the festival are evaluated by a panel of professional theatre producers, directors, dramaturgs, playwrights, and publishers. Four finalists are subsequently selected for public Equity readings on March 14-17, 2019. Following the readings, one play is selected for an Equity production in the Premiere Stages 2019 Mainstage Season and receives an award of $2500. The runner-up receives a 29-hour staged reading and $1000. The two other finalists will each be awarded $750.

Deadline: Jan 3rd

Call for Submissions for an evening of ten-minute plays at Buffalo State College. The program will run two nights during the Spring 2019 semester.
Submission Guidelines:

*The play must have characters in 18-25 range, no exceptions. If needed, you may include ONE (1) character not in that age range, but we are looking for plays that will resonate with the diverse young actors playing the roles, as well as the diverse college students in the audience; changing the ages on a generic play probably isn't going to work.

*Playwrights may submit one or two plays, but if you submit two, please do so in separate emails.

*All plays must be no longer than ten minutes, which may actually mean fewer than ten pages. If you’re not sure, please read it aloud.  No exceptions, no matter how brilliant the extra minutes may be. We mean it.

*All plays must have minimal set requirements. Plays chosen will receive full productions at Buffalo State’s black box theater, but with eight plays being performed, there is no time for elaborate set changes.

*Please email ten-minute plays with minimal set requirements to in standard format in Word or PDF.

*Email subject line should have your name and title of your play, e.g. MARY BROWN/MY AWESOME COLLEGE AGE PLAY.

*Body of email should contain contact information (including email and phone) and the play’s production history ONLY. You don’t have to write a cover letter, so please don’t. Anything other than the requested information is only going to give us a bad first impression (i.e. you don’t follow rules).

*Submissions that do not adhere to these guidelines will not be considered.

The Deadline:
Submissions must be received by January 3, 2019. We prefer earlier to later, as we read and cull as the submissions come in.

You will receive a confirmation email when we receive your play. Finalists will be notified by email by mid-March. We are sorry we cannot respond to each individual playwright.

The Producer:
Buffalo State will provide directors, actors, designers, and technical crew for the run of the show.  We will encourage directors to be in touch with playwrights throughout the process. For more information about the theater department at Buffalo State, please visit our Web site:

The Production:
Plays will be presented together as an evening of theater.  Chosen playwrights will receive a copy of the program, four complimentary tickets to be used any night of the run, and a $25 royalty.

If you have questions, please email with QUESTION in the subject line.

Deadline: January 23rd

The New York Foundation for the Arts (NYFA) is excited to announce that the 2019 NYSCA/NYFA Artist Fellowship application cycle is now open. NYSCA/NYFA Artist Fellowships are $7,000 unrestricted cash awards made to individual originating artists living and working in the state of New York. These fellowships are not project grants and are intended to fund an artist’s vision or voice, regardless of the level of his or her artistic development. In 2018, NYFA awarded a total of $623,000 to 89 artists throughout New York State.

Applications close Wednesday, January 23, 2019 at 11:59 PM (EST).

2019 Award Categories
Fellowships are awarded in 15 different disciplines over a three-year period. The 2019 NYSCA/NYFA Artist Fellowship Categories are:

Architecture/Environmental Structures/Design
Eligibility Requirements
To be eligible, applicants must meet all of the following requirements by the application deadline:

25 years old or older
Current residents of New York State and/or one of the Indian Nations located in New York State. Must have maintained New York State residency, and/or residency in one of the Indian Nations located therein, for at least the last two consecutive years (2017 & 2018)
Not enrolled in a degree-seeking program of any kind
Are originators, not interpreters of the work, i.e. choreographers or playwrights and not dancers or actors
Did not receive a NYSCA/NYFA Artist Fellowship in any discipline in the past five consecutive years (2014-2018)
Cannot submit any work samples that have previously been awarded a NYSCA/NYFA Artist Fellowship
Are not a NYFA employee, a member of NYFA’s Board of Trustees or Artists’ Advisory Committee, immediate family member of any of the above, or an immediate family member of a 2018-2019 panelist
Artists that have been awarded five NYSCA/NYFA Artist Fellowships receive Emeritus status and are no longer eligible for the award