Travelogue Belgrade: Don't Argue About Politics

 Tonight, I did the thing I was told not to do in Belgrade. The thing I said I would not do: I got into an argument about politics.

It didn't start off as an argument. Two Serbian friends stopped by our table for dinner. I kept the conversation light, talked about travel, sports. He mentioned the 'jerk' Serbian president and I just politely nodded because 'nope, I'm not going to talk about politics.' Then he said the one thing that triggered me. It was so unexpected that it caught me sideways.

SERBIAN: I have friend in NYC who knows a lot about the world.

ME: Oh ok. 

SERBIAN:  She heard something about...Hunter Biden's laptop. 

ME ...*holding breath* 😬 ok. 

SERBIAN: she said the real scandal was Hunter Biden's laptop.

ME *gritting teeth* 😬 yeah um...

SERBIAN: I don't know if you know this but... pictures on it or...

ME: *gritting teeth and trying to smile* Um...I'm sorry but, like, what?

SERBIAN: He was also on the board of some Ukrainian company.

ME: You can't be serious? Are you...*breathing*...

SERBIAN: this is just what I heard. That Biden's corruption with the Ukraine...

Hunter. Biden's. Laptop. Then it was off to the races. The reason why you don't want to get into a deep discussion about politics in Belgrade is because -as an American- they WILL bring up the NATO bombings in the 1990s. It will be brought up and there is nothing -as an American- you can say. You just have to STFU. It's a trap. So he drew me in with Hunter Biden's laptop and it was a polite discussion. It was animated. Then it moved onto the Ukraine and how Putin was pushed into invading Ukraine and how the West was instigating the war by giving arms to the Ukrainians. And then it goes right back to the the NATO bombings of Belgrade. At that point I'm like "damn. How did I fall for this trap?!? He really wanted to talk about the NATO bombings this whole time. He doesn't give a fuck about Hunter Biden. That was bait."

And I fell for it. I fell for it b/c I remember 'but her emails' and I remember 'where's Obama's long form birth certificate' and I remember 'Kerry isn't a war hero' and I remember 'Whitewater is the real scandal.' And I remember "George Soros is controlling your money" and "they used crisis actors at Sandy Hook" and 'transgender ppl are waiting in your bathroom" and "Mexican hordes invading the border" and etc. 30-yrs of outright right-wing propaganda flashed before my eyes and Hunter Biden's laptop...broke my damn of silence. On a day when the Supreme Court rolls back more safety from mass terrorism and prepares to strike down abortion, I just couldn't hold it in. I just couldn't allow someone to say that the greatest threat in the world at this time and the greatest scandal was Biden's sloppy son and his Macbook Pro. Kids are being gunned down in school, elderly Black people are getting gunned down while shopping for food, there's a rise of authoritarianism, the earth is melting, millions of people have been displaced in the largest war in Europe since World War II. But certain people will still beg for the distraction of a freaking laptop being the real scandal. Then I ended up in an argument about the NATO Belgrade bombings.

My American friend walked away from the table. Just got up and was like 'ok byeee.'  We continued arguing until they closed the restaurant. The owner was literally putting tarps over the tables and telling us to leave. 

Time passed. We stood on the sidewalk and continued arguing as I backpedaled out of NATO bombings. We managed to come back around to some sort of understanding by comparing our shoe sizes. We all agreed that war sucks for the poor people like the Ukrainian villagers and poor Russian soldiers recruited from small villages being sent to war by oligarchs who will continue to get rich. We concluded that the rich ppl suck. And that was how we left things. And that my shoes were larger than his.

Travelogue: Belgrade Serbia

Belgrade reminds me of Berlin: it's an ugly city that manages to be extremely charming. I don't know why. Perhaps it's the weight of history, but this feels like a cool place even though there aren't a lot of epic views or instagramable moments. 

I arrived on Monday from New York, via a Stockholm transfer. Belgrade was going through a heatwave so I prepared with shorts and t-shirts. Of course a European heatwave is a 'mildly uncomfortable day in Miami' so I wasn't stressed out about a little humidity. 

I'm staying with Ron, a college friend. He rented an airbnb along the Terazije main stretch. The apartment is under the name 'Stankovich' and there is a bit of a Soviet odor when I entered. Old world, a bit musty and dusty. But the Stankovich abode is huge and filled with odd experimental art. All the bedroom closet doors and drawers are locked so my room is a bit of mess with me living out of my suitcase on the floor. Every few minutes the building shakes from the cable cars passing by and the chords attached to the building that whip around and create minor tremors.  For me, this means deep sleep. 

Vibrat8. 

When I was Nicaragua I discovered vibration-induced sleep. David and I were taking a late-night taxi from the Managua airport to a sleepy resort near Playa Gigante. The roads were extremely rough and unpaved. I passed out and slept the whole way through the trip, through the driver getting lost, through him finding the place in the middle of the forrest, through getting stopped by guards for an hour outside the resort. The next day I was told all these things happened but I only remembered the sensation of falling into a deep dark sleep. I chalked it up to a long flight and the heat. But every time we drove around Nicaragua I couldn’t keep my eyes open. The bumpy roads and rocky rides would knock me out. A few years later I moved into a shared basement apartment in queens and my neighbors liked to blast the wall with the deep bass of their stereo. When they watched a big Oscar De La Hoya fight or invited ppl over for a party, it became my slumberland. I would lie down in my bed and let the vibrations take me away. Frequently my roommate would call the cops to complain about the noise and fights would break out at the neighbors’ parties but it was so peaceful. Tonight I lied down in this very small double bed unsure of how I was going to get to sleep until the buses started passing by the Lord Stanković manor. Then it was lights out. Thank you for the stanky sleep.

First day in Belgrade. Walking around with Ron, hanging out with his friends from the tv show “Serbia’s Got Talent,” enjoying the food, walking through the main square, hopped up on Turkish coffee to overcome the jet lag.

The next day I took a tour of of St. Sava Church and Belgrade Fortress. Belgrade fortress is a 2,000 year old fortification built by the Roman Empire to establish its outer border. It sits on Danube River and has been under the control of Romans, Ottomans, Hungarians, and various empires over the centuries. There are mosque water fountains from the Ottoman Empire that still work. 

Church of St. Sava gave me chills. It was awe inspiring in that I don't have the words to describe the feeling when I entered. Was it holy or was I just overwhelmed with the beauty and gold-laced ceilings? Maybe it was both or neither. Maybe I was dehydrated after spending hours at the fortress, but I was struck with the feeling of reverence. 

Later that day we went to the last perfume artist in Belgrade. Nenad runs Caba, a fourth generation family perfume boutique. The fragrances don’t have names. Only secret codes for the fragrances they make in the shop. He’s passing the legacy on to his son. 

We spent about 45 minutes getting our scents right. Standing in a store with two other adults as we occasionally sniff each other’s forearms and wrists. Two sample scents on each arm, so 3 ppl working together means we can get a range of 12 different scents, from citrus-y to wood to cinnamon to classic floral, etc. I walked away with a very small airport appropriate bottle of my scent. I intend on wearing it throughout this trip. 

The night ended at Tri Sesira with rich Balkan food and lots of singing. The restaurant band fluttered around the outdoor space, blasting out folk songs. Ron sang a few songs with them. It was Black soul meets Serbian soul. They went through a few Serbian kafana hits. 

As a kid I was so impressed by ppl who went to a bunch of European cities. Then I got over here for the first time and I  realized: 

1) Europe is small AF. It ain't like America. These ppl have been fighting epic wars with each other for centuries. I read about them and thought they were these huge distinctive kingdoms. Then you get over here and realize these ppl were all cousins who were a carriage ride away. 2) EU made enormous investments in trains, planes, and highways so travel is easy and cheap 3) it takes more effort/planning to go to from Miami to Orlando than to go from London to Paris to Berlin. That's both a feature of European smallness and a flaw in America's lack of easy, quick trains. 4) Granted, America is HUGE. Take a road trip through the middle of America and it really does feel like different nations when you go from Tennessee to Arkansas to Oklahoma to Iowa. 5) yes our trains are awful but it's a lot easier to have this neat superfast trains when the distance is so short and the nations are so compact 6) living most of my life in coastal American cities -like LA, NY, Miami- has given me 'geography dysmorphia.' One of the best things I did was actually venturing across America in buses and cars. Not planes. But actually driving across the country and realizing 'this place is HUGE.' 7) there is racism or let's call it 'bias' in Europe but it's a lot different. In London, I met so many Polish ppl who looked scared or like they had to make themselves small. I didn't know that Polish ppl were treated like crap. The Polish hatred is fueled by a soft white supremacy poked by a recent wave of immigrants. It's shiftable according to who the 'new immigrants are' but it's not hardwired with laws. There's not going to be giant lynching parties to kill a lot of Polish ppl b/c there is no infrastructure to support that strong a hatred 8) in America our racism is HARDT. It's built into our nation's documents in thousands of ways. It's built into the formation of our police forces, armies, enforcement of laws. At every turn, race is a factor. We have the cultural, historical, legal infrastructure to let unarmed black people get shot again and again. We have the infrastructure in our history and legal bias to support gross systemic inequalities. Our police and armed forces are riddled with white supremacists and right-wing sleeper cells b/c the philosophical underpinnings of 'enforcement and punishment' in America is based upon color. 9) in Europe one of the key biases WAS religion. And that still exists, but its undercut by the youth's indifference and atheistic views. Yes, there's still discrimination against Muslims and Hindus and the 'other' but the rise of atheism and agonistic young ppl 

A Pharmacist

 2nd booster shot at a pharmacy in the back of a tiny organic grocery store in Williamsburg. It was a one-man operation. I called to inquire about a second shot and the clerk/pharmacist  picked up. I arrived and he was there. He handed me some forms to fill out while answering emails on a desktop. Stacks of paper covered most of the counter. Skyscrapers and mid-level condos of insurance forms, records, questionnaires. 

While the pharmacist loaded the needle he answered the phone. He talked to a veterinarian and confirmed a new order of pills for someone's cat while typing on the computer and reading the instructions for the booster shot. It felt like I was seeing someone in love with their work and drowning in it. Controlled chaos that was teetering on the brink of anarchy. But maybe the stacks of paper made sense to him. Maybe he has a system. Maybe his system is just plugging leaks and putting out fires. He administered the shot, notated my CDC card, placed my papers on a pile close to the computer, and went back to answering the phone. 

I thanked him. Nothing too awkward but an eye-contact 'thank you.' He pinched his glasses and raised himself up from the computer. His face flushed with some remembrance of...humanity. "You're welcome." As I walked back through the organic chips sections the pharmacy phone erupted again. I'm sure the stacks grew a bit higher. 

There are people out who hold the thin thread of humanity together with their work. Most of them toil at computers surrounded by coffee cups and gum wrappers. Most of them are never acknowledged. It's not this was some heroic proletariat act of class revolution. I guess it just made me aware of all the times I do not see the person at the desk, drowning in papers and holding everything together.

Art Chat

The 2022 summer of inflation is just revealing what's been there all along for most talented artists: unsustainable income and a lack of upward mobility. A novelist friend who has been on the NYTimes Best seller list multiple times admitted that he has to scramble for rent in his middle age. Another colleague is an established visual artist and asked if I could buy any of his work for a few hundred...he emphasized that he needed the money for basic living stuff this summer. And I always have a Greek chorus of disgruntled playwrights by my side...writers who thought that a NYTimes critics pick was going to be the jump off, writers who were hot for a few years and thought it would last, the non-trust fund, non-married to the wealthy, un-inherited, avg-class playwrights who really thought that having 3 roommates and one bathroom was a temporary layover before traveling to the Isle of Mo' Riches. Now they face the choices of either commuting into the city from Vermont or finding a discrete way to have middle-aged sex on a futon in crowded East Bushwick apt. 

The only long-term emotionally sustainable view is to do art for art. Act as if the riches will never come. Act as if the bright lights will never shine. Act as if your work will never achieve immortality, but is just the singular expression of a soul who is on this planet for the blink of an eye. And yes, you will have to do this while seeing so much flagrantly terrible art being praised that it'll drive you crazy. It is totally illogical and frustrating. And if you're looking for meritocracy then look to any industry except for the arts.

Coming out of a play last week, I talked to a young playwright who was FURIOUS. The play we had just seen was a work of shapeless carelessly bad narcissism.  I asked them why they were so upset and they seethed that writers -like them- sacrifice and scrape together money and they hold out for some dream, and then they go see theatre at some established institutions that clearly lack any hustle, backbone, grit, or heart. I asked them 'you thought your sacrifice would be rewarded by a theatre?' They paused b/c...of course they did!! We live in a Judeo-Christian culture. We are the center of our own Christ-tale and think of our journey as psychically similar to crucifixion-resurrection-salvation, aka pain-recognized breakthrough-external success-immortality. Your sacrifice is only rewarded in your craft. Theatre is older than Christ and has been consistently disappointing to its disciples for about 4,000 years. Theatre does not know or care about how many shitty temp jobs you had to work to pay for your tix. They are totally unconcerned with your sacrifice. Art is unconcerned. There is no statute to all the dead failed poets. 

And with all that in mind, do you still want to make art? Then you're cursed. You're doomed to your craft despite the world, despite the corruption and nepotism, despite the failures. You're cursed to pursue something outside of money or fame in a culture that worships those two things exclusively. You're doing something spiritually admirable and totally un-romantic. 

You're an artist. Granted, you might not even be good. Actually, you probably aren't good in terms of what's trending or in fashion with tastemakers. But there you are. 

History of Debt: Pt. 2

 History of Debt

 NU gave 15k/yr in scholarship but covered the rest w/ loans they provided. I ended up with about 60k in debt. Not great, but not awful. 

-Grad school: New School gave me 20k in scholarship and expected me to cover the housing. I took a loan for housing the first year, and then became an RA in my 2nd and 3rd yr so housing was free. Ended up with 10-15k in grad school debt, mostly from that first year. Added to undergrad debt and it's like 70k. Not great, but not awful. 

Post Grad: deferred and paid off the bare minimum for several yrs. One day I wake up and my debt is now 85k. Start an installment plan so I don't ruin my credit, but debt creeps up to 90k. I have been paying off my loans and trying to stay afloat and my debt increased. Ehhh...this is pretty bad.

Other creditors call for credit cards, healthcare debt. At one point I was living in Albuquerque working on a theatre project and my only steady chatmate was a nasty debt collector who would yell at me over and over again that I was a loser. He would scream that I needed to get a higher paying job and that my education was useless. The calls were so frequent that it became a bizarre frenemy relationship. I started asking him about his life, he opened up: he didn't think he would have a job like this...calling people up and yelling at them. He softened, apologized for all the abuse. Then he negotiated my debt down by a lot. I paid it off. 

Despite monthly payments, college debt continues going up, now up to 100k. Most of my payments go directly to the interest and never touch the principle amount. I'm paying to lose money. "Honestly, my goal in life is to just pay off my debts before I die." I tell an angry creditor. They go silent. Yeah, it's pretty dark and awful.

I'm paying and treading water. Fortunately, Juilliard is free for playwrights and they have stipends and awards. I created, wrote, produced, and sold a series to IHS: Generation Debt. The series kept me afloat while I was at school. And then things get so bad that I just stopped caring about debt. The numbers became so absurd to me that I wouldn't even look at my account. Money would get automatically withdrawn from my bank every month and my debt would go up. I was living in debt nihilism, giggling like the Joker when I thought about how much money I owed ppl. It was an impossible mountain for a low-earning theatre artist/temp worker. It's so awful that it's funny. Hysterical. 

TV work: start earning money but I'm still psychologically living in debt nihilism. It never even occurs to me that I should pay off the debt with tv money. No, just continue the minimum payments while the debt increases. Let it burn. We're all gonna die anyway. Ha ha...hehe...let it burn all burn down. I'm never paying this debt off. My debt plan is global warming and apocalyptic fires. Let natural disasters take care of everything. 

Paying Others Off: in a feat of karmic management, I am tasked with paying off other people's medical bills. Low-level, consistent karmic work. I agree. It's all just numbers. Surrender. Let go. Serene nihilism. 

Apt Hunting: yrs pass and I'm looking for an apt in Brooklyn. The realtor apologizes to me and says he has to run a credit check. Oh lordt!! Here we go. My internal nihilistic Joker returns...tehehe...go ahead. See the wreckage. Laugh at my carnage. He runs my score and his eyes widen in shock: I have good credit. WHAT?!?!? I'm shocked. I haven't even bothered checking my credit or debt for so long b/c I have ceased to care. Was it the consistent payments? Was it the karmic management of giving to others? Realtor says my credit is so good I could buy a boat. And yet I am still in MASSIVE debt. The matrix is laughing with me. 

Pandemic: world shuts down. I'm sitting in Miami thinking about my life and I remember 'wait I  have a mountain of debt? How come I haven't paid it off yet?' Well I just gave up. I internally shut down and ceased thinking about it. But I'm working on 2 tv shows. Do I dare...look at the mountain? I go to my account and yikes. It's ugly. And yet, I have multiple jobs and the world is shut down so my expenses have plummeted. So then I just...pay it off. All of it. In about 2 yrs. I'm just done with nihilism. And magically it's gone. The mountain evaporates into dust and 20 yrs of anxiety/panic/nihilism vanish. What am I gonna do with all this not-worry and not-fear? What am I gonna do with all this non-debt terror? Start up a charity foundation. And laugh.

Get What You Want: June 2022

 1. AUSTIN FILM FESTIVAL - PLAYWRITING COMPETITION

DEADLINE: June 1st

WEBSITE: https://austinfilmfestival.com/submit/play/

Three finalists from the Playwriting Competition will have live readings during the festival which will be performed in front of an audience including the industry professionals already in attendance at the Conference. One winner will be selected and will receive a $1000 cash prize, AFF’s Bronze Typewriter Award, and reimbursements of up to $500 for travel and up to $500 for lodging if used during the 2019 Festival. There is a $25 application fee.

At Austin Film Festival, our mission is to champion all writers across mediums. Our Playwriting Competition (open to full-length plays) gives playwrights a chance to explore our film and television conference. It will also allow film professionals to discover storytellers who have mastered the art and craft of stage drama.

AFF has always promoted story as the most important element of film and TV. So giving playwrights their own story exposure and a chance of crossover into film and TV only advances our mission. There are many other playwriting competitions out there, but AFF offers playwrights broader access to successful writers and professionals in all the other related fields.

2. THE PEN/HEIM TRANSLATION FUND GRANTS

Deadline: June 1st

Website: https://pen.submittable.com/submit/191304/2022-pen-heim-translation-fund-grants

The PEN/Heim Translation Fund Grants were established in the summer of 2003 by a gift from Priscilla and Michael Henry Heim in response to the low number of literary translations currently appearing in English. Its purpose is to promote the publication and reception of translated world literature in English.

Who is eligible:

• The PEN/Heim Translation Fund provides grants to support the translation of book-length works of fiction, creative nonfiction, poetry, or drama that have not previously appeared in English in print or have appeared only in an outdated or otherwise flawed translation. Works should be translations-in-progress, as the grant aims to provide support for completion.

• There are no restrictions on the nationality or citizenship of the translator, but the works must be translated into English.

• The Fund seeks to encourage translators to undertake projects they might not otherwise have had the means to attempt.

• Anthologies with multiple translators, works of literary criticism, and scholarly or technical texts do not qualify.

• Translators who have previously been awarded grants by the Fund are ineligible to reapply for three years after the year in which they receive a grant. 

• Please note that projects that have been previously submitted and have not received a grant are unlikely to be reconsidered in a subsequent year. 

• Projects may have up to two translators. 

• Translators may only submit one project per year.

How to apply: The application form, with all items completed:

• A 1-2 page, single-spaced statement outlining the work and describing its importance.

• A biography and bibliography of the original author, including information on translations of their work into other languages.

• A CV of the translator, no longer than 3 pages.

• If the book is not in the public domain and the project is not yet under contract, please include a photocopy of the copyright notice on the original (the copyright notice is a line including the character ©, a date, and the name of the copyright holder, which appears as part of the front matter in every book), and a letter from the copyright holder stating that English-language rights to the book are available. A letter or copy of an email from the copyright holder is sufficient. 

• If the translation is currently under contract with a publisher, please submit a copy of the contract.

3. PARADOX THEATER WORKS NEW WORKS FESTIVAL SHOWCASE

DEADLINE: June 1st

WEBSITE: www.paradoxtheatreworks.com 

Submissions are now being accepted for Paradox Theatre Works’ second annual New Works Festival Showcase 2022, entitled “THE LIVING ROOM”. Seeking original short plays 10 minutes in length that have not been produced in the Chicago area before, from playwrights from across the globe. This year’s festival is focused on scenes that occur in “The Living Room”.  Seeking original monologues and original spoken word pieces. 

• The winning entries will be produced by Paradox Theatre Works and provided a venue, audience, directors and actors to perform your play live at our “The Living Room” New Works Festival Showcase 2022 in October. 

• The production will be in front of a live audience and recorded. It will subsequently be posted after the production on our website.

• Scripts should stay between 8 and 10 minutes.

• Each play must take place in The Living Room.

• Your available set will consist of one coffee table, one rug under the coffee table, two accent chairs and one sofa. 

• Your play must be limited to between two and four characters.

• Scripts that copy the exact plotline of existing movies, plays, TV series, and books will not be considered. 

• No more than five submissions allowed per playwright.

• Please include a cover sheet for your submissions w/ play title, author’s name, place of residence, mobile number, e-mail that is checked regularly, and an author bio of approximately 75 words. You are welcome to include a brief play synopsis here as well. 

• The first page of the script should provide the name of characters and brief description of personality.

• Send email using subject line: 10 Minute Play Submission

• Send the email to: ParadoxTheatreWorks@gmail.com

• The playwright may submit up to 5 plays.

• We prefer plays that have never been produced anywhere but require plays never produced in the Chicagoland area. 

BMI LIBRETTISTS THEATER WORKSHOP

DEADLINE: June 1st

WEBSITE: https://www.bmi.com/theatre_workshop/librettist_application

This nine-month course explores the fundamentals of writing book for the musical theatre.

Drama Desk Award winning bookwriter Adam Mathias unlocks the toolkit for musical theatre librettists. Through lecture, discussion, and assignments students learn how to apply the fundamentals of playwriting to the craft of creating musicals. As a class, writers deep-dive into the DNA of the musical theatre canon — from the Golden Age through today — dissecting what works and why and then applying it to their own work.

Applicants should have a book-musical project in mind to develop over the course of the year; this musical could be anywhere from an early concept to an early draft.

The course runs September through May in New York City, Covid restrictions permitting. Prospective members should live in the city or be able to commute weekly.

Librettists Workshop

After completing the Bookwriting Basics program, writers may apply to join the established Librettists Workshop group. Not all writers who apply will be invited to join.

Application

Applicants must submit two writing samples, at least one of which must include comedic content.

Either or both samples could be:

• a 10-page or longer excerpt from a script or other genre

• a complete one-act

• a full-length script

Any of these may be in-progress, produced and/or published material.

Scripts from genres other than playscripts or musical theatre scripts are also acceptable; however, theatrical comedy scenes are preferred to stand-up or sketch material.

In addition, writers must include a bio or resume.

THE DISRUPTORS

DEADLINE: June 3rd

WEBSITE: https://www.artistdisruptors.org

The Disruptors Fellowship aims to disrupt the status quo in Hollywood to normalize narratives that have historically been underrepresented on television. This three-month-long fellowship will invest in emerging television writers and creators committed to their artistic practice and disrupting systems of oppression. It will support emerging television writers of color who identify as trans and/or non-binary, disabled, undocumented and/or formerly undocumented immigrants. The Disruptors Fellowship will provide master classes in TV drama writing, TV comedy writing, pitching, and intellectual property. Fellows will have an opportunity to work on their TV pilot, mentorship from a TV writer, insights from industry professionals, a community of creatives with aligned values, and a stipend of $6,000. 

Yes, you will get paid to work on that project you've been putting off, get mentored by a professional in the industry, and be part of a community of creators!

Participation in this fellowship will not automatically ensure participants will land writing jobs at the end of the fellowship experience. However participants will excel, network, and overall, be empowered as writers in a competitive field to start up and maintain current projects as well as be equipped with language to navigate this complex field. 

Our fellowship seeks to incubate writers of color who identify as either undocumented as well as formerly undocumented, transgender, non-binary, gender non conforming and/or disabled. 

We encourage screenwriters of color who identify as: queer, womxn, and are above the ages of 21 to apply.

. AMERICAN BARD THEATER COMPANY’S FIRST PLAYWRIGHT INVITATIONAL

DEADLINE: June 5th OR the first 120 plays submitted

WEBSITE: https://www.americanbard.org

Your play could by our next fully-staged production! We are seeking full length plays for consideration for our fall 2022 Corner Stone Reading Series

Our Corner Stone Reading Series was started in 2015 as an opportunity to work with our network of artists and invite our audience into the incubation process of a potential fully-staged production for American Bard. These readings are offered as free programming and are open to the public.​ 

The top three plays selected by our panel of readers will receive a staged reading produced by American Bard Theater Company for our Corner Stone Reading Series in the fall of 2022.

These plays will be considered for American Bard Theater Company’s the next fully-staged production.

SUBMISSION RULES:

• One PDF electronic submission of a single full-length play per playwright, written in English.

• 75 -90 minutes running time with NO intermission. (Approximately 75 - 90 pages)

• Play must not have been previously produced as a fully-staged production.

• No joint authorships, adaptations, translations, children’s plays or musicals.

• Maximum of 8 actors, regardless of number of characters in the play.

• All characters must be performed by adult actors (18 years or older).

• No nudity, extreme profanity, glitter/confetti, or prolific use of liquids.

• Simultaneous submissions accepted, but please withdraw if accepted elsewhere.

Please send to: americanbardco@gmail.com

AMERICAN THEATRE GROUP PLAYLAB

DEADLINE: June 10th

WEBSITE: https://www.americantheatergroup.org/programs

ATG  PlayLab (now going into its 3rd year) is dedicated to providing a professional and supportive environment for playwrights who are BIPOC and LGBTQ+ to be heard and supported.  (To be clear, priority is given to straight and queer BIPOC playwrights.  Some consideration will be given to non-BIPOC queer playwrights).  

The group will meet once every week for 12 sessions during the Fall, Spring and Summer via Zoom on Sunday evenings.  One additional meeting per month will be called for professional development discussions/workshops (these will not be required, but strongly encouraged).  Applicants from anywhere in the US are welcome to apply, though preference will be given to NJ, PA and NY writers.  

Sunday evening (6pm to 9pm EST) attendance at meetings is required.  From the applicants, playwrights will be chosen to participate in this play development lab.  There is no restriction on style of playwriting that the applicants use.  There is also no guarantee that acceptance into this PlayLab will result in any public readings or productions by American Theatre Group.  

If you have any questions please feel free to contact Pandora Scooter, Founder/Director at pandorascooter@gmail.com.  

. BETC’s New Play Development Program

DEADLINE: June 15th, or when 200 applications have been received

WEBSITE: https://betc.org/programs-events/generations/

BETC’s new play development program, Generations, features the work of parent playwrights with children under 18. The name comes from BETC’s goals for the program: to welcome all generations into the theater to see new plays, and to empower playwrights to generate new work. Each season, BETC selects one playwright through a national competition to join us in Boulder for a one-week residency.  During the residency week, the playwright works with a professional director, dramaturg, and actors to develop the selected script.  The week concludes with a public reading and post-reading conversation.

. SOUL PRODUCING RESIDENCE PROGRAM

DEADLINE: June 15th

WEBSITE: https://www.nationalblacktheatre.org/producing-residency

Launched in 2015, the Soul Producing Residency Program’s mission is to unveil, uplift and inform the next generation of Black leaders in cultural production. As writers and artists of color continue to conquer new feats in the performing arts industry, it has become increasingly important to equip emerging Black producers with the tools needed to step into their power as leaders, general managers and cultural curators.

Piloted as a fellowship with the two previous residents, Marie Cisco and Ngozi Anyanwu, this program calls back to Dr. Barbara Ann Teer’s guiding principle of autonomy in Black storytelling, and provides an unprecedented opportunity for applicants of color to gain real-time experience. Under the supportive guidance of the L.A.B program staff, the 10-month residency supports residents by providing the network and guidance needed to produce in New York City in real time. Each resident will receive  a stipend and access to a library for resources to sharpen their skills. 

With I AM SOUL, NBT seeks to foster mutually-beneficial relationships between Black institutions and creatives in order to reestablish historically Black theatrical institutions as the foremost supporters and producers of Black artistry.   

. I AM SOUL DIRECTING RESIDENCY

DEADLINE: June 15th

WEBSITE: https://www.nationalblacktheatre.org/directing-residency

Launched in 2018, the Directing Residency Program is a rigorous yet creative playground for Black directors to gain exposure, New York City credentials and, most importantly, technical skills under the guidance of the L.A.B program staff. Piloted in fellowship with the inaugural Directing Resident, Ebony Noelle Golden, this program provides a home for one director for a minimum of 18 months who will focus on mounting an NBT main-stage production of an existing play. 

In addition to arming emerging directors with focused training and professional mentorship, the program seeks to radically shift accessibility dynamics that have historically disadvantaged directors of color. Residents gain experience at a reputable New York City theater and expand their collaborative network. Each resident is provided a stipend, dramaturgical and developmental resources, a full production team, and three 29-hour workshops. 

A+ PLAYWRITING CONTEST FOR TEACHERS

DEADLINE: June 30th

WEBSITE: https://www.pioneerdrama.com/Playwrights/Teachers_Contest.asp

Fifty years as one of the leading play publishers for the educational market has taught us that some of our best-selling shows are written not by professional playwrights, but by teachers who create a play based on the specific needs of their drama program. Once published, these plays are quickly embraced by other teachers who share the same opportunities, challenges and limitations that seem universal in schools.

We want to encourage the development of quality plays written specifically by teachers and other educators. Our A+ Playwriting Contest for Teachers is open to all teachers employed at an accredited K-12 public or private school in the US or Canada. 

 All plays submitted through this contest must have been produced within the past two years at the school where the playwright teaches.

Submissions will be accepted on an on-going basis with a June 30 cutoff each year. All qualifying manuscripts accepted for publication will be considered contest finalists. The contest winner, selected from contest finalists and announced September 30, will receive a $500 royalty advance and a one-time $500 donation to the school theatre program where the play was first produced.

Contest Rules

Playwright must be a current or retired faculty member at an accredited K-12 public or private school in the US or Canada.

Only entries submitted with an Official Contest Entry Form will be considered.

Only entries that have been fully staged at the teacher’s school no more than two years prior to the submission date will be considered. We encourage you to take advantage of this production to revise your script as needed before submitting your manuscript.

All entries must be accompanied by proof of production in the form of a copy of the program, a newsletter or newspaper article, a review, a photo or a letter from the school principal.

Contest entries must meet all Pioneer Drama general guidelines and requirements for play submission, which can be found at pioneerdrama.com/playwrights/submit.asp.

Individuals currently published by Pioneer Drama Service are not eligible for this contest. Pioneer Drama Service employees and their families are also excluded.

All manuscripts submitted for this contest will automatically be simultaneously considered for our annual Shubert Fendrich Memorial Playwriting Contest, which is open to all individuals not previously published by Pioneer Drama Service. See pioneerdrama.com for more details.

Questions? Contact us by email or by calling 800-333-7262.

FRED EBB AWARD

DEADLINE: June 30th

WEBSITE: https://fredebbfoundation.org/fred-ebb-award/

Are you an aspiring musical theater songwriter? Are you yet to find significant commercial success for your work? Learn more about whether you could be eligible to apply for the Fred Ebb Award. The winner will be selected in November and will receive $60,000. The Foundation will also produce a one-night showcase of the winner’s work.

Each applicant must be a composer/lyricist or composer/lyricist team wishing to create work for the musical theatre, and must not yet have achieved significant commercial success.

Application Materials:

Electronic files of up to four songs from one or more musical theatre pieces, with typewritten lyrics and a description of the dramatic context for each song; and a completed application form.

Application Guidelines:

All applications will be coded as they arrive. Because all submissions will be reviewed blind, please do not place name(s) of writer(s) on electronic file names, lyric sheets, or description of dramatic context. Names should only appear on the Application Form.

MP3, ZIP, and M4A files are preferred, but Dropbox links will be acceptable as well. Dropbox files should not have time limits.

Only musical theatre work will be considered.

Please do not submit recordings with any audience sound. The applicant(s) must have written all the songs included in the submission. For example, a composer cannot submit one song with her own lyrics, and a second song with lyrics by another writer.

No individual may appear on more than one application. You cannot apply as an individual and again as part of a team, or as part of more than one songwriting team.

Please email applications:  fredebbfound@gmail.com. 

LUXEMBOURG ARTS PRIZE

Deadline: June 30th

Website: https://www.luxembourgartprize.com/en/call-for-submissions-en/

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

The 1st place winner of the Luxembourg Art Prize receives €50,000, the 2nd place winner €20,000, and the 3rd place winner €10,000. The finalist artists will be included in a group exhibition in the gallery. The Luxembourg Art Prize is a unique opportunity to enter the international professional art circuit and to have your work seen by major private and institutional art collectors.  Unlike other art awards and shows, the Luxembourg Art Prize is arranged by a top-tier private European museum. Your career will take on an international dimension and your artistic output will have a fair shot at rapidly gaining consideration as essential in the international art market.

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

The organisation will arrange return travel for the finalist artists and their companions by train or air. It will send travel documents to the finalist artists and their companions within the ten days before the opening of the finalist artists’ group exhibition. The organisation will also book hotel rooms on the basis of dual occupancy (each artist with their companion).

TNP READERS THEATRE EVENING OF NEW PLAYS CONTEST

DEADLINE: June 30th

WEBSITE: https://naplesplayers.org/on-stage/readers-theatre/

TNP Readers Theatre “Evening of New Plays” contest is an annual event designed to give playwrights an opportunity to have their one-act plays presented to an audience in a staged reading.

Eligibility:

• Entries must be one act, non-musical, and no longer than 30 minutes.

• We suggest that the cast not exceed seven characters.

PLEASE REMEMBER:

• This is going to be read, and not a fully staged production.

• There should be very minimal blocking, minimal props requirements, and no costumes.

• If your play cannot be easily performed by seated readers, it will not be considered for performance.

• Writers may submit only one play.

• Each play must be the writer’s own original work, not an adaptation, and not commercially published or produced, though it may have been work-shopped or presented in staged readings in other locations than Southwest Florida. 

• A submitted play also may have been entered in an earlier “Evening of New Plays” contest one time, so long as it was not an earlier Finalist.

25. AUDIBLE EMERGING PLAYWRIGHTS FUND

DEADLINE: Rolling

WEBSITE: https://www.audible.com/ep/audible-theater

In 2017, Audible launched a theater initiative, intended to radically increase access to exceptional plays and performances. A core pillar of the initiative is the Emerging Playwrights Fund, a program that invests in and nurtures self-identifying emerging playwrights, some of our most inventive, delightful, and provocative storytellers. Through the Fund, Audible aims to connect extraordinary performers with remarkable original work, amplifying new voices and harnessing the power and potential of audio to reach millions of listeners. 

The Fund specifically supports t he creation of original dramatic work, written with audio in mind, but theatrical in spirit. Audible is dedicated to commissioning, developing, and producing work that reflects the diversity of our members and our world. To accomplish this, Audible is committed to granting at least 50% of emerging playwright commissions to artists of color and women.

To be considered as an applicant for a commission, please submit all of the following to AudibleTheater@audible.com:

1. One full-length script for an original or adapted play (in English language only) that represents your voice ("Script"). The Script can be in any genre and may include one-acts and solo pieces; 

2. A short biography; and 

3. A brief statement about why audio plays appeal to you. 

If you have an idea for an original audio play, you are welcome to include a pitch or summary along with your statement (this is encouraged, but not required).

Any applicant over the age of 18 may submit a Script. Submissions are accepted year-round. Due to the number of Scripts that Audible receives, Audible will only consider one Script at a time from each applicant and will not consider resubmissions, including those that have been significantly revised. The Audible team evaluates submissions on a rolling basis, and applicants will be notified regarding the status of their submissions via email. Thanks in advance for your patience while we process your Script; our typical response time is 6-8 months.

26. THE STOCHASTIC LABS

DEADLINE: Rolling

WEBSITE: https://stochasticlabs.org/residencies/

The Stochastic Labs offers fully-sponsored residencies to engineers, artists, scientists, and entrepreneurs from around the world. Residencies include a private apartment at the mansion, co-working and/or dedicated work space, shop access, a $1,000 monthly stipend and a budget for materials.

27. THE FOUNDATION FOR CONTEMPORARY ARTS

DEADLINE: Rolling

WEBSITE: https://www.foundationforcontemporaryarts.org/grants/emergency-grants/

Created in 1993 to further FCA's mission to encourage, sponsor, and promote work of a contemporary, experimental nature, Emergency Grants provide urgent funding for visual and performing artists who:

• Have sudden, unanticipated opportunities to present their work to the public when there is insufficient time to seek other sources of funding

• Incur unexpected or unbudgeted expenses for projects close to completion with committed exhibition or performance dates

Emergency Grants is the only active, multi-disciplinary program that offers immediate assistance of this kind to artists living and working anywhere in the United States, for projects occurring in the U.S. and abroad.VEach month FCA receives an average of 95 Emergency Grant applications and makes approximately 12-15 grants. Grants range in amount from $500 to $3,000, and the average grant is now $1,700. We recommend that artists review all of our eligibility guidelines and FAQs before applying. You may also complete our Eligibility Questionnaire, but please note that the questionnaire is not a substitute for a thorough review of program guidelines.

28. THEATRE ARIEL OPEN SUBMISSIONS
DEADLINE: Open

WEBSITE: http://www.theatreariel.org/opportunities

Theatre Ariel is always seeking the next great Jewish play to present to our audiences. Theatre Ariel is looking for plays that engage with the rich world of Jewish life, thought and practice; plays where Judaism, Jewish identity or Jewish perspectives are significant or driving factors in the story (In other words, not plays where the characters ‘happen’ to be Jewish or that have a few yiddishisms or “Jewish jokes” in them, but plays where Jewish life/thought/history is integral or particularly relevant to the story.). Theatre Ariel seeks plays with casts of five actors or less.

You do not have to be Jewish to have your work considered by Theatre Ariel. 

All our performances are presented as salon-style theatre readings in people’s homes, following a long tradition of Jewish theatre. For the foreseeable future, we will be presenting in a hybrid model of both in-person and virtual performances. To have your script considered, please email the following to submissions@theatreariel.org: 

Brief cover letter introducing yourself and your play, as well as a short plot summary and character breakdown (indicating doubling, if any)

Ten minute excerpt from the script (if these are not the first ten pages, then please supply a brief explanation of where we are in the story when your sample picks up)

Theatre Ariel is committed to reading and responding to every submission we receive. Please allow three to six months for a response. Please forward any questions you may have to the same email address listed above.

29. DRAMATISTS GUILD FOUNDATION EMERGENCY GRANTS

DEADLINE: Rolling

WEBSITE: https://dgf.org/programs/grants/grants-for-writers/

It is vital to support writers in times of need so that they can get back to doing what they do best. DGF provides emergency financial assistance to individual playwrights, composers, lyricists, and librettists in dire need of funds due to severe hardship or unexpected illness.

If you are a writer in need, we can help.

30. THE DOROTHY ROSS FRIEDMAN RESIDENCE

DEADLINE: Rolling 

WEBSITE:  https://actorsfund.org/services-and-programs/housing-resource-center?mc_cid=1266183bf9&mc_eid=7436d341a2

and

https://actorsfund.org/sites/default/files/Friedman-Application-Revision-7-21-20.pdf?mc_cid=1266183bf9&mc_eid=7436d341a2

If you think you are eligible, now is a fabulous time to apply to The Dorothy Ross Friedman Residence. The Friedman is a shared housing (roommates) residence that offers affordable housing for working professionals in performing arts and entertainment, persons with HIV/AIDS, and senior citizens (60 years of age or older). Most of the apartments are 2-bedrooms, where you would have one roommate and there are a few 3-bedrooms, where you would have two roommates.  All tenants have a rent stabilized lease. All apartments are complete with dishwasher, washer/dryer, central heating, and AC. Many apartments have terraces with spectacular Manhattan views, and everyone has access to the Colleen Dewhurst Community Room and the newly renovated Bette Midler Rooftop and Garden. On-site social services include a range of community programs and the Waldman Living Room for seniors. The Friedman Residence also features 24-hour security.

 Criteria: Income Eligibility: 1-person household: $28,500 - $47,760

 

31. WILD CULTURE PROGRAM @ WILD PROJECT

DEADLINE: Rolling

WEBSITE:  http://thewildproject.com/wild-culture-submit-page/

Wild Project is currently accepting artist submissions for its WILD CULTURE curation program. WILD CULTURE will produce the work of 15-20 artists, prioritizing projects by female, BIPOC and LGBTQIA+ artists, across theatre, performance art, music, visual art, and dance later this spring and summer. This program embraces the work of independent performance artists and productions to give these performers free access to valuable resources like wild project’s 89-seat theater and more. Curated artists will also have the option to live stream and/or film their work with our film production equipment and digital distribution platform. Wild Culture is primarily suited for work that is already more developed or previously workshopped. Wild Culture, launched in 2018, gives artists much-needed production support at an important time in their development. It strongly encourages artists whose projects address important issues like social justice, gender identity, equality, mental health, and climate change to submit their work.  

32. LONG WHARF THEATRE LITERARY PROGRAM & NEW WORK DEVELOPMENT

DEADLINE: Year round

WEBSITE: https://longwharf.org/casting-and-literary

Long Wharf Theatre has a proud and rich history of forming meaningful relationships with artists, supporting the development of their work, and moving their projects towards production. We are particularly interested in incubating new pieces that center BIPOC voices, push form, and feature innovative dramaturgy. We are also eager to support projects that originate with artists other than playwrights, such as designers, directors, dramaturgs, and activists. Many of these works have become part of the modern American canon with more than thirty Long Wharf Theatre productions transferred to Broadway or Off-Broadway runs.

We are revitalizing our commitment to playwrights at all stages in their careers, and are now welcoming scripts from unrepresented playwrights as well as agents.

Email scripts to: literary@longwharf.org

Type of Materials: Full-length, One act, 10-minute scripts, musicals, adaptations, translations, virtual/Zoom plays.