1. THE ACADEMY NICHOLL FELLOWSHIP
DEADLINE: May 1, 2024
WEBSITE: https://www.oscars.org/nicholl/about
Each year, the Academy Nicholl screenwriting competition awards up to five $35,000 fellowships to amateur screenwriters. To enter, submit a feature length screenplay and entry fee via the online application when the competition is open for submissions. Fellowship winners are invited to participate in awards week ceremonies and seminars, receive individualized Academy member mentorship and are expected to complete at least one original feature film screenplay during their Fellowship year.
Up to five $35,000 fellowships are awarded each year to promising new screenwriters. From the program’s inception in 1986 through 2022, 192 fellowships totaling $5.08 million have been awarded. Up to five fellows in the Academy Nicholl Fellowships in Screenwriting competition will be invited to participate in awards week ceremonies and seminars in November. Fellowship recipients will be expected to complete at least one original feature film screenplay during the fellowship year. Fellowship payments will be made quarterly subject to satisfactory progress of the recipient’s work, as judged by the Academy Nicholl Fellowships Committee.
ENTRY REQUIREMENTS
Original feature film screenplay (no shorter than 70 pages and no longer than 160 pages) in PDF format only
Completed online application form
Writers must create an account at the Nicholl website to enter the competition. PDF scripts must be uploaded and all other requirements met prior to the maximum entry limit of 5,500 screenplays is reached. If the maximum entry limit has not been reached by the final deadline, than PDF scripts must be uploaded and all other requirements met no later than 11:59 p.m. Pacific Time on May 1, 2024.
Writers may create an online account at the Nicholl website at any time. When the competition opens each year, they should use that account to enter, following the links to the Log In page. The Nicholl website allows entrants to fill out the required online application form, submit a PDF version of their script and pay the entry fee with a credit or debit card. It also allows entrants to confirm receipt of their entry and to update their contact information at any time during the competition. A single entrant or writing team may submit a maximum of ONE script in the 2024 year competition. The script should be no shorter than 70 pages and no longer than 160 pages. The recommended length is 80 to 125 pages.
2. BARTER THEATRE APPALACHIAN FESTIVAL OF PLAYS AND PLAYWRIGHTS
DEADLINE: May 1, 2024
WEBSITE: bartertheatre.com/appalachian-festival-of-plays-and-playwrights/
Six new Appalachian plays are chosen from the submissions to be given public readings by Barter’s company. The playwrights are brought in at the beginning of the festival week to be a part of the rehearsal process. Each play is given about 8 hours of rehearsal time with the focus being on clarity of story. After each reading, there is a moderated discussion between a panel made up of three regional theatre professionals and, most importantly, the audience, for their feedback. That way, the playwright receives feedback from three separate groups: artists, panelists, and audience. Playwrights have found this to be a very useful step in developing their plays, as well as a wonderful opportunity to meet other artists, make new friends, and enjoy the beauty of Southwest Virginia!
Plays must be written by an Appalachian playwright (currently living in a state that contains the Appalachian Mountain Range— which, for our purposes, run from New York to Alabama.) OR The plays must be set in the Appalachian region. Plays must be unpublished and must not have had a full professional production. Plays must be full length. Plays must be submitted electronically.
3. PARAMOUNT WRITERS MENTORING PROGRAM
DEADLINE: May 1, 2024
WEBSITE: https://www.paramount.com/writers-mentoring-program
For over two decades the Paramount Writers Mentoring Program has seen 135+ emerging diverse writers graduate. The program launched over 125+ careers, including those of 18 current showrunners and executive producers.
As part of its ongoing commitment to create additional access, exposure, and opportunity for talented and motivated writers of diverse backgrounds, Paramount's Writers Mentoring Program is an eight-month program with a three-fold focus: It opens doors by providing opportunities for mentees to build and foster relationships with showrunners and network and studio executives, supports emerging writers in their efforts to improve their craft by working with executive mentors, and it helps writers hone the essential interpersonal skills necessary to break in and succeed.
Each participant will be teamed with an executive mentor from Paramount Global. Under the supervision of their mentors, participants will write a new writing sample. Once a week, for 16 weeks, participants will be invited to attend a small workshop-style meeting with various showrunners and other industry professionals. Speakers include agents, managers, Development and Current executives as well as showrunners. There is also a half-day mock writers room for mentees to experience the process in a safe environment.
Each participant will have help in creating a rigorous career action plan and there will be on-going support in evaluating and achieving those goals. Another important benefit of the program is the development of a close-knit peer support group that will sustain participants through the program and beyond.
It has been found that in order to derive the greatest benefit from the program, participants should be available to 1) attend a once a week (evening) workshop 2) attend a half day mock writers room and 3) have ongoing interaction with their mentors via zoom, phone or email. Program elements such as mentoring, weekly workshops, and the mock writers room can be scheduled around participants’ existing work commitments.
The Paramount Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and the decision-making processes, with the goal of preparing aspiring writers for later employment opportunities in television. Aspiring diverse writers with a strong desire to write for Paramount television series are encouraged to apply. You must be 21 or older and able to work in the United States to be eligible.
Finalists will be notified in late September 2024 (or such later date as may be determined by Paramount). The program is scheduled to begin in October 2024 and continues through April 2025. Paramount reserves the right to adjust the program schedule as necessary.
4. VANGUARD ARTS FUND OLNEY CENTER
DEADLINE: May 1, 2024
WEBSITE: https://www.olneytheatre.org/about-us/vanguard-arts-fund
Vanguard Arts Fund applications are now open for Olney Theatre Center’s 2024-2025 season. The Vanguard Arts Fund provides developmental support to diverse teams of artists interested in creating theatrical works. From the early drafts of a new play, to a concept for a classic adaptation, to the first song of a musical, we provide workshop time for various stages of a work’s development process. We commit to these artistic teams in hopes of producing their work at Olney Theatre Center in a future season.
A successful proposal for new work will bring together more than one generative artist in an interdisciplinary fashion to explore new or classic stories. So, a director and videographer working on an off-beat immersive experience, or workshopping a new musical, or a number of designers or actors coming together with a playwright to devise something, or a playwright and director working jointly to create something, or a composer working with a bunch of musicians and a choreographer on an idea all are examples of exciting proposals. Directors, actors, playwrights, designers, stage managers - we want to hear from anyone with a great idea and a great plan to pursue their artistic visions.
We are committed to ensuring the majority of projects we fund are led by BIPOC generative artists, and we intend to support at least one BIPOC-created musical each year.
Olney Theatre Center will ask for the right to consider and potentially produce the work within 18 months of the workshop. But we’re not asking for an exclusive right, nor are we asking for world premiere rights. If you get a Broadway production, awesome! We only ask that it doesn’t get produced in the DC/Maryland/Virginia area before we get a shot at it. Please complete the Vanguard Arts Fund application form, which requests the following information.
Project point of contact information (pronouns, email, phone number, city/state)
In 1-4 pages:
Project Description
Artistic statement about the project
At what stage of development is this project currently?
What is the project’s development history?
What are your goals for this workshop?
The names and bios of the artists/collaborators involved in this project
Number of performers and other types of artists needed for a workshop (if known)
Existing project materials can be provided if applicable (this can include: a draft of the script, a five-minute video clip, a song recording, a website, and/or up to three images)
Support for projects in the past has ranged from $2,500 to $20,000.
5. NEUKOM ARTS AWARD FOR PLAYWRITING
DEADLINE: May 1, 2024
WEBSITE: https://sites.dartmouth.edu/neukominstitutelitawards/ni-lit-award-for-playwriting/
The Neukom Institute for Computational Science at Dartmouth College – in collaboration with Northern Stage – is excited to announce the 2024 Neukom Institute Literary Arts Awards for Playwriting, for full-length plays and other full-length works for the theater addressing the question “What does it mean to be a human in a computerized world?” The award comes with a $5,000 honorarium as well as a 29-hour workshop and public reading produced by Northern Stage (https://northernstage.org/) in January 2025. Note that works that have received a full production are NOT eligible for the competition.
Submissions must include:
An anonymized (blinded) copy of the piece
Playwright resume/bio
Production history of the piece
1 page statement of purpose that answers the following questions:
A. How does your piece address the theme of exploring humanity in our computerized, digital world?
B. The winning play will have a 29-hour workshop and public reading at Northern Stage in Northern Stage in White River Junction, VT in early 2025. What are your developmental goals for the play and how would this workshop serve those goals?
Questions? Email Brandy (Yijin) Zhang bzhang@northernstage.org
6. BOISE CONTEMPORARY THEATER FOURTH ANNUAL BIPOC PLAYWRIGHTS FESTIVAL
DEADLINE: May 5, 2024
WEBSITE: https://drive.google.com/file/d/140klv5LlwHkAlqXYNUYn45nbdZW4FkoA/view
Boise Contemporary Theater is now accepting submissions for its fourth annual BIPOC Playwrights Festival. Founded in 2021 with assistance from the Idaho Women’s Charitable Foundation, the festival seeks to champion emerging and mid-career playwrights from marginalized communities by connecting exceptional works with professional actors, directors and technicians.
2024 also marks the launch of the Young Playwrights Initiative, which will select one unproduced work by a writer between 18 and 25 years old for inclusion in the lineup.
Festival dates: August 14th - 25th, 2024
Playwrights will arrive on Thursday, August 14th.
Workshop will take place August 15th - 19th.
Readings will take place August 20th - 24th.
Playwrights will depart Sunday, August 25th
PLEASE NOTE: Exact travel and reading schedule will be confirmed in early June. Please apply with the intention of being in Boise for 10 days. However, artists may be able to leave earlier, depending on their placement in the lineup.
Travel, lodging, and a $1,000 artist stipend will be provided.
To apply for BIPOC 2024, please fill out this Google Form, no later than Sunday, May 5th at 11:59pm MST.
A completed application includes:
● Script
● Logline
● Resume/CV
● Artist statement (<200 words) describing why you would like to participate and how your play would benefit from a workshop experience.
Please note that all plays must meet the following criteria:
Submissions must be full-length stage plays (no short or incomplete scripts, screenplays or teleplays).
Submissions must be unproduced, original works.
Submissions may have been previously developed or workshopped in conjunction with a theater, arts nonprofit or school, so long as they have not been fully produced.
Submissions are encouraged to include NO MORE than 5 actors. Larger casts will be considered, but smaller shows are preferred.
Any questions can be directed to Festival Director Lily Yasuda at: ly@bctheater.org
For general information on the festival, visit bctheater.org/bipoc
7. I AM SOUL RESIDENCY
DEADLINE: May 8, 2024
WEBSITE: https://www.nationalblacktheatre.org/playwrights-residency
Launched in 2012, The I AM SOUL Playwrights Residency Program uniquely serves the best and brightest emerging Black playwrights from around the nation. Through this program, NBT seeks to foster mutually-beneficial relationships between Black institutions and creatives to re-establish historically Black theatrical institutions as the foremost supporters and producers of Black artistry. This 18-month residency aims to unleash the souls of two to three Black playwrights per cycle. Coined as a dream MFA program, this program is about process, not product, so playwrights experiment with form, style, and narrative to develop, hone and explore new ways of artistic expression in a nourishing environment. Each resident is provided a financial stipend, dramaturgical and developmental resources, a full production team, and three 29-hour workshops.
Goals of the Program:
To help the selected Playwright(s) unleash their soul on the page by providing them a safe, supported, and transformative environment where they can develop, hone, and explore artistic expression.
With NBT's Creative Staff, the selected playwright(s) will develop a new play during the eighteen (18) month residency.
This process culminates with a Public Presentation in NBT’s Theatrical season.
Dates:
Application Submission Period Start - April 2, 2024
Application Submission Period End - May 8, 2024
Finalists Notified - June 10, 2024
Residency Recipient(s) Notified - June 28, 2024
Residency Start - September 4, 2024
Benefits:
The playwright(s) will receive a minimum stipend of $7,500.00.
NBT will provide support for up to six in-house readings of new plays outside of the Resident's commissioned work.
Access to scheduled office space, printing, and administrative support.
Two Complimentary tickets to each of National Black Theatre productions that season, as well as additional services and opportunities that NBT has to offer and may come across.
Requirements:
The I AM SOUL - PLAYWRIGHT RESIDENCY is available to Black playwrights, 21 years of age or older, who are citizens or permanent residents of the United States.
Students in K-12 educational programs or enrolled in undergraduate and graduate degree programs for playwriting are not eligible.
The resident playwright commits to spending a minimum 18-month residency period by actively participating in the National Black Theatre community.
Applicants must commit to being present and an active participant during all readings, workshops, rehearsals, and public presentations of their work.
Playwrights may not receive more than one residency at NBT through this program.
The selected playwright is required to serve on the Selection Committee for the I AM SOUL - PLAYWRIGHTS RESIDENCY.
For questions or inquiries contact Belynda M’Baye, belynda@nationalblacktheatre.org
8. THE 2024 AGE LEGACY PLAYWRIGHT GRANTS 2024
DEADLINE: May 15, 2024
WEBSITE: https://ageinthearts.org/age-grants/2024-2/
SUBMISSION - MUST REGISTER AN ACCOUNT
AGE seeks to change the equity landscape of the American Theatre canon by increasing the representation of BIPOC playwrights 40+ years of age of marginalized gender. Additionally, in our creation of this initiative, we aimed to amplify the integrity of the recipients. AGE is therefore intentional in making sure that three playwrights receive individual unrestricted grants of $10,000 each. When funders dictate how grant money is used and require complex systems of documentation, oversight, and conditions, it can disempower the recipient. We are mindful of the layered history of oppression, trauma, and disempowerment for BIPOC people of marginalized gender. At AGE, equity means creating environments where everyone can achieve their goals. Giving agency to the recipients is how we practice equity. The recipients will determine the course of their professional journey and we are honored to witness and invest in their success.
RECIPIENTS NOTIFIED September 2024
ELIGIBILITY CRITERIA
Identify as BIPOC
40+ years of age
Identify as a person of marginalized gender or gender-diverse. We use the terms “marginalized gender” or “gender-diverse” to refer to our community of members who experience marginalization due to their genders. This includes cisgender women, transgender women, transgender men, non-binary people, among many other marginalized gender identities. Please note- marginalized gender is not the same as a marginalized person, nor does it relate to sexuality.
Identify as an emerging artist. Emerging means that the playwright has had no more than one play fully produced in one or more professional theatre(s). Readings and workshop productions are exempt.
Have an original draft of a full length play completed at the time of application; while not necessary, it is highly encouraged that the script have at least one principal character who is a BIPOC person of marginalized gender, 40+ years of age. Special consideration will be given to plays that fulfill this suggestion.
Live and work in the United States or Puerto Rico and are able to submit a W9 if chosen as a Finalist or Recipient.
SELECTION CRITERIA
Applicant meets all eligibility criteria.
Applicant submits all materials and information within the timeframe of the ALP grant submission and review process.
Applicant demonstrates a strong desire to not only achieve success as a playwright, but to disrupt the current American theatre canon rooted in white patriarchal norms.
Applicants will submit a draft of their full script, and additionally submit the specific 10 pages they want reviewed in the first round of the application process.
Applicants are reviewed, in addition to their play submission, on their motivation, commitment, and dedication as a playwright to impact the equity landscape of American theatre. The focus of the review is both on the artist and their play, knowing that their writing is one of many drafts and efforts yet to be birthed in their playwriting career.
9. KLEBAN PRIZE IN MUSICAL THEATER
DEADLINE: May 15th, 2024
WEBSITE: https://newdramatists.org/kleban-prize-musical-theatre
Edward Kleban, the lyricist of A Chorus Line and other extraordinary works, created the Kleban Prize in his Will, which is given annually to writers of extraordinary promise – to a librettist and a lyricist, respectively. The prize is administered by New Dramatists on behalf of the Kleban Foundation, Inc. Board of Directors. To ensure a robust and equitable adjudication, applications
(including work samples) are submitted and reviewed blindly by an independent panel of musical theatre artists and industry leaders. The Kleban Foundation Board sets the amount of the Prize annually. In recent years, a sum of $100,000 in each category has been paid in two annual installments to Prize recipients.
ELIGIBILITY
Applicants must meet either of the following criteria:1) The applicant must previously have received a production of one of their works on a stage or in a workshop performance; or 2) The applicant must be or have been a member or an associate of a professional musical workshop or theater group, i.e., ASCAP, BMI Theater Workshop or the Dramatists Guild Fellows Program.
Any individual whose work has been performed on the Broadway stage for a cumulative period of two years prior to the opening of the application window is not eligible. In the case of multiple Broadway productions, the sum of the lengths of the runs must not exceed two years.
If the material is co-written (written by more than one lyricist or more than one librettist) all writers must apply as a team. (This does not include the composer unless s/he has also contributed lyrics or text.) Each applicant must be eligible in their own right to apply.
Applicants may apply in both categories, but must submit a separate application for each category and may win in only one such category.
Applicants may only apply once per category per year.
Applicants may win in only one category.
APPLICATION MATERIALS
Submissions are coded and reviewed blind. The name(s) of the writer(s) must NOT appear on any submission materials, including in the file names or file author information. Do NOT include hyperlinks in your files. Failure to meet this requirement may render the applicant ineligible. Only work from musical theater will be considered. Materials must be in English.
LYRICIST CATEGORY
Submissions must include lyrics for a minimum of five and a maximum of eight songs.
The lyrics may be from one or various shows.
Audio files/recordings of each song are strongly encouraged but are not necessary. Acceptable formats are mp3, ogg, and wav.
LIBRETTIST CATEGORY
Submissions may consist of a full-length musical book, or one act from two separate shows.
Lyrics should be included in the libretto even if they were written by someone other than the librettist.
Submission files must be in either word or PDF formats. Audio files are not accepted in the librettist category.
Applications for the 2025 Kleban Prize in Musical Theatre will be accepted online Friday, March 15, 2024 at 10am through Wednesday, May 15, 2024 at 5pm EDT.
10. AUSTIN FILM FESTIVAL PLAYWRITING COMPETITION
DEADLINE: May 24, 2024
WEBSITE: https://austinfilmfestival.com/submit/play/
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.
The play that makes the Final Round will have a reading during the Conference. Advancing playwrights will have access to exclusive panels, workshops, roundtables, and unique networking opportunities with professionals in theatre, film, and television.
11.2024 ELIZA MOORE FELLOWSHIP FOR ARTISTIC EXCELLENCE
DEADLINE: May 31, 2024
WEBSITE: https://www.osgf.org/fellowships/eliza-moore-artistic-excellence
The Eliza Moore Fellowship for Artistic Excellence is awarded annually to one outstanding, early-career artist who is developing new works that address plants, gardens, or landscapes in the broad sense. This award is open to visual artists, literary artists, dancers, and musicians. The award includes a $10,000 individual grant and requires a 2 - 5 week stay at Oak Spring. While at OSGF, the Fellow will be able to meet with staff, explore our 700-acre landscape and our efforts in sustainable land management, and visit our rare book library that holds over 19,000 objects, including many examples of botanical art.
OSGF intends to award the Fellowship to an exceptional artist whose works show remarkable promise to contribute to a deeper understanding of the natural world, and humankind’s place in it. The Fellow will be scheduled to visit when there are other Interdisciplinary Residents or Fellows on-site. This scheduling will allow the Fellow to join in communal meals, and optional activities and field trips with other artists, ecologists, researchers, or scholars working on projects related to OSGF’s mission. Beyond time devoted to their projects, a Fellow’s typical day at Oak Spring might include a walk to enjoy the landscape or birds; an appointment to visit the Oak Spring Library; and/or a morning spent volunteering at the BCCF or in the formal garden. These optional activities provide Fellows time to learn from, and interact with our staff. None of these activities are required, and we understand that some Fellows might want to spend most of their time in their writing or working independently. We support and enable Fellows to use their time as they best see fit.
At the culmination of their stay, we encourage, but don’t require, Fellows to give a 20 – 30 minute presentation with time for questions, to Oak Spring staff and any other Fellows, Residents, or program participants who might be on site.
APPLICATION PROCESS
The application portal is now open and will close May 31st, 2024. Please note that there is one application for all of our 2024 Residency and Fellowship programs, and you will be prompted to select which programs you would like to be considered for. You will be asked to submit:
a resume/curriculum vitae (not to exceed two pages)
a 200 - 300-word statement on your artistic practice,
a statement of 200 - 300 words stating how your work relates to Oak Spring Garden Foundation’s mission to “perpetuate and share the gifts of Rachel (“Bunny”) Lambert Mellon, including her residence, garden, estate and the Oak Spring Garden Library, to serve the public interest. OSGF is dedicated to inspiring and facilitating scholarship and public dialogue on the history and future of plants, including the culture of gardens and landscapes and the importance of plants for human well-being,”
work samples
For visual artists: 5 - 10 images, please include the dimensions, year, medium, and title of each work sample.
For creative non-fiction, fiction, essayists, or other writers: 7 - 10 pages total that demonstrate your current interests. Please use 12-point font, 1-inch margins, and double-space your writing sample. Do not include photocopies of published work, title pages, tables of contents or HYPERLINKS. Please be sure to state the genre of the work sample.
For time-based artists, including: filmmakers, musicians, dancers, and performance artists: 10 minutes cumulatively of work samples. OSGF encourages video files to be uploaded directly to Submittable, but when necessary, we also accept links to vimeo or other external sites as long as the appropriate passwords are provided.
For poets and playwrights: you may submit 7 - 10 pages total. Poetry may be spaced as needed, and scripts should follow standard script formatting.
NOTE: When applying to this Fellowship, you will be asked if you are interested in being considered for one of our other residencies, if you are not selected for the Fellowship. To learn more about our residencies, visit www.osgf.org/residencies.
ELIGIBILITY
Eligible applicants must be early-career artists not enrolled in an undergraduate degree program in 2025. We will consider individuals with a proven track-record of professionalism, but who are yet under-recognized, as early-career. Eligible early-career applicants will have some recognition in the form of exhibitions, commissions, performances, grant awards, residencies, Fellowships and/or publications.
Individuals who have participated in an extensive number of solo exhibitions, or who have published a significant number of books will be considered established or late career, and are not eligible for the Eliza Moore Fellowship. We encourage those who are not eligible for this Fellowship to apply to the Interdisciplinary Residency.
The successful Fellow must be self-directed and able to work independently while on site. Applicants are expected to show dedication to their artistic practice, clear connection to the natural world in their work, exceptional promise, and good communication skills.
DATES
Fellows should arrive on the same start date of an Interdisciplinary Residency, or Botanical Artist Residency, and the Fellow will complete their introductory tours with other Residents. In 2025, these dates are:
Monday, March 3, 2025
Sunday, April 13, 2025 (only available for a 3-week residency)
Monday, May 19, 2025
Monday, June 30, 2025
Sunday, August 10, 2025
Monday, September 8, 2025
AWARD
The $10,000 individual grant associated with this award can be put towards travel to and from OSGF, materials and supplies purchased for their residency, and other items that will support their work, before or after their stay at OSGF.
The selected Fellow should make travel arrangements to Dulles International Airport, where Oak Spring will arrange ground transportation for them to our estate in Upperville, VA. The Fellow will be housed in nicely appointed shared accommodations. The Fellow will have a private bedroom and bathroom, and share a living room and kitchen with 1 – 3 other Residents or Fellows.
Fellows are carefully selected through a multi-round review process in which OSGF staff, residency alumni, and external jurors review and score applications. Fellows are ultimately selected by panels of external reviewers who are established and working in fields or practices relevant to OSGF’s mission. The primary criteria for scoring applicants include: an applicant’s current work’s relationship to the OSGF mission; potential of applicant; and quality of work samples.
Due to the high volume of applications we receive, we are unfortunately not able to provide individualized feedback to applicants who are not selected for a residency.
12. LANESBORO RESIDENCY
DEADLINE: May 31, 2024
WEBSITE: https://lanesboroarts.org/early-career-artist-residency/residency-program-application/
A place-based program for early career artists where art and the artistic process instigates positive change, addresses or creates an opportunity to move the community forward or is otherwise central to problem-solving. Supported by the Jerome Foundation, the Lanesboro Early Career Artist Residency program is an opportunity for early career artists from Minnesota and the five boroughs of New York City to explore ways in which their work can be applied to the community and how Lanesboro’s rural community can inform their work.
This place-based and community-engaged residency program was designed to align with and amplify Lanesboro Arts’ vision for communities–especially rural communities–to embrace artists as economic drivers, culture bearers, community builders, and problem solvers. Lanesboro Arts is especially seeking residency projects where community engagement is integral to the art making or projects where public interaction with the work is at the core of an artist’s practice.
Before submitting an application, please take a moment to review our program guidelines and eligibility criteria.
The Round One application deadline for the 2025 Lanesboro Early Career Artist Residency Program is Friday, May 31, 2024 at 11:59 p.m. CST. The application opened on April 18th, 2024.
New in 2024, Lanesboro Arts is implementing a two-round application process for the Early Career Artist Residency Program, in response to feedback from artists. The two-step application process is meant to alleviate some of the time-consuming nature of applications.
LANESBORO ARTS SEEKS ARTISTS WHOSE WORK:
is informed by place and community
is centered in public engagement; that is, the public’s interaction with the work is a core partof the process and the product
instigates positive change, addresses or creates an opportunity to move the community forward or is otherwise be central to problem-solving
is accessible to people with diverse backgrounds
is inherently innovative and visionary
expands the genre, form or social boundaries/audience for the discipline or field in which the work is a part of
has a track record of success, and shows significant potential for growth
13. DISNEY ENTERTAINMENT WRITING PROGRAM
DEADLINE: June 2, 2024
The primary goal is to staff Program Writers on Disney Entertainment (DE) series as staff
writers during the program year. Staffing is not guaranteed. The twelve-month program is
tentatively set to begin in January 2024 and end in January of the following year. Please note,
time frames are subject to change. For the first few months of the Program, writers participate in
a professional development curriculum designed to better prepare them for staffing
consideration, including developing, writing, and polishing at least one (1) original pilot script to
be used as a staffing sample. The Program also provides engagement with executives, producers and credentialed writers, designed to facilitate relationships that can prove invaluable in developing a television writing career. Additional past activities have included: workshops led
by veteran television writers, producers and Program alumni, and networking mixers with
executives, producers, and showrunners.
SUBMISSION REQUIREMENTS
Applicants must be able to legally work in the United States and be at least twenty-one (21)
years of age by December 1, 2023. Entertainment industry experience is not required but is
strongly recommended. Those applying must fully complete an online application and
submissions package, including uploading the following seven (7) items; eight (8) if you are
opting in to be considered for the Boone Scholarship:
1) SCRIPT ONE: ORIGINAL PILOT SCRIPT
2) EXHIBIT “A”: SCRIPT ONE SUMMARY FORM
3) SCRIPT TWO: SECONDARY ORIGINAL PILOT SCRIPT
4) EXHIBIT “B”: SCRIPT TWO SUMMARY FORM
5) RESUME
6) STAFFING PITCH
7) PERSONAL ESSAY
8) BOONE SCHOLARSHIP PITCH (if applicable)
14. SOUL DIRECTING RESIDENCY
DEADLINE: June 3, 2024
WEBSITE: https://www.nationalblacktheatre.org/directing-residency
Launched in 2018, the Soul 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 LAB 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.
With Soul Directing Residency Program, 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.
DATES
Application Release - May 1, 2024
Application Deadline - June 3, 2024
Finalists Notifications - June 28, 2024
Recipient Notification - July 19, 2024
Residency dates - Sept 4, 2024
For questions and inquiries contact Belynda M’Baye, belynda@nationalblacktheatre.org
15. SOUL PRODUCING RESIDENCY PROGRAM
DEADLINE: June 21, 2024
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 Soul Producing Residency, 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.
Application Release - June 3, 2024
DATES
Deadline - June 21, 2024
Finalists Notifications - July 29, 2024
Recipient Notification - August 9, 2024
Residency Begins - Sept 4, 2024
For questions and inquiries contact Belynda M’Baye, belynda@nationalblacktheatre.org
16. NEURODIVERGENT NEW PLAY SERIES SEEKS FULL-LENGTH PLAYS
DEADLINE: Rolling
WEBSITE: www.linktr.ee/neurodivergentplay
The Neurodivergent New Play Series - an ongoing play reading series dedicated to empowering neurodivergent playwrights in NYC since 2023 - is accepting recurring submissions as we prepare for our 2024-25 Season.
All submissions should be for full-length plays between 45 to 180 minutes long and may have received a previous reading or production outside of NYC, as long as they are unpublished. All neurodivergent/disabled writers (autistic, ADHD, dyslexic, OCD, Tourette's, etc.) at all stages of their careers are encouraged to apply - especially BIPOC, LGBTQ+, and female-identifying writers. There is no submission fee or any other fee for being involved in this process.
Plays can be of any genre, although we are especially seeking works that challenge traditional methods of storytelling & have something important to say about the world that isn't being heard enough. We ask that you submit only one play every 30 days during our recurring submissions process. If one of our Resident Directors is interested in your work, we will reach out via email.
Learn more and submit your work at our official play submissions URL: https://form.jotform.com/223378604825057
17. THE JEWISH PLAYS PROJECT
DEADLINE: Rolling
WEBSITE: www.jewishplaysproject.org/guide
The JPP brings all the tools of new play development to bear on the plays we select: dramaturgical consultation and research; the involvement of collaborating artists – including directors, designers and actors – at all stages as needed; private and public presentations; and industry advocacy.
What distinguishes the JPP process is what we call Jewish Dramaturgy. We base our exploration of the theatrical needs of a play around the central issue of its Jewish content and ideas, continuing to ask the question “What is the Jewish here?” When possible, we will bring prominent Jewish thought leaders (clergy, scholars, professionals and artists) into the room to join the development process, and extend the Jewish learning.
The JPP seeks plays that find the intersection between Jewish identity and global self. We want to look at the places where Jewish ideas, traditions, stories, myths, culture (and yes, religion) impact, inform, and hopefully improve our lives. While we value history, we will always lean toward plays that tackle vibrant strands of today’s world: social justice, economic justice, diversity, strong women in Jewish life, LGBTQ inclusion, new perspectives on Israel, environmentalism, and interfaith relations in addition to deep conversations about our complex and multifaceted identities. We discourage the beloved category of “ethnically stereotypical comedy”
.
The JPP also discourages plays whose main goal is memorializing or educating about the Holocaust; we feel that we already have a strong cannon of plays, literature, and film that serve those functions and that superior new works would find a strong development path without our help.
We would also caution writers to make sure that you do not rely on the emotion stirred by Holocaust remembrance as a substitute for dramatic development or tension, as well as discourage writing that reduces Jewish identity to a Holocaust legacy. As we enter our second decade, so much has changed in the Jewish conversation. One of the things we love to do at the JPP is encourage writers to tackle some big, new, potentially-controversial ideas. Because that’s when it gets fun!
AN IMPORTANT NOTE: SUBMISSIONS ARE OPEN TO ARTISTS OF ALL BACKGROUNDS, DENOMINATIONS, FAITHS, CREEDS, RELIGIONS, and other IDEALS. We believe that Jewish identity and culture are specific manifestations of universal human cravings for spiritual, ethical, moral and worldly joy. “Matrilineal descent” is neither important nor necessary.
SUBMISSION DEADLINE: The Jewish Plays Project now accepts scripts for new Jewish plays and musicals on an open, rolling basis. However, our reading period is April-October. To guarantee we consider your play for the most current review cycle, please submit by June 2. Plays submitted after this date will be held for the next cycle.
SUBMISSION PROCESS: Fill out the Submission Form and attach a play to the form as a PDF. You must submit your play with your name and other identifying information removed (we review all plays blind). We do not charge a fee to submit (cause we kinda think submission fees are “yucky”. That’s a technical term).
18. NATIVE VOICES PRODUCTION SUBMISSIONS
DEADLINE: Rolling
WEBSITE: theautry.org/events/signature-programs/native-voices-annual-call-for-scripts
Native Voices is devoted to developing and producing new works for the stage by Native American, Alaska Native, Native Hawaiian, and First Nations playwrights.
ANNUAL PLAYWRIGHTS RETREAT AND FESTIVAL OF NEW PLAYS
The retreat and festival provide emerging and established Native American authors a rigorous opportunity to shape their plays over the course of an entire week. Collaboration occurs in daily workshops with nationally recognized directors, dramaturgs, and an acting company largely composed of exceptional Native American actors. The week culminates with a festival of staged readings. Many works developed through this process have gone on to enjoy successful runs on the Autry’s main stage and elsewhere.
Selected playwrights receive an honorarium, roundtrip airfare to California, and lodging. Past retreats have been held at the Autry Museum, Occidental College, and UCLA, all in Los Angeles; as well as in San Diego County at San Diego State University and La Jolla Playhouse.
ANNUAL SHORT PLAY FESTIVAL AND THE AWARD FOR EXCELLENCE IN PLAYWRITING
Occurring annually, the Short Play Festival presents professional staged readings of ten- to thirty-minute plays centered around a particular theme. Plays selected for the festival are considered for the Von Marie Atchley Excellence in Playwriting Award, a $1,000 cash prize based on the creative use of the competition theme, originality, theatricality, execution, and audience response.
FIRST LOOK SERIES
The First Look Series is a script development process that brings playwrights together with professional directors, dramaturgs, and actors. Each spring and fall, plays are workshopped and prepared for a public staged reading and discussion, giving the playwright an opportunity to hear the play—often for the first time—with a live audience. Plays can be new works, works-in-progress, or material that has already been produced at another venue.
Native American, Alaska Native, and First Nations playwrights are invited to submit their plays for the Native Voices Annual Playwrights Retreat, Festival of New Plays, Festival of Short Plays, First Look Series, and Equity productions. We encourage beginning, emerging, and established Native playwrights to submit. Submissions are accepted on an ongoing basis; however, there are specific deadlines for particular development opportunities in an upcoming season. For information on how to submit and current deadlines, please visit our Call for Scripts.
19. THE STOCHASTIC LABS
DEADLINE: Rolling
WEBSITE: https://stochasticlabs.org/residencies/
Stochastic Labs awards fully sponsored residencies to exceptional engineers, artists, scientists, and entrepreneurs from around the world. Residencies are of variable length and include a private apartment at the mansion, co-working and/or dedicated work space, shop access (laser cutter, 3D printer etc), a monthly stipend and a budget for materials. Residents become part of Stochastic’s creative community, participating in weekly dinners and invitation events. Residents may apply as individuals or as teams. While applicants may be at any stage in their career, the selection is highly competitive.
Between Silicon Valley, San Francisco, and Oakland, the Bay Area is home to 40% of the venture capital investments in tech start-ups in the United States. The concentration of serial founders, top-level engineers, angels, and even “unicorns” is several multitudes greater here than anywhere else on earth. While universities like Stanford, UC Berkeley, and UCSF; and experimental R&D arms of companies like Google X, fill an important local niche for non-commercial ideation around future technologies, there are few opportunities for engineers to come together to iterate in unpredictable ways, outside of traditional institutional frameworks.
This kind of independent, creative experimentation is not only critical for the well-being of any future-thinking society, it is often responsible for it. What set of universal moral principles might the artificial intelligence community lean upon without science fiction writer Isaac Asimov’s 3 laws of robotics? What would the history of bio-tech look like without Gregor Mendel’s monastic garden? An initiative of the Berkeley-based Minerva Foundation, Stochastic Labs operates on an entirely not-for-profit basis, taking zero equity stake in the companies, artworks, and scientific initiatives it incubates. We are 100% passionate about keeping the SF Bay Area’s innovation culture creative, socially responsible, and independent.
MISSION:
To support creative freedom for engineers and scientists outside of traditional institutional frameworks
To thoughtfully enable the creative ventures, inquiries, and expressions that will shape our technology-driven future
To build an interdisciplinary community of artists, engineers, scientists, and entrepreneurs to collaborate in meaningful and unpredictable ways
Since we opened our doors in 2014, Stochastic Labs has helped pioneer exceptional 20th/21st-century creative ventures including Lynn Hershman Leeson and NASA scientist Josiah Zayner’s epic transmedia artwork The Infinity Engine; JD Beltran and Scott Minneman’s Cinema Snowglobe; Alexander Reben’s film-making robot BlabDroid; Graham Plumb and Karen Marcelo’s volumetric Open Cube; street artist KATSU’s AI Criminals; and Lauren Lee Mccarthy’s interactive performance piece Follower, among others.
20. THE FOUNDATION FOR CONTEMPORARY ARTS – EMERGENCY GRANTS
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. Each month FCA receives an average of 100 Emergency Grant applications and makes approximately 12-21 grants. Grants range in amount from $500 to $3,000, and the average grant is now $1,900. We recommend that artists review all of our eligibility guidelines and FAQs before applying.
FCA has a small fund supported by the Trust for Mutual Understanding for unexpected or unbudgeted travel-related expenses for cultural exchange between the U.S. and the following countries: Albania, Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Georgia, Hungary, Kazakhstan, Kosovo, Kyrgyzstan, Latvia, Lithuania, Moldova, Mongolia, Montenegro, North Macedonia, Poland, Romania, Russia, Serbia, Slovakia, Slovenia, Tajikistan, Turkmenistan, Ukraine, and Uzbekistan.
21. 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. Anyone may submit through the process outlined below. 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 full-length 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)
The latest draft of your script, in either PDF or Word format
Theatre Ariel is committed to reading and responding to every submission we receive. Please allow three to six months for a response.
22. THE DOROTHY ROSS FRIEDMAN RESIDENCE and THE PALM VIEW RESIDENCE
DEADLINE: Rolling
THE FRIEDMAN RESIDENCE
The Friedman Residence, located at 475 West 57th Street, offers affordable housing for senior citizens, working professionals, and persons with HIV/AIDS. All apartments are complete with dishwasher, washer, dryer, central heating and air conditioning. Many apartments have terraces and feature spectacular Manhattan views. The Friedman Residence also features 24-hour security.
Eligibility for the building is based on federal guidelines for Low Income Housing Tax Credits. To be eligible, your income may not exceed 60% of the Area Median Income. To be eligible for a shared suite, an applicant’s income from all sources must be between $28,500 and $56,040. To be eligible for a 1-bedroom, an applicant’s household income must be between $30,000 and $64,080. One-bedroom units are prioritized for people with significant medical conditions.
The Dorothy Ross Friedman Residence is currently accepting applications.
The Friedman Residence maintains a firm commitment to equal opportunity for all applicants. The Friedman does not discriminate based on race, sex, age, color, national origin, religion, sexual orientation, HIV status or disability.
THE PALM VIEW
The Palm View is a 40-unit apartment complex that provides homes to low-income people with special needs who are living in West Hollywood, California. Opened in 1998, The Palm View is owned by the Entertainment Community Fund and consists of three buildings surrounding a beautiful outdoor courtyard.
Most of the residents are entertainment professionals referred by the Entertainment Community Fund. The Entertainment Community Fund provides The Palm View with a full-time social worker who offers case management, referrals to local resources, short-term counseling and community-building activities.
Eligibility requirements for the apartments at The Palm View are based on a professional history in the arts, a diagnosis of a permanent disability (applicants must be receiving disability benefits), and annual income criteria established by the federal government. A small number of units are available to non-arts professionals. Household size for a one-bedroom apartment is 1–2 people, and occupancy for a two-bedroom apartment is 2–4 people.
To qualify for a one-bedroom unit at The Palm View, residents’ annual income must be no greater than *$24,840 (for one person) or *$28,380 (for two people). The maximum incomes for two-bedroom units are *$47,300 (for 2 people), *$53,200 (for 3 people) and *$59,100 (for 4 people). *These limits are subject to change annually based on federal guidelines.
All residents of one-bedroom apartments, as well as one of the two-bedroom apartments, are eligible to apply to participate in the project-based voucher contract with the Los Angeles County Development Authority. Applicants may request an accessible unit by checking the appropriate box on the application or by making a verbal request to staff during the screening process if called for an interview. Email the Entertainment Community Fund for an application at AppsPalmView@entertainmentcommunity.org.
23. WILD CULTURE, WILD PROJECT
DEADLINE: Rolling
WEBSITE: http://www.thewildproject.org/programs/wild-culture/
Wild Culture is a program where wild project partners with a cross-section of independent, downtown performance artists to help both professional and emerging theater performers nurture, broaden and advance projects that are in various stages of development.
Wild Culture gives artists free or subsidized space at wild project’s 89-seat eco-friendly theater, a stipend, box-office split, tech staff, marketing and community outreach to sustain the innovative creativity of downtown performance and unburden independent artists from prohibitive production costs. The program generally grants each project limited engagements of one to three performances. Projects that wish to submit to Wild Culture should align with wild project’s mission to enrich and educate the community, explore issues relating to female, BIPOC, and LGBTQIA+ artist communities, and demonstrate a clear performance aesthetic.
Wild Culture adapts each partnership to the specific needs and artistic vision of the project. Wild Culture is an ongoing program throughout the year.
If you have a project that might be suitable for a Wild Culture partnership, please submit your work to get the conversation going to partner with us.
24. NY THEATER FESTIVAL SPRING/SUMMERFEST
DEADLINE: Rolling
WEBSITE: http://newyorktheaterfestival.com/summerfest-festivals/
ACCEPTING APPLICATIONS FOR 2024.
We strongly believe that self producing a play or a musical can offer a very important tool for the growth of every playwright’s work. Once a playwright sees their work onstage, it provides an opportunity for the playwright to improve or modify their story. It’s also a great opportunity to invite people from the industry to see your production. People are more likely to go see a show than to read an unsolicited script, as some industry people receive on average thousands of submissions per month, and they understand that the journey for a show to be successful often goes through several productions.
Our team is completely dedicated to help get your work seen. We are always with you to help, from the first moment of your tech rehearsal to the closing of your last show. You will never be left alone during the process. We will help you to choose some of the 85 set/furniture props we offer to dress your stage for your run, and give you a complete crash course on how to use the audio/light/video system, which are intentionally very user friendly. After we show you how to use the tools we provide and how to utilize the space, you will be able to rehearse your tech rehearsal with whatever plan works best for you and your production. A team member will be present to provide prime responses to every inquiry, as well as a telephone # you can call anytime during relevant hours throughout the run of your show. In 11 years and 19 seasons we have successfully hosted 1,200 plays and 300 musicals and rewarded with cash prizes over 300 artists who participated in our Festival.
PRIZES:
We offer up to $8,000 in Prizes. $3,500 alone goes to the season’s best production (either a play or a musical)
CATEGORIES
Short – 5 to 20 minutes
One Act – 30 to 45 minutes
Full Length – 60 to 90 minutes
Solo – 30 Minutes Max
JOBS
PACE UNIVERSITY
WEBSITE: https://secure6.saashr.com/ta/6000630.careers?ShowJob=554076613
Tenure-track Assistant Professor of Acting, BFA in Acting for Film, Television, Voice-overs, and Com
The Sands College of Performing Arts at Pace University, and located on the University’s campus in lower Manhattan, invites applications for the position of Assistant Professor of Acting (tenure-track) in the BFA in Acting for Film, Television, Voice-overs, and Commercials (FTVC) program. The position reports directly to the Chair of the Acting for Film, Television, Voice-overs, and Commercials and BFA Acting programs who, with the Dean of Sands College, oversee all Sands programs. All faculty are expected to collaborate with the other Sands College programs and production staff. The position includes, but isn’t limited to, teaching, administration, departmental service, directing/producing projects within the program, and other tasks as assigned by the Chair and/or Dean. Principal Duties and Responsibilities, in collaboration with the Chair:
• Teach major courses within the FTVC program
• Recruitment
• Curriculum oversight and execution
• Student mentoring
• Facilitation of faculty assignments
• Mentoring of faculty
• Outreach to industry/guest artists
Teaching load is 24 credits, to be taught during the academic year (September to May). Tenure-track faculty receive 6 credits of release each year to work on their scholarship. Service is an expected part of the annual workload. There is also the potential for shared program administrative duties.
The ideal candidate is not only an excellent acting teacher, but can offer technical proficiency in one of the aspects of film such as editing, sound, camera op., or similar.
The ideal candidate is also innovative, inspiring, and committed to Pace’s motto of Opportunitas, with experience in anti-racist teaching, mentoring, and administration as a color-conscious leader who promotes diversity, equity, and inclusion in education and theater.
Sands College is committed to increasing the diversity of the campus community. Candidates who have experience working with a diverse range of faculty, staff, and students, and who can contribute to the climate of inclusivity and consent culture are encouraged to address their experiences in these areas. administration as a color-conscious leader who promotes diversity, equity, and inclusion in education and theater.
This position is in person at the New York City Campus in lower Manhattan.
Requirements/Qualifications:
• MFA (or terminal degree) in a relevant field
• Experience teaching at the professional studio/theater and/or university level.
• Extensive professional experience in the on-camera and microphone mediums, whether in front of the camera, behind the camera, in the casting and/or editing room, or in production.
This position offers a generous benefits package, including a competitive salary.
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