1. NEW WORKS, NEW VOICES
DEADLINE: July 1, 2024
WEBSITE: www.kathleenwrinn.com/new-works-new-voices
New Works, New Voices (NWNV) is an initiative at the Syracuse University Department of Drama created to support the development of musicals by writers and composers whose perspectives have been historically underrepresented in the musical theater canon.
The Syracuse University Department of Drama is seeking submissions for its Spring 2025 New Works, New Voices (NWNV) initiative. NWNV was created to support the development of musicals by writers and composers whose perspectives have been historically underrepresented in the musical theater canon. NWNV is seeking completed musicals or musicals-in-progress from teams who are interested in developing their work with undergraduate BFA students.
One musical will be selected, to receive a 3-week developmental reading in the Spring 2025 semester, directed and music directed by SU Drama faculty and performed by SU Drama students. NWNV 2025 will take place from 4/4/25 - 4/27/25. The writing team will participate virtually in the evenings during week 1, and will be in residence in Syracuse during weeks 2 and 3 of the rehearsal process (4/13/25-4/27/25), travel and lodging provided by NWNV.
2. 22ND ANNUAL NEW PLAY FESTIVAL
DEADLINE: July 1, 2024
WEBSITE: https://centrestage.org/
Submissions are open to any playwright whether from South Carolina, the region, country, or from around the world!
Multiple entries per playwright/playwright’s representative is permitted.
Playwrights must submit a cover letter along with their script that includes a brief summary of the play, a description of the playwright's connection to South Carolina, and a suggestion of the unique perspective or experience provided by the playwright's body of work.
NO entries may be previously published.
Likewise, NO entries may have previously fully realized, regionally produced performances through the dates of the Centre Stage New Play Festival 2023 (previous readings and workshops are acceptable).
Entries may have NO more than seven (7) actors required.
All entries must be no more than 120 pages, but one-act and full-length plays are welcome.
Scripts must be in the Traditional or Modern format for plays as defined by the Dramatists Guild.
While screenplays and 10-minute plays will NOT be accepted, musicals and plays with music may be submitted.
3. PRINCETON ARTS FELLOWSHIPS
DEADLINE: Open July 1-Sept. 10th, 2024
WEBSITE: https://arts.princeton.edu/fellowships/princeton-arts-fellowship/
Princeton Arts Fellowships, funded in part by The Andrew W. Mellon Foundation, David E. Kelley Society of Fellows in the Arts, and the Maurice R. Greenberg Scholarship Fund, will be awarded to artists whose achievements have been recognized as demonstrating extraordinary promise in any area of artistic practice and teaching. Applicants should be early career visual artists, filmmakers, poets, novelists, playwrights, designers, directors and performance artists—this list is not meant to be exhaustive—who would find it beneficial to spend two years teaching and working in an artistically vibrant university community.
Princeton Arts Fellows spend two consecutive academic years (September 1-July 1) at Princeton University and formal teaching is expected. The normal work assignment will be to teach one course each semester subject to approval by the Dean of the Faculty, but fellows may be asked to take on an artistic assignment in lieu of a class, such as directing a play or creating a dance with students. Although the teaching load is light, our expectation is that Fellows will be full and active members of our community, committed to frequent and engaged interactions with students during the academic year.
A $92,000 a year stipend is provided. Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply. Holders of Ph.D. degrees from Princeton are not eligible to apply. Past recipients of the Hodder Fellowship and individuals who have had a sustained and continuous relationship with Princeton University are not eligible to apply. Those who have had an occasional and sporadic relationship with Princeton may apply.
To apply, please submit a curriculum vitae, contact information for three references (should the search committee choose to contact references, please do not request letters or have letters sent in advance of a request from the search committee), and work samples (i.e., a writing sample, images of your work, video links to performances, etc.). Please also submit a 750-word proposal that includes how you would hope to use the two years of the fellowship to develop your work, how you would contribute to Princeton’s arts community through teaching and/or production, and how you have encouraged diversity and inclusion and furthered accessibility in your artistic practice, teaching, and/or research.
Applicants can only apply for the Princeton Arts Fellowship twice in a lifetime.
4. VETERANS REPERTORY THEATER SEEKS 10-MINUTE PLAYS FROM VETERANS
DEADLINE: July 3, 2024
WEBSITE: https://vetrep.org/submissions/
VetRep is accepting submissions for both full-length AND 10-minute playwriting competitions.
Playwrights must meet one of the following criteria:
Current or former: US military, law enforcement, fire service, EMS, foreign service, intelligence service, DoD employee, DoD Contractor; or
Immediate family of the service member.
For full-length plays:
The competition winner will receive a $5,000 grant.
The second-place finalist will receive a $3,500 grant.
The third-place finalist will receive a $2,500 grant.
For 10-minute plays:
The competition winner will receive a $1,000 grant.
The second-place finalist will receive a $750 grant.
The third-place finalist will receive a $500 grant.
All winners and finalists also receive feedback from the panel of judges. In addition, winners and finalists may be invited to become VetRep Resident Artists where they will have the opportunity to develop and submit plays for commissioning and production at VetRep.
Plays can be any genre and any subject matter. Playwrights may submit more than one play. Plays should not have been previously produced and/or published. Winners and finalists will be notified via email no later than December 31, 2024 (note: we will make every effort to have results back to submitters ASAP, however, in order to ensure fair treatment of each submission and to plan for any contingencies which may arise, we are providing a worst-case scenario for our timeline). There is no participation or submission fee. There is no guarantee that winners’ or finalists’ work will be produced by VetRep. See full details at the bottom of this page.
5. THE DISNEY ENTERTAINMENT TELEVISION DIRECTING PROGRAM
DEADLINE: July 5,2024
WEBSITE: https://sites.disney.com/ctdi/
The Disney Entertainment (DET)Directing Program connects directors to opportunities on DET scripted primetime and daytime series, as well as unscripted/alternative series. Launched in 2001, the Program has evolved from a shadowing program to one that guarantees episodes to first-time scripted television directors. The unscripted program guarantees directing segments on select unscripted DET series. The program provides selected participants on-set shadowing/immersion prior to directing; access and exposure to DET creative executives, producers, showrunners, and alumni; and mentorship and limited professional development.
6. PROSCAENIUM THEATRE COMPANY ORIGINS THEATRE FESTIVAL
WEBSITE: https://www.proscaenium.com/origins
DEADLINE: July 15, 2024
Origins Theatre Festival is a weekend long celebration held in the fall of 2024 dedicated to uplifting emerging artists from the BIPOC community innovating in the arts. Proscaenium Theatre Company is in pursuit of plays that are looking to innovate and make a positive impact in their own communities. We are specifically seeking plays by members of the BIPOC Community or People of the Global Majority. We specially encourage you to apply if you identify as Indigenous or as a Trans Person of Color.
What to expect:
Every Playwright whose work is chosen will receive a stipend of $250.
Four finalists will receive a developmental reading presented at The Puerto Rican Traveling Theatre on 304 W 47th St. New York, NY, 10036.
One Play will be chosen to be part of Proscaenium Theatre Company’s following season.
Proscaenium Theatre Company will provide rehearsal space, a director to collaborate with the playwright, up to five actors, and a performance space for the developmental reading.Each play will have 10 hours of rehearsal.8 semifinalists will be chosen to have an interview with Proscaenium Theatre Company’s team through Zoom, and may be asked to submit more pages of your play.
You will receive an email notifying you if you are one of the 8 finalists no later than July 29th.
If not chosen, you are welcome to ask for feedback, please allow some time to get back to you.
We are excited to get to know you and your work!
Guidelines:
We strive to find highly imaginative stories that hold a mirror to humanity. We seek to support artists who are committed to the craft and art of theatre.
We are only looking for plays of a maximum of 100 minutes without intermission. (We estimate 1-2 mins. per page of dialogue and 2-4 mins per page of monologues.) Currently we are only accepting plays with a cast of 1-5 actors (the play can have more characters as long as they can be played by the same actors, and the integrity of the play is not compromised).
Plays can be submitted in English and Spanish, if submitted in Spanish there is a possibility of translating the piece if agreed.
Playwrights should submit 10 consecutive pages of the play in review. Currently, we can only accept one submission per playwright or writing team. We are happy to review plays in any stage of development, and from anywhere in the world. (Please note, Proscaenium Theatre Company will not provide transportation or accomodations in NYC, but will provide any virtual assistance for you to be involved in the process.)
7. AUTRY MUSEUM 2025 PLAYWRIGHTS RETREAT AND 31ST FESTIVAL OF NEW PLAY
DEADLINE: July 15, 2024
WEBSITE: https://theautry.org/explore/theatre-native-voices/call-scripts
The Playwrights Retreat brings artists to Los Angeles to work on a select number of plays through a rigorous directorial and dramaturgical commitment for 10 days in August. The Retreat culminates with the Festival of New Plays - public staged readings at the Autry Museum of the American West in Los Angeles and La Jolla Playhouse near San Diego. Selected playwrights receive artistic support as well as an honorarium; out-of-town artists receive roundtrip airfare plus lodging in Southern California.
Selection Process: Full-length plays (60+ pages) received by July 15, 2024 will be read and evaluated. A select number of playwrights will be invited to submit formal proposals detailing their developmental goals should their play be chosen for the short list. Scripts will then be sent to a committee of nationally recognized theatre artists for further evaluation. With their help, Native Voices selects up to three plays for the Playwrights Retreat and Festival of New Plays.
Playwrights will be notified in February 2025.
*Due to budget constraints post-COVID, we are unable to select plays that require more than eight actors to produce. Doubling is encouraged, should it be necessary to complete your vision.
8. LOGHAVEN ARTIST RESIDENCY
DEADLINE: July 15th
WEBSITE: https://loghaven.org/residencies/apply/
Loghaven Artist Residency’s mission is to serve artists by providing them with a transformative residency experience and continued post-residency support. The residency is located on ninety acres of woodland in Knoxville, Tennessee. Artists live in five historic log cabins that have been both rehabilitated and modernized to create an ideal setting for reflection and work, and they have access to new, purpose-built studio space. All Loghaven Fellows are awarded stipends to support the creation of new work during the residency.
Practicing artists of all backgrounds and at any stage of their career are eligible to apply for a Loghaven residency. International artists and artists currently enrolled in a degree-seeking program are not eligible. Artists must be at least twenty-one years old and live more than 120 miles away from Knoxville. This distance requirement is designed to ensure that artists are able to be fully immersed in their residency experience and can take advantage of the retreat-style environment. Please note that all eligibility requirements must be met at the time of application.
We invite applicants in the creation stage of their specified project or work cycle to apply in the following disciplines:
Writing (poetry, fiction, nonfiction, screenwriting, and journalism)
Visual Arts
Dance
Theater
Music Composition
Architecture
Interdisciplinary Work
A national selection committee composed of artist peers and other arts professionals selects artists. Applicants are judged by the same criteria across disciplines. Panelists are looking for artistic excellence, defined by a depth of conceptual content, sustained impact, and boldness of vision. The panel seeks those with sophisticated technical knowledge, whether the applicant displays a high level of traditional skill or, conversely, subverts that knowledge in new or challenging ways. The panel values potential in emerging artists and evidence of commitment and evolution in more established or mid-career applicants.
References
All applicants are required to submit two professional references. Please provide the name, contact information, and a very brief description of the nature of your professional relationship for each reference. Loghaven contacts references only if the application advances. References would be contacted in the fall by either email or phone and would not submit a formal letter.
9. THE YALE DRAMA SERIES PLAYWRITING COMPETITION
DEADLINE: June 15th-Sept. 8th, 2024
WEBSITE: https://yalebooks.yale.edu/yale-drama-series-rules-and-submission-guidelines/
The Yale Drama Series is seeking submissions for its 2025 playwriting competition. The winning play will be selected by the series’ current judge, Branden Jacobs-Jenkins. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of their manuscript by Yale University Press, and a celebratory event. The prize and publication are contingent on the playwright’s agreeing to the terms of the publishing agreement.
PLAYWRITING WORK SAMPLE: Your sample should represent the genre in which you plan to work while in residence. Writing samples should be double-spaced and include your full name. * Appropriate samples: One complete play (documentation of production may be included, if relevant), noting the 20 pages that you would like the reviewers to rThe Yale Drama Series is seeking submissions for its 2025 playwriting competition. The winning play will be selected by the series’ current judge, Branden Jacobs-Jenkins. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of their manuscript by Yale University Press, and a celebratory event. The prize and publication are contingent on the playwright’s agreeing to the terms of the publishing agreement.
There is no entry fee. Please follow these guidelines in preparing your manuscript:
This contest is restricted to plays written in the English language. Worldwide submissions are accepted.
Submissions must be original, unpublished full-length plays, with a minimum of 65 pages. Plays with less than 65 pages will not be considered.
Translations, adaptations, musicals, and children’s plays are not accepted.
The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.
Playwrights may submit only one manuscript per year. Only manuscripts authored by one playwright are eligible.
Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.
Plays may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.
Plays must be typed/word-processed and page numbered. Plays with images are not accepted.
The Yale Drama Series reserves the right to reject any manuscript for any reason.
The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.
10. UCROSS FELLOWSHIP FOR NATIVE WRITERS
DEADLINE: July 16, 2024
WEBSITE: https://www.ucrossfoundation.org/native-american-fellowships
Current work is requested. An applicant's work sample and project description are the most significant features of their application. Unless work is interdisciplinary, i.e. the various genres interconnect, each applicant is encouraged to apply in a primary discipline and submit a work sample and project description that emphasizes this single discipline. Competition for residencies varies annually and with the number of applications. While only one Fellowship winner will be selected, all applicants will have the option of being considered for a general Ucross residency.
ELIGIBILITY:
Residencies are open to Native American writers who meet the criteria below.
They must:
Be a practicing contemporary writer who is currently producing works in one or more of the following genres, including but not limited to FICTION, NONFICTION, POETRY, DRAMA, SCREENWRITING, PLAYWRITING, and HYBRID FORMS;
Be an enrolled member of a state-recognized or federally-recognized Tribe, Pueblo, Nation, Native Community, Political Entity, or Alaskan Native Village.
11.BMI WORKSHOP
DEADLINE: Aug. 1st, 2024
WEBSITE: https://www.bmi.com/theatre_workshop/application_requirements
Application Materials
Composer: Three contrasting compositions - uptempo, comedy song, ballad. Please include a copy of score which includes lyrics.
Lyricist: Three contrasting lyrics in PDF format - uptempo, comedy song, ballad.
Composer/Lyricist: Three contrasting songs - uptempo, comedy song, ballad. Please include a copy of score which includes lyrics.
Note that if you apply as a composer and a lyricist, you will be accepted as one or the other (that is, as either a composer or a lyricist) and you will be assigned different collaborators over the course of the year. If you apply as both a composer/lyricist and a librettist and are accepted as both, you will spend your first year as a composer/lyricist only, as the two groups meet at the same time.
Select applicants will be invited to audition in early September. Librettists are accepted on the basis of their written materials and are not required to audition. At the auditions, composers and composer/lyricists will be asked to perform at least two contrasting theatrical compositions; lyricists will be asked to recite samples of their theatrical lyrics. All auditions must be done live, using a piano.
The Workshop runs September through May in New York City. Prospective members must make their own living arrangements in the city or be able to commute weekly. During the first year, composers and lyricists are paired off and are asked to create appropriate songs based on scenes from various sources. The writers perform their assignments, which are then discussed by the other writers and the moderators. There are analyses and discussions of current and past musicals, with an eye to understanding form and structure. Every effort is made to insure that each writer retains his or her individual style.
In the Workshop’s final phase (Second Year), teams work on a musical. The Workshop functions as a forum and a sounding board for works in progress, as music and lyrics are critically evaluated and open dialogue is encouraged. At the end of each Second Year, the Workshop Committee determines which writers from the group are invited to join the Advanced Workshop. Not everyone is asked. This Workshop is intended for writers of professional caliber who are expected to contribute to the vitality of the musical theatre scene.
12. WOODWARD/NEWMAN AWARD
DEADLINE: ROLLING
WEBSITE: https://seeconstellation.org/get-involved/submit-play/
The Woodward/Newman Award is an exclusive honor offered by Constellation Stage & Screen, started through the support of Joanne Woodward, Newman’s Own Foundation, and the Newman family, celebrating Paul Newman & Joanne Woodward’s tremendous history of work on stage and screen. It presents the best unpublished play of the year with a cash prize of $3,000 and a full production as part of Constellation’s Mainstage season.
We are currently accepting submissions for the 2025-26 Woodward/Newman Award. The award recipient will be announced by May 15, 2025. The winner will be awarded $3,000 and a full production.
“Full-length” plays should have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes). TYA shows should have a complete running time of over 40 minutes.
Plays submitted must be unpublished at the time of submission (independently published is acceptable).
Each play should be individually submitted at the following link: CONSTELLATION STAGE & SCREEN PLAY SUBMISSION.
You will be asked to submit your play as an attachment and all other information (bio, history, synopsis, character breakdown) will be entered into a form. Musical submissions may upload demos as an attachment or include a link to a shared folder.
Limit of 2 play submissions per year.
$3,000 cash prize is in lieu of royalties for the full production. Housing & transportation will also be provided.
Any unpublished play submitted to Constellation regardless of method (e.g. online form, agent submission, direct contact) may be considered for the Woodward/Newman Award.
Please note that we are moving away from a “finalists” model in lieu of keeping all plays under consideration for extended periods (2yrs). In 2025-26 we will no longer announce finalists and only announce a winner.
If you have any questions, please email literary@seeconstellation.org.
13. 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
14. 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 14. 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).
15. 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.
2025 OPEN Submission for Production Consideration
We accept scripts all year long. Do you have a full-length script that has been developed and produced that you would like us to consider for a future Native Voices production in Los Angeles? Please follow the Checklist for All Submissions below and in the Native Voices Script Submission form, check the box for 2025 General Production Consideration.
How to Submit
Checklist for All Submission Types
❏ Please label script attachment as follows: PlayTitle_Author’s Last Name, First Initial (Example: MyNewPlay_Doe, J.doc).
❏ All submissions must conform to a standard play-script format (one-inch margins, #12 Times or Courier font, all pages numbered).
❏ Include a title page with full contact information (mailing address, phone numbers, e-mail address) and a draft or revision date.
❏ Include a character breakdown at the beginning of your script.
❏ Provide a biography of 75–100 words. Please label attachment as follows: Bio_Author’s Last Name, First Initial (Example: Bio_Doe, J.doc).
❏ Provide a press ready photo of at least 300dpi. Please label attachment as follows: Photo_Author’s Last Name, First Initial (Example: Photo_Doe, J.doc).
❏ Provide development history for the play. Label attachment as follows: DevHistory_PlayTitle_Author’s Last Name, First Initial (Example: DevHistory_MyNewPlay_Doe, J.doc).
❏ To submit, fill out our online form(s) linked below
Where to Send Submissions
We only accept electronic submissions (preferably PDF format).
To submit, make sure you have everything on the checklist above, click on the link below to fill out the form and upload your materials:
- Short Plays: coming soon!
- Full Length Plays: https://bit.ly/2024NVScriptCall
- General Production Consideration: https://bit.ly/2024NVScriptCallGP
A Note About the Native Voices Distance Dramaturgy Process
Months prior to residencies, selected playwrights participate in dramaturgical conversations with an assigned director and dramaturg. Workshops with these creative teams and a cast of professional actors commence once the playwright arrives on-site. It is important to note that these conversations and workshops are playwright driven, allowing the writer to shape their own developmental path. Selected playwrights should be prepared to dedicate adequate time to this process prior to arriving on-site. For More Information or Questions: nvliteraryassociate@gmail.com
16. 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.
17. 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.
18. 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.
19. 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.
20. 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.
21. 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
