Pokfulam Rd Productions seeks new Chinese/East Asian Stories for “Foreign Goods 3”

To celebrate the publication of their first collection with Oberon Books and Pokfulam Rd’s 5th birthday, Pokfulam Rd Productions is looking for short plays based on Chinese/East Asian stories.

As part of “Foreign Goods 3”, the plays will be part of a showcase, and there will be a panel discussion with the chosen playwrights.

The plays will also be part of the launch of “Foreign Goods: A Collection of Writing from British East Asian Artists” curated by Pokfulam Rd Productions artistic director Jingan Young which will be published by Oberon Books in January 2018.

They are looking for short pieces (maximum 15 minutes in length) that in some way portray, discuss, or feature East Asian themes, stories, communities, histories, individuals…

The plays will be read by industry professionals and those chosen will be performed by professional creative teams during the showcase.

Writers can be of any background. (Unfortunately this will be unpaid as they are an unfunded company and their profits from the previous showcase will go towards booking the venue.)

How to apply: To apply, send your piece to pokfulamrdproductions@gmail.com.

Deadline: 10 November 2017 

Source: Direct Contact

Opportunities Weekly Round-up: 29 September 2017

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Our weekly Friday round-up of opportunities listed on the blog that haven’t yet reached their closing date (listed in order of closing date).  Opportunities are grouped into four sections: 1) Pick of the Week & featured posts; 2) Opportunities with Deadlines; 3) Workshops and Events; 4) Ongoing opportunities (No deadline).

Want to be sure you never miss an opportunity?  Sign up for our email list to get the weekly roundup direct to your inbox!

Featured posts:

Pathways to Playwriting: Awards & Competitions

Introducing the Online Book Club for Playwrights

5 Playwrights Share The Plays You Need To Read Right Now

Our latest opportunities Pick of the Week: Heretic Productions seeking monologues for production at the Arcola Theatre

From the Archive of our Advice Column, Pursued By A Bear: “Should I write short plays or full length?”

Opportunities with deadlines:

Graphic Short Story prize 2017 (£1000 prize) – Deadline: 29 September 2017

Hammond House accepting scripts for screenwriting competition (£10 entry fee) – Deadline: 30 September 2017

Heretic Productions seeking monologues for production at the Arcola Theatre – Deadline: 30 September 2017

Traverse Theatre seeking scripts for annual open submission window – Deadline: 30 September 2017

Talawa Theatre Company seeking Black theatre-makers for Talawa Studio Firsts – Deadline: 30 September 2017

Red Dragonfly new playwriting competition 2017 open for submissions – Deadline: 1 October 2017

Graeae Theatre Company seeking BAME D/deaf & Disabled Writers – Deadline: 2 October 2017

Itch + Scratch theatre seeking shorts on theme of ‘Great’ Britain – Deadline: 2 October 2017

Full Disclosure Theatre seeking LGBTQ+ short plays for new writing night XPOSED – Deadline: 2 October 2017

Aberdeen Performing Arts seeking scripts for scratch night – Deadline: 2 October 2017

BBC Alba seeking submissions for Gaelic Comedy Sketch Writing Initiative – Deadline: 4 October 2017

Caroline Aherne Bursary for Funny Northern Women now open for submissions – Deadline: 9 October 2017

Theatre Deli seeking resident artists – Deadline: 10 October 2017

Women’s Comedy Festival accepting applications (£50 prizes) – Deadline: 12 October 2017

Amper and Sand Publishers seeking short plays for publication – Deadline: 15 October 2017

University of York seeking playwright for women in science playwriting commission – Deadline: 20 October 2017

Second Sons Theatre Company seeking shorts for new writing night – Deadline: 23 October 2017

Tron Theatre seeking applications for Mayfesto Award – Deadline: 23 October 2017

Bush Theatre accepting scripts through open submission window – Deadline: 31 October 2017

The Oxford Samuel Beckett Theatre Trust Award now accepting applications – Deadline: 6 November 2017

Congleton Players One-Act Plays Festival open for submissions (£150 prize) – Deadline: 30 November 2017

Theatrefullstop seeking shorts for pub theatre festival – Deadline: 1 December 2017

Ashland New Plays Festival (Oregon, $15  entry, $1500 prize) – Deadline: 31 December (or when they receive 400 submissions)

The Female Gaze seeking monologues about women in film – Deadline: 8 January 2018

Events and workshops:

Playwriting Workshops with John Burgess in Burgundy, France – 5-11 October 2017 & 9-14 November 2017

Three day playwriting workshop with Simon Stephens in Andalucia  15 – 19 October 2017

6 week playwriting workshop with Lee Anderson at the Arcola (£85 cost) – 31 October – 5 December 2017

Writers’ Mutual writing group -currently taking place Wednesdays 11am- 1pm

Ongoing submissions:

Target Theatre Company seeking new plays for development – Deadline: None posted

Middle Child Theatre seeking scripts to commission – Deadline: None posted

Ugly Duck offering cheap rehearsal space in Docklands – next few months for Edinburgh Fringe– Deadline: None posted

Three opportunities with Alphabetti Theatre and rolling deadlines– Deadline: None posted

Newsthump looking for spoof news writers – Deadline: ongoing

Arvon Grants available for writing courses – Deadline: none posted/ various

London Poet seeking film makers to collaborate with – Deadline: none

Edgemar Center for the Arts (Santa Monica) seeking new work for 2017 season – Deadline: none

Batty Mama seeking writers/ artists – Deadline: none posted

Rich Gifts Theatre seeking writers – Deadline: rolling

Paines Plough accepting ongoing submissions – Deadline: rolling

BBC Comedy Classroom – Comedy writing resources for young people –  Deadline: various

Online Masterclass with Aaron Sorkin on Screenwriting ($90) – Deadline: none posted

JW3 seeking submissions of pieces about Jewish culture – Deadline: rolling

BFI Postroom open to submissions of films and scripts from emerging filmmakers – Deadline: rolling

Opportunities to hear your play with Player Playwrights – Deadline: rolling

Online Playwriting Course with Live Theatre (£95-£495) – Deadline: rolling

Playwrights Circle at the Bread & Roses – Deadline: ongoing (monthly event)

The Institute of Other seeking creative practitioners – Deadline: none posted

White Hart Trust Studios seeking international and foreign language theatre – Deadline: none posted

Pokfulam Rd Productions looking for playwrights and creatives – Deadline: none posted

55 Kings Contemporary Theatre Productions looking for writers – Deadline: none posted

Plane Paper Theatre call out for plays – Deadline: none posted

Theatrelab seeking scripts to perform at ‘WordPlay’ at Bath Spa University – Deadline: none posted

Londonville Lit offering reading slots – Deadline: none posted

Madam Renards Mini Fringe Festival Swindon open for applications from writers and performers – Deadline: none posted (festival takes place in 2016)

Orange Tea Theatre accepting submissions – Deadline: rolling

Funding available for students at Glasgow University MLitt Playwriting & Dramaturgy – Deadline: none posted

Everything Theatre accepting plays for podcast readings – Deadline: none posted

The Cockpit Theatre seeking work for scratch nights – Deadline: none  posted but performances take place on the first Monday of the month.

Shred Productions open to submissions – Deadline: none (open submissions)

Poppy Seed – accepting submissions of 5 minute scripts for blog – Deadline: none posted

Pathways to Playwriting: Awards & Competitions

On this new series Pathways To Playwriting, Editor Jennifer Richards is looking at  different routes into the theatre industry and becoming a playwright. First up: playwriting awards!

Entering playwriting competition can seem like a mystical world sometimes – what are the judges looking for? Will my play even get read? And what actually happens if you win?

London Playwrights’ Blog got to speak to three fantastic playwrights who are all well-versed in the world of playwriting awards: Phil Porter, one of the winners of the first Bruntwood prize and now a judge on this year’s panel; James Fritz, who was a Bruntwood Prize winner in 2015 for his play Parliament Square; and Stephen Jackson, who won the 2015 Verity Bargate Award with his show Roller Diner.

And we thought, who better to ask all our questions to?

Here it goes…

Q: What convinced you to enter?

Stephen Jackson:

“I went to a Verity Bargate Award roadshow in Birmingham where Nadine Rennie from Soho Theatre gave a talk about the award. At the end I asked her if they accepted musicals. She said I could enter it but that the music wouldn’t be taken into consideration – only the script. Roller Diner didn’t seem to fit at all – but I entered in any case – don’t ask me why! After I’d won, I said I’d entered in the way an unlucky gambler rolls the dice. I’d got nothing to lose. I thought Soho would have to be bonkers to choose Roller Diner. But they are bonkers and they did choose it!”

Photograph from ‘Roller Diner’; taken by Helen Maybanks

Q: I’m unlikely to win, so should I even bother entering?

Phil Porter:

“First, a reality check: the number of people that enter awards is only reflective of the amount of people who like the idea of being a playwright. Your chances of winning might be quite slim, but at least your play will be properly considered, and if what you’ve written is as good as you think it might be, then you’re in with a chance.”

“Second: I’ve met all of the final judging panel of the Bruntwood and I know lots of people that will be reading earlier rounds; I promise you that whoever receives your play wants it to be award-winningly good.”

“And third: even if you don’t win a prize it was still worth doing. You finished a play that you can send to people and put on stage and prove us stupid judges wrong.”

Q: But I’ve been rejected before, so should I really submit again?

James Fritz:

“I had entered [Bruntwood] before two times, first just when I was starting out, which didn’t make the longlist, and the second time a few years later – that made the longlist of 40 and I got loads of useful feedback.”

“With Parliament Square, I had the idea knocking round in my head; I wasn’t planning on submitting anything, but it’s such a good opportunity and I got such useful feedback before.”

Q: How do I know when the piece is ready to enter?

James Fritz:

“You are never ever going to get it perfect. Let go of the idea of writing a perfect play before you submit it.”

“If you have something that communicates an idea and how you want to say it, the Royal Exchange and Bruntwood readers are smart enough to understand the development process and see where [your play] can go. The main thing is just to get it in.”

Q: Surely it’s so subjective, so how do you judge plays?

Phil Porter:

“I think it always comes down to the same two things: having an interesting thing to say and having an interesting way of saying it. After I met with this year’s Bruntwood judges we went to the Royal Court and watched Wish List by Katherine Soper, the most recent winner. It was a great reminder of everything we’re looking for: relevance, wit, emotional insight, guts, theatricality, originality.”

Q: What can happen after winning the award?

James Fritz:

“It’s been pretty epic actually, you get it and it’s great but you don’t really know what’s next. Then you go in for the first meeting and they say this is literally the beginning.”

“I’ve spent two years working with Royal Exchange Literary Department and the Director. It’s grown and then shrunk back again, and then exploded and put together again.”

“They gave me time and license to explore different ways [of telling this story]. Half-way through I was even packed off to the rocky mountains in Canada to work with Canadian dramaturgs.”

“It would’ve been tough without the support, I would never have got there.”

The 2015 Brentwood Prize Winners

Q: Does winning an award change you as a playwright?

Stephen Jackson:

“Having an award has given me some crazy confidence – with the VBA and the Best Composer nomination [for Roller Diner], I’m wondering if I now dare attempt the larger-scale musical that’s been buzzing round my head… My toes are tingling and I’m feeling a bit dizzy at the thought…”

Q: Are playwriting awards a viable route into the theatre industry?

Phil Porter:

“Not many of the playwrights [the 2015 Bruntwood Prize winners] were working full-time when they won, and so many of them are now working professionally and doing amazing work. In this regard the Bruntwood has become increasingly essential over the last ten years. In 2006, when I entered, there were many more theatres reading unsolicited work.”

“Now those opportunities are few and far between so awards like the Bruntwood provide a really important service to playwrights and to British theatre.”

“Of course, awards aren’t just about viable routes into the industry, they’re about something much more exciting and romantic than that. They’re about talented people with great ideas trying to write one truly remarkable play.”

“But absolutely, if you hope to be a professional playwright and you’ve got a play or an idea you’re mad not to enter.”

Q: So how should playwrights view playwriting awards?

Stephen Jackson:

“Competitions aren’t a substitute for a career strategy – because only a lucky few can win, but if you do win, it is career-changing.”

“I have mainly used competition deadlines as a stimulus to finish something – without really expecting to win anything. It’s hard to keep motivated when nobody is interested in your work, so a deadline date can be a goal to aim at. Then send your masterpiece off, forget about it, and carry on with your career plan as normal.”

“And clearly many playwrights aren’t discouraged by our sheer numbers or there would be fewer of us – if that makes sense! I suspect most writers write because they can’t help themselves. I’ve tried quitting many times – but I soon find myself sneaking off for a crafty scribble when nobody’s looking.”

“In conclusion I would say that competitions are often free and at least your work will get read. So enter – you’ve got nothing to lose.”

In Summary: The Role of Awards In Becoming A Playwright

Entering awards with your fingers-crossed is probably not the best strategy if you want to become a playwright – but if you’re fortunate enough to win it can be an enormous boost to your career, and as these writers show, it’s always worth taking the chance of submitting.

Even if you don’t win, competition deadlines can be a valuable motivator to finally finish the draft you always seemed to be halfway through. Or one of the readers could love your work and reach out, starting  a new professional relationship.

How can I make the most of this particular Pathway To Playwriting?

1) Get the guts.

There’s no easy way to manage the nerves every playwright feels in thinking their work isn’t ready or there’s no point in entering. It’s a bit like jumping into the deep end of the pool: it can be a bit frightening to take the plunge, but it’s much better than being left standing on the side. It’s normal to feel nervous, but don’t let it stop you. James, Stephen and Phil all show you’ve just got to go for it. You never know what could happen next.

2) Get organised.

Keep track of when competition dates are coming up and research how you need to prepare. Fortunately, our Weekly Opportunities Roundup puts all this information at your fingertips. We recommend copying key deadlines into your diary or making mini-deadlines for yourself if it’s a particularly big project.

Make sure you read the details early, so if you need a reference or synopsis you have time to organise this and don’t wind up unable to apply because you don’t have all your materials together. And it goes without saying, but you really don’t want to leave this to the last minute!

3) Go for numbers.

There is a tradition of novelists taking pride in collecting and displaying their rejection slips – the more you have the better. Obviously everyone wants to win, but the more you submit, the better your odds of winning, so don’t let fear of rejection put you off submitting early and often.

Every ‘no’ you collect represents a victory for putting your work out into the world, and means there is at least one more person in this world who has seen your writing. Plus, it may sound counterintuitive, but the more you submit and get comfortable with this process, the easier it is to let the ‘no’s’ just roll off your back – because there’s always another opportunity just around the corner.

James Fritz’s Parliament Square is on at the Royal Exchange from the 18-28 of October, and will then be running at Bush Theatre from the 30 November-6 January,

Stephen Jackson’s Roller Diner has been nominated for Best Comedy at the Wilma awards, which you can vote for here

Opportunities – Pick of the Week: Heretic Productions seeking monologues for production at the Arcola Theatre

Each week we look through our pile of writing opportunities to pick out one we think is particularly worth your time. It could be an innovative brief, great prize money, a high-profile company, or just plain fun.

This week’s pick: Heretic Productions seeking monologues for production at the Arcola Theatre

Description: Heretic Productions have launched their new playwriting initiative Heretic Voices, and seek monologues from writers and writer-performers to be fully produced by professionals at the Arcola in January  2018. Plays will also be published in a collection.

Monologues can be of any genre and on any subject, and can feature more than one voice but must be performed by a single actor. Each piece must be between 15 – 45 minutes in length. Monologues must be in English and must not have been previously performed. Writer-performers may perform their own work if selected, at the discretion of Heretic Voices.

What’s so great about it? Not only is this a great opportunity to have your work produced, but it’s a chance to work with one of the most prestigious theatre’s in  London!

If selected, not only will your work be produced by the Arcola, but will also be given publication.

You have the freedom to write about anything you wish, meaning this is great for emerging writers to stretch their creative fingers, as well as being a great opportunity for more established writers to create a particular piece of theatre they want produced.

You also have the opportunity to perform your own work if you are also a writer-performer. So if this sounds like the opportunity for you, you have until 30 September 2017 to apply!

Read full details here.

Please note, we’ve posted this for your convenience and we’re not affiliated with the organisers of the opportunity.

Image Credit: Heretic Productions 

The Oxford Samuel Beckett Theatre Trust Award now accepting applications

The Oxford Samuel Beckett Theatre Trust Award is open, and seeking submissions. The purpose of the award is to help the development of emerging practitioners engaged in bold, challenging and innovative performance and to encourage the new generation of creative artists.

The Award is for a company or individual to create a show either for the Barbican’s studio theatre, or a site-responsive show to take place in east London or the City. The winning show will premiere as part of the Barbican Theatre & Dance season in 2019. The proposal must therefore be for an original and unperformed piece of work that is available for production and unattached to any other venue or company.

The Award is designed for artists who are at the stage in their career where they can demonstrably benefit from moving on to a fully resourced and funded production. It is there to help artists move on to the next level in their professional career.

The winning artist or company receives a production grant of up to £32,000. In addition they will receive a mentor for the project and in-kind support from the Barbican including a marketing and press campaign for the performance and some technical and administrative support.

How it works: 

  • February 2018 – Barbican will respond to applicants to let them know whether they have been successful.
  • May 2018 – Interviews. Usually  around 6-8 applicants will be interviewed. After these interviews 2 applicants are shortlisted and given a £2,500 RnD grant to explore their idea further, culminating in a presentation to the panel of judges.
  • September 2018 – RnD presentations. These 20-30 minute presentations are an opportunity to share with the panel a practical demonstration of the project that is being proposed. After these presentations a winner is selected.
  • Summer/Autumn 2019 – Performances of OSBTTA 2019 winning production. The winning proposal is developed into a full production with support from the Barbican and is presented as part of their 2019 Theatre and Dance season.

Eligibility: 

Applicants must:

  • Be current and long term residents of the UK or Ireland (3 years or more)
  • Have demonstrated a commitment to UK or Irish performing arts with a history of several
    performances in one or both countries
  • Have a proven track record in delivering full productions with a history of at least 2 previous
    studio or mid-scale events

Please download the additional information sheet, which can be found here, to find out if you are eligible to apply.

How to apply:  To apply, you must fill out the online application form which can be found hereApplications should be emailed to OSBTTA@barbican.org.uk. Late applications and those other than by email will not be accepted.

Deadline: 6 November 2017 at 5pm

Source: Word of Mouth

University of York seeking playwright for women in science playwriting commission

The Department of Theatre, Film and Television at the University of York have announced a playwriting commission for 2017-18.

The University of York’s commitment to the Athena SWAN Charter and its ongoing work to address gender equality at all levels of university life has led to an exciting invitation to a dynamic playwright to create an original play.

They are commissioning a festival-length play (under 70 minutes) about women in science, to be performed in June 2018 in the Department of Theatre, Film and Television’s state-of-the-art Scenic Stage Theatre, directed by a professional director and performed by a cast of 4-10 undergraduate actors.

They are seeking a playwright who self-identifies as a woman, who is passionate about the idea of writing about women in science, from a historical, archival, contemporary or experimental perspective. They are interested in the play being celebratory, potentially pushing boundaries in terms of form as well as content, and they are particularly excited by ideas of forgotten or under-explored figures or stories around this subject.

The production will be held in June 2018, with the first draft of the play to be handed in by 16 March 2018, and the final rehearsal draft to be handed in by 30 April 2018.

The fee for this commission is £5000.

How to apply/what to submit: Please submit your application to Karen Quigley at karen.quigley@york.ac.uk. This application should include a summary of your proposed play (no longer than 4 pages) and your current CV.

Deadline: 20 October 2017

Source: Direct Contact

BBC Alba seeking submissions for Gaelic Comedy Sketch Writing Initiative

MG Alba and BBC Writersroom have joined forces to launch a talent search to find the best comedy writers for a brand-new Gaelic sketch show.

They are looking for short, snappy and shareable sketches that are punchy, unruly and irreverent and aimed at an 18-34 audience.

They are keen to reach all new comedy talent and although primarily aimed at Gaelic speakers, this opportunity is open to non-Gaelic speakers too (more detail is available in the Terms & Conditions).

There is no guarantee of selection but writers will be paid for any idea or sketch that is shortlisted as suitable for filming. The strongest writers will then be invited to join the creative team.

What they’re looking for: All styles and tones are welcome – from biting satire, to surreal weirdness to sight-gags and slapstick. But, they have some practical considerations to think on –

  • They want strong, clear characters who are returnable.
  • Sketches need to be suitable for a pre-watershed audience/time slot.
  • They have a cast of 6 male/female actors who will play multiple roles.
  • Locations will be a mix of studio and locations across rural and urban sites.

How to apply/What to submit: Your application must be made via the BBC Writersroom e-submission system which can be found here.

You will need to send the following in a PDF format:

  • 2 sketches that are each a maximum of 90 seconds long (1.5 pages roughly).
  • 2 one-line ideas.
  • Brief paragraph on career to date.

They are open to submissions from individuals and writing teams – including partnerships between Gaelic and non-Gaelic writers. Stage directions could be in English with a speech-by-speech translation of all Gaelic dialogue into English.

Please do not put your name and contact on the document you upload as all entries are read anonymously. The work you submit must not have been previously commissioned, optioned or produced on any platform including TV, online or radio.

A template has been provided here to act as a guide for your application.

Deadline: 4 October 2017 

Source: BBCWritersRoom

Theatre Deli seeking resident artists

Theatre Deli are launching a call out for a new season of Artist Residencies.

Taking place throughout November 2017 – February 2018, the residency programme will be made up of two strands:

  • Two Week Residencies in Theatre Deli’s Old Library (London) and Eyre Street (Sheffield) spaces culminating in a shared showing and feedback, with each company / artist receiving a £300 grant to support their work
  • Scratch Night Performance, including a One Week Residency at The Old Library (London) with a £50 grants

For these residencies, Theatre Deli is looking to support artists whose work breaks the boundaries of traditional theatre by exploring the relationship between audience and performer – whether that be through exploring the nature of the theatrical space, immersive experiences, game-playing, live art, dance and music or anything else that defies definition.

The application is open to everyone, and they strongly encourage applications from:

  • Artists whose work is based on experiential work, particularly exploring new technologies and VR
  • Black, Asian, Ethnic Minority and Refugee artists and collectives
  • Singers/Choirs/Dancers whose work is based on audience interaction and/or audience response

Read full details here.

How to apply: To apply, fill out the application form which can be found here on the Theatre Deli website.

Deadline: 10 October 2017 at 12pm

Source: Direct Contact

Opportunities Weekly Round-up: 22 September 2017

Want to support LPB? Become a member!

Our weekly Friday round-up of opportunities listed on the blog that haven’t yet reached their closing date (listed in order of closing date).  Opportunities are grouped into four sections: 1) Pick of the Week & featured posts; 2) Opportunities with Deadlines; 3) Workshops and Events; 4) Ongoing opportunities (No deadline).

Want to be sure you never miss an opportunity?  Sign up for our email list to get the weekly roundup direct to your inbox!

Featured posts:

Introducing the Online Book Club for Playwrights

5 Playwrights Share The Plays You Need To Read Right Now

How To Create New Work: A Chat with Sam Sedgman of the NT Podcast

Are women writers making themselves invisible?

Our latest opportunities Pick of the Week: Itch + Scratch theatre seeking shorts on theme of ‘Great’ Britain

From the Archive of our Advice Column, Pursued By A Bear:  “I’m struggling to finish my first play, should I just give up?”

Opportunities with deadlines:

New Wolsey Theatre’s PULSE Festival Opens Submissions for Testing Ground 2018 – Deadline: 22 September 2017

Tamasha Playwrights seeking full-length scripts – Deadline: 25 September 2017

Woman SRSLY launches open call for proposals – Deadline: 28 September 2017

Graphic Short Story prize 2017 (£1000 prize) – Deadline: 29 September 2017

Hammond House accepting scripts for screenwriting competition (£10 entry fee) – Deadline: 30 September 2017

Heretic Productions seeking monologues for production at the Arcola Theatre – Deadline: 30 September 2017

Traverse Theatre seeking scripts for annual open submission window – Deadline: 30 September 2017

Talawa Theatre Company seeking Black theatre-makers for Talawa Studio Firsts – Deadline: 30 September 2017

Red Dragonfly new playwriting competition 2017 open for submissions – Deadline: 1 October 2017

Graeae Theatre Company seeking BAME D/deaf & Disabled Writers – Deadline: 2 October 2017

Itch + Scratch theatre seeking shorts on theme of ‘Great’ Britain – Deadline: 2 October 2017

Full Disclosure Theatre seeking LGBTQ+ short plays for new writing night XPOSED – Deadline: 2 October 2017

Aberdeen Performing Arts seeking scripts for scratch night – Deadline: 2 October 2017

Caroline Aherne Bursary for Funny Northern Women now open for submissions – Deadline: 9 October 2017

Women’s Comedy Festival accepting applications (£50 prizes) – Deadline: 12 October 2017

Amper and Sand Publishers seeking short plays for publication – Deadline: 15 October 2017

Second Sons Theatre Company seeking shorts for new writing night – Deadline: 23 October 2017

Tron Theatre seeking applications for Mayfesto Award – Deadline: 23 October 2017

Bush Theatre accepting scripts through open submission window – Deadline: 31 October 2017

Congleton Players One-Act Plays Festival open for submissions (£150 prize) – Deadline: 30 November 2017

Theatrefullstop seeking shorts for pub theatre festival – Deadline: 1 December 2017

Ashland New Plays Festival (Oregon, $15  entry, $1500 prize) – Deadline: 31 December (or when they receive 400 submissions)

The Female Gaze seeking monologues about women in film – Deadline: 8 January 2018

Events and workshops:

Playwriting Workshops with John Burgess in Burgundy, France – 5-11 October 2017 & 9-14 November 2017

Playwriting Courses at The National Theatre (£500/£350 concessions cost) -19 September – 28 November 2017 & 22 September – 1 December 2017

Three day playwriting workshop with Simon Stephens in Andalucia  15 – 19 October 2017

6 week playwriting workshop with Lee Anderson at the Arcola (£85 cost) – 31 October – 5 December 2017

Writers’ Mutual writing group -currently taking place Wednesdays 11am- 1pm

Ongoing submissions:

Target Theatre Company seeking new plays for development – Deadline: None posted

Middle Child Theatre seeking scripts to commission – Deadline: None posted

Ugly Duck offering cheap rehearsal space in Docklands – next few months for Edinburgh Fringe– Deadline: None posted

Three opportunities with Alphabetti Theatre and rolling deadlines– Deadline: None posted

Theatrefullstop in call out for bi-weekly podcast script submissions – Deadline: None posted.

Newsthump looking for spoof news writers – Deadline: ongoing

Arvon Grants available for writing courses – Deadline: none posted/ various

London Poet seeking film makers to collaborate with – Deadline: none

Edgemar Center for the Arts (Santa Monica) seeking new work for 2017 season – Deadline: none

Batty Mama seeking writers/ artists – Deadline: none posted

Rich Gifts Theatre seeking writers – Deadline: rolling

Paines Plough accepting ongoing submissions – Deadline: rolling

BBC Comedy Classroom – Comedy writing resources for young people –  Deadline: various

Online Masterclass with Aaron Sorkin on Screenwriting ($90) – Deadline: none posted

JW3 seeking submissions of pieces about Jewish culture – Deadline: rolling

BFI Postroom open to submissions of films and scripts from emerging filmmakers – Deadline: rolling

Opportunities to hear your play with Player Playwrights – Deadline: rolling

Online Playwriting Course with Live Theatre (£95-£495) – Deadline: rolling

Playwrights Circle at the Bread & Roses – Deadline: ongoing (monthly event)

The Institute of Other seeking creative practitioners – Deadline: none posted

White Hart Trust Studios seeking international and foreign language theatre – Deadline: none posted

Pokfulam Rd Productions looking for playwrights and creatives – Deadline: none posted

55 Kings Contemporary Theatre Productions looking for writers – Deadline: none posted

Plane Paper Theatre call out for plays – Deadline: none posted

Theatrelab seeking scripts to perform at ‘WordPlay’ at Bath Spa University – Deadline: none posted

Londonville Lit offering reading slots – Deadline: none posted

Madam Renards Mini Fringe Festival Swindon open for applications from writers and performers – Deadline: none posted (festival takes place in 2016)

Orange Tea Theatre accepting submissions – Deadline: rolling

Funding available for students at Glasgow University MLitt Playwriting & Dramaturgy – Deadline: none posted

Everything Theatre accepting plays for podcast readings – Deadline: none posted

The Cockpit Theatre seeking work for scratch nights – Deadline: none  posted but performances take place on the first Monday of the month.

Shred Productions open to submissions – Deadline: none (open submissions)

Poppy Seed – accepting submissions of 5 minute scripts for blog – Deadline: none posted

Second Sons Theatre Company seeking shorts for new writing night

Second Sons Theatre Company are running a new writing night titled: Play Time. They are accepting submissions from UK-based writers who have bold and exciting pieces of theatre to offer.

Following sold out runs at Theatre N16 and The Bunker, they are again looking for short plays, no longer than 12 minutes in length, with minimal technical requirements.

The chosen plays will be put on as part of Play Time, which will be held on Sunday 17 December 2017 at a central London fringe venue.

In their words: “We want to read bold new writing. We want to surprise and engage our audience with unique work.​ Although we’re not exploring a festive theme, as this show is the week before Christmas if you have anything ‘of the season’ then send it in!”

How to apply: Submissions and any supporting documents (scripts, CV’s) should be sent in PDF format to secondsonstc@gmail.com. Please title the email ‘Play Time’, and include the title of the piece you are submitting.

Deadline: 23 October 2017

Source: Direct Contact