Kudos North Writers’ Award

Kudos is a High End production company that values distinctive content and they are looking for writers with strong original voices and bold ideas. Kudos North is specifically looking for dynamic stories and characters that radiate a northern authenticity.

They want to see a script that tells them who you are as a writer and which shows a level of professionalism and distinctive voice. This opportunity is open to writers residing and working in the North of England on a full time basis or those writers who can demonstrate a clear understanding of the culture of the North and be confident that they can deliver authentic dialogue and relevant Northern stories in a fresh and original way.

(The North of England is defined by the Boundary Commission for England which includes the North East, North West, Yorkshire and Humber.)

For this opportunity, they are asking writers with at least one produced credit to apply – that could be a theatre play, a radio drama, a commissioned online drama episode, a commissioned film or a credit(s) on a continuing drama. In other words if you are yet to have an original TV Drama produced they want to hear from you.

Two successful writers will be chosen, and each will be awarded £2000 to develop an idea to be pitched initially to the BBC and potentially other broadcasters.

How to apply/what to submit: All submissions must be made here via the BBC WritersRoom E-Submissions system.

Please include the following:

  1. A original drama script written for radio, TV, stage, film or online platforms which should be at least 30 pages long.
  2. A brief biography of work to date – highlighting your produced credit(s).

All entrants will be judged on the following criteria:

A)     Originality of the script;

B)     The strength of the story and structure;

C)     The writer’s ability to write believable dialogue;

D)     The writer’s skill in inhabiting the characters and developing convincing relationships between them.

Entries will be whittled down to a long-list of up to 20 entrants who will then be asked to submit a one page pitch for an original TV Drama idea. This idea must reflect life in the North of England and deliver characters and stories, from the North, in a fresh and original way. Kudos North will then read the long-listed scripts and pitches and select up to 6 finalists.

These 6 writers will be invited to an interview, with the judging panel, where they will have the opportunity to discuss their writing, their pitch and experience in more detail.

Read full details here.

Deadline: 20 November 2017 

Source: BBC WritesRoom 

The Landor Space call for proposals

The Landor Space is back after a year of renovation! As part of their reopen, they are looking for play proposals for their Winter Season in January 2018

In their words: “We are looking to program new, innovative, interesting and ambitious performances from any kind (New writing, adaptations, performance art). We are truly dedicated
to find new voices and particularly interested to program shows the like of which we’ve never seen before that create new experiences for audiences. Yes, it is a broad definition therefore we encourage you to apply with your craziest ideas! Who
knows it might be exactly what we’re looking for. We have a beautiful new black box with a capacity of 80 seats which you can set as you desire.”

How it works: During the third week of November, The Landor Space will hold two presentation days where each project will be given a fifteen minute slot to present their idea, followed by an
informal chat with the team. You can show a scene, a sketch, a plan, a vision or you can simply tell them about it. If you have produced it in the past, they would like to see any documentation of the piece. They will then take a week to respond to every applicant with their decision.

The chosen productions will be invited again for booking by the end of November. They will announce the winter season within the first week of December. They are offering either a short run (from one evening to a whole week) or a full two/three weeks of performances, depending on your needs and their ability to facilitate it.

How to apply: Send your proposal to submissions@landorspace.com. 

Include the following:

1. Write max. 300 words about your performance. Please be specific, clear and explain what makes it distinctive. You will have a chance to expand on your proposal during your presentation.

2. Write max. 250 about the artist / company (cast, creative team and other collaborators) What do you do and why?

3. Please describe the technical elements of your show: running time, technical and set requirements, how many performances you wish to have and any other details you believe they should consider.

4. One page CV (of the main applicant, whoever they may be).

5. Supporting documentation – links to photos, reviews, videos (if you don’t have relevant documentation you can include documentation of previous work)
* Please make sure you have all the rights and permits to use any materials which demands so.
* Please make sure you have the agreement of all participants in your project before applying.

Deadline:13 November 2017 at 2pm. 

Source: Word of mouth

What goes in to producing a new writing night?

Where do you go if you want to put on a scratch night? And who do even you talk to? In this guest post, playwright Joyce Lee discusses how her writers’ collective went about putting on a new writing night, including the triumphs and the tests! 

Two years ago, a group of twelve playwrights embarked on the Developing Your Play Course at the National Theatre taught by Jemma Kennedy.  Over ten weeks, we shared work and developed our craft further, soon finding that we got on really well together as a group.

So when the course ended, we decided to keep meeting once a month to continue our collaboration and skill-sharing on our own as a writers’ collective called The Rogue Playwrights. It’s been really rewarding to work together as writing can often be such a solitary task.

But all of us found that, though we’ve had some of our work performed as individuals, we’d experienced those moments when you wonder if anything you write will ever make it onto the stage. We often feel a bit powerless in the industry, wondering will that next play be plucked from obscurity?

So we decided to try and be self-starters, and aimed to self-produce an evening of our new writing together as a group. It would also be a chance to celebrate our collaboration with an audience.

Never afraid of a challenge, and armed with a desire to test out new ideas, we settled on the idea of writing short form plays in response to a provocation:  the theme of Heaven or Hell.

But there’s a lot more to do once you’ve just had the initial idea. If you’ve ever thought of wanting to put on a new writing night yourself, or you’ve just been curious about how they happen, here’s what went next…

It takes time and working together

Sadly new writing nights don’t happen like magic – we came up with the idea almost a year before the event, so it has been long in the planning.  We don’t have a formal leader of the group, it is very much a collective. This means we mostly take it in turns to forge ahead and, of course, take on different roles at different times.

We meet monthly and discuss how we plan to proceed with the various tasks assigned to each member of the group; these tasks have involved trying to sort out rehearsal space, actors, budgets, venue, and other logistics.

Even though we came up with the idea earlier in the year, it has taken us quite a while to get everything ready and organised!

Contact theatres

You’re going to need a venue, and the space will often dictate what style of pieces you can show (or at least influence it), so that’s the best place to start.

Having written to a couple of theatres to see how much their rates for renting the space for a night would be, we eventually got in contact with the White Bear Theatre’s Artistic Director, who very kindly offered us a box office split.

Apply for funding (and know what to say!)

We feel very lucky to have such a great venue for the night and a good deal that really helps with costs, but we want to try and pay everyone involved as well.

Sadly, as I’m sure it is with most playwrights, we couldn’t finance it ourselves, so we decided to put together an Arts Council application for a Grants for the Arts Award to support the project.

Some of us have put together ACE applications before, but it’s always difficult, and we’re still working on a contingency plan for if we don’t get the funding – but we’re keeping everything crossed!

We dived into writing the funding application and started with the initial idea of how we wanted to approach the night. We argued our case for how this project is giving us a chance to hone our skills and continue our professional development, as well as creating opportunities for other artists.

(Psst… if funding doesn’t work out (which annoyingly can happen!), you can read a piece here from playwright Tamara von Werthern about what to do what setbacks happen.)

Workshopping time

Most of the work for new writing nights actually happens before we even get to take the scripts to stage, with an important part being the development phase to the project.

For our particular new writing night, we have an upcoming workshop with our mentor from the NT, Jemma Kennedy, where we will explore the possibilities of writing short form plays; and we will also give each other feedback on each other’s plays.

Promote, promote, promote!

 It’d be great if you could just stumble across an audience to sell-out your new writing night, but (as with most things in playwriting!) you’ve got to put the work in.

Invite friends, family, colleagues, but also use social media. And this doesn’t just mean tweet the odd link to tickets, it’s about targeting your audience. So if you’re new writing night was an LGBTQ+ night, you could tweet LGBTQ+ charities to help promote it, or get in touch with LGBTQ+ playwriting groups – it’s about knowing your audience.

Also link up with the theatre it’s going to be performed in – they probably already have a good way of promoting shows there, so it’s great to get ideas from them.

To the rehearsal room…

Following this, there will be the rehearsal process with professional actors and directors.  A lot can change from getting to hear work read out loud or just having someone else with maybe a slightly different vision for a piece onboard – a piece is never really finished! But rehearsals mean you’re one step closer…

Curtains up! 

Before you know it, it’s performance night itself! We’re looking forward to sharing our work with the general public and early-career theatre-makers, with the possibility of forging creative links for the future.

Putting on a new writing night is no-doubt a consuming and complex process, but it’s also an incredibly rewarding one. Sometimes it seems like you’ll never get it ready it time, but that’s when being in a collective with fellow writers feels like the best thing a playwright can do. And it certainly helps to have a passionate team working to make the night a success!

To get tickets for The Rogue Playwrights New Writing Night on November 13, click here.

Talos II: Science Fiction Theatre Festival – Call for Scripts

TALOS: the Science Fiction Theatre Festival of London returns on 22-25 March 2018 at the Bread & Roses Theatre.

The festival is seeking submissions of plays with science fiction elements (related genres such as contemporary fantasy will also be considered).

They are accepting short plays between 5 and 30 minutes long as well as one act plays of up to 60 minutes. They welcome script submissions written in (or translated into) English, new or previously produced.

How to apply:  To apply, send you scripts as a PDF attachment to talosfest@gmail.com. Please include a short bio and a synopsis in the body of your email and put TALOS SUBMISSION: [PLAY TITLE] by [AUTHOR] in the subject line.

Deadline: 31 December 2017 

Source: Direct Contact

Opportunities Weekly Round-up: 27 October 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:

The role of horror in theatre: A chat with the London Horror Festival

5 tips to make the most out of a writing workshop

LPW Online Book club – Fen by Caryl Churchill

Lyric Writing For Playwrights: An Introduction (LPW Workshop)

Writing For TV: Making the Transition From Stage To Screen (LPW Workshop)

Our latest opportunities Pick of the Week: The Oxford Samuel Beckett Theatre Trust Award now accepting applications

From the Archive of our Advice Column, Pursued By A Bear: “I can’t make sense of five-act structure”

Opportunities with deadlines:

Eva’s Echo Theatre Company seeks scripts for production – Deadline: 29 October 2017

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

Sanguine Theatre Accepting Submissions for Annual Project Playwright Competition  – Deadline: 31 October 2017

Monday Club seeking new writing for a three day festival at The Bunker – Deadline: 31 October 2017

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

Old Diorama Arts Centre call for submissions – Deadline: 9 November 2017

Pokfulam Rd Productions seeks new Chinese/East Asian Stories for “Foreign Goods 3” – Deadline: 10 November 2017

Jermyn Street Theatre seeking three female playwrights for commission – Deadline: 10 November 2017

The Clubbed Thumb Biennial Commission seeking writing proposals ($15,000 commission) – Deadline: 11 November 2017

Hidden River Arts Review Short Play Award ($1000 Prize) – 15 November 2017

 Attic Theatre Company seeking short plays for Christmas Playwrights Bizarre (£50 prize) – Deadline: 24 November 2017

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

Various Instances seeks writers and actors for production project – Deadline: 1 December 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

BBC World Service and British Council launch International Radio Playwriting Competition 2018 – Deadline 31 January 2018

Events and workshops:

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

Lyric Writing For Playwrights: An Introduction (LPW Workshop) – Saturday 11 November 2017 from 10.00am-1.00pm

Writing For TV: Making the Transition From Stage To Screen (LPW Workshop) – Saturday 11 November 2017 from 2.30-5.30pm

Bryony Kimmings November 2017 Workshop – 27th November – 1st December, 10am-4pm Monday – Friday

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

Criterion Theatre new writing workshops 2018-16 January – 19 September 2018

Ongoing submissions:

Aurora Metro Books seeks British East Asian plays for publication – Deadline: Ongoing

TheatreLab seeking scripts for rehearsed reading – Deadline: None Posted

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

The role of horror in theatre: A chat with the London Horror Festival

What happens when you bring the creepy and the chilling to theatre? Or how you frighten an audience on a low-budget? Read Editor Jennifer Richards’ Q&A with the London Horror Festival to find out…

Halloween – the perfect time for carving pumpkins, finding the best scary costume and… going to the theatre?

Horror may not be the most well-known genre when it comes to theatre, but its value is being championed by the London Horror Festival (LHF) with a series of spectacular and spooky shows.

Wanting to find out more about the role of horror in theatre, I caught up with the producer, Katy Danbury, of the LHF for a chat.

Q&A With The London Horror Festival

JR: Why did you decide to launch the London Horror Festival?

KD: The LHF was founded by Theatre of the Damned, a company dedicated to exploring the potential of onstage horror, who ran the Festival from 2011-2013.

Their specialism was Grand Guignol and in 2011, rather than just staging another show of their own (Revenge of the Grand Guignol), they decided to find a way to bring as many people as possible together under one roof and create a platform for like-minded writers, directors and companies to display their work.

Thus the LHF was born and various Producers have continued the model since!

JR: Horror isn’t a typical genre you see in theatre. What do you think could be the cause of this?

KD: As a huge fan of the genre I find it shameful how little horror you find in the theatre. Perhaps people think it will literally scare audiences away!

But let’s look at the classics –  Ancient Greek tragedies, Christopher Marlowe’s ‘Doctor Faustus’, William Shakespeare’s ‘King Lear’ and ‘Titus Andronicus’ – the infamous occurrences of these plays have never stopped theatre-makers from staging them before.

I think the ‘horror’ label is often misunderstood – people assume it’s all about jump scares and gore but it’s so much more than that. Horror forces us to confront the darkest parts of humanity and dig into the repressed parts of our psyche.

Some artists choose to frame it in a comic way, forcing us to laugh out our fear, and others choose to confront it head on, no holds barred, by challenging societal norms and niceties and putting taboo subjects centre-stage.

Outside of theatre, horror has a gargantuan following and this festival works to encourage genre fans who might not normally go and see a play into a theatre space to enjoy the pleasures of the live experience. Most importantly, regular London theatre audiences can come and see something different every Halloween season.

JR: Why do you love horror at the theatre?

KD: The best thing about watching horror in the theatre is that you are trapped in there with it – you’re not protected by a cinema screen or the page of a book – it’s right there before your very eyes or, if the fourth wall is broken, in your face!!

The Old Red Lion Theatre (where the festival takes place) is a suitably gothic-looking, intimate space and any escape attempt will force you to walk along the front on the stage right next to the action!

Watching horror is an incredibly cathartic experience and sometimes we need to see how far we can push the boundaries of decency to truly understand why we set those moral guidelines and societal expectations in the first place.

Theatre visually demonstrates answers to our ‘what if …’  questions- it is important to see these horrifying things on stage as well as being entertained!

JR: If you’re a playwright or theatre on a low budget, how could you manage the scale of production that horror can often involve?

KD: I’ve seen horror staged on a multitude of scales and it is always fascinating to see what companies on the smallest budgets come up with.

You have to be particularly creative when staging special effects as you can’t trick the audience with a camera angle. Be inventive. If the play is asking for particular visual tricks then there is probably a clever means to achieve it through theatrical sleight of hand.

Theatre is the perfect medium in some ways as the contract you have with the audience from the start is one in which they are immediately asked to suspend their disbelief.

It’s also worth bearing in mind that the plays that unsettle us he most might simply require one person on stage telling a story!

JR: Your playwriting competition supports new writing, which we love at LPB! What tips do you have for emerging writers who may want to try writing horror?  

KD: Horror is a hugely broad genre. You don’t necessarily need blood, guts and ghosts. Some of the best plays we read this year were concerned with the horror of being a human in 2017! That’s terrifying!

Write about what scares you but don’t sell out your characters for cheap scares. The more your audience can invest in the story and its repercussions on the protagonist, the more you’ll have them on the edge of their seats! If they don’t care about your characters then all fear is eliminated.

JR: What horror play would you recommend to our readers who want a Halloween fright? 

KD: If you’re prepared to be shocked, sickened and truly disturbed then we recommend some of our world premieres – ‘The Men Who Made Frankenstein’ for a grim body horror by Second Self, ‘Father of Lies’ by Bête Noir Productions for a chilling story inspired by true events involving satanic cults, or ‘The Stomaching’ by Red Cape Black Cape Theatre for a trippy 60’s medical horror!

If you want to be spooked then we recommend ghostly matinees ‘The Dead, Live’ by Scytheplays Ltd and ‘The Haunting of Blaine Manor’ by Tales from Paradise Heights or Blackshaw Theatre’s ‘Scare Slam’ for a truly unsettling evening of storytelling. You can listen to last year’s Scare Slam here. (Goosebumps are guaranteed!)

The London Horror Festival is on at the Old Red Lion Theatre until November 4. All images used in this piece are posters for upcoming shows, which you can find out more about here.

Old Diorama Arts Centre call for submissions

Old Diorama Arts Centre have put out an open call for submissions.

They are looking for new work of up to 10 minutes in length to be put on as part of their new performance night taking place on 7 December 2017.

The call out is open to monologues, short plays, songs, dance, or performance art.

How to apply: To apply, send a 250 proposal of the piece you wish to write/perform, along with your contact details and any web-links to your work (if available) to create@diorama-arts.org.uk.

Deadline: 9 November 2017 at 12pm 

Source: Direct Contact

Opportunities – Pick of the Week: The Oxford Samuel Beckett Theatre Trust Award now accepting applications

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: The Oxford Samuel Beckett Theatre Trust Award now accepting applications

Description: 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.

What’s so great about it? This is a great opportunity for any individual or company wanting to take the next big step in their 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.

If this seems like the perfect opportunity for you, you have until 6 November 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: Barbican

Criterion Theatre new writing workshops 2018

Applications for CNW 2018 are now open for three sets of 6 workshops – Winter 2018, Spring 2018, Summer 2018.

Each set of 6 workshops will welcome 6 writers to the stage of the Criterion Theatre for a sequence of highly-focused script development sessions.

Course content: There are six fortnightly sessions in each workshop sequence. (If you apply, it is important that you should be able to attend all six sessions.) Between the sessions, you will need time to write new scenes and give constructive editorial help to the other writers.

Course dates:

Winter workshops will run from 16 January 2018-27 March 2018.

Spring workshops will run from 10 April 2018 – 19 June 2018.

Summer workshops will run from 10 July 2018 – 19 September 2018.

Please see here for full information on times and dates.

How to apply: Applications to take part should be sent by email to gregmosse@gmail.com and should include:

– a full CV, including two referees

– a short statement of 200-250 words explaining why you would like to take part

Cost: The workshops are free, and travel expenses of up to £20 per session are available on presentation of receipts.

Deadline: 1 December 2017 

Source: Criterion Theatre

Jermyn Street Theatre seeking three female playwrights for commission

In late spring 2018, Jermyn Street Theatre is reviving Noel Coward’s great Tonight at 8.30. This is the first time in London since 1936 that all nine of Coward’s one-act plays will have been performed together.

Tonight at 8.30 explores themes of loneliness, relationships, family, fidelity, marriage, and performance. It does so with deep compassion and Coward’s characteristically sparkling wit. Playing in repertory with Tonight at 8.30 will be a new trio of one-act plays: Tomorrow at Noon.

Tomorrow at Noon will be a contemporary female response to Tonight at 8.30. Perhaps engaging with the mood, themes, characters or plot of one or more of the Tonight at 8.30 plays, each of the three Tomorrow at Noon plays will offer a vibrant 2018 reply. For this, Jermyn Street Theatre are seeking three female playwrights.

The three female playwrights will be given:
* Dramaturgical support to write a new one-act play during January – March 2018
* A £1000 commissioning fee
* The offer of a non-exclusive publishing deal with Oberon Books, who will publish Tomorrow at Noon
* A professional production, featuring three actors, which will play in rep for five weeks with Tonight at 8.30 during late spring 2018.

Applications to write for Tomorrow at Noon should be anonymous.  Rather than read full-length plays of all styles, they would like applicants to read Noel Coward’s play Still Life (which was later adapted to become the film Brief Encounter).

A copy of Still Life is downloadable from http://www.jermynstreettheatre.co.uk/jobs/ under the file ‘bookscanlg’.

What to submit: A maximum five-page sample scene (it needn’t be the beginning) of a play responding to Still Life, and a maximum one-page synopsis for your play, which explains where your
scene fits in.

You might take one of the Still Life characters who interests you; transpose the story to the present day or the future; take one of the play’s themes and explore it in a totally different way; be interested by the style of Coward’s writing; write something else in the waiting-room setting or a modern version of it; argue with Coward or agree with him. It could be funny, witty, sad; it could be naturalistic or expressionistic; it could use contemporary theatrical devices or remain in the world of the well-made play.

They encourage you to put women at the heart of your submission and to think diversely about casting. But – crucially – they want to hear your voice and your story, not an imitation of Coward’s.

This will not be the play they finally commission. It’s purely an application exercise to see how you respond to the material and the challenge.

How to apply: To apply, please send the following to JSTtomorrowatnoon@gmail.com
1. An email with your name and contact details, and the title of your entry.
2. A single attachment (in Word and PDF). On the first page, please put a title for your suggested play, and your birthday minus the year (e.g. ‘Hope Springs / 25.12) but do not put your name, agent details or contact details! On the second page, please put the synopsis. On the third page (maximum of five pages), please put your sample scene.

Deadline: 10 November 2017 at 5pm

Source: Word of mouth