Newly formed all-female theatre company Paperclip is putting on its inaugural performance at the Betsy Trotwood on the 11th of November. The night will be made up of 7 different pieces all addressing the theme of ‘generations’.
They are looking to audition for the following pieces:
Harrison: Senior Detective in a suburban police force. Woman in her 50’s. Tough demeanor.
Collins: P.C. in Police force. Woman in her 40’s-50’s. Emulates the toughness of her detective.
Claritta: Member of sex cult. Spokeswoman for other women. Late 20’s.
Woman #2: Member of sex cult. 20’s.
Woman #3: Member of sex cult. 20’s.
Emma: Female. 16.
Emma’s mother: Female. 40’s-50’s.
The Girl Power Generation
(A two-hander between nine-year old girl characters.)
Seeking two strong actresses to inhabit childlike physical bearing and emotions naturalistically.
Mother: Late 40’s.
(The pieces stated above have been written without racial backgrounds in mind. BAME actresses are encouraged to apply!)
(An experimental comedy looking at how female body parts have been used as fashion trends over the years.)
Pubic Hair: To be played by a Caucasian women in their late 50’s.
Thigh Gap: To be played by a Caucasian women in their mid-20’s. (This role requires someone with a smaller frame as this is an essential part of the story.)
Big Boobs: To be played by a Caucasian women in their mid-20’s.
No Boobs: To be played by a Caucasian women in their mid-20’s.
Curvy: To be played by a Caucasian women in their late 40’s. (This role requires you to have a curvy figure as this is an essential part of the story.)
Cornrows: To be played by a Black women of any age. (This role requires you to have cornrows as this is an essential part of the story.)
Office Worker (male): To be played by a Caucasian woman in their 20’s.
(A short play about the real lives of the ladies who built Waterloo Bridge during WWII.)
Norma: 20’s-30’s, British-Caribbean.
Carol: 20’s-30’s, white-British.
Ruth Merman: 70. A ballsy NY Jew.
Ethel Greenfeld: 73. Jewish, a refined former Hollywood wife.
Auditions will be held on 14 October 2017 from 11-3pm.
This is an unpaid position as all proceeds from the night will be donated to a women’s charity.
How to apply: Please send your resume and a headshot to email@example.com. Please also state which play you are interested in auditioning for within the email.
Bryony Kimmings teaches all over the UK. Her aim is to dispel the myths surrounding the “difficulty” of being an artist, whether that be in a creative or economic way.
Her workshops are light, fun, painless and very active. They concern themselves with establishing both an excellent concept for a piece of work and a clear audience intention.
This November she will be running a week-long playwriting workshop for those wishing to write a new piece of work, but struggling with where to start.
In their words: “If you are about to make a new piece of work, are looking for inspiration or need to take a bit of a break to go back to the roots of your art passion then this is the week for you.
A carefully selected group of people will delve deep for a week of love, action, politicisation and conversation. I will touch on individuality, concept, style, creating new material and dreaming big as well as how to write about your work, how to brand yourself, how to engage with your audience, possible wrap around activity for your practice and getting your work noticed by producers, promoters and press.
If you feel you need an overhaul in direction, if you feel your degree never actually taught you how to be an artist or you just need the time and space to discuss, write and cry with a group of strangers then join me in November!”
TheatreLab is working in association with Bath Spa University’s Production Company OnSetto curate a night of new writing.
They are looking for new scripts to go forward into WordPlay, a rehearsed reading event that profiles new theatre writing.
Scripts can be in development as well as completed. This is an opportunity to have your script workshopped with actors and a director and then put forward in their WordPlay event. This particular event is a public and industry reading which will run throughout this year and next year.
How to apply: To apply you will need to send either your full script, or a portion of your script to firstname.lastname@example.org. Please also include your CV and/or cover letter outlining your experience or previous scripts and any future plans for the project.
They have paid particular attention to Top Girls, Fen and Far Away, but encourage those submitting to read and consider any and all of her plays.
What to submit:
Your play should feature:
three sections, the second of which is set in a workplace;
a cast of mostly (perhaps all) women—-of differing ages, cultures, and especially, classes/means/education levels;
a formal event (a pageant, a parade, a number, a dinner party) involving many people;
an ersatz mother/daughter relationship.
Embrace economy of language, and specificity and fidelity of language to character. Consider if and when those rules explode.
How to apply: Applications should be made via the online form which can be found here. All applications should include:
completed information form;
a one-page letter of intent describing your proposed project;
10 exploratory pages from the proposed project (either contiguous or from different sections of the proposed play);
one of your finished plays for reference;
Do not include your name on the letter, the 10 page sample or the complete play. The panel reads all submissions BLIND — the only place your name should appear is on the info form and on your resume.
What happens next: The proposals will be read and adjudicated over the course of the fall, and the commission(s) awarded by the end of 2017.
The $15,000 commission — which might be split between writers if the panel so elects — will be paid out in three installments every six months, with the first installment following the signing of a contract
Interested in writing for TV but not sure how to start? Curious about how to get your work seen by the right people? Wondering how to juggle the creative and industry demands of creating stories for the small screen?
During this intensive half-day session, playwright and screenwriter Sumerah Srivastav will guide you through the practical and creative steps of building a career in writing for TV.
Many writers successfully work both for stage and screen, but it isn’t always the easiest thing to know how to get started. While creative careers always have an element of unpredictability, there is a standard career progression many TV writers follow. This course will cover how to get started on the ground floor, and tips for success to build this into a career.
Whether you’re a playwright looking to expand your creative output, or a screenwriter looking for practical industry insight, this workshop will help connect you with the resources you need to pursue writing for television.
Who this workshop is for
This workshop is open to all.
There is no need to prepare work in advance, though each participant will be asked to submit in advance a burning question or topic they would like to see covered. You will likely want to bring a notebook and pen to take notes.
When and where
Date and time: Saturday 11 November 2017 from 2.30-5.30pm
Venue: Theatre Delicatessen Broadgate, 2 Finsbury Avenue, London EC2M 2PA (nearest tube: Liverpool Street/Moorgate)
Cost: £41.50 members / £55 non-members*
*You can become a member for the price of a cup of coffee a month – this supports the blog and as a thank you gives you access to special benefits, resources, and discounts. Join here: www.londonplaywrights.org/join
How to book
Please click through to access our members portal and book at the discounted rate.
Places are limited and reserved on a strictly first come first serve basis, so early booking is advised.
About the Workshop Leader
Sumerah Srivastavis a playwright and television writer currently on contract to EastEnders. She has been identified as a rising star in the BBC’s 2017 New Talent Hotlist and is currently one of fifteen writers invited onto the MediaXchange and Creative Skillset’s Advanced Writing for HETV drama programme. As a playwright she has been a member of the Royal Court’s Critical Mass and Studio Writers’ programmes, Stratford East’s Musical Theatre Initiative, Orange Tree Writers Collective and The Criterion playwright programme. Her plays include Jigsaw, Veiled & Vinegar, The Fairy King, Space Invaders, Downfall and Border Liesand have been performed at Soho, Tristan Bates, Redbridge Drama Centre, Contact, Orange Tree and The Pleasance. She has a number of projects for stage and screen in development and is represented by Kitson Press Associates.
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).
Sanguine Theatre Company are currently accepting submissions for their annual project playwright competition. They are looking for full-length plays of any genre to be submitted for consideration.
Playwrights based anywhere in the world are encouraged to submit their work. The winner of Project Playwright receives a fully-produced world premiere of their play in New York City as a part of Sanguine’s 2018 season. Now in its 8th year, Project Playwright promotes the discovery of new and unheard voices, and solidifies Sanguine Theatre Company’s commitment to the complete theatrical process, from page to stage.
From the hundreds of annual submissions, Sanguine’s literary team determines 3-6 finalists, announced in December. In January, Sanguine Theatre Company will produce a festival evening of staged readings in New York City with excerpts of the finalists’ scripts. Each excerpt is assigned a director and team of actors, and the audience votes on the winning script.
Ever wondered what goes into a one-person theatre show? Or how to get the guts to perform your work? Read Editor Jennifer Richards’ Q&A with Nicole Henriksen to find out…
Writers performing their own work is a type of theatre I’ve always been scared of entering. As a playwright, I love hiding behind my laptop, having someone else express my thoughts on stage.
But Nicole Henriksen is bringing her theatre debut, Makin’ It Rain, to London. It’s everything I’m scared off: a one-person show where she performs her own work, and it’s also autobiographical about her time as a stripper.
Wanting to find out more about how writers perform their own work, I caught up with Nicole ahead of her debut for a chat.
Q&A with Nicole Henriksen
JR: How did you make the transition from doing stand-up comedy in 2011 to performing theatre shows now? And what encouraged you to make this change?
NH: In a lot of ways, I was never a comedian. I made comedy shows, and occasionally I performed “straight” stand-up comedy, but I was a performer.
I made comedy shows that were subversive, alternative, and bold. They centred on characters, multimedia, and shameless whimsy. They weren’t the work of a comedian, they were a performer exploring their voice.
And once I’d explored that voice by writing five comedy shows over as many years, it had run its course. The world of comedians is so boring and sad in many ways, and I’d grown tired of so many comedians always trying to get a joke into every moment.
Of course though, I’d made some fierce and fast friends, and found my voice and my purpose, as a performer and person, but I was tired and frankly uninspired by how little expression is possible in comedy.
If a comedy show has a serious moment, people question if it’s comedy, or what purpose that serious moment served. But a theatre show can be funny, serious, sexy, absurd, poignant, and so much more without it’s genre or purpose being questioned.
I enjoy the freedom of theatre. And the community that goes with it, pretentious though it can be, isn’t often as single-minded as the comedy community can be.
JR: With performing your own work, do you write a script that you strictly follow, or do you just have a general structure to the piece you follow more freely?
NH: This is definitely where the comedy background comes in.
I was one of those comedy performers who was a performer first, and a writer second. This meant the performance was my focus, not on crafting the “best” jokes.
I wrote my jokes as dot points, and allowed room for improvised asides and moments, to give each performance the feeling that it is a performance. It’s live, and anything can happen – I can handle anything, that’s what the hours put into performing are for.
When I was exploring theatre, it seemed to make sense to keep the same approach. With Makin’ It Rain (my theatre debut), it seemed obvious to take the same approach. I think some people would find that too stressful to mention, but for me, the performance is everything, not the words.
I also know how to express myself and speak in a manner that’s both articulate enough to be taken seriously, yet clear and non-pretentious enough to be understood by as many people as possible.
So, the shows are mapped out, and the beats clear, but the wording may shift ever so slightly from night to night, or if an audience is more of a comedy crowd, the comedic moments might have extra beats, for example. And if they’re a quieter crowd, then those quiet, softer moments, are amplified, and I often feel able to give these moments extra beats, and allow them to hang in the air for a moment longer.
JR: A lot of writers draw from personal experience, and your work in Makin’ It Rain is autobiographical. But I know I could never perform something I’d written that forced me to be vulnerable on stage; what is it that allows you to be able toperform such personal, autobiographical work?
This is something I discuss in my new theatre show, A Robot In Human Skin, which explores my anxiety. I felt for most of my life I was performing, that’s why I wanted to be on stage so much growing up, and still now.
I wanted people to see how much effort I was putting into just being a person, I wanted them to praise me for all this silent performing I was doing on a daily basis. And that’s exhausting, pretending every second of every day, never truly switching off.
So standing on stage naked talking about the time my mother said I should keep weight off after falling very ill as a teen, doesn’t seem as daunting as exposing to people, who’ve known me for some time, that I was often pretending when I was in their company.
I’ve also seen how much it affects people to see someone speaking a truth on stage, especially when it’s a truth that also discusses a somewhat hidden industry, such as that of sex work. Yet it also explores relatable moments, such as falling back in love with an ex, because they’re the only one you can open up to.
So, the reactions are my motivation, and the feeling I feel of finally seen is part of it too. I personally wouldn’t be a performer if I wasn’t searching for something on the stage.
JR: For writers who are more nervous about performing their own work, what would be your best advice?
My best advice only comes from my life experience, and everyone’s is different. But I’d say, imagine yourself seeing the show you’re making. Imagine yourself three years ago, or seven years ago, even four months ago. Imagine that person coming to the show, seeing someone else expressing something they feel, but aren’t brave enough to express just yet.
Now imagine the impact of seeing your show, imagine how much it could stick with the younger you, how much you wish you’d seen your own show when you were going through that hard time, or finding yourself. You’ve got to do it for all the versions of yourself that need to see it.
I’m always striving to be the person I needed to inspire me and give me strength when I was growing up. And I’m still growing up.
JR: From some fantastic one-person shows I’ve seen, I’ve found that pieces where the writer is the sole performer are often more honest and liberating in a way. What would you say is the best thing about performing your own work?
I haven’t really performed other’s work, outside of in high school, and a short stint in a comedy musical. So I don’t have much to compare it to.
But there’s a moment, that can happen at a storytelling night, during a full length show, or when discussing a topic with friends, that’s incomparable to anything else. It’s a moment of feeling connection with the audience and my work. It’s the “you can hear a pin drop” moment, it’s goosebumps, and it’s a powerful intensity.
Knowing that I’m present in that moment, speaking words that are my own, is something I can’t equate to any other response.
For me, it is better than getting a big laugh in a comedy show, it’s better than selling out a performance, it’s what brings me back to live performance and makes me wonder if I could ever perform as well in another medium.
I’m forever chasing that, and I’d say it’s the best thing about performing my own work.
Makin’ It Rain is on at Kings Head Theatre until October 7, and you can get tickets here. Nicole has given LPB readers 50% off with the code: cheeky.
Promotional shots are provided courtesy of Nicole Henriksen.
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.
Description: The Female Gaze is an online film magazine run by playwright Sarah Gonnet, that features reviews and longer pieces
on film and TV.
They are currently seeking monologues of 5 minutes in length, written by women, about women in film. The idea is that the chosen monologues will be tied together to create a play that would be performed live, as well as publication of the script, and associated workshops about women in film.
You are asked to pick and write about one woman from the list provided, which can be found here. If there is a woman you would like to write about which can’t be found on the list, feel free to go for it.
Ten monologues will be chosen for the final play.
What’s so great about it? This is a great opportunity for female identifying writers to not only be produced, but to work collaboratively with other writers on undiscovered female stories.
You are asked to pick from a list of female figures throughout history, and then write a piece upon your discretion. This means you have the creative freedom to write however you like about a woman who is yet to have her story told to the world. You can also write about a woman not given on the list, meaning you have even more of an opportunity to tell an untold story.
If this sounds like the opportunity for you, the deadline to apply is 8 January 2018.
The Space is a performing arts centre based in a converted church on the Isle of Dogs, East London. They seek to programme high quality theatre productions, with a balance of classics, revivals, new writing and devised work.
They are currently seeking proposals for their Spring 2018 season, which will run from February – April 2018. They are interested in all forms of theatre and will be looking to programme 1, 2 and 3 week runs.
For full information, please download their arts information pack which can be found here.
How to apply: If you would like to submit a proposal for the Spring 2018 season, please complete the proposal form, which can be found here, along with your script and send to email@example.com. They also accept CVs and videos if applicable.