The New Musical Project is searching for up and coming musical theatre writers who want to develop their work alongside industry professionals and a West End theatre. The Project is looking for submissions of new one act musicals, of which The Project will select six to be developed for rehearsed readings, to be staged in early 2014.
What you get: The Project will provide professional actors, a director and a musical director for the rehearsed readings. They will then be presented to an audience and industry panel with a Q&A after the performance in order to provide feedback to the writers and creative team. After the six rehearsed readings, The Project will then select a show to take on to production in the Leicester Square Theatre Lounge in Summer 2014.
IASH and the Traverse will commission a play on or inspired by any aspect of the topic “conflict and reconciliation”. The stipend will be £10,000 and the recipient will have a private office and full Fellowship at IASH, and contribute to the Institute’s events, including giving at least one work-in-progress seminar during the tenure of the Fellowship. The recipient must be Edinburgh-based for the duration of the residency, as their regular presence at IASH is expected.
The Fellow will be a professional playwright with at least two previous professional productions. The tenure of the Fellowship will be between 6 and 10 months, by agreement, with the intention that the playwright will submit a complete play to the Traverse at the end of 2014. During the period of the fellowship the playwright will have access to dramaturgical support from the Traverse’s Artistic team and we hope would also play a part in the life of the theatre.
How to apply: Interested applicants are invited to submit a cover letter outlining why they would like to take up this Fellowship and how it will be of benefit to them and their writing by 10 am on Monday, 25 November 2013. Interviews will be held on Friday 6 December at IASH.
Full details and an application pack can be found on the website.
Get your scripts ready – the next submissions window at The Bush opens in less than two weeks!
Their Autumn/Winter submission window will be open from 21st November 2013 and closes at 5pm on 20th December 2013. In an interesting twist, the Bush is only looking for proposals for developing work, part of their efforts to reach out to a wider range of theatremakers. (This is in line with recent changes to their submissions procedure, which you can read more about here. But don’t fret, they will reopen to submissions of fully drafted scripts from unrepresented writerssometime in the spring.)
What to submit: They are looking for:
Proposals of a story outline, of no more than two pages of A4
Examples of previous work (links or attachments to online video, photographs or text samples no more than 2MB)
Details of who will be making the work (bios for each creative)
Full details can be found on their website. But remember, in their own words:
“PLEASE NOTE WE ARE NOT ACCEPTING FULLY WRITTEN OR DEVELOPED SCRIPTS THROUGH THIS SUBMISSIONS WINDOW.”
How to apply: During this period, please email your proposals to firstname.lastname@example.org and include, as a separate attachment, a fully completed cover sheet which you can download here.
About the reading process: The Bush will read all eligible proposals submitted to us through our submission windows and they will contact any writer or theatre maker / company who has submitted a proposal that they would like to produce or develop, inviting them to engage in a bespoke development process. The Bush doesn’t offer feedback on proposals that we are not intending to produce or develop, although they will contact you to let you know when we have read your application; this will usually be within 4 to 6 months from the end of each submission window.
Deadline: 20 December 2013 (Submissions open 21 November 2013)
This article from the New York Times won’t give you a definitive answer, but it does provide interesting background on the differences between the standard English (GO-doh), American (go-DOH), and French (GO-DOH, equal emphasis) pronunciations of the elusive Godot.
Interestingly, the notoriously finicky Beckett Estate has no position on how the word should be pronounced. While there are reports that Beckett preferred first syllable emphasis, his writings never specify how ‘Godot’ should be pronounced, and there are no recordings of him saying the word. Maybe someday we’ll find out what Beckett really intended. Until then, we’ll just have to wait…
ScriptSpace is The Space’s monthly script-reading workshop which provides playwrights with an opportunity to have a work in progress read by professional actors. In addition to allowing the playwright to receive feedback on their work, a ScriptSpace session is also a networking opportunity for actors, directors, writers and producers.
The next event will be taking place 19 January 2014 at 1pm, and there is no cost to participate.
How to apply: If you would like to submit your script, send it as an attachment (either .pdf or .doc) in an email to email@example.com with “submission” as the subject title.
Please bear in mind that due to the large number of scripts we receive, it may take as long as 6 months to read your script and that there is no guarantee that your script will be selected to be read at an upcoming ScriptSpace session.