The Ground Floor at Berkeley Rep is inviting artists to apply with projects that would benefit from a residency in Berkeley for 1–4 weeks. Applicants must be available for residency between June 2 and 28, 2015.
What you get: Berkeley Rep will provide transportation, housing, rehearsal space, technical support, and a modest stipend.
Eligibility: Previous applicants may re-apply. There is no limit on the number of projects an artist may apply with. Applications accepted from international artists.
What to submit: Projects may be anywhere along their development path: from an idea without anything on paper yet, to a complete draft of a text. Whether you are a writer simply needing a room in which to write or an ensemble wanting intensive rehearsal time, we encourage you to apply. Artists from other disciplines interested in creating theatre pieces also welcome. If your project is ready for a small audience, they are happy to provide that, but there is no requirement for any kind of culminating event. Past participants have held events that were open to the public, no final presentation at all, small closed readings, and everything in between.
This is a developmental residency. Projects looking for a full production are not eligible. If you are applying for an adaptation, please have the underlying rights already secured. They do not accept scripts along with application forms. If a proposed project makes it to the second round, we will then request more information, including whatever may already be written.
They suggest you download and complete the application as a Word document and then cut/paste your answers into the application form below. Please note that the online form does not allow you to save the application mid-way through and that you must hit the “submit” button at the bottom to finalize the form submission process. Do not submit the Word document via email.
Only electronic submissions will be accepted.
Please do not submit any materials beyond those required in the application.
Etch holds a monthly theatre night held at one of South London’s most thriving new bars and arts venues, The Peckham Pelican. Etch aims to discover, nurture and support new writing whilst encouraging collaboration amongst emerging artists. They hope to provide a base and platform for development, collaboration and discussion whilst creating a fluid community of artists in need of an outlet. Etch will be sharing work at grass roots level, hoping to include curious audiences in the process of creating theatre.
As well as finding temporary collaborators who are interested in using the Etch events as a platform to try out their own ideas and work, long term collaboration is also key to their plans. They hope to find artists to work with regularly and who will be interested in working to develop Etch further into the future.
They are currently collecting submissions for their event on 17 November. They are looking for short plays or extracts from both finished and unfinished plays but always from pieces still in development. They will provide suitable rehearsal space and the pieces will be directed and performed by professional directors and actors.
What to submit / How to apply: If you want to see your new/ half written/barely there ideas being performed or want to get your work out there and make new contacts then send a 5 – 20 min scene to firstname.lastname@example.org
Now>Press>Play is looking to recruit Maths scriptwriters on a freelance basis, who have strong backgrounds in education. As well as writing scripts, you will create worksheets that go alongside the Experiences. You should:
have experience of working with KS2 children and, ideally, of making schemes of work, resources etc
have a good understanding of the curriculum and, ideally, have KS2 maths expertise
be comfortable with the notion of collaborative writing or
have experience of writing creatively (for any media/art-form)
How to apply: Please send a C.V. and covering letter to email@example.com by Tuesday 21st October. Within your letter, in no more than a short paragraph, please tell us what 1) sort of story you’d use to help improve KS2 understanding of decimals (any topic(s) within this e.g. multiplying decimals, rounding up, decimals as fractions…) and 2) why it would work.
Here’s an example:
Our Fractions series is set on the Titanic: the children solve problems as part of the story (e.g. “What fraction of passengers can fit onto lifeboats?”). It works because the sinking of the Titanic provides lots of urgent number-basedproblems that need to be overcome e.g.how many compartments need to fill up in order for the ship to sink, how many passengers are on board, how many lifeboats are there etc.
Deadline for application is Tuesday 21st October. Shortlisted candidates will do a longer piece of writing. Interviews will be w/c 10th November (and successful candidates will be invited to training on Saturday 15th November).
The Bush has announced that they are joining forces with Media Diversified for an opportunity aimed at aspiring BAME theatre writers. Their aim is to challenge the traditional predominantly white landscape of British theatre criticism – below is how you can get involved.
They are looking for 10 participants from BAME backgrounds for a two-part workshop in October.
Applicants should be available on the evenings of the 22nd October to watch the play Albion and the 30th October for a 3 hour workshop at Bush Theatre. These sessions will culminate in participants writing reviews that will be published on the new Bush Green website and at Media Diversified.
The workshop requires no prior knowledge of the play’s subject matter and no formal qualifications are necessary.
How to apply: please send a 500 word piece you have written either critiquing a TV show, book or play to firstname.lastname@example.org Successful applicants will be informed on Friday 17th October.
The workshop is intended:
– To encourage self-empowerment and confidence in participants when approaching writing about theatre.
– To provide training for individuals from a Black and Minority ethnic background that have not considered theatre critique as a career or lack adequate training to approach theatre from a critical perspective.
– To contribute in a small way to change perceptions of theatre being an exclusive “white only” space and encourage more “colour”.
Deadline: none specified – but winners will be notified on 17 October 2014
In the third post of the series about bringing her own writing to the stage, Kimberley Andrews talks money: can you produce a show without breaking the bank and should you dare to dream of making a profit?
Producing my own show was many things: it was a small glimpse in to what it might be like to be a producer (two words: hard work). It was fun and at times, chaotic. Most of all it was empowering; not in a ‘holy crap, I think I’ve just become Andrew Lloyd Webber and I’m going to dominate the West End for at least a generation’ kind of way, of course. But it was empowering to know that my work would never again be left to languish in the back of a drawer; all I had to do was pull my socks up and produce it myself.
What producing didn’t do was make me a large sum of money. This wasn’t because nobody bought tickets, in fact we sold out. And it wasn’t because we spent ridiculous amounts of money on elaborate costumes and revolving sets and a live orchestra. It’s just that with numerous outgoings and a limit on what you can charge for tickets, producing a small-scale show is never going to be a great money-spinner. It’s not all bad though – if you stick to a tight budget, you can break even, meaning you have enough money to produce another show in the future…
The first thing I did was to set the ticket price based on what others were charging for similar shows – which in our case, was £6. Now, I could have tallied up my outgoings first and based the ticket prices on covering the total. In fact, I could have charged £200 per ticket and then sipped Piña Colada’s in St Tropez for a couple of weeks on the profits. But I had to be honest with myself, who in the right mind would part with this sort of cash to see a show by an unknown writer? And could I justify increasing the ticket price to cover outgoings when my potential audience could just as well go and book a cheaper show? I wouldn’t have charged less than the ‘going-rate’ either – if you can make a few quid to stick in the pot for future shows and maybe buy yourself a Mars Bar, then go for it.
Setting the ticket price first gave me a clear idea of what kind of money I could spend on my show, which in turn, helped me to budget production costs effectively. The bottom line was that I only stood to make a couple of hundred pound even in the event of the show selling out. In the worse case scenario, if no one bought any tickets, I stood to make absolutely nothing, which as well as being a bit miffed, meant covering production costs out of my own pocket.
Now, like most writers, I don’t have money to burn – old first drafts of scripts maybe, but not money. So, as I was producing a sketch show, with other writers also contributing, I asked them if they’d split the costs with me. Split between 6 people, the £150 hire fee was only £25 each, a small amount to lose if no one turned up.
I was also really frugal about production costs, which meant working everything out beforehand in excruciating detail. Writing a list of everything you need to pay for and then adding it all up isn’t rock n’ roll, but it will stop you from getting a credit card bill that gives you palpitations later on…
Here’s what my outgoings looked like… (Please note that these prices are a couple of years old so will have no doubt increased)
Venue Hire [£150] – while you can get away with minimal set and props and pass it off as a stylistic choice, the cost of the venue is what it is and will most likely take up most of your budget. (See my previous post on finding a venue for tips.)
Actors/ Technical Staff/ Director [£40] – ok, so I didn’t pay mine but I did get them all a card and a bottle of wine to say thank you at the end.
Marketing[£27] – some might argue that you don’t need flyers for a one-off show what with the power of social media these days, but most venues ask for them and they’re useful for sticking on noticeboards etc. I roped in a creative friend who took a photo of a lettuce wearing sunglasses for mine; you don’t have to include stylish salad items but do make them eye-catching. I used a cheap online printing company for mine, a Google search will bring up a plethora of good deals. Getting them in postcard size saves money and you don’t really need more than 100 for a small show.
Props[£10] – I had a character who drank Lambrini and another who ate lots of Wotsits (yeah, it was a classy show), so I did have to purchase some props but do beg, steal and borrow where you can. It’s worth checking out whether the venue has a props store/ random junk cupboard that you can raid or seeing if you can call in favours from friends who work in theatres or drama schools. If not, hit the charity shops or raid your own wardrobe.
Printing [£0] – you’ll be expected to print out scripts for actors and programmes for the night, I managed to do mine for free because I work in an office but if you do have to pay, you can keep the cost down by getting rid of page breaks after scenes and keeping the programmes in black and white and on one page only. And if you don’t have a printer, avoid getting stung by expensive internet cafe’s by doing your printing at the library. If you’re doing a script-in-hand performance and you make lots of edits during rehearsal, you may need to print off edited copies for the performance, so do try to budget for that too.
Bits and bobs [£10] – bear in mind that there’ll always be a few extras involved, perhaps you’ll need a chat with the director and you’ll want to get them a coffee or maybe someone will misplace a prop on the day and you’ll have to run out and replace it.
Total outgoing: £237
Just for the record – at the time, the Hen & Chickens deducted £1.50 from each ticket for a membership scheme. So, although we sold tickets at £6, in reality, we got £4.50. We sold 54 tickets meaning we made a grand total of £243 and a profit of a whole £6! Mars Bars all round then…
My three top tips:
Split the costs! If you haven’t got other writers contributing, ask the director or see if you can bring a co-producer on board. Not only will you reduce your own financial risk but you’ll getting extra commitment from contributors who won’t want to lose their money by dropping out at the last minute.
Share the profits! Of course, if you’re splitting costs, it goes without saying that you have to split your profits, unless you want to lose friends. That also goes for actors or technical staff that you aren’t paying
Say thanks!If people have worked for free, get them a thank you card and a bottle of wine or a drink at the bar after the show. But don’t go nuts and spend a fortune on gifts, if you can afford to do this I think most struggling artists would just prefer the cash.
The Mercury Theatre (Colchester) is offering a Playwrights’ Surgery – a free service for adults with a serious commitment to writing plays. The group meets on selected weeknights throughout the year to read and discuss members’ work, as well as engage in practical tasks to assist in developing writing skills. The next session is due to take place on:
We are The Wagon is a comedy production and distributon company. They produce comedy content, whether for online, TV or other distribution and have worked with a variety of well-known comedians such as Jack Whitehall, Simon Amstell and Jonathan Ross. They have just finished a project for broadcast on Channel 4, and have some more exciting work coming up.
The Wagon are currently looking for an aspiring (specifically) comedy writer to apply for an internship placement, with pay of £100pw. They would want applicants to submit examples of their work, be it a short script or a comedy film you wrote etc.
How to apply: please send applications to email@example.com
Experience not as essential as a great sense of humour
NTC Touring Theatre Company has received funding from ACE Grants for the Arts to produce ‘4THOUGHTS’: MYTH, MUSIC, MAYHEM AND MIRTH – An evening of 4 short new plays which will tour the Northern Region in March 2015 and seeks writers of new plays/musicals.
Writers may have had some professional productions of their work or may be complete beginners, this is an open competition process.
The 4 successful writers will have the opportunity to see their work professionally produced and will be paid an inclusive fee of £1,000.
Plays must last no longer than a half hour
Plays must be suitable to tour to intergenerational village hall audiences 15+ as well as theatre audiences.
Plays will be for 6 actors 3m 3f, (though more characters are possible with doubling) 2 of the actors will be trainees most likely under 25 and 2 parts should be written for older actors (50-60).
Plays will be directed by Gillian Hambleton, Artistic Director of NTC.
Selected playwrights will be mentored and supported by published playwright and novelist Ann Coburn.
Plays/musicals will reflect the maxim that ‘specificity breeds universality’ Miro, and NTC’s mission statement, whilst continuing to push the boundaries of theatre.
a one page synopsis of your idea for the half hour play/musical (please note if you are chosen to work on this project, they cannot guarantee your idea will be produced, you may need to modify it to ensure it fits in with the whole project)
The first 20 pages of a script you have previously written
A writing CV or reason why writing a play is important to you at this moment.