Honored, proud, excited, downright jubilant, to announce that PlayGround has selected me as their June Anne Baker Prize recipient this year! Want to know more about the award? Of course you do!

“The June Anne Baker Prize was initiated by John H. Gilman in memory of his late wife. The Prize will be awarded annually to a female Emerging Playwright Award winner representing a gifted new comedic or political voice for the stage, and includes a commissioning grant and development support of the new full-length play.

“June Anne Baker (1946-2000) was born and raised in Mankato, Minnesota to a playful mother and a political father. She was a sensitive soul with a very big heart. June Anne had a love affair with words and dreamed of being a writer. She once made a deal with her husband: He’d go on the Salmon River rafting trip; she would buy the Oxford English Dictionary, all twenty plus volumes of it. She received her undergraduate degree in Sociology from Arizona State University, a Masters in Regional and City Planning from the University of Oklahoma, and a law degree from Boalt Hall at UC Berkeley.

“June moved to San Francisco in 1970 and had an active city planning career with the city of Concord and Marin County. June was an active feminist, and proud of it. She was a founding member of Bay Area Women Planners. June loved life, and politics, and fun. She was serious and reflective, and yet had an overabundance of youthful enthusiasm. As a good friend once said, “If you don’t think feminists have a sense of humor, you never met June Baker.

“June turned to writing in her 40s and found an inner life that she needed to explore. While contemplating, and struggling with, thoughts of how she might manifest her writer self, she was diagnosed with salivary gland cancer. Her struggle turned from expression to survival, yet she never lost her joie de vivre.

“This award honors June’s great love for humor and politics and her commitment to advancing opportunities for women. She would want this award to make easier the struggle and more manifest the works of the emerging playwrights who receive it.”

No pressure, right? But in all seriousness, I am deeply honored to have been selected and I cannot wait to dig in to a new play and honor June Anne the best way I know how.

And now picture time of the fancy times last night! Here I am with Genne Murphy and Kirk Shimano, who also have plays in this year’s Best of PlayGround!

Local playwright Jennifer Roberts, Theresa Rebeck, a widely produced playwright and TV writer who was honored last night at the Gala, and myself.

Last year’s finalist (Steven Westdahl and me!) are in this year’s Best Of!

I missed pictures with Davern Wright and Erin Marie Panttaja, but they are wonderful and will have plays in the Best Of festival as well!

I hope that you’ll join me at the Best of PlayGround festival coming up next month, running May 7th – 24th at Thick House! For tickets and more info: http://playground-sf.org/bestof/

And stay tuned to hear about my next big project!

Oh, and the pictures won’t show up if you’re reading this via facebook, either click on through, or check out the PlayGround Gala album!

This was announced last week, I was out of town so excuse my lateness, but San Francisco Theater Pub is now accepting submissions for Pint-Sized V! Pint-Sized has a bit of a mythical quality to it for me, it was one of the first shows I saw when I first started getting into the theater scene back in 2013. I will ALWAYS remember Allison Page doing Megan Cohen’s BEEEEEAAR!. I saw that show twice I liked it so much, and that’s saying something because I pay someone big bucks to watch my kids when I’m not at home. It was magical, and hilarious, and theater at any cost. That’s something Theater Pub does a lot, and I really respect and love that.

ANYWAY, the great news is that now you too can participate! Ya know, if you’re into that sort of thing…

SUBMISSION CALL FOR PINT-SIZED V!

“San Francisco Theater Pub is pleased to announce that our popular PINT-SIZED PLAYS event will be returning for a fifth year and that we are now accepting script submissions from Bay Area playwrights!

PINT-SIZED PLAYS is an evening of short plays that take place in a bar and involve people drinking beer. The 2015 PINT-SIZED PLAYS Festival will happen August 17, 18, 24, and 25 at PianoFight in downtown San Francisco.

The Rules:

• Plays must be no longer than the time it takes to finish a beer. This means plays may be as short as a few seconds, but no longer than eight pages.

• Plays must require no more than three actors.

• At least one of the characters in the play must be drinking a beer during the scene, and the play must end when someone finishes their beer.

• Plays must take place in a bar. This is for both thematic and logistical reasons. The plays will be performed in the bar space of the PianoFight building and the only set items we can guarantee are tables, chairs, and beers.

• Plays must respect the bar space. PianoFight is incredibly supportive of this festival, but in return, we need to be worthy of their trust. Don’t demand that actors do anything in your play that you wouldn’t do in a bar yourself (with some degree of sobriety).

• Submissions should be emailed to theaterpub@atmostheatre.com, with the subject line “Last Name, First Name – Pint-Sized 2015 Submission.” Attach the script to the email as a PDF or Word doc. All scripts should include playwright’s name and contact information.

• Submission deadline is midnight Pacific time, May 15, 2015.

Selected plays will be announced in June 2015.

The Suggestions:

• We especially like: plays that can be cast flexibly (with actors of any age, race, or gender); plays with good roles for women; plays that have fun with style, language, or genre.

• We especially dislike: plays that promote stereotypes or clichés; plays that have been previously produced; plays hastily rewritten to fit our parameters.

The Legalese:

• Open to residents of the following counties ONLY: San Francisco, Alameda, Contra Costa, Marin, Napa, San Mateo, Santa Clara, Solano, Sonoma, Santa Cruz, Monterey, or San Joaquin. You must be able and willing to prove your residence and identity upon request.

• There is no fee to submit a play for consideration in Pint-Sized.

• Selected playwrights will receive a small stipend and the opportunity to have their play produced by San Francisco Theater Pub for four performances in August.

• San Francisco Theater Pub will handle all production responsibilities for the selected plays. We reserve the right to choose a director and actors for each play as we see fit.

• The submitted plays, whether chosen for production or not, remain the intellectual property of their authors. San Francisco Theater Pub makes no claims to these scripts and will not cut, edit, or otherwise change the playwright’s dialogue without the writer’s express permission.

• If you have additional questions, please email theaterpub@atmostheatre.com.

We look forward to reading your submissions!”

So now that you know, go write that play! Really. I want to sit and watch it and laugh or cry or both. I’ll wait here while you work.

Thrilled to announce that my short play READING BABAR IN 2070 is in this year’s Best of PlayGround 19 festival running May 7th-24th at Thick House! I wrote READING BABAR IN 2070 last October for PlayGround’s first collaboration with Sustainable World Coalition! It was presented at Berkeley Rep as well as Stanford for the Planet Earth New Play Festival.

I can also tell you that Rebecca Ennals will be my director! I got to work with her just last weekend for SWANDay in Berkeley, and I’m thrilled to get to work together again. AND, Rebecca will be directing Tracy Held Potter’s play for Loud & Unladylike this summer!

Want to know more about the festival? I knew you did, because it’s not just the 10 minute play fest this year, this year also includes TWO world premiere full-length plays AND readings of commissioned work!

“SAN FRANCISCO, (April 3, 2015) – PlayGround, the Bay Area’s leading playwright incubator, caps off its 2014-15 season with the 19th annual PLAYGROUND FESTIVAL OF NEW WORKS, running May 7-June 14, 2015, at San Francisco’s Thick House. This year’s expanded Festival features more than 44 performances and readings by over a dozen local writers, including: BEST OF PLAYGROUND 19, a fully-produced program of six 10-minute plays selected from more than 180 submissions to the Monday Night PlayGround series; the world premiere of Robin Lynn Rodriguez’s HELLA LOVE OAKLAND (2013 PlayGround Festival selection) and Garret Jon Groenveld’s THE EMPTY NESTERS (2013 PlayGround Festival selection), and staged readings of four bold new full-length plays in development. Individual tickets are $25-$55 and All-Festival Passes (including priority seating tickets to all festival activities) start at $60. Tickets are available through the Box Office at 415-992-6677 or online at http://playground-sf.org/festival. For the complete schedule of performances and readings, visit http://playground-sf.org/calendar.shtml.”

So exciting! Here’s the full-line up of ten-minute plays in this year’s festival:

Reading Babar in 2070 by Rachel Bublitz, directed by Rebecca Ennals

Someone by Genne Murphy, directed by Jeffrey Lo

Preapocalyptica by Erin Marie Panttaja, directed by Katja Rivera

Art and Tech by Kirk Shimano, directed by Jon Tracy

Frankenstein’s Grandmother by Steven Westdahl, directed by Tracy Ward

Cratchit by Davern Wright, directed by Jim Kleinmann

Tickets can be purchased here: http://playground-sf.org/bestof/

And stay tuned! More news about cast and other things coming up!

There is SO much happening right now! Tonight and tomorrow are your last chances to catch San Francisco Theater Pub’s ON THE SPOT! and this coming weekend (April 2nd-4th) may be your only chance to see TO THE MAN WHO SANG BOWIE with PianoFight’s ShortLived competition!

The ON THE SPOT line-up includes new plays by Jake Arky, Gabriel Bellman & Sara Judge, Barry Eitel, Seanan Palmero, Madeline Puccioni, and myself. The directors are Mike Fatum, Neil Higgins, Christine Keating, Charles Lewis III, Rem Myers, and Sam Tillis, and the acting pool includes: Xanadu Bruggers, Andrew Chung, AJ Davenport, Jan Gilbert, Annabelle King, Michelle Navarrete, Annette Roman, Carole Swann, Jess Thomas, Meg Trowbridge, Steven Widow!

Tomorrow night is closing night, and if you’re into following me around, you can catch me there tonight! It’s a free event, with a $5 suggested donation. ON THE SPOT starts at 8pm and will be at PianoFight’s new venue, 144 Taylor St, San Francisco, CA 94102.

AND I’m competing in the largest audience-judged theater competition. I’m up for THIS WEEKEND ONLY! My play TO THE MAN WHO SANG BOWIE will be directed by Devin McNulty, and my awesome cast is Meredith Terry and Andy Strong. Here’s the kicker though, I will be out of town this weekend! Ack! SO, that means my play HAS to make it to the next round in order for me to SEE it. You can help me by going this weekend, seeing my play, and if it makes you laugh, vote it through to the next round! It’s going to be a hard round to make it out of, my competition includes: Faultline Theater, Chardonnay, Bill Bivins, David Levine, and Gwen Kingston. So, buy some tickets: http://www.eventbrite.com/e/shortlived-round-5-tickets-15752296543?aff=efbevent! Laugh! And vote! VOTE, VOTE, VOTE!

ShortLived is playing also at PianoFight! It is running this Thursday, Friday, and Saturday. There are performances at 8pm each night, and a bonus performance April 4th at 5pm as well.

Will TO THE MAN WHO SANG BOWIE make it to the next round? Only time and the audience’s response will tell.

My short play TO THE MAN WHO SANG BOWIE has been selected to compete in Piano Fight’s ShortLived: Round 5!

What’s ShortLived, you wonder? Wonder no more. ShortLived is “the largest audience-judged theater competition in the nation!” It throws 30 plays into the ring, and after 7 weeks only one will walk out still breathing. And with a nice check!

My team is outstanding, I’ve got the acting talents of Meredith Terry and Andy Strong! And my director is Devin McNulty!

Round 5 takes place April 2nd-April 4th (8pm shows each night, with a bonus 5pm show on the 4th as well). You can (and should), buy your tickets here: http://www.eventbrite.com/e/shortlived-round-5-tickets-15752296543?aff=efbevent! Piano Fight’s new space is located at 144 Taylor St in San Francisco. And remember, vote, vote, vote!

Also, not that I want to sway your vote, but the 5th of April is my birthday, so instead of the large elaborate present you were planning just go watch my play! And yeah, vote for it too, why not.

Woooo!

March is shaping up to be a really big month for me! You have TWO chances now to see plays written by me, and that doesn’t happen too often.

FIRST CHANCE:

Monday Night PlayGround at Berkeley Rep, Monday March 16th, 8pm

My ten-minute play Lean In With Liz! is joining the line-up for this month’s Monday Night PlayGround at Berkeley Rep! The topic we were given last Friday was: “HERSTORY: THE GREATEST STORIES NEVER TOLD” And here’s the full line-up:

Lean In With Liz! by Rachel Bublitz, directed by Jeffrey Lo

Street Photographer by Genne Murphy, directed by Rebecca Ennals

Epiphany by Naomi Newman, directed by Jon Tracy

Feminist Valhalla by Takeo Rivera, directed by Jim Kleinmann

Frankenstein’s Grandmother by Steven Westdahl, directed by Chloe Bronzan

Drifters by Arisa White, directed by Edris Cooper

It’s going to be fun, it’s going to be great! You should come. Absolutely come. Here’s the facebook invite for all the nitty-gritty details: https://www.facebook.com/events/1548149155458043/1552877548318537/

SECOND CHANCE:

On The Spot with San Francisco Theater Pub! Running March 23, 24, 30, and 31 at 8pm!

This play I haven’t even written yet! Just this morning I got the prompt and after I’ve finished my laundry, dishes, and made the rice crispy treats for my daughter’s class, I’m planning on sitting down and banging it out. How I love a good time crunch. I’ll be writing for two fantastic actors: Jan Gilbert and AJ Davenport, and super excited to be working with a brand new director, Sam Tillis!

Here’s a list of all the playwrights involved: Jake Arky, Gabriel Bellman & Sara Judge, Rachel Bublitz, Barry Eitel, Seanan Palmero, and Madeline Puccioni!

For more details or to RSVP please visit the FB event page: https://www.facebook.com/events/949045388473769/

Yay! Hope to see you soon!

I’m home! Oh it feels so good. I actually caught an early flight home on Sunday and surprised my kids which was priceless. They hugged me for a good ten minutes straight. The festival was really fun, and being around so many theater artists was completely inspiring.

Thursday and Friday I enjoyed hearing six one act plays being read (three per day), which included: Jenny Erikson by James Campbell, Em by Olivia Leslie, Gravity Rides Everything by Christopher Quilici, Happy and Birthday by Sondra Williams, Science Night by Stephanie Neuerberg, and The Royal and the Zippo by Jaime Lynn Nathan. I was intrigued, as I so often am, about the overlaps in theme in form and how the plays spoke to one another. Also the actors were really generous, and you could tell that they cared a lot about their performance.

Friday morning I took two more workshops, one on Dramaturgy, and one on Play Structure. Let me just say that I love, love, love nerding out about play structure. Friday night there was a practical and insightful key-note from Anne Washburn, who has a play up at ACT right now (Mr. Burns) and that I’m seeing this Thursday.

After the key note there was a mask party, but I skipped that for sleep.

Saturday (very early in the morning) was the ten minute play readings! The full line-up included: Mom’s Ham by me, Microchip by Elah Seidel, Seagulls Will Eat You by Will Homel, Pont Des Arts by Quinn Scicluna, Astronaut by Mike Meadors, and Trapped by Megan Fevurly. And they were also really great! And the respondents, Anne Washburn, Em Lewis, and David Moberg, again had really great feedback for everyone involved.

And look! I got some pictures! PS, if you’re on facebook, click through for the pictures (though they are ones that I’ve posted on my page so you don’t have to click).

My killer cast and director! Including: Erin Harris, Ryan Miller, SHauntal Pyper, Wenona Truong, Robert Newcomer, Austin Fuentes, Asya Toney, Cameron Gray, and Ben Gonzales.

Awesome fellow playwright Megan Fevurly, and me waiting for a show! There’s a creepy guy in the back photo bombing us too.

Stephanie Kay Neuerburg and Elah Seidel, two great playwrights I met up North with me, waiting for the awards ceremony to begin.

And then later on Saturday afternoon two outside performances were brought in and they were FABULOUS! Loon from the WONDERHEADS, which if you’re given the chance to see you should see it, and Where Did We Sit On The Bus by Brian Quijada which was also brilliant. Both one-person shows and both riveting in completely different ways.

We then got to watch the top actors competing for the Irene Ryan Scholarship, which was really fun, and made me glad that I didn’t ever have to compete with those students for roles ever. Because I never would have acted otherwise.

And then the award ceremony started And my name was read as a winner! And my little Christmas play, Mom’s Ham, became a National Semi-Finalist for the Kennedy Center American College Theater Festival Conference in April taking place AT the Kennedy Center. I’ll find out in a month or so who got in, so be sure to check back!

Other plays moving on: Happy and Birthday by Sondra Williams, and Science Night by Stephanie Neuerburg for the one-act plays, and the other ten-minute moving on was Pont Des Arts by Quinn Scicluna.

Stay tuned for the results!

So far this week is a blur of early mornings, auditions, rehearsals, workshops and cafeteria food. I haven’t been too far off of the Central Washington State campus, but I can tell you that Campus Burger across the street from the school is super delicious. But back to the festival, because like I told myself, I’ll not be happy with life if I spend this whole week in bacon burger heaven.

I got here mid-day on Monday, and realized it was three hours before I could get into my room (my DORM room, because I’m too much a cheap skate to pay for a hotel). I got a free muffin with purchase of hot drink at a coffee shop and settled in.

After reading and trying not to sleep for three hours I finally was able to check in. Once in the dorm, which is filled only with folks here for the conference, I remembered theater kids are super loud. ESPECIALLY when hundreds are pushed together onto one campus. I’ve thought about 18-year-old me a lot this week, back when I was an actor, and I shiver. Luckily living with my two kids has trained me to sleep through anything. And sleeping, undisturbed by anyone wetting the bed or having bad dreams has been fantastic.

Tuesday I got to meet my great director, Ben Gonzalez, who teaches at Washington State University and then we sat all day watching auditions. It was like the marathon day at the SF Olympians auditions, but this time I knew NO ONE. Faces were hard to keep track of so I had to trust the little stars I put next to people’s names. We got all of our first choices and my cast is SO great. I’ll try and get a picture with all their young faces, it’s funny to have 18 year olds play 40-50 year olds, but they’re killing it.

Tuesday night I got to watch scenes that the various school brought in and I was especially impressed with a slowed down fight sequence one school had added to Sarah Ruhl’s Dead Man’s Cell Phone. So creative and hilarious. It really made me think about how much liberty people can take without changing the play.

Yesterday I got to sit in on two great workshops, Finding Face: A Playwriting Workshop for Writers and Actors taught by Kamarie Chapman, a Adjunct Professor with Western Washington University. It was a hoot and I left with a fun way to deepen characters and to create them. I am going to steal so much of this workshop and keep it in my back pocket for a day when I might be teaching workshops of my own. After that, because the stars have apparently aligned to help me with the toughest project currently on my plate, the playwright EM Lewis taught the workshop: Writing Our Own History: A Playwriting Workshop. I can’t wait to share all of her insights with my Loud & Unladylike ladies!

After the worksop, I sat in on the reading of the full-length play award winner, Nicole Greene’s, play Death Would Serve Me, a history play set in World War I, because those stars are apparently working overtime in my favor. The respondents, EM Lewis, Jayne Wenger, and David Moberg, had such thoughtful words to share about the piece, and even though they weren’t talking about a play I had written, I learned a whole lot.

Then we had a playwright reception, which was so great because while there are hundreds of actors all over the place, it’s hard to locate the handful of playwrights here. I was really excited about how many of the playwrights invited are women. Of the 14 honored playwrights, NINE of them were written by women. I’m really enjoying meeting so many new people that create theater, the other writers especially.

After the reception, I had rehearsal, which Ben, my director completely impressed me with. Again, he was doing some things that I can’t wait to steal!

My final activity of the day, before I passed out in my little dorm room twin bed, was attending and speaking at the Planet Earth New Play Festival presentation. The same group that partnered with PlayGround this past fall held a competition for college students, and got to see the same eye opening film that the PlayGround writers pool did back in Berkeley. I talked about my inspiration and process for writing Reading Babar in 2070 and it was pretty fantastic to get up and talk in front of people again, almost makes me miss being an actor.

Today is nearly as full with readings, rehearsals, and a production. They’re keeping me busy up here, but for someone who always has to split her time between theater and rearing children, it’s been very special to concentrate all of my focus to one place. Also makes me excited to get home and hug my kids.

Hope to catch you up again later, maybe even with some pictures! Until then, have a good one!

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!

Leaving bright and early tomorrow for a week long theater conference up in Washington State! So excited! And also a little sleepy in anticipation from waking up tomorrow at 4am for my flight. This will be my first time this long away from my kids AND the first time I’ll be traveling for theater. My ten-minute play MOM’S HAM is a semi-finalist for best ten-minute play and it will be presented at the conference! If it moves to the next round I’ll get to go to Washington DC for the April conference. Weeeee!

I’ll try to post pictures and updates as the week progresses, but I’m not sure how the week will go as far as free time is concerned. If I can’t post during, there will be a summary at the end so stay tuned for more!

It’s come to my attention that there are a number of super rad playwriting opportunities for local Bay Area writers right now, and if you don’t know about them, you really should. Take a look:

San Francisco Theater Pub’s March Show – ON THE SPOT – deadline March 1, 2015

San Francisco Theater Pub is taking resumes from playwrights, directors, and actors for their March show, ON THE SPOT. I’ve never not had a blast at a SF Theater Pub show and so I highly recommend throwing your name in the mix. Here are the details from their website:

ON THE SPOT

A Night of Brand New Works by Emerging Playwrights!

Seven playwrights are put “on the spot” and given 24 hours to write a new ten minute play. They are assigned two-four actors, a director, and given a line of dialogue, a prop, and one set piece they must incorporate into their script. TheaterPub will produce these plays at PianoFight’s incredible new venue on March 23, 24, 30 & 31.

Are you a playwright looking to challenge yourself? Are you a director who is quick on your feet and full of ideas? Are you an actor who likes performing in bars? Then this show was MADE for you!

If you’re interested, please email Artistic Director Meg Trowbridge (thesingingwriter@gmail.com) with the following information by March 1st:

• Name
• Contact info
• Resume/Headshot
• Desired roles (playwriting, directing, or acting- or combination)

Confirmation you are available on the following days: Rehearsals: March 14, 15, 21, 22 (12pm-6pm), Performances: March 23, 24, 30 & 31 (6:30pm-10:00pm)

We’d love to see some new faces on stage or on the page, so if you have a friend you know who is looking to get involved with us, please forward them this post!

Those Women Productions – In Plain Sight: Stories you never knew you never knew – deadline March 8, 2015

Those Women Productions is looking for one-act plays from local writers for a production slated to open Labor Day weekend. Here are the details:

Those Women Productions is seeking one-act plays from local writers for In Plain Sight: Stories you never knew you never knew, a collection of original short plays to be given a full professional production at the Metal Shop Theater in Berkeley. The show will open Labor Day weekend 2015 and will run for 7-9 performances. We are looking for scripts that fit our mission to bring hidden truths of gender and power to the stage. Plays should offer new takes on old tales, reimagining a story from world mythology and/or classic literature. We are particularly interested in scripts that bring marginalized characters and storylines to the center of the action. All plays must stand on their own and have the potential to appeal to a broad audience, including those not familiar with your source material.

• Length: 10 – 30 minutes
• Cast: no more than 5.
• Deadline for submissions: March 8, 2015
• Scripts may be produced or unproduced. If previously produced, include production history in the body of your email.
• Send us no more than two scripts.

To submit:

• Email ThoseWomenProductions@gmail.com with a blind copy of your script(s) attached as Word or PDF documents. Author’s name should not appear anywhere on the script but each page of the script should include the title of your play. Number your pages please!
• Include the title(s) of your play(s), the author’s name and your full contact information in the body of your email, and please affirm that you are a San Francisco Bay Area resident and would be available to attend some rehearsals and one or more performances of your play if it is selected. Rehearsals will be scheduled evenings and weekends during August and early September in Berkeley and/or Oakland.
• Questions? Email: ThoseWomenProductions@gmail.com
• Performance dates (tentative): September 4-20.

Selected scripts announced in mid-April. Stipend.

Directors for In Plain Sight will include Norman P. Johnson, Christine Keating, and TWP cofounder Elizabeth Vega. In addition to 2-4 scripts selected through the open call, the production will include two short plays by TWP cofounder Carol Lashof.

Feel free to contact us at ThoseWomenProductions@gmail.com if you have any questions, and thank you for sharing your work with us!

And of course…

Loud & Unladylike presented by DIVAfest – 2016 Festival – Deadline February 15, 2015

Loud & Unladylike presented by DIVAfest is accepting proposals for full length plays until February 15th! Here are those details:

Loud and Unladylike, presented by DIVAfest, is taking submissions for new works for the 2016 festival from January 15-February 15, 2015. In addition to quality of submissions, we will be considering the appeal and interest of the subject, in order to create a more diverse and wide-ranging festival, bringing to life the neglected stories of real women who made history.

Loud and Unladylike is open to playwrights who identify as female, from the Bay Area (writers from other locations may be considered, but travel will be at their own expense).

Please send the following documents as attachments in one email, as separate .doc or .pdf files, to LoudandUnladylike@gmail.com. Submissions will undergo an objective blind reading. Therefore, do not include your name or identifying info on the proposal or writing sample. You are welcome to submit up to 3 proposals; please send each in a separate email.

Include the following:

• Resume/bio, with your contact info (email and phone number).
• 10-page sample of your best theatrical writing (ideally in a similar style to what you plan to use for your proposed script).
• Proposal, 1 page max: Name and description of the historical woman you want to write about, why you want to write about her, and a description of the play you plan to write.

Also let us know, in your email, if you would be interested in working with the festival in the future in another capacity. Participation in other capacities is not required for playwrights, but we take a special interest in writers who can make other contributions to the festival. We are always looking for people to help with:

• Producing
• Serving as script-readers on the literary committee
• Assisting with box office
• Acting
• Assisting with publicity

What we’re looking for in a successful submission:

• Writing quality, both in proposal and writing sample.
• Prior playwriting experience, particularly writing work on commission (not required).
• Your ability to follow directions! Being careful about details like file formatting and adherence to page limits helps us tremendously, and makes you look good.
• How interesting the play’s subject and script proposal are. We want to showcase diverse range of historical personages and writing styles.

What Loud & Unladylike is offering:

• Two staged readings of your play, with time between readings for rewrites. The 2016 Festival will run June 23-25th and July 7-9th in the Studio at the the EXIT Theatre. Assistance in finding a director and actors.
• Four meetings between September 2015 and June 2016 to share pages of the play and brainstorm with founders Claire Rice and Rachel Bublitz.
• There are two spots available for 2016, one spot has been claimed by Tonya Narvaez, the Production Manager for the 2015 festival.
• Publication of your script following the readings by the EXIT Press.

What happens after you hit ‘send’?

Submissions will be read by the Literary Manager and a committee of script readers between February 15 and April 15, 2015. From the committee evaluations and scores of the proposals, the Literary Manager will then select the top proposals from this process. These will then be read blind and ranked by L&U’s founding production team (Rachel Bublitz, Tracy Held Potter, and Claire Rice). After they are ranked, they will be unblinded and the final proposals will be chosen and playwrights will be contacted.

Thank you for your interest, and good luck!

Okay folks, three great places to submit your work, GET ON IT!