NATIONAL ENDOWMENT FOR THE ARTS Theatre Communications Group

Transcription

1 NATIONAL ENDOWMENT FOR THE ARTS Theatre Communications Group t h e at r e r e s i d e n c y p r o g r a m f o r p l ay w r i g h t s 2006 round 9 The NEA/TCG Theatre Residency Program for Playwrights, jointly developed by Theatre Communications Group, the national organization for the American theatre, and the National Endowment for the Arts, affords playwrights the opportunity to create new plays in residence at a host theatre and to become an integral part of the theatre s artistic life and community activities. The Theatre Residency Program for Playwrights places playwrights at the center of the creative process, adding artistic depth to institutions and bringing the writer and community together. Playwright residencies are made possible by major support from the National Endowment for the Arts, and supported, in part, by The Ford Foundation s New Works program. Eleven playwrights will receive $25,000 each in support of the residencies. In addition, eleven host theatres will be provided with $4,500 each to enhance their ability to support the work of the resident playwright. Applicants will be notified after February 28, 2007.

2 Ov e rv i ew Recognizing that theatre institutions want to support and provide homes for artists, and that artists have a reciprocal role to play in helping to strengthen theatres, the National Endowment for the Arts (NEA) and Theatre Communications Group (TCG) have jointly developed a residency program for playwrights that gives them the opportunity to create plays with specific theatre organizations while integrating them into the life of the theatre and the community. The program is intended to forge new artistic alliances or advance long-term relationships, benefiting playwrights, host theatres and their communities. Since a primary goal of this program is to serve individual, unaffiliated playwrights, this opportunity is not intended for playwrights who already have paid staff positions with theatres. Playwright residencies are made possible by major support from the National Endowment for the Arts, and supported, in part, by The Ford Foundation s New Works program. Recipient playwrights will receive $25,000 each in support of a residency. Host theatres will be provided with $4,500 to enhance their ability to support the work of the resident playwright. Expenses may include costs related to the playwright s development process, including laboratory work, research, workshops and fees for collaborating artists involved in developmental activities. Expenses also may include transportation, housing and per diem for the playwright as well as staff time devoted to the residency. For a successful residency, the program advises host theatres and playwrights to fully discuss mutual expectations, requirements and logistics (schedule, housing, travel, etc.) related to the residency prior to submitting this application. The program encourages residencies between playwrights and theatres who live in the same community, as well as playwrights who live a distance from the host theatre. If applicable, the program strongly encourages host theatres to either provide or help facilitate affordable housing for the playwright. The program funds for the theatre may be used for a variety of residency related expenses, which can include the playwright s travel and housing. To address needs for additional support to subsidize travel and housing costs, or ongoing life needs such as health care insurance, child care, or elder care, participating playwrights may apply to the program for limited supplemental funds. (See the Supplemental Residency Funds section on page 3 of the guidelines.) The central focus of the playwright s residency must be the development of a new play or adaptation in collaboration with the host theatre. This program supports text-driven work, in which a playwright is the originating artist. Two playwrights may apply as a team, dividing the award. However, the team must have an established history of working together and meet the eligibility requirement of a previous professional production or publication. Plays with music will be considered, but musicals and operas are not eligible. To be considered, the residency must also include a community outreach component. A broad range of outreach activities will be considered, including, but not limited to, research related to the proposed project, mentoring activities, adult education classes, master classes or collaborations with community members. Activities which show the potential to challenge and enrich both the playwright and the community and which are organic to the host theatre s central mission are strongly encouraged. Although not required, the playwright and host theatre may elect to incorporate additional activities which will further involve the playwright in the theatre s ongoing artistic life. Production of work during residency is not a requirement of this program. Recipients will be notified after February 28, 2007 and residencies must be completed within 18 months of the earliest start date. A total of six months (not necessarily consecutive) must be dedicated to the proposed project, with a minimum of three months (66 days) spent on-site at the host theatre. A complete timeline is located on page three of the guidelines. Eligibility Criteria To be eligible, a playwright must: be a citizen or permanent resident of the United States at the time of application; have had a full-length play professionally produced and/or published in the United States at least once in the last 5 years. (Self-publications and student publications do not meet the eligibility criteria.) Playwrights who have paid staff positions with a theatre may not apply for a residency. Previous playwright recipients of the Theatre Residency Program for Playwrights are not eligible to re-apply in this round. Playwrights may apply for a residency at any host theatre, provided the theatre meets the following requirements: United States not-for-profit, tax-exempt status; Either (1) a minimum of five years as a professional producing organization, having produced a minimum of five full productions during that period or (2) having produced at least two full productions per season for the last three years; Demonstrated history of developing and producing new plays; Professional orientation and high artistic standards; History of mounting its own theatre productions; Minimum total operating budget of $150,000 in the most recently completed fiscal year. In-kind contributions and services may not be applied to meet this minimum. Theatres may not host two TRPP-supported playwrights concurrently and are only eligible to participate in the program twice within five rounds. If you are in doubt about the end date of an earlier residency, consult David Nugent, Artistic Programs Associate, , ext. 281, or grants@tcg.org. Proposed projects may not be funded by the NEA for the same costs during the same or an overlapping time period. Applicant playwrights and theatres are encouraged to ensure in the application that NEA funds have not been or will not be requested by any organization for the same project expenses. page 2

3 Application Process Applicants must file an online Intent to Apply Card no later than July 7, Go to and click on Artistic Programs. If you do not have internet access please contact David Nugent, Artistic Programs Associate, ext. 281, for assistance. Applications must be postmarked no later than July 31, Applications submitted without filing of an Intent to Apply will not be considered. Applications must be jointly developed by the playwright and host theatre, and submitted by the playwright, who is also the application contact. Theatres may support only one application in each round. Multiple applications will not be considered. It is expected that the host theatre and the playwright have discussed their overall intentions for the proposed residency before the playwright submits an application, and that the application reflects their joint intentions and plans for the residency. Faxes, incomplete applications and applications not in the required format will not be accepted for review. Please see the Application Checklist on pages 4 and 5 of the guidelines for a listing of the required support materials. WORK SAMPLE: One play only will be submitted for review. Any play may be selected, regardless of whether it has received a production. Samples reflecting the objectives of the proposed project (in style, content or approach) are preferable. Applicants are strongly encouraged to submit a play which has been written within the last five years. If an earlier work is chosen, the reason for the selection must be stated on the application form. If the proposed project is an original play, we discourage the submission of an adaptation as the work sample. Since submitted plays will be evaluated for artistic achievement, the program also discourages the submission of works-in-progress. Please send three unbound, paginated copies of the work sample, in single-sided manuscript form. Two copies must make no reference to the author, production history, cast lists, etc. Only the title of the play should be on the cover page. On the cover page of the third copy, list the title of the play, year in which it was written, playwright s name and name of the host theatre. Applicants must also submit one copy of a 20-page excerpt from the work sample (excerpted pages need not be consecutive). For the excerpt, provide a cover page listing the title of the play, year in which it was written, playwright s name, host theatre s name, the page numbers excerpted, a list of characters briefly described and 1 2 paragraphs putting the excerpt in context for the readers. The work sample must be in English, typewritten or word- processed in typeface no smaller than 10 point Times New Roman, paginated, double-spaced between speeches and on 8.5x 11 white paper. If an excerpt from a published work is submitted, the excerpt must be limited to the equivalent of 20 original manuscript pages. Enclose a self-addressed, stamped envelope in order to have the scripts returned. STATEMENT OF COMMITMENT: The host theatre must submit a Statement of Commitment to the proposed residency (included in application packet) signed by the artistic and managing leaders, which addresses the following: (1) the personnel, activities and resources which the theatre will provide in support of the playwright s residency; (2) the theatre s history of developmental activities; and (3) a list of the theatre s principal administrative and artistic staff. The Statement of Commitment and other accompanying materials required from the host theatre (see the Application Checklist on pages 4 and 5 for details) may either be submitted under separate cover with a copy to the playwright, or as part of the playwright s application package. All materials must be postmarked by the July 31, 2006 application deadline. Supplemental Residency Funds In cases where the playwright lives a great distance from his or her host theatre, the recipient playwright may submit an application for supplemental residency funds. These limited funds are intended to subsidize some of the additional travel and housing costs that may be needed by recipient playwrights, in order not to divert funds awarded to them. Each recipient will also be eligible to receive up to $1,000 to support ongoing life needs (health insurance, child care and/or elder care). Requests for supplemental funds will be considered after the recipients have been chosen. Forms will be provided at that time. Very limited funds are available in this category and there is no guarantee of supplemental funding. Playwrights Convening Recipient playwrights will be convened prior to TCG s 2007 National Conference (June 6-9 in Minneapolis/St. Paul, MN) to meet and share residency experiences. Subsequent to the convening, during the National Conference, the playwrights will have the opportunity to be introduced to the larger field. Timeline July 7, 2006 Deadline for online Intent to Apply July 31, 2006 Postmark Deadline for application and all accompanying support materials February 28, 2007 Notification of applicants March 15, 2007 Earliest start date for residency August 15, 2008 Deadline for completion of residency period tba June 2007 Recipient Playwrights Convening, prior to TCG s National Conference June 6-9, 2007 TCG s National Conference, Minneapolis/St. Paul, MN page 3

4 Selection Process In the first stage of the selection process, the applicants work samples will be reviewed, in full, by a national group of independent theatre professionals. A national panel of independent theatre professionals, appointed by TCG and approved by the NEA, will then make final selections. The review process will be based upon the following criteria: Artistic excellence and artistic merit of the applicant playwright; Artistic excellence and artistic merit of the host theatre company in which residency is to occur and the company s demonstrated commitment to the project; Artistic merit of the proposed residency; Potential benefit and value of the residency to the playwright, theatre and the public; Evidence of commitment, ability and a clear plan to carry out the various components of the residency. Residency Requirements The playwright must dedicate a total of six months time (132 days, not necessarily consecutive) within the 18-month program time frame to the proposed project, at least three months (66 days) of which must be spent on-site at the host theatre. On-site dates are those days that the playwright works within the theatre facility, either in meetings, rehearsals, workshops, or also involved in outreach activities. To allow for weekends and days off, we calculate a month s worth of time on the program to be the equivalent of 22 days. Although 66 days is the minimum number to be spent on-site, the program encourages residencies that are longer than the minimum on-site requirement and for extended periods of time. The residency must occur between March 15, 2007 and August 15, Applications will be evaluated on the basis of the information provided. Recipients may not makes changes in the residency time frame or activities without advance written approval from TCG. An interim report (provided by TCG), completed by the playwright, is required no later than midway through the residency period. A final report (provided by TCG), completed by the playwright, is required no later than 60 days following the completion of the residency period. A final report (provided by TCG), completed by the host theatre, is required no later than 60 days following the completion of the residency period. Funds to the playwright will be distributed in three installments: $10,000 upon TCG s receipt of the signed letter of agreement; $10,000 upon TCG s acceptance of the interim report; and $5,000 after the final report has been accepted. Funds to the theatre will be distributed in two installments: $2,250 upon TCG s receipt of the signed letter of agreement and $2,250 after the final report has been accepted. Recipients must notify TCG as far in advance as possible about the scheduling of readings, workshops and performances supported by, or resulting from, the residency. The following credit must appear in the host theatre s program and all other appropriate printed materials in connection with any public developmental activities, including workshops and readings or premiere productions which may result from the Residency Program: [Name of playwright s] [name of play] [is being/was] developed with support from the Theatre Residency Program for Playwrights, a project of the National Endowment for the Arts and the Ford Foundation s New Works program, developed and administered by Theatre Communications Group. The host theatre shall have a right of first refusal, exercisable within six (6) months following acceptance of the final report (the Option Period ), to notify the playwright of its intention to produce the play developed during the residency. Such production shall be done in accordance with an agreement mutually acceptable to the playwright and the host theatre, and shall be in keeping with general theatrical industry standards. If, during the Option Period, the playwright receives an offer to produce the play from an organization other than the host theatre, the playwright must notify the host theatre, in writing, of such offer and the host theatre shall have thirty (30) days within which to exercise its right of first refusal. If the host theatre does not elect to produce the play, and there is subsequently a stage production of the play, the playwright will use his/her best efforts to provide that the host theatre will receive the following credit on a separate line on the title page of the house program: Originally developed at [host theatre s name] with support from the NEA/TCG Theatre Residency Program for Playwrights supported, in part, by The Ford Foundation s New Works program. Application Checklist The entire application package should be single-sided and unstapled and in the following order (additional materials will not be forwarded to the selection panel): Original + one copy of the completed, signed Playwright s Statement. Two copies of the playwright s resume, which should not exceed two pages per copy. The resume should indicate when and where each work was produced and the production s director. If applicable, also list co-writers. Credentials should also include publications, training and awards. Two copies of biographical information for other key collaborators, if applicable, not to exceed one page each. Original + one copy of the signed Joint Statement. Original + one copy of the Statement of Commitment questions from the proposed host theatre, signed by the artistic and managing leaders. Two copies of the theatre liaison's bio. Two copies of a statement, not to exceed two pages per copy, conveying the theatre s mission and organizational history. Two copies of the theatre s production history as evidence of having produced a minimum of five productions during the last five years or at page 4

5 least two productions per season for the last three years. This history must list playwrights, play titles, directors and designers, and number of performances for each production. Two copies of the theatre s current season schedule, listing playwrights, play titles, directors and designers, and number of performances for each production or as much information available at the time of the application. Two copies of the enclosed Financial Information Form/TCG Survey. One copy of the appropriate pages of the host theatre s Form 990 or audited financial statements, as evidence of fulfilling the minimum total operating budget requirement. Proof of playwright s citizenship or permanent resident status by submitting a photocopy of birth certificate, voter registration card, passport or green card. Proof of host theatre s not-for-profit status in the United States. Three complete copies of the work sample and one copy of the 20-page excerpt. (See the Application Process section on page 3 of the guidelines for specific instructions.) If the proposed play is based on copyrighted material, two copies of a signed statement that documents the clearance of rights for this project must be submitted. You may submit a copy of the material to be adapted or a synopsis of the same. This material will be shown to the selection panel at their request only. If the proposed project involves music, applicants may submit additional materials (tapes, scores, etc.). However, this material will be given to the selection panel only by request of the panel. For non-traditional work, where the printed text is not enough to judge the excellence of a play, an applicant may describe what it should look and sound like in performance (limit one page maximum). In such cases, the applicant may also submit additional materials to help explicate the piece. These will be shown to the panel on request only. Include a self-addressed, stamped envelope if you wish to have the scripts returned. Note: The Statement of Commitment and accompanying materials from the host theatre may either be submitted under separate cover or together with the playwright s application package. In either case, all materials must be postmarked by the July 31, 2006 application deadline. Send application and accompanying materials to: David Nugent, NEA/TCG Theatre Residency Program for Playwrights, Theatre Communications Group, 520 Eighth Avenue, 24th Floor, For additional information about the program, contact David Nugent, Artistic Programs Associate, , extension 281 or grants@tcg.org. Straight Talk from Emilya Cachapero, Director of Artistic Programs, TCG We field many questions about the intention of the NEA/TCG Theatre Residency Program for Playwrights and whether a proposed residency fits the guidelines. We re including Straight Talk to provide information that will hopefully help assist you in choosing your partner and preparing your TRPP application. This is a residency that involves much more than writing a play. The intention of the program is not only to furnish a playwright with time and resources to develop new work, but to foster a larger relationship with the theatre and its community. Successful applications usually reveal the theatre s commitment to the writer s aesthetic, a well thought-out residency plan and key staff committed to its completion. The stronger applications have fully investigated the relationship between the partners. It s important that the application communicates to the selection panel that the artist and host theatre have discussed the residency goals in depth and can provide a specific schedule and goals. The application should reflect a series of conversations between the writer and the host theatre about mutual goals and expectations. Although 66 days is the minimum number to be spent on-site, the program encourages residencies that are longer than the minimum on-site requirement and for extended periods of time. The primary focus of the residency is to provide the writer with the time and resources to create a new work, although production of the work generated during the residency is not a requirement of this program. In addition, the program hopes that writers will craft outreach activities that will be satisfying for them and which support their residency goals. Previous recipients community outreach work have included research related to the proposed project, leading acting or writing workshops for the community (school system, adult education, community centers, theatre subscribers). The program strongly encourages the writer s involvement in the total life of the theatre in activities that might include hosting audience pre-performance discussions, curating play readings, or attending board meetings and board events. The first part of the selection process includes a review of the playwright s submitted work sample. This work sample should represent some of playwright s strongest writing and ideally point to the playwright s ability to carry out the goals outlined in question #1 of their application. Also bear in mind that the proposed play for the residency will likely be in its initial stages and since a successful work sample should speak to artistic excellence, it is not recommended that an unfinished play be submitted as the work sample. In the application, the host theatre should communicate its track record of success with new play development and discuss the residency in relation to its mission. We hope that this section will help you to better prepare your application. If you have any questions that have not been answered within these guidelines, contact David Nugent, Artistic Programs Associate, at , extension 281, or grants@tcg.org. We look forward to receiving your application. page 5

6 Previous NEA/TCG Theatre Residency Program for Playwrights Recipients Round 1 Robert Alexander at Jomandi Productions, Atlanta, GA Al Brown at Salt Lake Acting Company, Salt Lake City, UT Kia Corthron at Manhattan Theatre Club, Mary Gallagher at Capital Repertory Theatre, Albany, NY Jose Cruz Gonzalez at Childsplay, Inc., Tempe at AZ Jessica Hagedorn at La Jolla Playhouse, La Jolla, CA Julie Hebert at The Women s Project and Productions, Jon Klein at American Repertory Theatre, Cambridge, MA Craig Lucas at Seattle Repertory Theatre, Seattle, WA Robert O Hara at American Conservatory Theater, San Francisco, CA Elaine Romero at San Diego Repertory Theatre, San Diego, CA Caridad Svich at Mark Taper Forum, Round 2 Ricardo A. Bracho at Theatre Rhinoceros, San Francisco, CA Carlyle Brown at The Children s Theatre Company, Minneapolis, MN Bridget Carpenter at Guthrie Theater, Minneapolis, MN Amy Freed at South Coast Repertory, Costa Mesa, CA Ki Gottberg at New City Theater, Seattle, WA McKinley Johnson at Chicago Theatre Company, Chicago, IL Barbara Lebow at Alabama Shakespeare Festival, Montgomery, AL Eduardo Machado at Theater for the New City, Lynn Nottage at Freedom Repertory Theatre, Philadelphia, PA Octavio Solis at Dallas Theater Center, Dallas, TX Alice Tuan at East West Players, Paula Vogel at Arena Stage, Washington, DC Round 3 Luis Alfaro at Borderlands Theater, Tucson, AZ John Belluso at Trinity Repertory Company, Providence, RI Sharon Bridgforth at Hyde Park Theatre, Austin, TX Jo Carson at 7 Stages, Atlanta, GA Nilo Cruz at McCarter Theatre Center for the Performing Arts, Princeton, NJ Russell Davis at The People s Light and Theatre Company, Malvern, PA Leo Garcia at Santa Fe Stages, Santa Fe, NM Lillian Garrett-Groag at Center Stage, Baltimore, MD Daniel Alexander Jones at The Theater Offensive, Boston, MA Ruth Margraff at HERE Arts Center, Toni Press-Coffman at The Phoenix Theatre, Indianapolis, IN Diana Son at Mark Taper Forum, Round 4 Eric Bogosian at McCarter Theatre, Princeton, NJ Erik Ehn at Perishable Theatre, Providence, RI W. David Hancock at Hyde Park Theatre, Austin, TX Jeffrey Hatcher at The Children s Theatre Company, Minneapolis, MN Naomi Iizuka at Actors Theatre of Louisville, Louisville, KY Julie Jensen at The Salt Lake Acting Company, Salt Lake City, UT Lisa Kron at Center Stage, Baltimore, MD Carl Hancock Rux at The Foundry Theatre, Christopher Shinn at Hartford Stage Company, Hartford, CT Octavio Solis at ShadowLight Productions, San Francisco, CA Heather Woodbury at The Joseph Papp Public Theater, Marian X at InterAct Theatre Company, Philadelphia, PA Round 5 Eliza Anderson at Trinity Repertory Company, Providence, RI Bridget Carpenter at Perseverance Theatre, Douglas, AK Jorge Ignacio Cortiñas at New WORLD Theater, Amherst, MA Nilo Cruz at New Theatre, Coral Gables, FL Tom Donaghy at Philadelphia Theatre Company, Philadelphia, PA Melissa James Gibson at Soho Repertory Theatre, Prince Gomolvilas at New Conservatory Theatre Center, San Francisco, CA David Grimm at Hartford Stage Company, Hartford, CT Josh Kornbluth at San Francisco Mime Troupe, San Francisco, CA Cherylene Lee at East West Players, Nancy Nevarez at Puerto Rican Traveling Theater, Bernardo Solano at San Diego Repertory Theatre, San Diego, CA Round 6 John Belluso at Atlantic Theater Company, Eric Coble at Cleveland Play House, Cleveland, OH Anne Galjour at Brava Theater Center, San Francisco, CA Carson Kreitzer at Eye of the Storm Theatre, Minneapolis, MN Carter William Lewis at Studio Arena Theatre, Buffalo, NY OyamO (Charles F. Gordon) at Madison Repertory Theatre, Madison, WI Sung Rno at Ma-Yi Theater Company Alva Rogers at The Joseph Papp Public Theater/New York Shakespeare Festival, Edwin Sanchez at Hartford Stage, Hartford, CT Tazewell Thompson at People s Light and Theatre Company, Malvern, PA Annie Weisman at South Coast Repertory Theatre, Costa Mesa, CA Marc Wolf at McCarter Theatre, Princeton, NJ Round 7 Roberto Aguirre-Sacasa at Second Stage Theatre, Idris Goodwin at Free Street Theater, Chicago, IL Stephen Adly Guirgis at LAByrinth Theater Company, Yehuda Hyman at Cornerstone Theater Company, Rolin Jones at Yale Repertory Theatre, New Haven, CT Rogelio Martinez at INTAR, John O'Keefe at Odyssey Theatre Ensemble, Dael Orlandersmith at the Wilma Theater, Philadelphia, PA J.T. Rogers at Salt Lake Acting Company, Salt Lake City, UT Roger Guenveur Smith at Center Theatre Group, Round 8 Lisa D Amour at Infernal Bridegroom Productions, Houston, TX Joann Farias at Miracle Theatre Group, Portland, OR Kirsten Greenidge at Woolly Mammoth Theatre Company, Washington, DC Noah Haidle at South Coast Repertory, Costa Mesa, CA Jordan Harrison at Empty Space Theatre, Seattle, WA Heather McDonald at Cleveland Play House, Cleveland, OH Han Ong at Ma-Yi Theater Company, Robert Earl Price at 7 Stages, Atlanta, GA Lisa Schlesinger at PushPush Theater, Decatur, GA Regina Taylor at Alliance Theatre Company, Atlanta, GA Naomi Wallace at Actors Theatre of Louisville, Louisville, KY National Endowment For The Arts The National Endowment for the Arts exists to foster, preserve, and promote excellence in the arts, to bring art to all Americans, and to provide leadership in arts education. Established by Congress in 1965 as an independent agency of the federal government, the Endowment is the nation's largest annual funder of the arts, bringing great art to all 50 states, including rural areas, inner cities, and military bases. The Ford Foundation The Ford Foundation is a resource for innovative people and institutions worldwide. Its goals are to: strengthen democratic values, reduce poverty and injustice, promote international cooperation and advance human achievement. Theatre Communications Group (TCG), the national organization for the American theatre, offers a wide array of services in line with its mission: to strengthen, nurture, and promote the not-for-profit American theatre. Through its artistic, management, and international programs, advocacy activities, and publications, TCG seeks to increase the organizational efficiency of its member theatres, cultivate and celebrate the artistic talent and achievements of the field, and promote a larger public understanding of and appreciation for the theatre field. TCG has over 430 member theatres nationwide. For more information about TCG s programs, call to request the TCG Programs and Services Guide and the Publications Catalogue, or log onto TCG s Web Site at