OPPORTUNITIES FOR PLAYWRIGHTS

© 04/29/2010 - CHICAGO DRAMATISTS

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MISSION & METHODS

MISSION

Chicago Dramatists is a professional, not-for-profit theatre, dedicated to the development and advancement of playwrights and new plays. Founded over a quarter of a century ago in 1979, its mission is to discover, nurture, promote, and produce the plays and playwrights that will contribute to the American theatre repertory and enrich the lives of future audiences. Chicago Dramatists is a place where playwrights, theatre artists, audiences, producers, and donors join forces to build the theatre of the future.

Chicago Dramatists provides both beginning and established dramatists with opportunities to expand their professional affiliations, showcase their work to the theatre marketplace, and collaborate with actors, directors and audiences during the creative process. The organization offers theatres and audiences a resource to discover the plays and playwrights that will shape the theatre of the twenty-first century.

METHODS

The “Research and Development Department” of the Chicago theatre industry, Chicago Dramatists conducts a variety of year-round programs that encourage all theatrical styles and all text-based playwriting methods. The theatre's most fundamental artistic strategy is to form associations with playwrights over a long-term period. It is for this reason that most of the theatre’s work is with playwrights in its two membership programs.

Chicago Dramatists recognizes that all plays and playwrights are distinct entities, and therefore may need or want different developmental programs and methods. Because plays are written for the stage, Chicago Dramatists emphasizes performance, production, and audience involvement as essential tools to growing playwrights and new plays. The theatre also embraces the concept that writers can grow by helping other writers grow.

Chicago Dramatists is committed to a supportive, professional work environment that fosters diversity, collaboration, the freedom to fail, the ambition to succeed, and the pursuit of excellence; to employing the highest quality theatre artists; and to the inclusion of minority and disadvantaged playwrights, theatre artists, and audiences in all its programs.

In the last year alone, Chicago Dramatists nurtured the work of over 500 playwrights through its readings, productions, workshops, and classes. Participation in Chicago Dramatists’ programs is larger than that of most, established, small theatres, with an annual total involvement of over 11,000 playwrights, theatre artists, students, and audience members. The theatre hires over 500 actors, directors, and other artists each year, making it one of the largest employers of theatre artists in Illinois.
RECENT ACCOMPLISHMENTS

Chicago Dramatists' most important sign of success is its nurturing of compelling, challenging and diverse plays that move on to garner productions, earn awards, and define the American theatre.

Alumni of Chicago Dramatists include Tina Fey (30 Rock, Saturday Night Live), Rick Cleveland (writer & producer of The West Wing, Six Feet Under, Mad Men), and Rebecca Gilman (Pulizter nominee and Dramatists Guild Council member), to mention only a few. Current Resident Playwrights include Keith Huff (playwright, A Steady Rain), Roger Rueff (screenwriter, The Big Kahuna), Lydia R. Diamond (playwright, The Bluest Eye, Stick Fly), and Mary Ruth Clarke (screenwriter, Meet the Parents), among 36 others.

Every year, Chicago Dramatists' plays earn literally hundreds of professional accomplishments. These include productions, awards, commissions, readings, and other honors at large and small theatres in Chicago and around the world; enriching the lives of thousands of theatre patrons, exporting Chicago voices across the globe, and significantly boosting Chicago Dramatists’ reputation as one of the nation's foremost new play development theatres.

Over the last several years:

• Chicago Dramatists’ playwrights were honored with a Guggenheim Fellowship, a MacArthur Genius Grant, the Jane Chambers Playwriting Award, the Osborn Award, an Olivier Award nomination, and numerous Joseph Jefferson Awards for New Work and Illinois Arts Council Playwriting Fellowships, to mention only a few. In 2002, Resident Playwright Alumnae Rebecca Gilman’s play The Glory of Living (developed in part at Chicago Dramatists) was one of two runners up for the Pulitzer Prize in Drama.

• Chicago Dramatists’ playwrights were supported through new play commissions from Actors Theatre of Louisville, Berkeley Repertory, New York Theatre Workshop, Honolulu Theater for Youth, Goodman Theatre, Steppenwolf Theatre, Nebraska Repertory, Black Ensemble Theatre, and Cincinnati Shakespeare Festival, among many others.

• Chicago Dramatists’ playwrights received countless full productions in Chicago at the Goodman, Steppenwolf, Northlight, Victory Gardens, Stage Left, Bailiwick, Raven, A Red Orchid, Circle, Curious Theatre Branch, Factory, American Theatre Company, Pegasus Players, Teatro Luna, eta Creative Arts Foundation, Live Bait, Collaboraction, the side project, and many other theatres.

• Chicago Dramatists’ playwrights received hundreds of productions around the nation—at Seattle Repertory, Magic Theatre (San Francisco), Geffen Playhouse (L.A.), Interact Theatre (Philadelphia), Arena Stage (DC), The Kennedy Center (DC), Actors Theatre of Louisville, Alliance Theatre (Atlanta), Mixed Blood Theatre (Minneapolis), Barter Theatre (Abingdon, VA), The Road Theatre (L.A.); and MCC Theatre, 29th Street Rep, Lincoln Center, The Public Theatre, Harlem Theatre Company, and Ensemble Studio Theatre (all in New York City).
PLAYWRIGHT MEMBERSHIPS - The Playwrights' Network

- A 3-TIERED MEMBERSHIP -

The only program of its kind in the U.S.A., The Playwrights Network offers an artistic home and play development opportunities to beginning and emerging playwrights living in Chicago and around the country. In addition to discovering new voices, the goals of this program are to extend the theatre’s impact beyond Chicago, provide developmental and networking resources to playwrights who are underserved due to their geographic location, and offer all playwrights a professional association with Chicago Dramatists and (by extension) the Chicago theatre community.

The Playwrights Network is open to all playwrights who wish to advance their skills, plays and careers through a professional development program. From rank beginners to accomplished writers, all are welcome. There is no screening. All aspects of this program are managed by the Director of The Playwrights Network.


TIER 1 - NATIONAL NETWORK MEMBERSHIP

$125 annual fee – For playwrights who live beyond 100 miles of Chicago. Benefits: Script Lab (limited to two script submissions per year), consideration for readings and productions, the annual summer Master Class, monthly e-newsletter, and access to a members-only area of the theatre’s web site (including audiotapes of panels and speakers). 1-year terms may begin at any time.


TIER 2 - CHICAGO NETWORK MEMBERSHIP

$200 annual fee – For playwrights who live within 100 miles of Chicago.



DEVELOPMENT OPPORTUNITIES

SCRIPT LAB – Available only to Network Playwrights, Script Lab provides writers with written script critiques from the theatre’s Resident Playwrights and artistic staff. Plays may be of any length or type. Chicago Network Playwrights may submit three plays per year; however, only one play at a time. The response time is 6 weeks. (Resident Playwrights may elect, instead of writing critiques, to conduct one-on-one, 90-minute dramaturgical sessions with Chicago Network Playwrights.) Chicago Dramatists retains all scripts in order to consider them for readings and productions. (Scripts will not be returned.)

CONSIDERATION – All plays submitted by Network Playwrights for Script Lab critiques receive consideration for all other Chicago Dramatists' programs (except for workshops, publication, and the online play catalog, which are exclusive to Resident Playwrights). These include the weekly Saturday Series of public readings, private table readings, productions, referrals to producing theatres, and collaborative projects with other theatres. Since 1998, the theatre has produced six plays that were developed through The Playwrights Network. On average, one Network play a month is read in The Saturday Series.

NETWORK PROGRAMS – The First Draft Series is a program exclusive to Chicago Network Playwrights. The semi-annual Deadline Workshop and the monthly Instant Theatre are available to both Chicago Network Playwrights and Resident Playwrights. The annual summer Master Class is available to all Network Playwrights, who also have full access to a members-only area of the theatre’s web site, which includes audio recordings of panels and speakers. Chicago Network membership meetings are held three times a year, usually taking the form of an open panel discussion with local artists and theatres or a fireside chat with an important theatre leader. See pages 9-19 for full descriptions of all programs.

The more actively Chicago Network Playwrights attend and participate in programs, the more they will benefit and the more attention they will receive. Chicago Network Playwrights are strongly encouraged to attend the Saturday Series and get to know the staff and the Resident Playwrights.

OTHER BENEFITS

FREE ADMISSION – Upon display of their Chicago Dramatists' ID card, Chicago Network Playwrights receive free admission to all Saturday Series events, and one performance of every Chicago Dramatists' production. (Members are expected to pay to attend benefit events, which usually offer a reduced price for Network Playwrights.)

$20 DISCOUNT – on most classes, seminars, and special workshops upon display of Chicago Network ID card.

DISCOUNT CARD – Special deals at neighborhood restaurants and businesses, including a special Chicago Dramatists’ discount membership at Writers Workspace (www.writersworkspace.com).

MONTHLY E-NEWSLETTER – Chicago Dramatists sends frequent announcements to Network Playwrights who use e-mail. These include notices of upcoming deadlines on contests and theatres looking for scripts, current Chicago productions by Network and Resident Playwrights, and events at Chicago Dramatists.

FLYERS – on all Chicago Dramatists' programs and events are mailed directly to all Network Playwrights.

PROMOTIONS – Chicago Network Playwrights are encouraged to supply Chicago Dramatists with flyers on their upcoming Chicago productions, readings, and other activities. The theatre is eager to promote these projects, and will display flyers in the lobby, make announcements at the Saturday Series readings, and include announcements in the monthly e-newsletter.

FREE COPYING – of all scripts needed for Chicago Dramatists’ programs.

RULES & REGULATIONS

TERM – Chicago and National Network membership is for one year and is renewable. Terms may begin at any time.

RIGHTS – When producing, Chicago Dramatists uses a form of contract recommended by The Dramatists' Guild, which includes industry-standard provisions for the theatre to receive future royalties and other subsidiary rights. For all other programming and services, Chicago Dramatists requests no fees, royalties or subsidiary rights from any playwright.

REGISTRATION

Playwrights may join The Playwrights Network in person, by mail, or by clicking the link, below. Playwrights are asked to submit a completed Network registration form, accompanied by their credit card information, or a check or money order for the appropriate fee (National Network $125, Chicago Network $200) payable to Chicago Dramatists. If possible, they also should send a playwriting, writing and/or theatre resume or biography. Along with their registration and payment, Network Playwrights may submit one play for Script Lab critique. Network Playwrights receive a dated Chicago Dramatists' ID card, which they are asked to display when claiming discounts and free admission to programs.


TIER 3 - SENIOR NETWORK MEMBERSHIP
(for Chicago Network Members)

$300 annual fee – Limited to five playwrights for a two-year, non-renewable term.

SENIOR NETWORK BENEFITS

a. All the benefits of Chicago Network Membership.
b. No limit to the number of scripts that may be submitted to Script Lab.
c. A two-hour dramaturgical session with Director of The Playwrights Network Robert Koon.
d. A free play-marketing seminar.
e. Individual dramaturgical and career mentoring with Rob Koon and Artistic Director Russ Tutterow.
f. Involvement in program planning and management.
g. Participation in Script Lab as a critique writer.
h. Because membership in this program is selective, it will be a more valuable credit on the playwright’s resume.

Membership in the Senior Playwrights Network is limited to five playwrights for a two-year term. Senior Membership is not renewable; but, it is expected that a number of expiring Senior Network Members will make successful applications to the Playwrights Residency program. Expiring Senior Network Members are also welcome to renew their Chicago Network Memberships.

Admittance to this program is by application, with selection determined mainly by artistic potential and also by applicants’ demonstrated involvement in the theatre’s programming. Only playwrights who have been Chicago Network Members for the last three consecutive years may apply. Applications are accepted every two years.

SENIOR NETWORK APPLICATION PROCEDURE

a. Two plays of any type (at least one of which must be a full-length play), but no adaptations, collaborations, screenplays, or plays for young audiences.

b. 1 to 2-page resume or biography listing playwriting accomplishments and activities, and any experience in related writing or theatrical fields (specifying organizations, locations, and dates). Reviews and programs are welcome, but optional.

c. 1 to 2-page letter of intent describing what the applicant hopes to accomplish through Senior Network Membership.

Submissions are accepted from August 1 to October 1, every two years: 2007, 2009, 2011, etc. Postmark deadline: October 1. Notification: January 1.
PLAYWRIGHT MEMBERSHIPS - Resident Playwright Program

Chicago Dramatists' Resident Playwright program was conceived at the founding of the organization in 1979. It offers an artistic home to the Chicago dramatists who potentially will make significant contributions to the American theatre repertory. Resident Playwrights are beneficiaries of the theatre's fullest and longest-term support; they include a diverse mix of established professionals and promising new writers living in the greater Chicago metropolitan area, with a wide range of artistic and stylistic interests. Admittance to the Resident program is by application, with selection determined by artistic and professional accomplishment or potential.

BENEFITS

PROGRAMS AND SERVICES – At no charge, Resident Playwrights are granted a 3-year renewable term, during which they receive full access to all Chicago Dramatists' development programs and professional services. These include the weekly Saturday Series of public play readings, private table readings, productions, the semi-annual Deadline Workshop, the monthly Instant Theatre, special workshops, festivals, talent coordination, referrals to producing theatres, collaborative projects with other theatres, career counseling, and one-to-one dramaturgy. Three programs available exclusively to Resident Playwrights are workshopping, publication, and the online play catalog.

RESIDENT MEETINGS – Resident membership meetings are held three times a year, usually taking the form of an open discussion on company business or programming, or a fireside chat with an important theatre leader.

REHEARSAL ROOMS – Resident Playwrights also receive free access to Chicago Dramatists' rehearsal rooms (subject to availability) for independent dramaturgical meetings. The theatre will rent its rooms to Resident Playwrights at a reduced rate (pending availability) for rehearsals, auditions, and other projects they are involved in with other theatres.

OTHER BENEFITS -- Resident Playwrights receive all discounts, free admissions and other ancillary benefits provided to Network Playwrights.

RESPONSIBILITIES OF RESIDENT PLAYWRIGHTS

LETTER OF AGREEMENT – Once selected, Resident Playwrights sign a letter of agreement with Chicago Dramatists, which documents the inclusive dates of their 3-year terms, the benefits listed above, and their agreement to meet the following responsibilities: (a) continually write and make use of Chicago Dramatists' programs, (b) actively seek productions and accomplishments outside Chicago Dramatists, (c) provide dramaturgical assistance to fellow playwrights by attending Saturday Series and other programming (logging their attendance on a sign-in sheet at the box office) and by moderating at the First Draft Series, (d) attend three yearly Resident meetings, and (e) participate in fundraising and promotional activities.

SCRIPT LAB CRITIQUES – Resident Playwrights are required to write two critiques per year of plays by Network Playwrights submitted to Script Lab, for which there is no financial reimbursement. The turnaround time for all Script Lab critiques is three (3) weeks or less from the time the Resident agrees to do the critique (not from the time the script is picked up). The theatre pays Resident Playwrights $50 for additional Script Lab critiques they choose to do, provided the turnaround time is under three weeks. Since these additional paid critiques are at the invitation of the Director of The Playwrights Network, it is important that Residents do a good and timely job on the first two (free) required ones, in order for the Director to want to call on them for the paid ones. Also, Resident Playwrights may elect, instead of writing a critique, to conduct a one-on-one 90-minute dramaturgical meeting with the Network Playwright.

PLAYBILL CREDIT – In addition, Resident Playwrights agree to include their Residency in their playbill bios and to secure title page program credit (or the equivalent for publications and for film or television productions) for Chicago Dramatists on all theatrical productions of works which were developed in any manner at Chicago Dramatists, to read as follows: “(play title) was developed in part at Chicago Dramatists.”

RULES & REGULATIONS

FEE – None.

TERM – 3 years, renewable. Terms begin and end on September 1.

QUALIFICATIONS – The Resident Playwright program is open to emerging or established Chicago-area playwrights who wish to develop their skills, plays and careers through Chicago Dramatists' programs. “Chicago-area” is defined as within 100 miles of the Chicago city limits. The program is open to playwrights with demonstrated artistic and professional accomplishment, which should include at least some of the following: productions, workshops and readings at professional theatres; film and television productions; and professional playwriting awards, grants, fellowships, and residencies. (Playwrights with credits only in educational theatre do not qualify.)

SELECTION – Resident Playwrights are chosen by a diverse selection panel, headed by the Artistic Director and consisting of current Resident Playwrights and others appointed by the Artistic Director. Although professional accomplishment is very important, talent and potential are the main criteria. Because these criteria are subjective, the panelists change annually, and applicants may resubmit the same or different plays from year to year.

OUT OF TOWN RESIDENTS – Any Resident Playwright who moves out of town may maintain their Residency (and apply for renewal) by returning to Chicago from time to time to work on their plays and participate in programming. It is understood that such out of town Residents will not be able to participate in programming with the frequency of in-town Residents. Script Lab critiques would still be expected and can be accomplished through e-mail and the postal service. These provisions and this status apply only to in-town Residents who move, not to out of town playwrights applying to Residency for the first time.

RIGHTS – When producing, Chicago Dramatists uses a form of contract recommended by The Dramatists' Guild, which includes industry-standard provisions for the theatre to receive future royalties and other subsidiary rights. For all other programming and services, Chicago Dramatists requests no fees, royalties or subsidiary rights from any playwright.

APPLICATION PROCEDURE
APPLICANTS FOR RESIDENCY MUST SUBMIT THE FOLLOWING:

A. Completed application form (click the link, below).

B. Two plays of any type (at least one of which must be a full-length play), but no screenplays or plays for young audiences and (except for musicals) no adaptations or collaborations. Only scripts accompanied by SASE will be returned.

C. 1 to 2-page resume or biography listing playwriting accomplishments and activities, and any experience in related writing or theatrical fields (specifying organizations, locations, and dates). Reviews and programs are welcome, but optional.

D. 1 to 2-page letter of intent describing (a) what the applicant hopes to accomplish through Residency and how Residency will be used, and (b) how the applicant is familiar with Chicago Dramatists.

E. Letter of recommendation from a theatre or literary professional, written specifically for this purpose.

F. Include SASP if confirmation of submission receipt is desired.

Applications will be considered only when all of the above materials are included. Submissions are accepted annually from February 1—April 1. Postmark deadline: April 1. Notification: September 1.

PLEASE NOTE: Playwrights who are applying for Residency are strongly encouraged to attend Chicago Dramatists' events in order to familiarize themselves with the theatre and its programming, to introduce themselves to the staff and playwrights, and to demonstrate their interest.

RENEWAL PROCEDURE

Resident Playwrights in the final year of their term may apply for another 3-year term by completing a questionnaire, due by April 1, that asks: (a) How have you benefited from your Residency? (b) How have you contributed (or given back) to Chicago Dramatists? (c) How might you perform better as a Resident Playwright? and (d) How might Chicago Dramatists better serve you? The Artistic Director will then schedule an interview with the playwright to discuss the proposed new term. An invitation to renew is at the discretion of the Artistic Director; however, if either the Artistic Director or the playwright wishes (for instance, in cases of disagreement), the playwright may reapply using the original application process of submitting scripts, etc., whereby the application will be reviewed and judged using the original, group process.

In a year end wrap-up of the Chicago theatre scene in 2002, Chicago Reader critic Kelly Kleiman said: "...the real story is a playwriting institution. If you’ve seen a terrific new play by a Chicagoan this year, odds are it came from or through Chicago Dramatists..." -- Kelly Kleiman, Performink
PROGRAMS & RESOURCES AVAILABLE TO RESIDENT & NETWORK PLAYWRIGHTS

Since 1979, over 1,300 plays have been developed through The Saturday Series – plays that are often later produced all across the United States – such as The Glory of Living by Rebecca Gilman (2002 Pulitzer Prize runner-up; MCC Theater, NYC), Eric LaRue by Brett Neveu (A Red Orchid Theatre, 2002, and the Royal Shakespeare Theatre, Stratford, England, 2005), and Hospitality Suite by Roger Rueff, which went on to productions at South Coast Repertory in Costa Mesa, CA, and Victory Gardens Theater in Chicago, and was filmed as The Big Kahuna, starring Kevin Spacey and Danny DeVito.



THE SATURDAY SERIES

The Saturday Series is Chicago Dramatists' oldest and foremost program—a vehicle for a variety of developmental activities, the most prominent of which are public readings of plays-in-progress. Other events in the Saturday Series include 10-Minute Workshops, panel discussions, and readings of plays developed in other Chicago Dramatists’ programs.

Most Saturdays at 2:00, playwrights, theatre artists, and the general public attend the Saturday Series to observe and assist writers in the development of new plays. Interactive audience participation is facilitated through written response sheets and moderated post-reading discussions. Plays in the series are announced in the theatre's quarterly flyers, on its web site, and in the weekly Chicago Reader theatre listings. A $5 donation is requested from the public for admission.

New plays are included in the Saturday Series primarily for developmental purposes, but also for showcasing to theatres and potential producers. A play is scheduled only if the playwright is available to attend the rehearsals, reading and discussion. Playwrights undertake Saturday Series readings only if they wish a public forum for their script (otherwise, private table readings are available), and are expected to promote attendance at their reading. The Artistic Director selects plays for inclusion in this program, which features plays primarily by Resident and Network Playwrights.

Chicago Dramatists encourages minimal staging for Saturday Series readings, which are always directed and rehearsed—anywhere from 1 to 3 rehearsals of 2 to 4 hours in length (but not to exceed 12 total rehearsal hours). The theatre operates under an agreement with Actors' Equity Association, employing union actors for at least half of all roles in the Saturday Series.

PRODUCTIONS

“No production in Chicago theater is prepared with more tender loving care . . . the new plays, developed through readings and workshops, are shown to their best advantage…”
-- Richard Christiansen, Chicago Tribune

For Chicago Dramatists, production is an outgrowth of its many development programs, an essential step in the development process, and a vital tool to growing playwrights and new plays. Chicago Dramatists also produces in order to enrich the cultural life of Chicago, to introduce new work to audiences and the theatre marketplace, and to attract attention to all its programs and playwrights.

Since its founding in 1979, Chicago Dramatists has employed various types of production formats. These have included full seasons of mainstage productions, off-night productions, workshop productions, festival productions, and (for nine years) a showcase of short plays. At present, the theatre produces three full-length plays per season. Chicago Dramatists’ productions are reviewed by the major press and judged by the Joseph Jefferson Awards Committee. Productions are announced in flyers and on the theatre’s web site. Ticket prices range from $15 to $30. Although non-union actors are also hired, Chicago Dramatists employs union actors for production, using an Actors’ Equity Association CAT Contract. With playwrights, the theatre uses a form of contract recommended by The Dramatists’ Guild.

The Artistic Director selects plays for production from works by Resident and Network Playwrights which have been developed to stage readiness through Chicago Dramatists' other programs. The Artistic Director's decisions are informed and assisted by recommendations from the theatre's staff, Resident Playwrights, and other advisors. While variety and diversity are considerations, the most important selection criteria are quality and the estimated potential of a play to move on to the national repertory.

In addition, Chicago Dramatists regularly rents its theatre at affordable rates to emerging theatre companies for production, giving priority whenever possible to companies producing world premieres and works by Chicago Dramatists’ playwrights.

“In a season notable for its large number of exceptional new plays, Jenny Laird’s Ballad Hunter at Chicago Dramatists belongs close to the top of that list.”
-- Hedy Weiss, Chicago Sun-Times

WORKSHOPS – Exclusive to Resident Playwrights

Chicago Dramatists conducts from two to four developmental workshops annually of plays-in-progress by its Resident Playwrights. The purpose of workshopping is to provide a play and playwright with the invaluable experience of an extended rehearsal period (longer than what is spent in preparation for a reading), which is solely dedicated to the development of the play, without the pressures and additional demands of rehearsing for a production.

Most importantly, Chicago Dramatists’ workshops are playwright driven. The playwright decides how long a process will be scheduled, what format the workshop will take, who will direct and act, if there will be a final public reading or not, what aspects of the play the rehearsals will focus on, and of course how the play will grow and be rewritten. Possible schedules a playwright might consider are: (a) a 1-week workshop with five 4-hour rehearsals, weeknights; (b) a 2-week workshop with five 4-hour rehearsals, weeknights, with three days off for rewriting; (c) a 2-week workshop with one week off for rewriting; (d) a 4 to 6-week workshop with 4-hour rehearsals, once a week; (e) a 4 to 6-week workshop with 4-hour rehearsals, twice a week; and (f) other formats a playwright might find useful.

Selection of plays for workshopping is made by the Artistic Director, with preference given, as much as is possible, to plays and playwrights that would especially benefit from this distinctive process. Only Resident Playwrights who are regularly and satisfactorily fulfilling the responsibilities of Residency are eligible for consideration.

Interested Resident Playwrights are requested to submit a 1 to 2-page proposal by July 1 annually, stating specific reasons why they would like to develop a particular play through a workshop. Proposals should state: (a) what the playwright hopes to accomplish, (b) what kind of rehearsal process they envision and why, (c) what kind of schedule they would want (and at least a rough sense of the time of year), (d) if they want a final Saturday Series reading or not, (e) would they want to work with a dramaturg, (f) any special needs, and (g) names (if known) of directors, actors or dramaturgs they might like to work with. Proposals must be accompanied by a full cast breakdown and a copy of the script (if new), though the draft may be rough or even unfinished.

Workshops for the season are announced by August 1. The Artistic Director hires the director and dramaturg, with the approval of the playwright. The workshop director casts the actors, with the approval of the playwright and Artistic Director. Union (AEA) actors are employed for at least half of all roles. If the playwright elects to have a public Saturday Series reading at the end of the workshop, the format of the reading and the degree to which it is staged or not is determined by the playwright.

TABLE READINGS

Private, table readings of new plays by Resident and Network Playwrights are scheduled as needed by the artistic staff and the Resident Playwrights. The readings are followed by moderated discussions, and are not directed, staged or rehearsed, though actors are asked to read their scripts in advance. Attendance is by invitation of the playwright and is limited to two or three people. The theatre conducts approximately 24 table readings a year.

FIRST DRAFT SERIES – Exclusive to Network Playwrights

The First Draft Series is a developmental program exclusively for members of The Playwrights Network. It offers weekly play readings in the style of a playwrights’ salon where playwrights read aloud and discuss each others’ work in a relaxed, supportive setting. Each evening consists of a cold reading of a play-in-progress by a Network Playwright, read by the writers in attendance, and followed by a discussion moderated by a Resident Playwright.

This program provides an opportunity for Network Playwrights to hear and discuss their works-in-progress, and to support and get to know each other. All Network Playwrights are welcome, free of charge, and are encouraged to attend frequently. Resident Playwrights also are welcome, as are one or two invited guests of the playwright whose play is being read. Otherwise, this is not a public program.

The First Draft Series is scheduled for 8 to 10-week sessions throughout the year. In keeping with the openness of The Playwrights’ Network membership itself, plays for this series are scheduled unscreened on a first come, first served basis. All plays by Network Playwrights are eligible (not just first drafts), except those over 130 pages or those requiring more than 10 readers. A particular play may only be read once a year, and a particular playwright only once a session. For information on upcoming dates and how to schedule a reading, Network Playwrights should contact the Director of The Playwrights Network.

SCRIPT LAB – Exclusive to Network Playwrights

Script Lab provides Network Playwrights with written, 2 to 3-page, script critiques from the theatre’s Resident Playwrights and artistic staff. Plays may be of any length or type. Playwrights may submit as many plays as they wish; however, only one play at a time. The response time is 10 to 12 weeks. After receiving a critique, Network Playwrights may then submit another play or re-submit their revised play for an additional critique. Chicago Dramatists retains all scripts in order to consider them for readings and productions. (Scripts will not be returned.)

INSTANT THEATRE

Instant Theatre is a unique, monthly, Chicago Dramatists’ program, designed to quickly generate new ideas for plays through writing 2-5 minute plays or scenes on a common theme. It allows playwrights to immediately hear and see their work performed as briefly rehearsed, staged readings. In addition to generating new ideas and new work fast, the program also provides playwrights a means to jolt their creativity, free writers’ blocks, and work with other artists at the instant of creation.

The theme is not intended to dictate subject matter. Instead, the theme will challenge writers to explore different storytelling, presentation, and theatrical styles. Past themes have included: a) treat the stage as water, b) incorporate a circus act, c) retell a classic fairy tale.

Participation in Instant Theatre is open only to Chicago Dramatists’ Resident and Network Playwrights on a first come, first served basis (with one guest spot per session, to be filled at the discretion of the project leaders). Chicago Dramatists will send out an e-mail call for participants on the first of each month. Interested playwrights are asked to e-mail back to the project leaders, stating their desire to participate that month. (Over time, the project leaders may ask some repeating playwrights to step aside for a session or two in order to allow new writers a chance to participate.)

The project leaders pick a theme and notify the 8-to-10 playwrights one week prior to each month’s project. The playwrights will then be expected to arrive with scripts in hand (and early enough to make copies in the office). The project leaders will hire a diverse mix of 6-10 of Chicago Dramatists’ favorite actors to perform the readings (with the playwrights taking any extra roles, as needed). Participating playwrights will also provide suggestions for future writing themes.

The first hour (7:00 PM) consists of rehearsal in which the playwrights work directly with the actors. (Working without the mediation of a director is intended as a fun and informative part of the process.) The second hour (8:00 PM), the theatre is open to all interested Resident Playwrights, Network Playwrights, Associate Artists, and their invited guests to attend the presentation, which is always completed by 9:00 PM. In order to facilitate the inspirational and developmental purpose of this program (as opposed to a showcasing purpose), the author of each scene is not identified. There is no formal post-reading discussion, but playwrights and actors are welcome to hang out afterwards and chat. Although not a public program, Instant Theatre is always held in Chicago Dramatists’ theatre, usually on a Wednesday evening. The participating playwrights pay no fee and there is no admission fee to attend. All Resident and Chicago Network Playwrights receive regular e-mail notices about this program.

Instant Theatre is based on the model used in the Ohio University MFA Playwriting program, originally brought to Chicago Dramatists by Resident Playwrights Aaron Carter and Christopher De Paola.

WEEKEND MASTER CLASS – Exclusive to Network Playwrights

Designed to serve members of The Playwrights’ Network (especially out of town members) and to bring Network and Resident Playwrights together, this annual, weekend workshop provides them with time, space and resources to create new work and discover new methods. Over the two days, playwrights move through a series of writing exercises that explore new resources for inspiration and address issues of author’s voice—led by a two-person team of Resident Playwrights. Network Playwrights hear segments of their work read by professional actors, followed by supportive group discussion.

The Master Class is an opportunity for Network Playwrights from Chicago and around the country to come together for a summer weekend and share their experiences, diversity and skills. Any Network Playwright may register (and for a special, affordable fee), but enrollment is limited to 12 writers.

THE DEADLINE WORKSHOP

The Deadline Workshop provides Resident and Network Playwrights the unique opportunity to work with the same actors over an extended period, and the “writing-on-demand” experience of meeting weekly deadlines.

Participating playwrights each write approximately 30 to 45-minute plays (either complete one-act plays or the beginning of a full-length play), with roles for a selected company of five actors. At the first session, the actors perform their standard audition monologues to familiarize the playwrights with their talents. Each week, the playwrights create new material to be read by the actors and critiqued by the group. At the end of the project, directors are brought in to stage the plays as public readings in the theatre's Saturday Series. The Deadline Workshop is coordinated by one of the participating writers, who acts as moderator during the weekly sessions.

From time to time, the Deadline Workshop is conducted in association with another Chicago theatre, which provides the actors and directors. Participating theatres have included Strawdog Theatre, Babes With Blades, and Equity Library Theatre. Over the years, many of the plays created in the Deadline Workshop have moved on to productions at theatres in Chicago and elsewhere.

The Deadline Workshop is open to Resident and Network Playwrights. It is scheduled once or twice a year and meets for three hours, once a week, for seven weeks. Participation is limited to six playwrights, who are expected to attend every session, create roles for each actor, and write new or revised material for each weekly deadline. Existing scripts are not permitted. Resident and Network Playwrights receive e-mail notice a few weeks prior to the submission deadline. The playwright fee is typically $330.

COLLABORATIVE PROJECTS WITH OTHER THEATRES

Chicago Dramatists is the only Chicago theatre for which joint projects are a vital part of programming. It has sponsored collaborative readings, festivals, discussions, and productions with numerous theatres and other organizations, including Goodman, Steppenwolf, Victory Gardens, Organic, Circle, Bailiwick, Prop Thtr, Equity Library Theatre, Women's Theatre Alliance, The Dramatists Guild, Chicago Foundation for Women, National New Play Network, the Canadian Consulate General, and the French Embassy, among others. The quarterly 10-Minute Workshop is regularly judged and directed by artistic directors and literary managers from large and small Chicago-area theatres.

REFERRALS TO OTHER THEATRES

An important part of Chicago Dramatists’ mission is to promote its plays to other producing theatres. Chicago Dramatists' flyers and publicity materials are sent regularly to approximately 1,000 theatre and film producers, artistic directors, literary managers, theatrical literary agents, and other play buyers across the U.S.A. Over the years, the theatre's staff has built relationships with many of these potential producers, who frequently solicit Chicago Dramatists for new scripts. Solicitations are made for specific plays in development, and also for the Artistic Director’s recommendations of current “best” plays. Theatres also search for new plays by Resident Playwrights through the theatre’s new play catalog on its web site.

Many of the productions and readings which Chicago Dramatists' plays receive locally are initiated by direct or indirect efforts of Chicago Dramatists itself—especially through its staff advocacy, collaborative projects, and employment of directors from other theatres to direct readings.

TALENT COORDINATION

One of the most important resources the theatre offers its playwrights is talent coordination for Chicago Dramatists' programs. In its 25-year history, Chicago Dramatists has built working relationships with practically every established Chicago theatre, and with hundreds of the finest actors and directors in the city. With over 500 actors, directors, designers, and others hired annually, Chicago Dramatists is one of the largest employers of theatre artists in Illinois.

The theatre does not retain a company of actors and directors; but rather, hires artists as needed for each reading, production and project, using the whole city as its talent pool. Although non-union actors also are employed, Chicago Dramatists operates under an agreement with Actors' Equity Association, employing union actors in at least half of all roles in all of its developmental and educational programs. For productions, the theatre uses an Actors’ Equity Association CAT Contract, which typically allows the theatre to employ one or two union actors and a union stage manager per show.

Playwrights and the Artistic Director share approval in choosing directors for readings. Sometimes playwrights already are working with directors; sometimes they need the Artistic Director's help to secure them. Chicago Dramatists' priority is to select not only an experienced, working director, but one who is on the staff of a theatre. This practice has resulted in some of Chicago Dramatists' greatest successes at moving plays and playwrights on to production. Except under special circumstances, playwrights do not direct or act in their own plays.

Casting approval for readings is shared by playwrights, directors, and the Artistic Director; however, playwrights may take part as much or as little as they wish. It is traditionally the director's job to secure actors and schedule rehearsals for readings, with the Artistic Director assisting as needed.

Resumes and inquiries are always welcome from actors and directors new to Chicago Dramatists, which is committed to the involvement of minority and disadvantaged artists in all its programs. Chicago Dramatists holds an annual “general” audition and auditions for specific productions and other projects as needed. Open auditions for productions are announced through Actors' Equity Association, in Performink, and on the Casting Call Hotline.

ONLINE PLAY CATALOG – Exclusive to Resident Playwrights

All plays by Resident Playwrights that receive readings or other development work are considered by the Artistic Director for inclusion in Chicago Dramatists’ online new play catalog. The catalog includes authors’ bios, dialogue samples, and synopses of plays recommended by the theatre. The catalog is an aid to Resident Playwrights in marketing their scripts, and to theatres, producers and schools looking for the best new plays to produce.

PUBLICATION – Exclusive to Resident Playwrights

In 2005, Chicago Dramatists created Chicago Dramatists Press in order to publish the first-ever Chicago anthology of original scripts, New Plays From Chicago. Exclusively sponsored by The Sara Lee Foundation, the publication contains eight plays by Resident Playwrights that were developed at Chicago Dramatists and received successful, world premiere productions locally at Steppenwolf, Victory Gardens, Pegasus Players, Visions & Voices, and Chicago Dramatists itself. This first publishing effort also contains the playwright’s bios, descriptions of the producing theatres, a foreward by Resident Playwright Alumnae Rebecca Gilman, and introductions by editors Russ Tutterow and Ann Filmer. Pending funding, Chicago Dramatists Press plans to publish similar anthologies on a near-annual basis.

Chicago Dramatists has a collaborative project in-progress with Playscripts.inc which will soon promote a Chicago Dramatists’ section in its catalog of play scripts.


In a year end wrap-up of the Chicago theatre scene in 2002, Chicago Reader critic Kelly Kleiman said: “…the real story is a playwriting institution. If you’ve seen a terrific new play by a Chicagoan this year, odds are it came from or through Chicago Dramatists...”
-- Kelly Kleiman, Performink
PROGRAMS & RESOURCES AVAILABLE TO ALL PLAYWRIGHTS

INTERACTIVE AUDIENCE PARTICIPATION

“. . . a rare glimpse of playwrights at work . . . the audiences for the staged readings at Chicago Dramatists . . . come for the thrill of discovering new talent, for the chance to see how a dramatist hammers a play into shape—and perhaps to contribute something of their own to the process. They've come to the right place.”
-- Renaldo Migaldi, Chicago Reader

Chicago Dramatists' public presentations of readings, productions and panels offer all playwrights an interactive audience participation in the creative process. Most Saturdays at 2:00, playwrights attend The Saturday Series to observe and assist their fellow writers in the development of new plays. Saturday readings are followed by moderated audience discussions with the playwright. In addition to showcasing new work to audiences and potential producers, this series also provides an ongoing, nurturing environment where playwrights of all levels and diversities can meet, share their experiences, and help each other develop their skills and plays. The Saturday Series play readings and other events are announced in the theatre's quarterly flyers, on its web site, and in the weekly Chicago Reader theatre listings. A $5 donation is requested from the public for admission.

10-MINUTE WORKSHOP

A program unique to Chicago Dramatists, the 10-Minute Workshop is open to submission from any playwright able to attend the full workshop (rehearsal, performance and discussion). The 10-Minute Workshop has introduced more new playwrights to Chicago Dramatists and its audiences than any other program. Free of charge, it offers beginning and experienced dramatists the opportunity to try out a scene from a play-in-progress, to showcase a 10-minute play, and to network with other theatres and artists.

10-Minute Workshops are scheduled quarterly as part of the Saturday Series. Five to eight 10-minute plays (or 10-minute scenes from larger works) are presented as rehearsed, staged readings, open to the public ($5 donation), and followed by a moderated audience discussion. Playwrights may submit no more than one piece to each workshop. Submissions must be ten pages or less, standard 12-pt. font size, pages numbered, contain no more than six characters, and will not be returned. (No musicals, binding, staples, faxes, or e-mailed submissions.) Playwrights must include their day and evening phone numbers and a character list with ages. Submission rules and deadlines are announced in the theatre's quarterly flyers and on its web site.

An important element of the 10-Minute Workshop is the use of guest judges from local theatres to select and direct the scripts and to moderate the post-performance discussions. This introduces theatres to new voices, allows playwrights to experience the artistic taste of particular theatres, and provides playwrights with an exposure to play buyers who might not otherwise know their work.

Guest judges comprise a “Who’s Who” of area theatres, and have included artistic directors, associate artistic directors, artistic associates, resident directors and literary managers from Goodman, Steppenwolf, Northlight, Milwaukee Repertory, Victory Gardens, American Theatre Company, New American, About Face, Next, Bailiwick, Live Bait, Stage Left, Raven, Strawdog, Collaboraction, the side project, Congo Square, Seanachai, A Red Orchid, Circle, ETA, Teatro Vista, Bloomington (IN) Playwrights Project, and many other theatres.

PANEL DISCUSSIONS & FIRESIDE CHATS

Panel discussions and “fireside chats” with distinguished professionals on playwriting-related topics are usually included as part of Chicago Dramatists’ Saturday Series, but occasionally are scheduled as exclusive events for Resident and/or Network Playwrights. Past panels have explored: The Playwright-Director Relationship, Critics and New Plays, Dramaturgs Vs. Directors, Self-Producing, Relationships With Chicago Literary Managers, and Opportunities for Women Playwrights.

In addition to providing an enlightening exchange of ideas, panels and fireside chats offer another means for playwrights to network with Chicago and national theatre leaders. Speakers have included playwrights Alan Ayckbourn, Alfred Uhry and John Weidman; artistic directors Robert Falls and Martha Lavey; and theatrical literary agent Robert A. Freedman.

PLAYWRIGHTS STUDIO CLASSES

Every quarter, Chicago Dramatists offers a variety of professional playwriting classes designed for both beginning and experienced playwrights. Instructors include some of the finest writers, educators, dramaturgs, and directors in Chicago. Classes are focused on building practical skills and playable scripts, and are conducted in a supportive, positive manner. Most classes include a mix of lecture, discussion, writing assignments (both in and outside of class), and reading and critiquing of student work. Beginning playwrights frequently enroll in a class to compel them to write their first plays. Working playwrights use classes to review basic skills, attack a specific writing problem, and explore new or specialized techniques.

Playwriting Lab and Developing a Play-In-Progress are offered each quarter. Other classes have included Playwriting Step 2, Marketing Your Play, Developing the 1-Person Play, Dialogue Workshop, Writing with Archetypes, Screenwriting Lab, Dramaturgy, etc. Instructors have included Mary Zimmerman, Rebecca Gilman, M.E.H. Lewis, Mary Ruth Clarke, Dana Lynn Formby, Will Dunne, Alice Austen, Mia McCullough, Brett Neveu, Robert Koon, Carson Grace Becker, Roger Rueff, Lydia R. Diamond, Tanya Palmer, Arlene Malinowski, Keith Huff, Dan Conway, June Pyskacek, and others.

A typical class costs $245 and meets for 2.5 hours once a week for seven weeks. Because class sizes are purposely small, admittance is limited (usually twelve students per class). Chicago Dramatists offers a $20 discount to its Resident and Network Playwrights. Classes, fees, enrollment procedures, and deadlines are announced in the theatre's quarterly flyers and on its web site.

WEEKEND WORKSHOPS

Chicago Dramatists schedules weekend workshops with distinguished teachers/playwrights from around the nation as opportunities arise. Past workshops were taught by visiting artists Paula Vogel, Sarah Ruhl, Arthur Kopit and Jeffrey Sweet. Weekend workshops are announced in the theatre's quarterly flyers and on its web site.

WORK-STUDY OPPORTUNITIES

Work-study opportunities are available for class students with limited financial resources. Students may compensate for partial or whole class fees through volunteer labor. Work may include: office work, house management, data entry, mailings, stage crews, etc. Work-studies are conducted only on a space-available basis when classes are not filled, and are subject to
the availability of projects and jobs.
OUTREACH PROGRAM

Chicago Dramatists regularly offers its workshopping method to young playwrights in the Chicago Public Schools. The objectives of this outreach program include: (a) develop new plays by young writers, (b) increase language skills and literacy, (c) encourage creativity and self-expression, (d) develop academic discipline, (e) expand cultural appreciation, and (f) promote the value of theatre. Each semester, Chicago Dramatists’ playwriting instructors conduct ten-week workshops in several city high schools. The workshops culminate in staged readings of student work, using professional actors and directors, and performed before student and community audiences in the schools.

Chicago Dramatists also conducts annual developmental showcases of readings for the work of playwriting students at The Theatre School of DePaul University and Southern Illinois University at Carbondale.

Chicago Dramatists Outreach programming is generously supported by The Polk Bros. Foundation, The Fry Foundation, Northern Trust Charitable Trust and The Chicago Community Trust.
FUTURE PROGRAMS

Here are some highlights from the long list of future programming Chicago Dramatists is planning:

fellowships and commissions for Resident Playwrights; a travel fund; expansion of script publication; an on-site browsing and lending library of Chicago Dramatists’ plays; a members-only Monday Night Series that would collect all the table readings the theatre now holds that are scattered around the calendar into a weekly series that would complement the theatre’s long-standing Saturday Series of public readings; and additional productions to include such programming as late-nights, off-nights, one-acts, experimental work, student plays, 10-Minute Workshop plays, solo work, etc.


MANY VOICES PROJECT

In 2006, with the exclusive sponsorship of the Sara Lee Foundation, Chicago Dramatists created the Many Voices Project, Chicago’s first playwriting contest and developmental showcase that embraced all playwrights of color. It brought together at Chicago Dramatists most of the city’s race and ethnic-specific theatres to search out, develop, and showcase unproduced new plays by U.S.A. playwrights of color. It included a national play competition, a two-week festival of staged readings, and a Grand Prize of $1,500.
FACILITIES

Chicago Dramatists is housed in a modern, intimate theatre in an historic commercial building from 1888 in Chicago's River West neighborhood, immediately northwest of the Loop. It is recognized as one of the most attractive and comfortable small professional theatres in the Chicago area.

Designed by the Chicago Architectural Assistance Center in 1988, the facility contains a fully equipped, fully air-conditioned, wheelchair accessible, 77-seat theatre; with seating completely refurbished in 1997, a new lighting control system installed in 2000, and a new sound system installed in 2001. In addition, the facility boasts a lobby-gallery, classrooms, dressing rooms, rehearsal rooms, a guest room, and street-front offices with a playwrights’ lounge—all wheelchair accessible.

Chicago Dramatists is easily accessible by CTA bus and Blue Line subway routes, and is adjacent to the Ogden and Augusta exits of the Kennedy Expressway. On weekends and evenings, there is ample street parking.