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Part 5: Productions – Getting Productions
Competitions and Festivals
By Dale Griffiths Stamos
January 2012
"First, what is the difference between these two?" —STAMOS
Continuing on the theme of how to get productions, let us discuss competitions and festivals.
First, what is the difference between these two? Festivals are usually productions of a group of plays with a common thread or theme. There can be festivals of 10 minute plays, festivals of one act plays, festivals of new plays, festivals of women's plays, holiday festivals, etc. They can vary from being held at small little known theatres to theatres of national recognition. Remuneration for these festivals can vary from no pay to stipends of varying amounts.
Competitions, on the other hand, result in a prize and a placement (first prize, second prize, finalist, etc.). That prize is usually monetary and sometimes, but not always, includes a production. Sometimes the prize is the production itself. Competitions usually want new, unpublished, unproduced work (though there are occasional exceptions). They can be open-ended or theme related. Many competitions are free to enter, but some do have entry fees. Dramatists Guild discourages writers from paying any sort of entry fee, and I tend to agree, however, if the prestige or the prize money warrants it, you may sometimes want to make an exception. In other words, use your own discretion.
"Competitions and festivals are a particularly good avenue to pursue early in your career." —STAMOS
Competitions and festivals are a particularly good avenue to pursue early in your career. Why? Because you are building up your credentials and this is one way to do so. As hard as it is to get into festivals or win prizes, it is nonetheless generally easier than getting full run productions at even small theatres. Your chances are particularly good, as I mentioned before, if you submit to the countless short play festivals that happen around the country. Remember, this is usually not about making money at this stage, but building your resume.
Quite early in my career, for example, I was fortunate to co-win the prestigious Heideman award from Actors Theatre of Louisville. This is a ten-minute national play contest that awards a $1000 prize, a production, and publication. This award served as a calling card for me before I had built up any real productions. It was also a real boost to my still tentative confidence.
Even later in one's career, festivals and competitions can continue to serve a purpose. Certainly, as one gains a reputation, it is good to go after the competitions that have considerable cachet such as the Yale Drama Award, the Susan Smith Blackburn Prize, or the Ashland New Plays Festival.
Fellowships and Developmental Residencies, a subset of competitions, are also beneficial to explore, at any stage in one's career. Particularly prestigious ones include The O'Neill's National Playwrights Conference, and the Sundance Institute Theatre Program.
"But remember, with competitions, festivals, fellowships, or residencies, no matter the level, there is always plenty of competition." —STAMOS
But remember, with competitions, festivals, fellowships, or residencies, no matter the level, there is always plenty of competition. Not getting into one does not imply your work is not good, simply that it did not speak to the particular set of judges reviewing the plays. Also, as I mentioned before, you do not want to be sending out to competitions and festivals at the expense of exploring the other avenues to getting your work produced. These are simply one more tool in the toolbox.
About the Author
Dale Griffiths Stamos is an award-winning playwright whose work has been produced and published in the United States and abroad. She is on the faculty of the Santa Barbara Writers Conference, and has been a guest workshop instructor at Cal Arts. Her newest full length play, One White Crow, had its world premiere this year at Arena Players Repertory Theatre, Long Island, New York. An evening of her one acts entitled Thicker Than Water, starring Barbara Bain, was produced in May at Promenade Playhouse in Santa Monica, CA. For more information on Dale’s work, go to her website at: www.dalegriffithsstamos.com. For information on Dale’s private consulting (all genres), go to: www.manuscriptconsultant.com.
