Getting Some Chocolate on Your Board...and Getting Those Damned Artistic Directors to Read Your Script.
I cannot claim this blog title myself, nor has it anything to do with our fabulous kids show sponsors Cadbury. It's all about playwright Victor Roger. I asked at the end of my last blog for you to fire questions through so we can generate some in depth and exciting weekly discussion. Victor was first in and proposed a discussion around Maori and Pacific Board Representation before swiftly flying to Hawaii to see his latest production - My Name is Gary Cooper, directed by David O'Donnell. (Read his play, it's very good, and it has been on my programming consideration list for far too long!). So, when he gets back and fires his thoughts my way, we're going to generate a discussion around this. In the meantime please post your thoughts and questions on the importance of this subject.
Until then, I thought I'd pen some insights, advice, guidelines around submitting new scripts to an Artistic Director.
When I started four years ago at Fortune, I attempted to read every script that was sent to me, with and without agent representation. It swiftly became very clear that this was going to be an impossibility due to the sheer number I received, leaving me no time for anything else. I had to set some guidelines whilst still being able to encourage and serve the playwright.
In the end I decided that I could only accept scripts with agent representation, or with a dramaturgical report attached that recommended development or programming.
So far that has worked for me, but no doubt has been frustrating for new or non-represented writers.
Auckland Theatre Company and The Court Theatre are the only two theatre companies in New Zealand (to my knowledge) that have Literary Managers on staff. These human beings are very much worth their weight in gold. Providing vital support and insight to Artistic Director's and writers alike.
If you're a writer and have not received a response from an Artistic Director regarding your script that you've shed blood, sweat and tears over for the past howevermanyyears, then I suggest you research into whether there is a Literary Manager on staff at the theatre and send your play to them.
You also have the option (if you haven't tried already) to contact Playmarket - the only agency representing playwrights in New Zealand. Murray, Stuart, Salesi and co, have advice directly at hand to help you into the industry. They have a regular newsletter that is always filled with interviews, opportunities, residencies, competitions and an in-depth industry overview. Playmarket offer dramaturgical services and advice and is easily accessible. They keep connected with all the producing companies and send through scripts that they identify as being a good fit for the company and the community it serves.
A few tips from me if you're unknown writer and are submitting your script for the first time ;
- Be sure that you send through a final draft. I don't know how many times someone has sent me a script and after I've read it said; "Oh, I've sent through another draft, 'coz there's this part I needed to change, and another bit had to go...". I want as close to final as humanly possible. I only have time to consider ONE script. After that I can ascertain whether I can support a development workshop or programme it outright.
- Ensure you're pages are numbered and your play is in a format acceptable to that of a play.
- Have complete character breakdowns and descriptions.
- If there are too many stage directions it's off-putting.
- Proof read it. It makes me wonder about your writing ability if your script is riddled with spelling mistakes and grammatical errors.
- Know the size and understand the capability of the theatre you're pitching to. It's one thing to send Auckland Theatre Company a script with twenty characters in it, as they have more funds than most and may be able to consider programming it, whereas we're a small company and it's unlikely we'd be able to produce a play of that size in this current financial climate - unless we were working in collaboration with another company.
- Really get to know the theatre's that you feel would best serve your play. GO AND SEE PLAYS so you can visualise what space your play would best be suited in, then pitch it with that knowledge. I receive a lot of requests to produce plays on our Mainstage that are one acts, one or two person plays with coarse language and challenging subject matter. That's all fab, but it is highly unlikely that I'd be considering that play for the Mainstage. Possibly our studio, as there is more room to experiment there, with less financial risk. If you don't understand what that financial risk is, or you're unsure of how a professional theatre company operates - ASK.
- Attend opening nights. Usually the writers of new plays are there on that night, along with directors, producers and actors mingling in the bar after a show. NETWORK.
- If you're unknown within the industry it's unlikely you can expect to pitch your first and only play and have it accepted right away. It may happen, but unlikely. If you're truly passionate about the theatre write, write, WRITE! Have more than one script/idea up your sleeve.
There are certainly many other in roads into the inner workings of a theatre. Playwrighting workshops, readings, development processes. Engage with the professional theatres around the country and ask what is coming up. There are usually plenty of opportunities to hone your skills, meet local actors, directors and other theatre makers. You never know what path may lead to Rome.
What experiences have you had submitting your work? What learning can you add to what I've written? Waiting for your feedback folks!
Valentine's Night at Outside Mullingar
Stuck for a romantic idea this Valentine's Day? Take your loved one to see the romantic comedy, Outside Mullingar, staring Geraldine Brophy, Lara Macgregor, Simon O'Connor and Phil Vaughan. This poetic, wistful comedy set in rural Ireland is a tender-hearted play about how it's never too late to take a chance on love. So don't miss the chance to impress your loved one! Also a great gift idea for friends or family.
For $90 you get two tickets to the show, two standard drinks and a goodie bag to share. There will also be fantastic spot prizes to win on the night.
Book now by calling or .
Should Artistic Directors Act in the Plays They Programme?
Here goes folks. I'm entering blogland.
Why you may ask?
Well, communicating directly with Arts Leaders can sometimes feel like a closed shop. So, this is a bid to put that OPEN sign out and ensure you have easy access for those burning questions.
So, whether you're a passionate practitioner, curious observer, or a general theatre lover, start firing some thoughts my way. You might want to know about programming, casting, directing, what it is an Artistic Director actually does, or you may have inspiring insight into the world of theatre today, whatever the theatre thought - let's go....
I am going to endeavour to write once a week. Could be a Monday, could be a Sunday....it will all depend on the course the week takes. Theatreland is an unpredicable beast.
I went into rehearsals today for Outside Mullingar by John Patrick Shanley which triggered my first blog question - should Artistic Directors act in the plays they programme?
This question is certainly not going to pertain to all Artistic Directors. Some A.D's have one primary skill; directing, acting, playwriting or designing etc, but in my instance I happen to be both an actor and a director.
My current Artistic Director contract requires me to direct four productions a year. That's a considerable amount given we produce seven Mainstage shows a year and there are many talented directors in need of work locally, and nationally, so it makes sense to tread the boards in lieu of a directing gig to provide a valuable opportunity to someone else.
When I am either directing or acting I do not get paid over and above my Artistic Director wage. That is all factored in together and quite carefully calculated, so we know where budgetary savings can be made in advance of a season. Acting in a production saves more money than directing (four weeks directing as opposed to seven or eight weeks in a season) - so that can be seen as a bonus.
Artistic Director-ship aside, I happen to belive it is important for a director to act once and a while, to remind ourselves what it is we're asking our actors to do on a daily basis. Acting requires a vulnerability that is very different from the creative vulnerability you have as a director.
At the end of day (where have I heard that phrase before?), regardless of the reasons mentioned above, the role should be cast for the right reason - the reason that I am right for the role, and am going to serve the writer, the director and the production, in the best possible way. But do I have the best judgement when it comes to that? I guess I can only rely on the reviews, peers and perhaps the Board, to keep me true.
It is inifitely harder to act as an Artistic Director than it is to direct as one. The main reason being time. Rehearsals are fulltime daily Mon - Sat so A.D duties still have to be worked around that, then once the show is open you're looking at working days and nights. This doen't include research, preparation, line learning and director delegated homework either.
Speaking of homework, Lisa Warrington who is directing Outside Mullingar, has given me some good research to attack tonight. Finding out what my farm is like in Killucan (just outside Mullingar, Ireland), singing (NOT my strength), and a slew of questions regarding varying relationships within the play.
I'd love to know your thoughts as to whether Artistic Directors should act in the plays they programme and more importantly receive your burning questions so I can best serve you in this blog.
Lara Macgregor
Artistic Director
