Tag Archives: Little Black Dress INK

Thanks a lot, Jennie Webb! (Or) How I Got to be SO Busy…

Hey, it’s me, Tiffany! The used-to-live-in-LA-but-now-I-live-in-Iowa playwright who launched Little Black Dress INK, had a baby, and then (because I wasn’t busy enough – duh) started Protest Plays Project too.  I’m pretty much busy ALL THE TIME now, and it got me to thinking…

It’s all Jennie Webb’s fault.

She’s the one who invited me to the first LAFPI meeting all those years ago.  The meeting where I got a taste of she-playwright POWER and decided I needed MORE!  I knew I was moving to AZ, far away from my cherished playwright coven, but what the hell?  If Jennie Webb (with Laura Shamas) could unite the female playwrights of Los Angeles, I could certainly found and operate a female playwright producing company in Arizona, right?!

RIGHT!

And now we’re in our 7th year.  We’ve just announced 2019’s Female Playwrights ONSTAGE Theme. I’ve been privileged to get to know a ton of amazing female playwrights from all around the country (along with some international playwrights as well!)  It’s been a hell of a ride, and a TON of work, but it’s also been totally worth it.

But I wanted to do MORE, remember? Especially since I was politically mortified with the results of the 2016 election.  So I founded Protest Plays Project (PPP).  My initial aim was to collect plays about social issues that theatre-activists could use for protest or fundraising* purposes.  (*Specifically, fundraising for non-profits working for positive social change.)

Well, PPP has been busy.  Super busy.

And I want to take the start of my blogging week to tell you how you can get involved, in case you’re that kind of theatremaker!

First, we’ve got our #TheatreActionVOTE! Initiative going on and all you have to do to get involved is commit to presenting Vote! plays or monologues in your pre-show.

You can write your own piece for this purpose, or select pieces from our Collection.  The plays in our collection are:

  • Non-Partisan
  • 1-3 minutes in length
  • Available royalty free
  • Written to be presented pre-show in whatever location works for your theatre

You can sign your theatre up to participate HERE.  (It’s free, it’s easy, and we won’t spam you!)

We’re also collecting plays on Immigration.  The AMAZING LA playwright, Diana Burbano along with the awesome playwright Ricardo Soltero-Brown, are curating the collection – and we’ll be encouraging theatres to present readings for fundraisers.  You can find more info and send us your play, HERE.

Protest Plays continues to support #TheatreActionGunControl and if you want to put up a reading, we have links to a number of excellent collections on our website!

But does it ever feel like enough?  Does political theatre work?  Can we truly effect change with passionately written, socially conscious plays? I plan on examining these questions later this week, right here, on the LAFPI blog.

So stay tuned, stay connected, and if you see Jennie Webb – hug that wild woman for me!

~Tiffany

 

Five Things I Would Write More About if My Toddler Would Let Me…

By Tiffany Antone

Hot jelly and biscuits, is there a lot to talk about!

A few weeks months longish time ago, when the LAFPI crew asked if I’d like to get back on the blogging bandwagon, I said “Hell, yes!” because I was feeling productive and all kinds of mouthy with super important sh*t to say.  But now my week is here, and it’s almost too much because Little Black Dress INK’s final ONSTAGE lineup from 2017 has a reading on Jan 15, and then a bunch of this year’s ONSTAGE semi-finalists have readings all over the place on Jan 21 as part of International Women’s Voices Day, (oh, I run Little Black Dress INK), plus the Spring semester starts on Weds, and I have a letter of rec to write, revisions to do, and a toddler to keep track of…

WOOF!

So I don’t have time to write the deep, thoughtful, life-changing post I intended to.  If I could, though, I would probably have some witty/deep things to say about the following:

The Golden Globes

Were they feminist enough?  Too feminist (is that even a thing??) Will Oprah be our new president?  Was that woman from 50 Shades of Grey giving Angelina Jolie side-eye during Jennifer Aniston’s speech?  I mean, I don’t have cable, but the news coverage is enough to make me want to stuff cotton in my ears and unplug the router for good.

What’s that you say?  You don’t believe me?  You’re saying that if I haven’t stuffed cotton in my ears and unplugged the router after the monstrous orange shit-show of a year we just wrapped, that I must be engaging in a healthy hyperbolic outburst and nothing more?

You’re probably right.

Our President

Ugh.  Next!

Medium.com

I’m trying it out.  Anyone else write for that site?  I like some of the writers a lot…  Maybe, if I write some truly epic stuff there, I’ll get more traffic on Medium than I do on my personal blog… sh*t, I don’t have a personal blog anymore?  Why not?  Oh yeah, because I don’t have time…

Hmmmm…

Heeeyyyyyy, do you think, MAYBE, that I might have a problem with over-committing myself to things?  I mean, could I possible suffer from (faux gasp) Artistic FOMO?

(Yes.  The answer is yes, yes I do.)

Toddlers

I love my son.  He is the apple of my eye, the sugar on my cornflakes, the laughter in my ears… but he’s also the little tyrant screaming at me to escort him to the washing machine twelve times a day, where he will sit for interminably long periods of time flipping the dials around in abject pleasure, waiting for my eyes to gloss over with boredom so that he can QUICKPUSHTHESTARTBUTTON! before I catch his hand with mine and remind him that he is not yet allowed to do the laundry on his own, and can we please go back to the living toy room now so that mommy can sit on the couch and check her Facebook for a hot second?

New Year’s Resolutions

Are for chumps.  And perfectionists. And people with stronger will-power than I possess.  So be nice to yourself, even if you’ve already failed at whatever ridiculous demands you put on yourself last week.  I signed up for Red Theater’s playwriting challenge last November and didn’t even make it past the first day.  The FIRST DAY.  Sometimes you just have to shrug your shoulders and tell your expectations to take a hike.

BUT, Seriously…

I’m not too busy to tell you you should check out one of our ONSTAGE readings!  If you’re in Los Angeles on Jan 15, make sure you swing by the Zephyr Theatre for the final reading of our 2017 Female Playwrights ONSTAGE Festival: Hot Mess.

And if you’re in Los Angeles (or Bemidji,MN; or Columbus, OH; or Magnolia, AR; or Milwaukee, WI; or Prescott, AZ) on Jan 21st, check out one of our Female Playwrights ONSTAGE Festival: Volume Control readings!  They’re sure to be a hoot/make you feel the deep feels (and all that other cathartic magic that theatre does) PLUS you’ll be supporting International Women’s Voices Day, which is all kinds of awesome!  Here’s a LINK for more info.

Tune in later this week for more words/sentences composed by me (along with—hopefully—some deeper thoughts)

 

 

 

We’re Not Playing, and we want YOU to join us!

Last week a lot of us watched in horror as Donald Trump, a misogynistic, xenophobic, and wildly ignorant human (we think…) man, was elected to be President of these United States.

I’ve been spending a lot of time since then working through all my feelings on the subject, and I’ve managed to boil all my rage, disappointment, and shock into two major thinking points:  “We have to do better!” and “Fuck that guy!”

(Obviously the former is a more actionable frame of mind to be in, but I’d be lying if I said the latter thought didn’t help fuel my desire to follow through on the first)

So I’ve been doing a lot of writing… and not in the “Wow, I’m making some great art from this!” kind of writing (yet).  More like, “Umm, I think I’m writing a mission statement” kind of writing, and it’s based on the following:

We need to heal our divided nation and We need to make our objections to Trump’s dangerous policies heard.

I’m working on strategies for the first, but Little Black Dress INK already had a jump start on the second – and we’d like you to you to join us!

not-playing

Little Black Dress INK invites you to take action by participating in the 
We’re Not Playing initiative.  This initiative began as a way for us to support female voices who were speaking out on important issues through their work as playwrights – and now it’s time for these voices be heard!

Theatres and theatre practitioners across the nation are invited to hold readings of these plays, royalty free, Friday, January 20, 2017 – Inauguration Day.  The only caveat is that we ask any/all monies raised be donated to the ACLU, Planned Parenthood, and/or NRDC – organizations we believe will be integral to fighting the dangerous policies which the incoming administration intends to implement.

Little Black Dress INK will continue to post socially-conscious/politically-inspired plays between now and January for interested theaters to select from – or you can challenge your own circles of fabulous playwrights to write plays that inspire action.  Let’s just do something to help process the rising tides of panic gripping the nation.

Let us make our objections loud and clear, and let us put our humanity center stage on January 20th, 2017.

We can be better.  Let’s be better.  Let’s invite our audiences to be better with us.

Want to get involved?  Sign our pledge at www.LittleBlackDressINK.org  Then start reading and selecting plays from those we’ve published, or invite other awesome female playwrights in your area to contribute work!

And if you’re a female playwright who wants to contribute short plays or monologues to the initiative, please send them, along with a photo and brief paragraph explaining what inspired you to write the piece to Submissions@LittleBlackDressINK.org – make sure your subject line reads: WE’RE NOT PLAYING SUBMISSION.

#WereNotPlaying #WritingForChange #TheaterCanHeal

Save

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Little Black Dress INK is now accepting submissions!

female-playwrights-onstage-cropIt’s that time of year again, time for Little Black Dress INK’s annual Female Playwrights ONSTAGE Project to begin!

And that means we are looking for some seriously fabulous female playwrights to participate!

Little Black Dress INK is thrilled to continue creating production opportunities for female playwrights through its Female Playwrights ONSTAGE Project; a short-play festival dedicated to producing peer-selected works by women.  In addition to contributing to the selection of plays, participating playwrights are able to review and revise their work during semi-finalist readings, and are encouraged to blog about the process along the way.

Submissions are now being accepted from awesome female playwrights for consideration in this year’s festival!  This festival utilizes a peer-review process for evaluating submissions, so please make sure to read over the following guidelines carefully before submitting.

  • This year’s festival theme is Hot Mess.  Playwrights are invited to submit short plays and/or monologues written on this theme.  In the past we’ve also had great success with short scenelets (10-minute plays comprised of a couple of scenes, which we can sprinkle throughout the line-up)
  • LBDI strongly suggests you do not submit plays or monologues longer than ten minutes. Keep in mind that in all instances, shorter truly is better.  Plays running longer than ten minutes stand very little chance of making it into the festival, as we strive to produce as many playwrights as possible.
  • Little Black Dress INK utilizes a peer review process for evaluating plays.  By submitting to this fest, you agree to participate in this unique opportunity to help select plays for production.
  • Once our submission window is closed, you will receive a selection of plays to read and score using the LBDI online eval form.  You MUST read and submit your evaluations by the required date in order for your play to remain in consideration.
  • Submitted works will be read by other participating playwrights and LBDI artistic personnel.  By submitting to the festival, you agree to share your work for review in this process.
  • Submission materials must be emailed to LBDI by December 10th, 2016 and should include:
    • The following information in the body of your email:
      • Your name
      • The title of your play
      • Your contact information *It is very important that you use a reliable email address as all correspondence will be done via email!
      • A blind PDF of your script – do NOT include your name anywhere on the script!
      • Email materials to submissions@LittleBlackDressINK.org

LBDI will be producing readings of the top scoring plays at locations nation-wide.  The top eight to ten scoring plays will also move on to full production with Little Black Dress INK.

For more information, visit www.LittleBlackDressINK.org  
We look forward to working with you!

And now for something new…

For those who don’t know, I am not only a playwright, but the Artistic Director (slash/Mad Woman) behind Little Black Dress INK – a female playwright producing org that produces an annual peer-reviewed short play fest.  Over the years we’ve grown our fest from a small group of playwrights produced in Prescott, AZ, to a now nation-wide new play reading series with productions slated in both Prescott AND Lafayette, LA in 2016.  I couldn’t be more proud of all the efforts our supporters, artist, and producers have put into this fest—and I am ecstatic that we continue to grow.

This year, we’re adding an online component to the festival—one that will allow us to produce online versions of full-length plays.  It’s called the ONSTAGE: ON-AIR podcast, and our very first one is now live!

ON-AIR poster-new-webSince it’s our inaugural podcast, we chose to focus on interviews with some of our VIP artists, and included excerpts from past ONSTAGE plays.  You should definitely check it out – the women we work with are all kinds of amazing!  And the great thing about podcasts is that you can listen while you’re working out, driving, cooking, and pretty much anything else-ing!

Listen to the first ONSTAGE: ON-AIR podcast HERE

~Tiffany Antone

Little Black Dress INK wants your plays!

It’s that time of year again: Time to crack those knuckles and get down to perfecting your submissions for the bevvy of 2016 playwriting fellowships and development conferences whose submission windows are open this month/next!  I’ve been glued to my computer these past few weeks, working on creative, witty, and breath-catching artistic statements/mission statements/biographical statements/and statements about why I deserve an invitation here/there/EVERY-friggin-WHERE…

Yeah, no, actually I’m pulling my hair out like the rest of you, completely unsure if I’m coming across as a desirable candidate or just (heaven forbid)…

Immorten Joe from Mad Max:Fury Road

Well, allow me to throw another submission opportunity your way, intrepid lady playwrights… An opportunity that doesn’t require a statement – just an awesome short script and a willingness to take part in the selection process as a peer reviewer!  Yes, Little Black Dress INK is accepting submissions for its 2016 festival—and here are all the nail-biting details to prepare you for total festival domination!

Be awesome like Furiosa from Mad Max: Fury Road Furiosa from Mad Max: Fury Road

LBDI’s Female Playwright ONSTAGE Festival is entering its 5th year, bringing new reading and production opportunities to female playwrights!  Submissions will be accepted (following the criteria outlined below) until November 15th, 2015.  Participating playwrights agree to read and evaluate one another’s scripts in our unique peer-review process.  Semi-finalists will receive readings in various US cities, with winning plays read in both LA and NYC before going on to production in Arizona.

Please read the following submission details before submitting—plays must fit with festival theme and adhere to festival guidelines in order to be considered.

Download (PDF, 191KB)

~Tiffany

On the Fallacy of Space

By Tiffany Antone

Don't Panic

Although I’m a playwright, I’ve been focusing a lot on producing this week in the hopes that what I’ve learned as a producer can be helpful to playwrights who are tired of sitting around waiting for someone to make the production magic happen for them. I’m going to continue on that thread today as I talk about the unfortunate brain melt that so often happens when we talk about space.

When I’m talking to a playwright about the hurdles of producing, unless they have an ‘in’ at a theatre company, the conversation inevitably begins to circle the panic-drain of “BUT I DON’T HAVE A SPACE!”, because when you consider the fact that most theaters/art galleries charge pretty hefty fees to rent their spaces, a lot of aspiring new producers get cut off at the knees before they’ve even started, and head back desk or day job, defeated.

But when the dollar signs start flashing red and you feel the panic rising, just remind yourself of this simple truth: you don’t need a theater space to make theatre happen!

I’m not sure exactly when it occurs, but somewhere along the route to professionalism, many of us begin to adopt this weird attitude that theatre needs to happen in a theatrically appointed space, and anything else is just… unprofessional, and… ewwwww!

When did we turn into such catty teenagers?

I agree, production-wise, a dedicated theater is a much easier place to work: the lights, the sound equipment, the dressing rooms and fixed seats… all of those things make life easier when you’re producing a show.  But they’re not the end all be all to making theatre happen.  I’ve seen vivid and exciting theatre happen in living rooms, in parks, at restaurants, in civic auditoriums, and in old abandoned warehouses – and each time it’s been a unique and awesome experience!

The trick is in knowing your space ahead of time, so that you can match your production goals to your resources and select a play (or collection of short plays) that will work in the space you’re using.  For instance: living room plays are great fun, but they only work if you select small cast pieces that can be put up around a coffee table, TV stand, book shelves, and whatever else homey obstacles your hosts may have present.  It’s also important that they can be performed comfortably for a handful of people sitting within inches of the actors – I saw a very sexually charged piece done this way once and I just couldn’t get over the fact that two strangers were dry humping six-inches away from my face!   And sure, you can’t do a piece with a million different locations/light cues because there’s no light board to play with and you can’t load in flats… but each of those Don’ts is an opportunity to seek out what can and will work.  So you pick something small, something intimate, something that is transportable, engaging, and good in the close-up, and you make it happen.

So what does this have to do with what we do over here at Little Black Dress INK?  Well, for those of you who don’t know, we rely completely on Partner Producers to present readings of our semi-finalists – I wish I could afford to put our female playwrights on tour, but I just can’t (my superstitious side is telling me to include the waiver “yet”).  So instead I rely on these awesome Partner Producers—who are actors, writers, and directors themselves— to bring our festival to their cities in the best way possible for them, which means that each reading is unique and personal to them.

This year our semi-finalist readings took place at an art gallery, a teaching studio, and a university, as well as a few very cool theatre spaces, and our final two readings will happen in “unconventional” locations as well; a public park and at Samuel French’s Los Angeles Bookshop.  I love these unique spaces – they add a flavor all their own to the readings and add to the conversational atmosphere after the readings are over.

And yes, when we get to production in Prescott, we’ll be putting the shows up in an actual theatre – but if we didn’t have one, I’d have still made the fest happen somehow.

The point I’m going for is this: Playwrights are traditionally rich in imagination, but poor in actual cash-money.  Unless you get a theatre to back your production (or find a patron of the arts to fund you), production expenses can add up fast.  Space doesn’t have to be the huge obstacle it so often is! You can make just about any space work if you put your creative juices to work making the most of the resources you have available to you.  And if all you have is the back room at your local bookstore and some gumption, then why not recruit some like-minded folks and create a reading series?  You never know where it could lead, or how good it will feel just to be making something happen.

Creating an Awesome Festival Line-up

By Tiffany Antone

Female-Playwrights-ONSTAGE-cropI got started in theatre as an actress.  I loved being on stage, but I hated auditioning because that very necessary internal confidence that keeps a persom from being a neurotic mess was rarely in full bloom for me.  Instead, I’d pretend I felt confident at auditions and then quietly go home where I could pick apart every choice I’d made and obsess in peace.

Then I directed my first show, which meant I was casting a show for the first time, and in so doing, I had a revelation: for the first time, I understood just how much time I had wasted locked in actor anxiety about things I had very little control over.  After that experience, I auditioned with a lot more boldness, confidence, and less personal worth on the line.  It was freeing.

I woke up this morning reflecting on this, because we at Little Black Dress INK recently announced our ONSTAGE Finalists and I thought it might be interesting to know how I came to narrow down what was a very awesome list of 36 plays to just 15.

First, it’s important to know that we use a peer review process to select our initial semi-finalists, so all of our participating playwrights are responsible for determining the first cut. After that, I consider peer-review scores and Partner Producer nominations along with the points I’m outlining below to create what I hope will be an awesome and successful line-up.

So, in the interest of helping alleviate some writerly anxieties, I’d like to talk today about what I’ve learned—as a playwright—in the five years I’ve been producing new plays:

  1. First, proofing your work is important, but a typo here or there won’t sink the ship!  I can’t believe how many playwrights send in work that just looks like a hot mess.  If you don’t take my time as a reader seriously, why should I take your play seriously?  Make your plays easy to read – format it in a way that is friendly to the eye and go over it for typos and grammar!  BUT, that said, if a play is truly unusual, gripping, or awesome, I’m much more likely to excuse a few formatting hiccups.  That’s just the way it is.  I would never not-produce a piece that I loved just because there were a few misspelled words.  On the other hand, most of the time, the work that is the most compelling is usually also in top readable shape.
  2. Contrary to popular belief, we don’t just select the “very best” pieces.  If I’m creating a festival line-up, I’ve got to build a satisfying one – and that means a mix of genres and topics and tones… I may have nine FABULOUS dramas, but if I produce an entire evening of dramas, my audience is going to be exhausted.  The same holds true if I have multiple pieces that tackle the same subject: even if they’re fantastic, I’m only going to put one of those in the line-up because including too many similar pieces in one night can feel redundant.
  3. I like to use monologues in my fest, so I do.  Monologues have been a really nice addition to our festivals – they are perfect curtain pieces that keep the audience engaged while we set the stage for the next piece.  So, when I select my final line-up, monologues are something I put a lot of energy into.  The other  fabulous discovery I’ve made as a producer is how incorporating short scenelets (a 10-minute play comprised of several mini-scenes) into our fest between plays can provide a delightful through line in what is usually a fractured event. This is just my own preference – and other producers will have theirs.  The reason I mention it is that if I’m selecting 5 monologues to help cover set changes, I might not be able to include that 9th totally awesome play in the line-up.
  4. “Best” is relative.  This one is a no-brainer, but I still mention it because I think even though we all know it, it helps to be reminded once in a while.  Personally, I like plays that feel like they can only live on the stage.  I like plays that challenge or delight me, plays that feel fresh and unique and unlike anything I’ve seen or read before… But what’s the common thread in all that?  Me, myself, and I.   What’s “fresh” to me isn’t guaranteed to feel fresh to she/he/you – so it’s an unpredictable factor that a playwright can’t control and shouldn’t fret over.  What I like about our peer-review process is that it identifies a broad spectrum of work that is outstanding – not just from my own personal perspective, but from a variety of eyes – but as I winnow that list down to the final selection, my perspective comes back to fore.  You could take our same group of 2015 semi-finalists and create a multitude of awesome festival line-ups, each uniquely reflective of what different producers were looking for… and there’s just nothing a writer can do to change that.  Which is why the best thing a writer can do is write work they believe in, send that work out in the best shape they can get it into, and repeat.  Meanwhile, we’ll be here sifting through the incredible amount of awesome work, trying our best to create a line-up that we feel best matches our mission, our audience, and—sometimes—our own personal aesthetic.

And there it is – my ten cents on festival selection.  I hope it’s of interest and of help to you, my fellow writers!

 

Write #LikeaGirl

By Tiffany Antone

Oh wow – who watched the Super Bowl on Sunday?  I’ve got to admit, I was less invested this year because the “Defending title team VS a team embroiled in controversy over deflated balls” narrative wasn’t especially gripping.  I did, however, get totally into the commercials (as I usually do), and want to talk for a moment about Always’ #LikeAGirl commercial.

I loved this commercial.  I think Always struck just the right balance between messaging and emotion, on top of totally owning its brand.  Twitter lit up with the #LikeAGirl hashtag afterwards… and then some ass hat self-proclaimed “Meninest” decided that the commercial, by encouraging 50% of the population, was exclusive and unfair to men and started a competing hashtag, #LikeABoy.

Gag.

I mean, let’s ignore for a moment that the entire freaking Super Bowl is basically penis Mecca—what do these people honestly expect from a company that sells feminine products?

And what does it say about them that a commercial encouraging girls to be awesome would be so threatening that they felt the need to immediately attack it…

I just can’t even.

Except, I produce a female playwrights festival called the ONSTAGE Project, and this year – for the first time – I received submissions from men.  At first I thought *maybe* the gents simply hadn’t read the submission details thoroughly enough to understand that by using the words “Female Playwrights Festival” in the event name, we meant this festival is for FEMALE PLAYWRIGHTS.

Until one of them signed his submission email with the following:

P.S. Yes, I am male, but isn’t it about the story and not the gender of the author?

WOW.

I was gobsmacked.  Gobsmacked, I tell you.

And more than a little furious.

Furious because his email not only communicated a total disregard for our company’s mission statement, but a complete disregard for female playwrights’ gender parity struggle at large.  Also, it’s a pretty dick move to tell a female playwright that writing a woman character basically negates the need for female writers.

I’m still feeling incredibly growlsome about it.

But isn’t this why we’re talking about gender parity?  Isn’t this very issue one of the reasons the LAFPI exists?  It’s certainly part of my motivation to increase production opportunities for female playwrights.   So I can sit and stew, or I can turn this particular Twitter turn into further grist for the “Get shit done!” mill…

Because I write #LikeAGirl and I’m not afraid to admit it.

#FemalePlaywrightsROCK!

After SWAN Day…

SwanLogo2

The SWAN Day Action Fest was a success!

 

We will post highlights in the coming week or so.  The room in Samuel French Theatre & Film Bookshop was packed, the plays were well written, entertaining, thought provoking, etc., etc., etc., the actors were talented and the audience was great!

Thanks to Little Black Dress INK, The Vagrancy Actors, Samuel French Theatre & Film Bookshop for partnering with LAFPI and to everyone who pitched in and participated.   And, a very special thanks to our fearless, faithful, get-it-done leader — Jennie Webb!