The Season is Upon Us- Fall Season HIGHLIGHTS from Artistic Director Justine Lambert

The Season is Upon Us!

You might think that since our first full production is opening in October we’re having a calm start to the season, but Fall is already barreling full steam ahead.  We’ve been so busy, in fact, with getting our programs up and running that I have barely had time to look up from the computer and appreciate the artists I’m working with.  Here’s a quick rundown of what to look for this season!

Our Fall acting internship is well under way with 12 wonderfully talented performers working in the office, taking improvisation classes with our Fall acting instructor Naima Moffet-Warden and getting ready to perform in our Writer/Director Forum in December.  The rising stars are: Joey Lozada, Olivia Boyle, Samantha Cains, Cindy de la Cruz, Nathalie Frederick, Josiah Laubenstein, Norma Perez-Hernandez, Kiley Rothweiler, Nathaniel Ryan, Jodi Savitz, Chanel Thomas and Nick Zappetti.

Dragonslayer -- A free developmental reading this Saturday, September 24 at 7 p.m.  I co-wrote this with long-standing collaborator Judy Sheehan.  This is the first time I’ve had the honor of co-authoring a piece with this consummate professional.  One of the original co-creators of Tony-N-Tina’s Wedding, Judy has had eight shows (I hope I counted them all!) produced here at Looking Glass.  I’m so excited to go on this journey as we create an entire world and one amazing character together.

Calamity Jane Battles the Horrible Hoopsnakes -- Already cast with rehearsals underway, this family show is a piece of laughter and childhood.  Inspired by our own Jacquelyn Honeybourne’s love of the traditional American Tall Tales, E. J.C. Calvert has written an original story about the plucky heroine as a young girl faced with an unusual and hilarious situation involving scaredy snakes- wait, I meant scary snakes of course… or did I? ;-) Runs October 15 through November 20.

Co-Op Theatre East Residency-- We are so excited by our new partnership with this amazing company.  They will be an artist in residence for the entire season starting this Fall with bi-monthly workshops and Radio COTE, their 2nd annual radio play festival on November 15.

Staged Readings of New Works – The 5 shorts for $5 bucks series returns! Title TBA. On Wednesday, October 26, we’ll be holding the third of our exciting new short play reading series.  Based on the set of the current show (in this case it will be Calamity Jane, so who knows??!), so far the themes have been “Submerged” and “Naked.”  With an open call for artists to create “on theme,” we’ve already had amazing and inspired work come out of this series from veterans and rookies alike.  I am truly excited about the potential for growth and new projects this program is bringing us.

Big Benefit Party- Our Fall benefit party is set for Tuesday, November 8 from 6-10pm.  That’s right, Election Day!  So put it in your calendar; after you rock the vote, come rock with us.  Planning is well underway; our interns have begun soliciting (and getting!) exciting raffle prizes and musical guests are banging down the doors (well…they’re emailing) for the opportunity to perform.  It’s going to be a blast!

theater IN ASYLUM’s Frankenstein – This exciting Fall space grant recipient presents their re-imaging of Mary Shelley’s classic November 15-19.  I enjoyed reading this proposal so much, and I can’t wait to see this show happen in our space.

Winter 2011 Writer/Director Forum -- Of course, this half of our season will culminate with our semi-annual festival of new works in December.  We have a very full Forum with ten talented directors currently in the process of choosing their projects and getting geared up for the big meeting in early October.  We have a perfect mix of experienced artists and new blood this go round and I am not exaggerating when I say this one promises to be one of the best. With planning started earlier than ever and the ideas flowing so smoothly already, I can’t believe I have to wait until December to see these shows!

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Justine Lambert
Artistic Director
Looking Glass Theatre - www.lookingglasstheatrenyc.com

Read my recent director to director interview - http://www.2amtheatre.com/2011/08/24/spotlight-meet-justine-lambert-director/

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Notes From Justine- Spring 2011 Writer/Director Forum, Week 4

Notes from Justine

The Queens of Comedy - Forum Rehearsal 6/6/11

Finally three shows that go together…sort of. Well, they don’t have all that much in common actually but they are all definitely comedy! They run the gamut of comic styles from full on realism to flat out absurdity!

GIN JOINT

Written by Gabrielle Fox, directed by Eva Gabrielle Schelbaum

Featuring Shea Davies & Gus Zucco

Of all the gin joints in all the towns, in all the world, she walks into his...in a wedding dress

This is a realistic comedy all about a silly situation. It may be shorter than your average sitcom (clocks in at about 12 minutes) but it certainly runs much deeper than one. The delightfully wacky setup involves a woman stuck in her sister’s wedding gown and the only person who can help her is a stranger. He’s an actor about to star in a production of Casablanca and that great film is a touch point helping to add the deeper notes to this charming ditty about possibilities that have passed us by while new ones open up.

WHO IS DAN SCHILLER?

Written by Bella Poynton, directed by Ariel Francoeur

Featuring Petra Denison, Jesse Kane-Hartnett, Dave Herigstad, Sarah Klein, Dan Lovley, Claire Nasuti, David O'Hara & Tom Simonetti

Please turn off all electric devices, make sure that your tray tables are in the upright and locked positions, and hold onto to your sanity...

This play is just absurd. In a good way! In fact one of my only notes was to go ahead and make it even more absurd! It’s about what the best absurd plays are all about: a sane person lost in an insane world. It begins on an airplane and may secretly be about the insanity we all feel when we are heading thousands of miles above ground in a tin can. The story actually follows a man’s descent into hell as he discovers first that his best friend is dead and is then accused of his murder. But plot isn’t really the point here. So what is? Sanity vs. Insanity? Style & Comedy? The way we all feel when faced with the shocking illogical nature of humanity? I’m reeling from "Weinergate" as I write! Life is absurd and I for one need a laugh!

SIGN ME

Written by Naima Moffet-Warden and Allison Ungar, directed by Naima Moffet-Warden

Featuring Richard McDonald, Margaret Odette, Ryan-Ashleigh Reid & Biniam Z. Tekola

When Adrian's business and love test her destiny, all she'll be screaming is... JUST GIVE ME A SIGN!

Not absurdist but not fully realistic either, Sign Me is about a young lady’s search for love or success or preferably both. It’s also about another kind of absurdity. The absurdity of trying to find a mate and doing it through the internet. But in this day and age, how else?? Being developed specifically for this Forum, the play is being written (and re-written) with the cast improvising to help develop it as we speak. The tight cast of four plays multiple characters of many astrological signs. They are experimenting with extreme and exciting physical choices/characteristics and the ride is funny, fun and sexy. If I wasn’t married I’d consider “sending out a sign” for love too.

Huge thanks go to the Assistant Directors/Stage Managers: Rebecca Cunningham & Estefania Fadul for making the evening go smoothly and listening patiently through my many absurd and/or realistic ramblings!

Week Four of the Spring 2011 Writer/Director Forum opens on June 23. I can’t wait! This evening of three has something for everyone and after all who doesn’t like comedy?

Justine Lambert
Founding Artistic Director

Notes From Justine- Spring 2011 Writer/Director Forum, Week 2

Notes from Justine
Forum Rehearsal 5/23/11 -Challenges as Playthings

Dance and Shakespeare; these are the challenges the directors of Week 2 have taken on. These challenges also prove to be lovely toys to play with, adding multiple dimensions to a week of light uplifting fun.

HOW I THOUGHT THE MILONGA WOULD SAVE ME

Written by Yasmine Beverly Rana, directed by Christina Neubrand
Featuring Mike Holt, Tess Howsam , Anthony Perrelli & Jeffrey Walker

Close embraces, open embraces, and embellishments follow three couples through the complicated circle of dance and love.

This is practically a dance piece and yet it tells its story through dialogue seamlessly interwoven with the movement. The characters almost never sit still. It’s a simple story of a girl at a dance waiting to be asked. Why do women still feel we have to wait to be asked? I guess that’s a discussion for another time… This woman clearly feels she must wait for a man to request her company. She’s here to dance and so are the men who do indeed ask her. But are they looking for something else? Are they looking for more? She herself seems to be looking for more but it’s not necessarily the same more. She’s seeking depth, human connection, someone like herself, interested in more. We are rooting for her. I want her to find that something…or maybe even someone more.

TWELFTH NIGHT
Written by William Shakespeare, adapted and directed by Dana Dobreva.
Featuring Kevin Bunge, Michael DeSantis , Charlie Gorrilla, Robert Klein, Amie Lytle, Greg McGoon, Jacob Mondry, Rebecca Nerz, Elliot Wadsworth & Jillian Walker

The Hollywood Remix…

Twelfth Night is a favorite of the gender-bending comedies penned by the Bard, and it’s clear why; this play has all the tricks! A woman in love with a woman she thinks is a man, a man in love with a woman he thinks is a man, mistaken identity, drunkenness, debauchery and Beyonce. What? Yup Beyonce is making an appearance. It’s a modern setting and pop music abounds. You know the story right? Viola is shipwrecked and thinks her twin brother is dead (he’s not). She dresses as a guy and goes to work for Orsino (Why? Dunno, I’ve only seen it twelve times so c’mon.) Orsino sends Viola to court Olivia for him. Olivia falls for Viola (dressed as a boy, remember). Sebastian the missing brother shows up, gets mistaken for Viola, gets in a fight then marries (!?!) Olivia who thinks he is Viola. Immediately upon discovery that his male servant is a female Orsino proposes to Viola who has been pining for him the whole time. Meanwhile Olivia’s relatives are cavorting with and playing pranks on the help. And then there’s the fool. Forget Lucy, I love Will!

As I was leaving the theatre I had the opportunity to chat briefly with Assistant Director/Stage Manager: Karyn DeYoung about her experience working on these two very different productions. She observed (forgive me if the quote is imprecise) “I’ve realized they’re the same play.” In discussion it became clear that she has come to see both shows as “relationship plays.” It’s certainly true that the human connections or lack thereof are the focus in each. The universality of that need is expressed uniquely in both plays. Thanks so much Karyn for sharing a part of your experience with me and for all your hard work!

Week Two of the Spring 2011 Writer/Director Forum opens on June 9. I can’t wait to see these plays in performance. This should prove to be a joyful romp through relationship confusions. Can’t wait!

Justine Lambert
Founding Artistic Director

Notes From Justine- Spring 2011 Writer/Director Forum, Week 1

Notes from Justine
Forum Rehearsal 5/16/11

And they’re off! My first observation for the Spring 2011 Writer/Director Forum last night was an exciting start to the process that will culminate in the Forum Awards on Monday June 27th. Three very different plays; (although two have a suicide theme…) these are extremely strong offerings with experienced Forum artists represented in each and every project.

First I observed IN THE CHANGELING,written by Maiya Pendleton, directed by Melody Erfani, featuring Heather Burgher, Lash Dooley, Andrew Dunn, Andrew Gelles, Sarah Miles, Kathleen O'Neal, Alzie Rejouis, Marianne Riera & Adam Tyrer. The tagline for this show is “In high school it is all about the drama...a reimagining of the classic by Thomas Middleton and William Rowley.”

Another classic translated to a High School setting. So different from Forum Producer Aliza Shane’s Misanthrope (Forum Winter ’06) yet similar. Why do artists want to set universal stories in High School? Because it’s a universal experience here in the US and one that brought out the worst in many of our lives. High School was miserable…so it’s the perfect place for drama! This compelling script follows the “It girl” and her machinations to get what she wants. She doesn’t mean to hurt anyone but then she doesn’t really mind when she does either. Will she get what’s coming to her? What is coming to her anyway? We sympathize, even while feeling appalled at the effects of her plotting. After all, who doesn’t “want it all”… but at what cost?

Next up was RISK,written by Yasmine Rana, directed by Ashley Scoles, featuring Brooke Hills & Jonny Schroeder. This plays description is (like the play) poetic and intriguing “Two lovers must decide whether to take the risk to love or become engulfed in the flames of hate.”

Spoiler alert; below I will give away a major surprise that comes out in the first 3rd of the play. Yasmine’s intense drama is about something none of us can imagine. What if you were about to go blow yourself up, with others…? How would you or anyone handle it? We understand that the emotional questions usually left unasked would not sit quiet at such a moment. But would you get the answer desired? Can the questioned party possibly know how to answer under such circumstances? Beautiful language examines an ugly situation in this challenging and powerful drama.

Finally I observed DOUBLE CROSS written by Annie Berke, directed by Katherine Sommer, featuring Benjamin K. Glaser, George Hutchinson, Stacy Ann Strang & Hannah Tamminen. The witty description of this play is: “Charles and Samantha are a happily married couple until the daily crossword drives a 5-letter word for "triangular tool" between them.”
Here we have a comedy of character. This married couple fights. They’re not even nice to each other. They seem to be trying to improve their behavior but they end up hurting each other. Even their innocent bystander friends get hit by the emotional shrapnel flying around. Clearly they shouldn’t be married to each other. Or should they? The surprises lie in the people and what they truly need from one another. The result? Comedy!

The charming and ever helpful Assistant Directors/Stage Managers, Anais Koivisto and Mary Trotter were both engaged and engaging in our discussions. I thank them for their work and insight all night long!

Week One of the Spring 2011 Writer/Director Forum opens on June 2. I can’t wait to see these plays in performance. It’s going to be a thought provoking and highly entertaining night!

Justine Lambert
Founding Artistic Director

Notes from Justine-MORE Three By the Sea!

Notes from Justine -Three By the Sea

Having seen Three By the Sea two times now in performance, I’ve realized that the gestalt of this combination of stories is an ideal introduction to theatre for children. There are so many things they are being exposed to here: it’s like sneaking vegetables into the dessert mix! While they watch the charming stories they learn to suspend disbelief and see fabric (or umbrellas, or balloons) as water, to decipher intent through behavior, to appreciate the difference an atmosphere can have on how you interpret the individual elements of a play and how to appreciate the rhythm and flow in storytelling, not to mention simply being introduced to the great theatrical tradition of story theatre.

I really find myself enjoying each play within the play for different reasons. Working backwards, I’ll start at the end:

Foghorn Franny is a crowd pleaser. With its modern characters and sharp clear tone, it gets laughs easily while supporting the most complex story and message of the trio. The oldest audience members get a lot out of this one (both adults and tweens) because the subplot about bullying is clearly and dramatically explored and resolved. Everyone in the audience is held tight in the grips of the plot and even the youngest audience members maintain the hush required for the few (I think it’s actually two) brief moments of reflection. Coming last in the running order it is well chosen in its modern language and depiction as it leaves the audience feeling happy and thoroughly entertained at the end.

The second piece, Coyote’s Moon, is ideal for the central role in this production in part due to its simplicity. There’s not a lot of story here and so we are able to just sit back and enjoy the puppetry, lighting, water (umbrella) ballet, and characterizations. We love Lil’ Rabbit, we fear Coyote (a little), we enjoy the lights and the trickery…and …we’re done!

Appropriately, while our audience’s minds are freshest they are presented with the most complex piece. We are asked to immerse ourselves in the world, the otherness of the mythical Ireland of old. We meet characters from the town of Gollerus and enjoy their quirkiness while sensing what a stranger in their midst might experience in such a self-contained environment. The lilting lyrical language pulls us along in the story while the theatrical elements, such as mermaid costume, Shadow Puppet plays, and ongoing bits of business from comic cap-snatching to ominous umbrella-opening, devised by super-creative director Julia Martin, help keep our young audience engaged throughout.

Enjoy the spinach brownies!

Justine Lambert
Founding Artistic Director

Seeking Assistant Directors/Stage Managers!

Seeking Assistant Directors/Stage Managers for Three By the Sea - a new children’s play by Donna Latham featuring tales of the sea- produced by/at Looking Glass Theatre, directed by Julia Martin.

* Looking for highly-organized, creative, and well-rounded Assistant Directors/Stage Managers able to attend all performances and most rehearsals. Daytime rehearsals on Fridays, weekends and some weekdays begin January 21. Tech scheduled for February 28 – March 4. Show opens March 5, performances Saturday at 12 p.m. and 2 p.m., Sunday at 2 p.m. and 4 p.m. through April 10.

AD/SMs should have knowledge of basic lighting and sound board operation, an interest in directing and great time management skills. No pay, but possible future directing opportunities. This is a great way to start a wonderful relationship with a great local theatre company.

More information at www.lookingglasstheatrenyc.com

Rehearsals Begin: 1/21/11
Opens: 3/5/11
Closes: 4/10/11

Please send all cover letters and resumes to juliastirlingmartin@gmail.com.
Place AD/SM in title of email when submitting.

Interviews for AD/SMs are currently being conducted.

THANK YOU!

Winter Forum 2010- Notes from Justine – Week 2

Notes from Justine
Forum Rehearsal 11/22/10

Week Two of the Writer/Director Forum is a satisfying evening of theatre consisting of two basically realistic tales and one non realistic play. Interestingly, the stories of the two that take place in the real world are less concrete and revolve around character and location as much as storytelling while the one set elsewhere (not fully in the world but I won’t give away where) has quite the developed little plot.

First I watched a run through of No Boundaries by Yvonne Delet, directed by Eva Gabrielle Schelbaum, featuring Adam Auslander, Kimberly Carvalho, Alexandra Hiotakis, Gary Warchola & Michael Young.

The loose story about an evening at an open mike night shows us the insanity of people’s need to perform, be seen and express themselves. Equally, we observe the disregard they often have for others needs in pursuit of their own. This creative team is clearly having a blast creating the extreme characters and wonderfully quirky world of this play. Lots of fun character work is apparent in the acting and the setting is rendered with both love and ridicule by the author. Two weeks from now this has the potential to be a real treat of the ridiculous.

Inside the Three-0-Nine by Ruth Tyndall Baker, directed by Gretchen Ferris, featuring Bobby Gámez, Andrea Lattanzio, Genevieve Tarricco, Harrison Unger & Jill Wurzburg is quite a lovely little script!

Clocking in at thirteen minutes it manages to tell a touching story and make us care about the characters. Its brevity rarely, if ever, sacrifices the truth of what is being expressed. Gretchen and her ADs have a clear grasp of the piece and are telling the story with a light touch. Within that lightness the depth is beginning to emerge and I truly look forward to seeing this piece once it does. By the way, I don’t want to give away the story here because if you don’t know what the title means, the surprise element is delightful.

Less Talk, More Efficiency by Diana Stahl, directed by McKenna Dabbs, featuring Clio Davies, Keilly McQuail, Allison Whittinghill & Sharon Zaslaw is a bit wacky, which certainly fits in beautifully with the tone of No Boundaries!

Creating extreme characters isn’t the focal point for everyone in this piece however. There are some subtle ideas about the people’s lives and personalities being exposed here. This play is about Jess and Beth and seeing their lives juxtaposed against a stressful environment. It’s a comic and telling element in the play that this very stressful environment is ironically supposed to invoke peace. These two main characters seem pushed by their environment beyond the limits of a normal working relationship. I can’t imagine they are being paid well enough for this…but who knows; in this economy we’ll put up with plenty, won’t we?
Thank you, thank you, thank you to the beautiful and wonderful Assistant Directors/Stage Managers: Ava Kelley and Sarah Simmons for their help with keeping things going, and for their invaluable creative input all night long! It was a real treat getting to know them.

Week Two of the Winter 2010 Writer/Director Forum opens on December 9. I’ll be there with bells on!

Justine Lambert
Founding Artistic Director

ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT!

November 17, 2010
ANNOUNCING THE LOOKING GLASS PERFORMANCE SPACE GRANT-January/February, 2011

Seeking proposals from theatre companies.

Grantee(s) will receive performance space (anytime between January 5-January 16, 2011 OR February 14-February 27, 2011) including one technical rehearsal, and marketing and publicity (text provided by you) to our email press and audience lists and a listing or link on our web site.
For JANUARY: Non Prime Profit sharing! 60% of ticket sales go to Looking Glass, 40% to Grant Recipient.

For FEBRUARY: Prime time Profit sharing! 75% of ticket sales go to Looking Glass, 25% to Grant Recipient.

Grantee shows will be credited as COMPANY NAME, in conjunction with The Looking Glass Space Grant Program, presents SHOW TITLE

Additional rehearsal time will be made available at a deep discount when available.

DEADLINE: Applications accepted now through Monday, December 6 at 6pm.
NOTE: Early submission encouraged for January applicants. Will be considered upon submission.

Proposals must be submitted via email to Artistic Director Justine Lambert at LookGlassJustine@aol.com as one (1) attachment. Companies are encouraged to make contact (via the above email address) in advance indicating their intent to apply and/or with any questions. Applicants will be contacted with the final decision no later than Friday, December, 10, 2010.

What you provide: A production(s) that reflects our mission statement.

OUR MISSION-Reflecting life on the stage with truth and theatricality while exploring a female vision. See web site for more! http://www.lookingglasstheatrenyc.com/

Bottom line-Either playwright or director must be female (both is great but not required). Cast must be half or more female (gender bending casts are accepted to meet this requirement). Female subject matter not required. We are a non union house. No project with AEA members can be considered.

1) The Proposal-A one-page description of the project including story, concept, and tone. Include running time. Include technical requirements and keep them MINIMAL, shows will be sharing the space.
2) Creative Team-List of all creative team members already on board with short bios. (Director or Playwright must already be chosen)
3) Space Request- Your ideal opening date and performance dates requested between January 5-January 16, 2011 OR February 14-February 27, 2011 (Maximum of 8 performances)
4) Marketing Description-A description of how you will attract a crowd!
5) Company Mission-Your mission statement and a description of activities along with current staff list.

Please put the above sections in their stated order and include the number and name of each section at the top of that section. Recommended length about four pages.

Scripts are not required but may be requested after initial proposal review.

Looking Glass Theatre is located at 422 West 57th Street (btwn 9th/10th Aves). 212-307-9467

Justine Lambert, Founding Artistic Director
Jenn Boehm, Co-Artistic Director/Managing Director

Notes from Justine: Slow and Steady Wins the Race

Slow and Steady Wins the Race

I’m so excited that our second space-grant productions are about to open. We have 3 great shows opening this month. I’ll let you read about them on our website http://lookingglasstheatrenyc.com/

These shows get me excited about all the female-centric art being created around us. I recently read an article in Slate (http://www.slate.com/id/2213111) about how women still don’t get a fair shake in the literary world. No big surprise to us here at Looking Glass. We’ve been talking about and working to counteract the “canonization problem” for years now. Back when I first got interested in the forgotten classics it didn’t take long to figure out why the vast majority of the many works by women from the past have been forgotten. It’s not about quality but about who controls canonization. Now I’m not going to get myself in trouble by saying that Mary Pix is as “good” (whatever that means) as William Wycherley. But she certainly might be just as good as Oliver Goldsmith. Why aren’t any of Pix’s plays still produced as often as “She Stoops to Conquer”? Well, because no one’s ever heard of her plays. They were popular in their time, as were many of the plays by her many female peers, but they were all mostly forgotten. Why? Were ALL the plays by women just plain forgettable? Or was it that when it came time to collect, list, and basically REMEMBER the best works the process has been almost completely controlled by men.

I do think there is some change and growth happening. I’m not feeling doom and gloom even given the very slow trickle up that is happening on Broadway and Off- Broadway. There’s tons of great, great stuff happening here in the trenches with women at the helm in all the jobs. Eventually we will achieve true equal time. Not to mention pay, but, hey, little by little, it’s only been a few decades since we got the vote, ladies…maybe we should be more patient….LOL, just kidding, I’m not saying it’s OK, I’m just saying that slow and steady wins the race, and win we will.

Justine Lambert
Artistic Director
The Looking Glass Theatre
www.lookingglasstheatrenyc.com

Call for Submissions- Female Playwrights Needed!

Yes, it's that time again!
The Looking Glass Forum in NYC needs new short plays by women (guidelines below). The Forum is a one-act festival showcasing new works written by women and directed by women. Submission is free- get involved now!


Submission Guidelines -2009

THE LOOKING GLASS FORUM, a twice-yearly festival in which emerging female directors present their interpretations of new and classic short works, is now seeking new short plays (running time 10-35 minutes) by women.

The Forum is an established festival which has been in regular production at the same location since 2001. We charge no fee of any kind for the submission of scripts. We are dedicated to providing an expressive avenue for women's voices.

There is no restriction as to style or subject matter, but we are particularly interested in pieces that explore the possibilities of the theatrical medium, a place where the dead and the living, the real and the imaginary, the rational and the fantastic can all interact on a level field.

We require plays to include at least two good roles (no monologues, please), of which at least one should be female. The characters should relate to one another in some way, not just tell a story and make way for the next person.

Bear in mind that it is easier for us to cast roles in the 17-35 year old age range.

THE LOOKING GLASS THEATRE is also looking for late-night plays by women and plays for children by women to include in our season. These plays should run between 40 and 60 minutes and provide at least five solid roles, of which at least two should be female. Large casts are encouraged. In order to succeed a late night show should either be extremely silly comedy or very sexy/scary/shocking. Children's shows must be appropriate for VERY YOUNG children as they are a big part of our audience. Musicals will only be considered if the playwright or composer can provide the accompaniment on CD.

We do not accept unsolicited full-length scripts.
We do not accept unsolicited works by male authors.

Send complete scripts, by mail, to:

THE LOOKING GLASS THEATRE
422 West 57th Street
New York, NY 10019
Attn. Erica Nilson

Scripts may also be dropped off in person at the address above during office hours: Mon-Wed 8-noon, Tues 8-5, Fri 8am-3pm. Hours Subject to change. Call 212.307.9467 to confirm.

Enclose a cover letter (to Erica Nilson, Literary Manager) with your contact information on it. Production history and biographical info are also useful. In addition, please submit a digital version of your script via email. We now request that work be submitted both in hard copy by mail AND digitally by email. Work submitted without an e-version will be at a great disadvantage because it is difficult to disseminate to directors. E-versions should be sent to lgtlit@yahoo.com. Please send only one script per email and put the title of the play in the subject line. In the TEXT of the email, provide a brief synopsis, character breakdown, and approximate running time. You should also mention whether you have had a play produced at Looking Glass before, and if not, how you heard about us. Please do NOT use Final Draft or WordPerfect formats, as we do not own this software.

Please do not submit work via email only, however; we need the hard copy for our files. Unfortunately, because of the new postal restrictions, it is no longer practical for us to return these manuscripts, so please do NOT send a SASE. We apologize for the additional expense to you.

Always put your name and address on your script. We will consider up to 3 submissions per author at a time. The deadline for the June Forum is March 1st and for the December Forum is September 1st, but later submissions may be considered for subsequent Forums.

The Forum is not a union production. There is no pay available for authors or anyone involved. It is a labor of love! To find out more about The Looking Glass Forum and The Looking Glass Theatre, visit our website at: www.lookingglasstheatrenyc.com
You can also reach us by phone at 212-307-9467.

I look forward to hearing from you.

Sincerely,
Erica Nilson
Literary Manager
Looking Glass Theatre and Forum

422 W. 57th St.
New York, NY 10019