Thank you to everyone who has contributed to our 20th Anniversary Holiday Campaign. We’re off to a great start, and there’s still time for you to join the team. Take a look at this great new video below asking for your help to support New Play Development.
We’re asking for donations of $20 to support our 20th Anniversary.
A $20 monthly recurring gift (about sixty five cents per day) makes the most impact on our artists and our audience. This allows us to sustain the work even when no box office comes in or while waiting for grant money to arrive (we often have to wait a long time between “winning” the grant and actually GETTING the grant money). You can make a recurring donation here.
A $20 one time gift helps to support new plays and new visions. In our first 19 seasons, we have brought 60 plays to life in full productions, and nearly 100 in labs, workshops and readings. Your gift is significant! You can make a one time donation here.
One of the major programs you are supporting during our 20th Anniversary are our New Play programs. Check out this short video about why new plays matter.
Our new play programs make a huge impact by creating an artistic home for many playwrights. Thank you in advance for your support!
Welcome to Boomerang Theatre Company’s 20th Anniversary Season.
We began this journey in 1999 with three plays, not very much money, and an idea of presenting great plays in new ways. Now, after 19 years of 60 plays, 80 readings and thousands of audience members, we are just as excited for this adventure as ever before.
This holiday season we are asking you to support our “20th Anniversary Holiday Campaign” which will support our continued theatrical undertakings.
As part of #GivingTuesday and continuing through December, we are asking people to make a recurring donation of $20 per month (in honor of our 20th Anniversary). If that is more than you are able to contribute, we have a number of other giving levels that you can find here.
Here’s what your donation is making possible:
-An expanded 2018 FIRST FLIGHT New Play Festival, which will feature more plays than any previous fest.
-Our production of TWELFTH NIGHT in Central Park, opening June 16th 2018
-Our growing intern program, which annually brings new artists into the Indie Theater community and introduces them to our award-winning production style
-A premiere mainstage production in Fall 2018. Recent mainstage works have included LOVELESS TEXAS by Henry Aronson and Cailin Heffernan, and THE RECKLESS SEASON by Lauren Ferebee.
-The latest edition of ROCK-N-ROLES, our new play event combining theatre with great music
Please join us for this milestone season. We count on your donations as a vital step in keeping these programs alive. Thank you in advance for your generosity.
Boomerang is happy to announce the list of Finalists for the 2017 FIRST FLIGHT New Play Festival. We are so excited to continue exploring these terrific new plays.
The Day We Were Born by Jaisey Bates Hello, World! by Stephen Bracco The Bigsley Project by Catherine Castellani Nichiiwad by Hal Corley TV Boyfriend by Matthew A. Everett Tape Don’t Lie by Kirby Fields Sycorax, Cyber Queen of Qamara by Fengar Gael Wake by Vince Gatton The Alternate Possiblilities of Our Past and Future History with Particular Regard to the Identification of the Eastern Puma and The Corps of Discovery by Amy Gijsbers van Wijk Hotline by Jack Gilhooley Elevator Girl by Donna Hoke Fake Plastic Love by Terence Hughes The Dying Fall of Gary Fletzner by Adam Kraar Sinner-Man by Liz Maestri Knifeplay by Shelley McPherson The Girl Who Lived by David Meyers “i am a drop’dead gorgeous, fabulous, stylish, exotic’ass gem amongst thousands of rocks” by elliot rodger by Matthew Paul Olmos Persephone, or things that come out of the ground by Kristen Palmer Lush by Nicole Pandolfo Hungry by Lia Romeo Door to Balloon by Greg Romero Siamese Cycle by Tidtaya Sinutoke Midwives by Suzanne Trauth Karate Hottie by Catherine Weingarten
Stats Update: 374 general submissions, broken down into 248 (66%) by Male Playwrights and 126 (34%) by Female Playwrights (note: This is not self identified, but rather an overview general observation of names.) From which, we selected 24 Finalist Round plays, with a breakdown of 11 (46%) by Male Playwrights and 13 (54%) by Female Playwrights.
We will announce the Participants in the 2017 Festival shortly, along with a full festival schedule.
If you would like to make a donation to support The First Flight New Play Festival and the presentation of new plays, click here.
As part of our campaign to support new play development in 2017, we’ve asked members of Boomerang’s artistic family to write about our company and what makes us unique for them. We hope that you will recognize our distinctive contribution to New York City theatre with a financial gift this holiday season. We’re challenging donors to commit to a recurring donation of $10 or $25per month for the entirety of 2017.
But don’t take our word for it…
Upon arriving in New York in 2009, I found myself sifting through scam artists and egomaniacs as I began my search for collaborators in theater and film. Suddenly, an abundance of bands and musical artists presented themselves with cooperative spirits of passion and oneness and very quickly soaked up the majority of my creative time and energy. I thought I might have stepped outside of theater altogether. ‘Yeah,’ I thought, ‘I guess NYC thespians comprise a rather hideous species; industry is a murderer of all beautiful concepts, etc.’
One day I was connected to Boomerang Theatre Company for an audition. I was alerted that the role in question would involve partial nudity but, after a week-long (possibly internal) exclamation of, ‘OH GOOD, MORE BLEEPING BUFFOONS TRYING TO GET ME NAKED UNDER THE GUISE OF A THEATER PRODUCTION,’ I met Tim Errickson and discovered in him and his colleagues sincerity, talent, and dedication of a caliber I had not yet encountered in this city. Soon I was enjoying Boomerang’s new works and innovative classical re-tellings from both audience and performer perspectives, and feeling incredulously grateful to have found a nurturing creative home amongst tremendous talent, vision, and goodness. The First Flight readings I’ve had the joy of acting in have given me wonderful scene partners, challenging material that I find engaging and relevant, and invaluable connections to people I admire and am so fortunate to now call collaborators. The Rock-N-Roles 24-hour play festival tradition has done the same in addition to demanding a spontaneous deepening expansion of my memory and of my improvisational skills and general fearlessness as both actor and musician, which is something I could be spending my money on trying to achieve in a class. I hope to see this kind of environment continually supported and thriving for many years to come.
As part of our campaign to support new play development in 2017, we’ve asked members of Boomerang’s artistic family to write about our company and what makes us unique for them. We hope that you will recognize our distinctive contribution to New York City theatre with a financial gift this holiday season. We’re challenging donors to commit to a recurring donation of $10 or $25per month for the entirety of 2017. You can make your pledge here.
But don’t take our word for it…
No doubt your radar is already jammed with a jillion appeals from theatres of all sizes. So what makes Boomerang Theatre Company different from all the other companies seeking your support?
It seems to me that Boomerang Theatre does not “have an agenda.” Oh, they have a mission – “producing… plays that add to the vibrancy of the national theatre canon.” But, unlike so many other theatre companies, there’s a remarkable purity about their artistic choices and their support of artists.
My experience with Boomerang is as a playwright (three of my plays were developed in their First Flight New Play Festival) and audience member.
What struck me instantly about the New Play Festival is that Tim Errickson, the artistic director, makes it all about serving each particular play – and playwright. Way too often in the world of new play development, the “agenda” for the process comes from the theatre’s preconceived aesthetic or their set ideas of how development time should be used. Not so at Boomerang: Tim (who’s also an accomplished playwright) understands that not all plays benefit from the same developmental trajectory – and he trusts that playwrights know a lot about what will advance their scripts.
For each of the plays I worked on, the Festival was truly a Springboard. Dream of a Deerat Dusk went on to become a finalist in the National Playwrights Conference, won an award from Theatre Squared, and has been offered a regional production next season. In Loco Parentis was a finalist for the Trustus New Plays Festival, was selected for a week-long workshop at High Desert New Play Development and will be part of this season’s “America Rising” series at Bristol Riverside Theatre.
What’s Boomerang’s secret sauce? I believe it includes two crucial ingredients. First, a bold integrity about their artistic choices. Boomerang’s season is never predictable, and always wonderfully eclectic. Second, they provide artists with a genuinely safe space to explore new work and then share it with an audience.
Please consider giving this unique theatre company a donation!
You can make a tax deductible recurring donation here.
Hey folks…Just a reminder that the deadline for submitting your work for the 2017 FIRST FLIGHT New Play Festival is Oct 15th at 11:59pm EST(!). We’ve already received a record number of submissions, lets keep it going.
You can find all the details on how to submit here.
And for an idea of the type of work we develop, please check out the lineups of past festivals here.
After more than a few delays, the Open Submission Season for the 2017 First Flight Festival will begin on Wednesday September 15th at 12:01 AM EST and close on Saturday October 15th at 11:59 PM EST.
We don’t really have many rules about submitting, and what ones we do have are there to make the process easier on both the playwright and our staff. Basically, we try to direct people away from submitting things that are a better fit elsewhere. For example, we’ve only produced an evening of One Act Plays for an extended run once in 18 years, so we don’t seek to develop them. Same goes with musicals and children’s plays.
So what do we respond to?
When we receive a new play submission (and again this year, we are only accepting submissions electronically, because trees), each 10 page sample is read and evaluated on the following questions:
Does the play speak to our modern cultural moment in some way?
Does the play use Language in an interesting way?
Does the script feel like a play rather than a movie or TV show?
Is there anything crazy that could make producing or developing the play difficult (i.e. requires onstage Magician, live animals, a cast of 90 year olds or all children, etc)? (This isn’t a deal breaker; we like wild things sometimes)
Would you like to see this show?
So that’s it. Every submission is read by at least one person on the Literary Team (Go Team Literary!) , with the above 5 questions answered for each one. From there, we generally select 25-30 plays as Finalists and ask playwrights to submit the full script (rather than just the sample). A different member of Team Literary takes a look at the full script, using the same 5 questions. From there, we just keep passing the plays around and gathering feedback using this 5 question criteria. It ain’t scientific, but it’s what we’ve got.
Thanks for taking a look at this, and send us your awesome plays!
To see our complete submission Guidelines, click here. To see a recent history of plays we’ve developed in First Flight, click here