FAQs
Who is eligible to apply for Development funding?
Any emerging or established writer who resides in WA is eligible. The emerging concept is hard to define, and generally means someone who has had a production staged professionally or collaboratively in a shared box-office arrangement (at the Blue Room for instance) or had a professional reading. However applications from collaborative teams, or successful artists writing their first work or community theatre writers engaged in special events have been supported in the past. Please talk to the Director (Phil Thomson on 92011168).When can I apply?
There are 5 rounds a year, closing on the last days of Feb, April, June, August & OctoberWhat sort of assistance can I apply for?
We aim to be non-proscriptive, and to serve the writer’s needs. In most cases we cover the costs of supporting professional artists such as dramaturges, actors and directors for short development workshops, and development costs such as photocopying and venue rental. However we are open to good arguments for a wide range of support. Please note however that our funds are limited. Please discuss your request with the Director prior to applying.Can I only apply once for a particular play?
Not at all. Plays can come back to the panel for further development, once acquitted successfully. A first stage of dramaturgy, followed by a workshop is quite a common practice. A more experimental, collaborative work might require the opposite.Do I have to find my own dramaturge, actors and/or director?
It is a strong indicator that you are ready for Stages support if you can find your own support artists. The Stages office is always willing to assist writers to find collaborators, but this search is best made prior to submitting an application. Please note that Stages can only make general recommendations, and will suggest a number of artists. It is up to the writer to make contact and choose people they can work with.Can I work with the people I want to?
Absolutely, but as we are paying professional rates we do expect that your collaborators will be experienced professionals who have skills to help you.Can I reduce costs by reading a role or stage directions?
You can, but generally we find that a writer will gain more by hearing their play and judging an audience’s reaction rather than being involved on the stage.Is there a maximum or minimum amount I can ask for?
There is not, although all funds are finite and common sense should prevail. Generally the more asked for, the higher quality we expect from the script and the workshop idea. A raw, new work with great potential but many problems may be better suited. to intensive dramaturgy at the first instance. Please talk over your plans with the Director before completing your application to discuss the scope of the project.Are there rates I must pay my collaborators?
Yes. We pay the current Equity call rates (check with the Stages office for an up-to-date amount). Directors and writers should expect the same fee. For dramaturges we currently pay $55 an hour (Note: some reading time should be allowed as well as contact hours). Writers can make an argument for paying higher rates for particular artists of merit.Can I be paid?
Generally the writer does not receive payment for their work. We are mainly here to assist you to pay for the professional support you need. The one exception is for workshop days. If your co-workers are receiving a fee for being at a particular place and time to work we think you should be too.How long do I have to spend the money?
The funds are available for 6 months from the approval of the funding. If the playwright needs to extend this time once the project is underway, they should apply to the Director, and a new time-line can be negotiated. If the funds are not spent by the specified time, and the Director is not contacted, then the funds will made available for other writers.Do I have to have a finished draft before I can apply?
A detailed and extensive treatment or artistic rationale can be submitted in lieu of a draft script for devised work or for text work not yet completed. For the latter the experience of the writer and how they will use the workshop/ dramaturgy must be compelling.Will Stages promote and organise my reading?
No. Stages is not responsible for marketing or organising a public reading and applicants must include in their application (where they intend staging a public reading) how they will inform the public and/or industry of the event. Stages will publicise the event in our eNews, and can advise on venues, but cannot take responsibility for the success or failure of the gathering.Who makes the decision?
The 2010 Stages Script Development panel consists of ten members, three of which will sit and assess the applications in each round. The full panel consists of Shirley van Sanden, Polly Low, Kate Rice, Alison van Reeken, Ray Omodei, Robert Hensley, Suzanne Ingelbrecht, Michael McCall, Talei Howell-Price and Thomas Papathanassiou. The panel members who sit in each round are kept confidential to allow them to discuss the work without fear or favour.The Stages Director attends all panel meetings in an advisory and supporting capacity for the panel but does not participate in the decision-making. The panel can call on the Director’s knowledge of the body of work or experience of a particular writer, dramaturge or other artists should they not be familiar with them.