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“The Occupant” at Ashland’s Bellview Grange

“The Occupant” Comes to Theatre Convivio, Starring Rogue Valley Legend Brandy Carson 

Theatre Convivio, a small but mighty Ashland-based theatre company, is planning a staged reading of Edward Albee’s 2001 play, “The Occupant,” based on the life of famous American sculptor and “living work of art” Louise Nevelson. 

During her life, Nevelson was famous for her striking 3-D, monochromatic sculptures, often made out of found materials and discarded furniture. She passed away in 1988 of poor health, leaving behind a large legacy of original artwork that had been featured at exhibits all over the world. Legend has it that due to her fame and prominence in the art world, Nevelson requested her name be removed from the door of her hospital room, replaced with the word “Occupant” to avoid unwanted visitors.

Albee’s play imagines an interview between a deceased Nevelson and an unnamed interviewer, exploring her early life as the daughter of Russian Jewish immigrants, her failed marriage, and her eventual career and death. Reality and illusion intermingle, leaving the audience to question what is real and what is a false recollection. 

This staged reading will star longtime Ashland actress Brandy Carson as Nevelson. Carson has a long history of film and theatre experience, and has appeared at the Oregon Shakespeare Festival, Oregon Cabaret Theatre, Camelot Theatre, and countless other venues over the years. The reading will be directed by Brady Rubin (who directed Convivio’s production of “A Doll House” in 2016 and will direct their upcoming production of “An Inspector Calls.”) Rubin specifically chose Carson for the role of Nevelson, believing that she has a voice that will truly capture the spirit of this vivacious, inspirational, and talented woman. Theatre Convivio’s Artistic Director, Richard Heller, will be playing the role of the interviewer and is producing. 

 “The Occupant” will be coming to Ashland’s Bellview Grange (1050 Siskiyou Boulevard) on March 12th and 13th at 7:30 pm. Tickets are $10 and are available at the door or on Theatre Convivio’s website at

Ashland New Plays Festival opens its 2018 season March 25th

 Production photo from The Luckiest People world premiere at Curious Theatre Company, photo by Michael Ensminger

Production photo from The Luckiest People world premiere at Curious Theatre Company, photo by Michael Ensminger

Ashland New Plays Festival will open its 2018 season

by staging a dramatic reading of a family drama, Your Best One, on Sunday, March 25, at 7:30 p.m. at Southern Oregon University’s Music Recital Hall. Tickets are available now at

The play by Meridith Friedman will feature actors Rex Young, James Edmondson, Paul Michael Garcia and Kate Berry. The four are well-known to Ashland audiences and previously appeared in Friedman’s play The Luckiest People at ANPF’s 2015 Fall Festival. They will reprise their original roles and Paul Mason Barnes will direct.
Meridith Friedman at ANPF 2015, archival photo
“I love, love, love Ashland,” said Friedman, who lives in Los Angeles and writes for television.  “ANPF has terrific, smart, insightful patrons, and I’m looking forward to finding out their feedback on the play.”

Your Best One and Friedman’s 2015 play are part of a trilogy commissioned by Denver’s Curious Theatre Company, where The Luckiest People received its world premiere performance last year. The third part, as yet untitled, will be presented by ANPF on May 13 at SOU’s Main Theatre.

The story of Your Best One centers around the Hoffman family, including widower Oscar and his grown children Richard and Laura and their families. When one of their own faces a serious health crisis, they rally together–and against each other–with their trademark wit and inherited neurosis, contending with health insurance, child custody, inheritance, and superfoods.

Visit our website to learn more:

Grants, Winners, Poetry and Exhibit News from OAC February 2018

February 2018

News & Updates

A new Arts Commissioner, lots of grant news and a powerful new exhibition in the Governor’s Office — plus a preview of the 2018 Poetry Out Loud contest!

Matt Stringer appointed to Arts Commission

Matthew Stringer, the executive director of Four Rivers Cultural Center and Museum​ in Ontario, Oregon, has been appointed to the Oregon Arts Commission by Governor Kate Brown​. Stringer fills the position previously held by Libby Unthank Tower, who completed her second four-year term in December.
Matthew Stringer

Jess Perlitz named 2018 Joan Shipley Fellow

Jess Perlitz, a Portland-based artist working in sculpture, performance and drawing, is the 2018 recipient of the Oregon Arts Commission’s honorary Joan Shipley Award.
Perlitz leads a group of 19 Oregon artists selected from a pool of more than 120 applicants from 23 Oregon cities for the Arts Commission’s Individual Artist Fellowships.
Jess Perlitz, That Which is Set Before the Eyes, 2015. Concrete, foam, office furniture, paint.

Motoya Nakamura exhibits in Governor’s Office

Portland artist Motoya Nakamura is exhibiting “Images of the 442nd: Nisei Japanese American WWII Veterans and Their Continuing Legacy” in Governor Kate Brown​’s Office at the Oregon State Capitol​ in Salem now through April 4.
Motoya Nakamura, Kenny Namba, 2009, archival pigment print, 30 x 24 inches.

Poetry Out Loud winners named

Congratulations to Jaden Schiffhaur and Leopold Westrey, the first and second place finishers in the Feb. 12 Poetry Out Loud contest at Lincoln High School!
Jaden will represent Lincoln Saturday, March 3, at the Portland Regional Contest at Lewis and Clark College. Regional contests also are scheduled that day at Rogue Community College in Medford and at Willamette University in Salem.
Jaden Schiffhaur (left) and Leopold Westry (right) took first and second place in the Lincoln High School Poetry Out Loud contest Feb. 12.

Arts Learning grants announced

Congratulations to the 20 Oregon arts organizations sharing $193,001 in FY 2018 Oregon Arts Commission Arts Learning grants! The grants, ranging from $4,451 to $12,046, support arts education projects now under way across the state.
Teacher Bari Frimkess leads a recorder class for students in the Phoenix/Talent school district as part of an Arts Learning project led by the Rogue Valley Symphony Association.

Small Operating grants announced

Congratulations to the 79 small Oregon arts organizations to receive FY2018 operating support from the Oregon Arts Commission! Awarded to arts organizations in 29 towns and cities across the state, Small Operating Grants are designed to provide operating support to arts organizations with budgets under $150,000.
A Corvallis Guitar Society event..

Arts Build Communities grants announced

Congratulations to the 33 projects awarded $209,400 in 2018 Oregon Arts Commission Arts Build Communities grants! Arts Build Communities projects use the arts as a means of addressing community need. They target broad geographic impact and arts access for underserved audiences in Oregon. More than half of this year’s awards go to communities outside of the Portland area.
A studnet shows off her ring prowess during a Circus Project workshop.

Conversations with Funders and Partners happening now

More than $5 million in funding will be on the table when Oregon Cultural Trust Manager Aili Schreiner joins with colleagues from the Cultural Trust’s Statewide Partners and other funders for “Conversations with Funders and Partners,” a 14-stop state tour. Attendees will learn about grant programs available from multiple grantmakers and will have the opportunity to discuss their projects and programming. Other statewide programming resources also will be presented.
A 2017 Conversations with Funders event in Eugene.

Happy 55th to the Corvallis Art Center

January marked the 55th anniversary of the opening of the Corvallis Art Center. We are proud of your longstanding service to the greater Corvallis community!
Corvallis Art Center.
Oregon Arts Commission | Phone 503-986-0082 |

Ashland New Plays Festival announces 2018 season

Celebrating Past Winners and Welcoming the New:

Ashland New Plays Festival announces its 2018 season

The Luckiest People cast at ANPF 2015, ANPF archives

 Ashland New Plays Festival is pleased to announce its 27th season of staged play readings showcasing new theatrical works, along with a program of talks with theater professionals.

ANPF’s flagship annual Fall Festival Oct. 17-21 will unveil four new plays in staged readings by casts of professional actors. The plays will be selected from 400 entries currently being read by local volunteer readers, with the final decisions to be made in June by ANPF artistic director Kyle Haden. They will be performed at Ashland’s Unitarian Center.

In carrying out its mission to support new works for the stage, ANPF is “working to develop underrepresented voices in theater, including women and playwrights of color,” said Haden.

The 2018 season opens Sunday, March 25, with a staged reading of Meridith Friedman’s Your Best One, directed by Paul Mason Barnes, in the Music Recital Hall at Southern Oregon University. Tickets for the 7:30 p.m. performance go on sale online Feb. 11.

Four actors who previously appeared at ANPF in 2015 in Friedman’s The Luckiest People will reprise their roles in Your Best One – Rex Young, James Edmondson, Paul Michael Garcia, and Kate Berry.

Next in the schedule will be an extensive workshop in Ashland of another as yet untitled Friedman play, culminating in a Sunday, May 13, dramatic reading of the work at Southern Oregon University’s newly renovated Main Stage Theatre.  Eventually, the Friedman plays will form a related trilogy.

“ANPF increasingly is focusing on the workshopping model for presenting new plays, in which playwrights are given a place to refine their work in preparation for production,” said Board President James Pagliasotti.

Also on this year’s schedule is ANPF’s popular Theatre Talk series, hosted again this year by John Rose and moving to Bellview Grange. Guests for the talks June through September, with exact dates to be announced later, are OSF actors Rex Young, Nancy Rodriguez, Daniel José Molina, and Alejandra Escalante.

A special added feature will be a March 30 talk for members only, featuring Christopher Acebo, Oregon Shakespeare Festival’s nationally prominent associate artistic director.

Information about ANPF, including memberships, is at

Playwright Meridith Friedman, photo by Joey Stocks

Playwright Meridith Friedman, photo by Joey Stocks

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Ashland New Plays Festival Presents CONSTELLATIONS

On May 8 Ashland New Plays Festival Presents a Dramatic Reading of CONSTELLATIONSAshland New Plays FEstival Constellations

A romantic exploration of one relationship in multiple universes by British playwright Nick Payne


“In the quantum multiverse, every choice, every decision you’ve ever and never made exists in an unimaginably vast ensemble of parallel universes.” – CONSTELLATIONS


>From London, to Broadway, to Ashland! Join us for this special, one-night-only dramatic reading of the “spellbinding, romantic journey” of CONSTELLATIONS. What begins as a simple encounter between a man and a woman then delves into the infinite possibilities of their relationship and asks us to think about the difference between choice and destiny.


ANPF’s staged reading is directed by ANPF’s Associate Artistic Director Jackie Apodaca and stars Oregon Shakespeare Festival’s Alejandra Escalante and Daniel José Molina, who also starred together as the title characters in OSF’s 2012 production of ROMEO AND JULIET. This season at OSF you can see them in HENRY IV, PART ONE and TWO.


“I feel lucky to be able to explore this text with our wonderful cast in what are sure to be honest and nuanced performances. Not only will they need to live through their characters’ stories, but to live them repeatedly, variably, as the story flitters between universes,” says Apodaca.


CONSTELLATIONS is about the mystery of time, the multiplicity of our choices, and the minutiae of life’s many paths. Playwright Nick Payne has gathered those themes into scenes from a single relationship, spread out over numerous tracks in multiple universes. “It’s hard to explain,” Apodaca says, “but easy–I think–to understand.”


For Apodaca, the play’s focus on time is something she thought a lot about when her young son became interested in physics and string theory. “We watched a lot of Nova and Brian Greene specials. The irony of learning about time while watching time change my son was not lost on me,” she says. Referring to the parent’s adage, ‘It goes so fast!’ Apodaca continues, “It’s true…except when it drags. Time, like anything worth understanding, is shrouded in mystery.”


The dramatic reading will be held on Monday, May 8, at 7:30 p.m. at the Unitarian Center, 87 Fourth Street, in Ashland. Tickets are $20 and are available online and at the door.


For more information or to purchase tickets, visit ANPF’s website at

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Contemporary Translation of Edward III by Ashland New Plays Festival

Ashland New Plays Festival Edward III playbill cover

Understanding Shakespeare through a Modern Verse Translation:

A contemporary playwright translates Edward III for today’s audiences, to be performed as a dramatic reading March 27 in Ashland, Oregon

By Kara Q Lewis

Afternoon light filters over the laptop of playwright Octavio Solis, who focuses on the screen, puzzling out ways to decipher a difficult verse from William Shakespeare’s play Edward III. After getting sick two weeks earlier, Solis began working from bed. His wife teases him about not using his brand new writing studio. He works intensely and relentlessly: “I get obsessive about it,” he says, “I work on it ‘til 1 or 2 in the morning and then it’s the first thing I do when I wake up.” He continues:

“I’ve enjoyed every second of it. It taps into the part of my brain that likes puzzles. I’m decoding something really intricate and special. The process has revealed Shakespeare’s craft as a writer. I’m getting into Shakespeare’s head, like when I try to think like Will Shortz so I can solve New York Times crosswords.”

Solis is part of Oregon Shakespeare Festival’s project Play on! 36 playwrights translate Shakespeare. The playwrights have been paired with a dramaturg and commissioned to create modern verse translations of plays attributed to Shakespeare. The project aims to “bring fresh voices and perspectives to the rigorous work of translation” while making “39 unique side-by-side companion translations of Shakespeare’s plays that are both performable and extremely useful reference texts for both classrooms and productions.” Solis’ version of Edward III will be presented as a staged reading by Ashland New Plays Festival on March 27.

The Play on! project comes with controversy. For some, Shakespeare’s words should remain unaltered. The belief is that today’s audiences should intuit and grasp one of Shakespeare’s play’s meaning from skilled actors and directors in its original language. Another issue raised is one of funding. As one New York Times op-ed contributor, James Shapiro, writes, “I’d prefer to see [the project] spend its money…enabling those 36 promising American playwrights to devote themselves to writing the next Broadway hit.”

The director of the project, Dr. Lue Douthit, has worked at OSF for over 20 years and says she is frustrated as a theatergoer. She understands the meaning of Shakespeare’s works, having discussed, written about, studied, annotated, and adapted the bard’s plays. And yet, she gets lost in the language. In a HowlRound forum, she writes: “I can hear it at 16 rpms, but not often at the zippy 78 speed that the language is designed to run.”

Solis responds to the controversy: “I understand why this project exists,” he says. “In scholarship, [the language] feeds the scholar’s soul to read and study it. But in performance there are some elements that are over our heads no matter what.”

For instance, he explains that there are many references and metaphors from Shakespeare’s time that have lost their impact, like those related to Ovid’s Metamorphosis and the lives of Roman generals. In one specific case with Edward III, Solis had to research the identity of “the queen of shades,” and upon discovering it, re-wrote the line to provide context that she is “Diana of the moon…”

Sidestepping the discussions and lively debate over the translations, we come face to face with the playwrights and their work. Solis is enthusiastic and passionate about this project: honoring Shakespeare’s poetry and getting to understand the preeminent playwright’s motives in order to clarify and strengthen his play’s power for today’s audiences.

“I’m trying to make myself invisible in this process,” Solis says. “But I’m a poet, too. And I think I bring some poetic clarity to the work. I’ve also been an actor, so I’m trying to make it more actable, to make lines more personal, rather than lofty and disengaged. I’m not inventing characters or story; I’m working from what is already there. Within that, there’s immense creative freedom. It pushes me to be the poet I know I can be, and I am comforted. We know more words than Shakespeare did, and I can access them so quickly.”

One of the most challenging aspects of Solis’ line-by-line translation has been Shakespeare’s use of chiasmus – a reversal of subject and predicate, usually with two parallel statements, as in this line from Act II Scene I, by Shakespeare: “Her beauty hath no match but my affection. / Hers more than most, mine most and more than more / hers more to praise than tell the sea by drops /”

Solis continues: “It’s a device that disengages – to not use ‘my, me, or I’.” One example of Solis making a scene more personal by using more direct language is in this intense speech given by Edward III in response to his son’s challenge to uphold a promise the prince made that contradicts his father:

Thou and thy word lie both in my command

what canst thou promise that I cannot break?

which of these twain is greater infamy

to disobey thy father or thyself?

Thy word nor no man’s may exceed his power

nor that same man doth never break his word

that keeps it to the utmost of his power.

Solis unpacked this verse multiple times and finally rested on this translation:

Your word and you fall under my command.

What can you promise that I cannot break?

Which of these two bring you the most disgrace,

To disobey your father or yourself?

Your word, nor any man’s, should not exceed

My power to break it, nor should you ever

Infringe upon your utmost word to me.

One of Solis’ most treasured discoveries during this project has been what he’s learned from dissecting Shakespeare’s writing process: his word choices, shortcuts, and creativity. “I am in awe of his particular genius, to fit so much into one line, and then make it rhyme,” Solis says. “With my tries, they’ll be one and a half lines – or two or three lines. I’ll agonize sometimes forever on iambic pentameter, and then I’ll go back to the original and find out – Shakespeare cheated! Some lines have one less or a couple more syllables than scan.” (Scansion is the process of scanning a line of verse to determine its rhythm, which is iambic pentameter in Shakespeare’s case.)

Separate from the controversy of translating Shakespeare, Edward III has its own unique discourse and disagreement among scholars as to whether the play was actually written by Shakespeare. It was officially added to Shakespeare’s canon in the late 1990s. Part of the evidence used to credit Shakespeare as the author came from computer software meant to find plagiarism in college papers.

Solis describes what convinced him Edward III must have been written by Shakespeare: “In two of the most powerful speeches, with messengers describing graphic sea battles and French refugees fleeing their villages – there is such a command of language and tone. They’re so vivid, with the poetry subverted to describe something that is truly horrifying.”

The story of Edward III follows the personal and political struggles of pivotal characters at the start of the Hundred Years’ War between England and France in the 14th century. The five-act play features the English king’s love for a married countess, brutal battles for power in France, and personal struggles of honoring oneself versus honoring a king or country.

Solis found that promises resonate in the play: “Promises, swearing oaths, these are big: when is it okay to break a promise, what is the value of your word, from both a personal level to a cosmic level to everything in between – a country to the army and towns? It’s interesting to see how they play out.”

Also of interest for Solis were the impactful correlations between parts of the play and present-day political events, including Brexit, Syrian refugees, as well as the wars in Iraq and Afghanistan. Solis says, “I’m drawn to the way the war, the political situation then, echoes to the present day. Edward III – England – chose to invade France and then they wondered why the French didn’t embrace them. They wanted to win hearts and minds, as they were going through burning villages and killing people.”

When Edward III was written in the 1590s it was a propaganda play, showing the royalty and their praiseworthy wars. “But,” Solis says, “It doesn’t put a gloss on it. Yes, it was patriotic and enormously popular, but there are some dark things that Shakespeare is mindful of exploring, like how to be a good ruler, a good conqueror.”

In a pivotal scene at the town of Calais, it is the king’s wife who helps change her husband’s mind not to kill French men who surrendered voluntarily to save their town. However, the king wants to raze the village and kill the men to show his power. Queen Philippa then says, “Those who fall under the sword and turn to ash by fire, offer you no homage. Only living can pay you homage.”

Another strong female character is the Countess of Salisbury, whom the married Edward falls in love with and propositions, expecting her to fall under his command. He is then humbled by her response. “She had to stand up by herself and make a solution all by herself,” Solis says. “She’s more honorable than I could imagine. She forces [the king] to come to his senses. It’s resonant on so many levels.”

As Solis labored over individual words and phrases, working line by line through the five-act, 103-page, 19,000-word play, “tweaking confusing parts to make it better for contemporary audiences,” he was also translating the characters, giving audiences a stronger connection to the lives and lessons played out in the story.

In addition, the play needs to work as poetry. Solis asked himself constantly, “If Shakespeare were alive today what would he do?” For Solis the poetry was as demanding as the story. “Shakespeare’s poetry is just gorgeous, and I’m a purist.” He quotes the Play on! playwrights’ first rule, “to do no harm.”

When choosing Edward III from the list of available plays to work on for Play on!, Solis was excited. “I found it at the bottom of the list,” he says, “I didn’t know the play, so I was going at it with virgin eyes, and it will be the same for the audience.” When he gave his selection to Douthit, the project’s director, Solis says she was pleased.

“Why?” he asked.

She replied, “Because, you’re a poet.”

The special, one-night-only dramatic reading of Solis’ translated version of Shakespeare’s “new” play is being produced by Ashland New Plays Festival, a nonprofit organization that assists playwrights in the development of new works through public readings and offers educational forums to the community through discussions and workshops.

Solis looks forward to the performance. “This is a fresh script, newly done, and I am working in a mode that is entirely new to me.” He also hasn’t heard the play out loud yet. “It’s imperative that I hear this with the most qualified Shakepearean actors,” he says, “in order to know whether I am going in the right direction. ANPF is giving me first shot at this. The importance of that cannot be minimized.”

The performance is Monday, March 27, at 7:30 p.m. at Southern Oregon University’s Music Recital Hall.

Tickets are $20 and $25, reserved seating, available online or at the door, subject to availability.

Visit s-e3/ to learn more.

It is directed by Dawn Monique Williams and features a cast of 12, including: Armando Duran, Devin White, Sam Osheroff, Tamra Mathias, Jamie Peck, Jon Cates, Jordan Barbour, Kyle Haden, Robin Goodrin Nordli, Nancy Rodriguez, Stephen Michael Spencer, and Vilma Silva.

Edward III actors

More about Octavio Solis:

Author of over 20 plays, Octavio Solis is considered by many to be one of the most prominent Latino playwrights in America. With works that both draw on and transcend the Mexican-American experience, he is a writer and director whose style defies formula, examining the darkness, magic and humor of humanity with brutal honesty and characteristic intensity. His imaginative and ever-evolving work continues to cross cultural and aesthetic boundaries, solidifying him as one of the great playwrights of our time. Learn more at

octavio solis





Ashland New Plays Festival Announces Fall Festival’s Full Schedule

Ashland New Plays Festival Announces Fall Festival’s Full Schedule

Ashland, Ore — Ashland New Plays Festival today announced the full week’s schedule for ANPF 2016, the flagship Fall Festival, which takes place October 19-23, 2016.

Four prize-winning playwrights, selected by volunteer readers from 400 submissions, will have their plays produced as dramatic readings in matinee and evening performances by world-class actors and directors at the Unitarian Center in Ashland. The festival kicks off with a members-only reception for the playwrights to begin the week’s events.

The playwrights and their winning plays are:

– Stephanie Walker with The Madres, which will be directed by Oregon Shakespeare Festival actor Leah Anderson, who also played Lauren Yee in ANPF’s dramatic reading of King of the Yees at the ANPF Women’s Invitational 2016

– Michael Erickson with Oberon Springs, directed by Kenneth Albers, who has acted in and directed past ANPF performances in an esteemed career ranging from OSF to Yale Repertory Theatre

– Mike Teele with EdanEv, directed by Scott Kaiser, actor, playwright, and OSF’s Director of Company Development

– Beth Kander with Hazardous Materials, directed by ANPF’s Artistic Director Kyle Haden. Kander’s play The Bottle Tree, which will have its world premiere at Chicago’s Stage Left Theatre starting October 15, 2016, was an ANPF 2015 winning play.

The opening night performance is Wednesday, October 19, at 7:30 p.m., followed by performances at 1:30 p.m. and 7:30 p.m. Thursday, Friday, and Saturday. The closing performance will be at 3:00 p.m. on Sunday, October 23.

Additionally, immediately following each performance, the playwrights and cast will be joined by ANPF’s Host Playwright EM Lewis, who will moderate talkbacks with the audience about the plays. Lewis, originally from rural Oregon, is an award-winning playwright, librettist, and teacher, as well as the recipient of the 2016 Oregon Literary Fellowship in Drama.

Lewis will also conduct a playwriting workshop, “Who They Are and What They Say,” on Saturday, October 22, from 9:00 a.m. to 12:00 p.m. The workshop is $10 at the door. Reserve your space by contacting Gray McKee at [email protected].

2016 Ashland new Plays Festival Schedule

Performances are $20 each, with tickets available in advance at Paddington Station or online, starting September 20, 2016, and at the door.

ANPF members receive benefits including one or more festival passes (tickets to four performances, $80 value), priority seating, and invitations to members-only receptions.

ANPF Script Submissions Accepted Starting June 15


ANPF Script Submissions : Accepted beginning June 15, 2016 and 8 AM pT

ANPF Script Submissions Accepted Starting June 15, 2016 at 8 a.m. PT.

ANPF’s flagship festival is an international playwright competition that culminates in the reading of four new plays chosen from hundreds of submissions by a cadre of volunteer readers. ANPF Script Submissions will be accepted starting at 8 a.m. PT, June 15, 2016, through December 31, 2016, or until 400 scripts are received, whichever comes first. A running tally of submissions will be shown on our website. The ANPF 2017 Fall Festival will take place October 18-22, 2017.

This unique and much-loved five-day festival in Ashland, Oregon, features professional actors from the Oregon Shakespeare Festival and the community. The event includes rehearsals and two staged readings of each winning play.

The winning playwrights receive a $1,000 stipend and local accommodations. There is a $15 submission fee.

For the complete list of criteria and further details see our Submit a Script page:

  • Script legibly typed with 12-point Times New Roman font in a standard 8½” x 11″ play format
  •  Full‐length drama or comedy (total 90‐ to 150‐minute running time); intermission preferred
  • Previously unproduced
  • Maximum 8 characters; doubling allowed provided a doubling plan is included with the cast list
  • The submitting author is the sole owner of the copyright of the script

ANPF Script Submissions will be accepted starting at 8 a.m. PT, June 15, 2016, through December 31, 2016, or until 400 scripts are received, whichever comes first. A running tally of submissions will be shown on our website. The ANPF 2017 Fall Festival will take place October 18-22, 2017.

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NOW THIS, a Play by Scott Kaiser

ANPF to Present NOW THIS, a Play by Scott Kaiser

ANPF to Present NOW THIS, a Play by Scott Kaiser

Ashland, Ore. — Ashland New Plays Festival (ANPF) will present a dramatic reading of Scott Kaiser’s play NOW THIS on Monday, May 23 at 7:30 p.m. in the Great Hall at the Unitarian Center, 87 4th Street in Ashland.

Kaiser, the Director of Company Development now in his 26th season at the Oregon Shakespeare Festival (OSF), will join a cast of 14 superb actors in this story about the tragic consequences of American consumerism.

Featured with Kaiser will be ANPF artistic director Kyle Haden and a number of actors playing this season at OSF, including Daniel Duque-Estrada, Armando McClain, Dylan Paul, Jamie Ann Romero and Triney Sandoval among the talented cast. Sara Becker will direct.

NOW THIS was developed by Kaiser at OSF’s Black Swan Lab several years ago and was performed previously in Houston, Texas under Becker’s direction. It explores the fictitious town of Purple Mountain and a terribly fatal response one teenager inflicts on the community as his life unravels.

The Synopsis: Welcome to the town of Purple Mountain, where teenager Joey Adderall is at the end of his tether. His girlfriend, Amy Clearblue, is pregnant; his father, Mort Soloflex, hasn’t spoken to him in years; his mother, Purelle Swiffer, is a clean freak; his former teacher, Activia Green, is a raging liberal; his boss, Shad Rogaine, has anger management issues; his roommate’s pit bull, Oswald, is a terror. He’s broke, alone, and without hope. What’s a young man to do? Joey heads to the Clear Cut Mall with a loaded pistol and shoots his way out of his disposable life, taking with him several fellow consumers. It’s all captured on CCTV by security specialist Randy Lenscrafter and uploaded to the internet for everyone to see. Can the people of Purple Mountain ever hope to understand—and learn from—Joey’s rampage at the mall?

$15 general admission tickets are on sale beginning May 2 at Paddington Station and at the door before the show, space permitting.

ANPF Women’s Invitational Winning Playwrights Announced

ANPF Women’s Invitational Winners Announced

Three outstanding plays by noted playwrights selected for presentation.
March 25-27, 2016 festival honors under-represented American playwrights.

Ashland New Plays Festival announces the winners of its ANPF Women’s Invitational. They are Martyna Majok for Cost of Living (formerly Ropes in the Well); Lauren Yee for King of the Yees; and grand prize winner Jiehae Park for Hannah and the Dread Gazebo.

The Women’s Invitational will be held March 25-27, 2016 in the Music Recital Hall at Southern Oregon University in Ashland. Dramatic readings of each play will be presented in both matinee and evening performances at 1:30 p.m. and 7:30 p.m.

As an effort to highlight critically acclaimed but unproduced work by leading American playwrights, the Women’s Invitational received 30 works from which ten finalists were selected in blind readings. ANPF Artistic Director Kyle Haden and The Kilroys co-founder Laura Jacqmin, who chairs the festival, chose the winners.

Says Haden, “It was tremendously exciting reading the finalist plays. All of them were truly impressive. I am so excited by our three winners and can’t wait to share these new stories with our audiences. We all know that women are vastly under-represented in theatre today, and have been since the beginning. We want to do our part to change that inequity. The Women’s Invitational will be a meaningful step for us in that direction.”

Additionally, the week will include an opening reception hosted by Bill Rauch, artistic director of the Oregon Shakespeare Festival (OSF); and Parity, a roundtable discussion with Jacqmin, host playwright EM Lewis, and the winning playwrights, moderated by Dr. Lue Morgan Douthit, OSF’s director of literary development and dramaturgy. The roundtable is open to the public.

More information is available at