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Semifinalists for Inaugural Production

We are delighted to announce the semifinalist for the inaugural production at The Hive. Of the 284 30-page excerpts submitted, we requested full-play submissions from 24 playwrights. (Note that there were other plays submitted that we intend to consider for later or seasonal productions, but these 24 plays were identified as potentially good fits for our first play out of the gate.) Of those 24, we identified the following six plays as semi-finalists.

  1. ANOTHER AMERICA, Bill Rosenfield
  2. HEARTS OF STONE, Donna Hoke
  3. MOSES, THE AUTHOR, Andrew R. Heinze
  4. THE ACTORS, Ronnie Larsen
  5. THE BOOKBINDER’S TALE, Bo Wilson
  6. THE DOG IN THE DRESSING ROOM, Deborah Savadge

We will announce the inaugural production soon. Thanks to all who have submitted thus far. If you haven’t yet submitted a play, and you think you have one that would be a good fit for The Hive, please send it our way.

Collaborateur?

The Hive Collaborative, a new 80-seat theater located in Provo, Utah, is seeking to grow its network of collaborators to help bring to life its slate of new theatrical works beginning in the summer of 2018. See this page for details.

Quarterfinalists for Inaugural Production

We are delighted to announce the quarterfinalists for the inaugural production at The Hive. Of the 284 30-page excerpts submitted, we requested full-play submissions from 24 playwrights. (Note that there were other plays submitted that we intend to consider for later or seasonal productions, but these 24 plays were identified as potentially good fits for our first play out of the gate.)

The 24 quarterfinalist plays and playwrights are:

  1. ALWAYS PLENTY OF LIGHT AT THE STARLIGHT ALL NIGHT DINER, Darcy Parker Bruce
  2. ANOTHER AMERICA, Bill Rosenfield
  3. BOUND BY STARDUST, Claudia I. Haas
  4. DISTANT NEIGHBORS, Patrick Gabridge
  5. DIZGRUNTLED, Daniel Rover Singer
  6. HEARTS OF STONE, Donna Hoke
  7. HEROES MUST DIE, Rick Stemm
  8. LIFE EXPECTANCY, Catherine Butterfield
  9. LIKENESS, David Caudle
  10. LOVE AND COMMUNICATION, James Christy
  11. MARGARITA AND MAX, Manuel Igrejas
  12. MOSES, THE AUTHOR, Andrew R. Heinze
  13. OK, SIERRA, Adam Nathaniel Davis
  14. ONE COW STAMPEDE, Virginia Reynolds
  15. OPPORTUNITY OF A LIFETIME, Jeanne Beckwith
  16. SINGLE WIDE, George Nelson
  17. SUPERHERO BLUES, Judd Lear Silverman
  18. THE ACTORS, Ronnie Larsen
  19. THE BOOKBINDER’S TALE, Bo Wilson
  20. THE DOG IN THE DRESSING ROOM, Deborah Savadge
  21. THE ENDURANCE OF LIGHT, Amanda Petefish-Schrag
  22. THE WEDDING DRESS, Nancy Gall-Clayton
  23. UNEMPLOYED ELEPHANTS – A LOVE STORY, Wendy Graf
  24. VAUTHOR, Richard Curtis

We hope to announce our semi-finalists within the next few days. Thanks to all who have submitted thus far. If you haven’t yet submitted a play, and you think you have one that would be a good fit for The Hive, please send it our way.

284.

Came across this picture of our building two years ago today. It’s come a long way since.

That’s how many scripts we received through April 21, 2018, our cut-off date for submissions for our inaugural production, which we’re working toward getting into production this summer. (Note: We’re still accepting scripts for the rest of our inaugural season. So if you missed the April 21 cut-off, but still have a script you think would be a good fit for the Hive, please submit it here.)

For now, we are curling up with these first 284 scripts trying to whittle it down to our quarterfinalists, from whom we will request full scripts (our original call for submissions requested only the first 30 pages).

Some of the submissions seem like a better fit for an October or a December play. Others feel like they would be a better fit for a kid-friendly show, which we want to include into our mix, but probably not for our opening play. These plays we are setting aside for now to focus on that first one.

We’re working to identify our quarterfinalists for our inaugural production and will be sending out notifications to them by May 4, 2018. If you submitted a play and haven’t heard from us by then, it means that while your play isn’t being considered for our inaugural production, it still may be considered for future productions.

But if you do receive an email from us letting you know that you are a quarterfinalist, we’re asking you to please submit the full script to us as soon as possible, because we: a) are loving what you’ve done so far and can’t wait to find out what happens; and b) have got to get going on making our final selection.

Thanks to all who have submitted. There’s a lot of heart and soul and brainpower and hours that go into that leap from an idea to completing an actual script. Our hats are off to each of you. We look forward to the possibility of working with many of you over the coming seasons.

 

 

So Many Good Scripts…

We did not what to expect when we put out our call for submissions into the great, wide open on April 1. But our hope was that not all the excellent plays had already been written – that there were new works out just about ready for an audience to fall in love with.

Now, two and a half weeks and 262 scripts into this process, we are feeling like our hope was well-founded. Granted, we’re basing this assessment on only the first 30 pages of any given script, since that is what we requested our playwrights submit at this stage.

Still waiting to hear back from the city on some plans, but assuming things go forward as intended, and hoping to open our first show before the end of July 2018, we’re planning on cutting off the submission window for plays to be considered for our inaugural production at midnight on April 21, 2018. That doesn’t mean we won’t accept submissions after that date, as we’re hoping to fill out the rest of our 2018-2019 season. So you clever playwrights out there, please do submit that lovely thing you’ve been working on.

Before the end of the month, we plan to request the rest of the script from the top contenders. (Note: We’ve received some submissions for excellent plays that would work better during another part of the year. We plan to revisit those after we’ve selected our first show. So if you’ve written an excellent spooky script, or something perfect for the holidays, we hope you’ll understand if we want to hold off for now.) Then we’re hoping to make our final determination by mid-May. Eventually, we hope to give ourselves a little more breathing room for these kinds of things, but for now, we’re wanting to hit the ground running and we’re wanting to make a great impression with that first play.

And here’s the bottom-line good news. It’s starting to feel like the hard thing won’t be coming up with a play that makes a great first impression; the hard thing will be narrowing it down to a single one.