If you have a query, please read through these suggested questions and answers. If you would still like to contact us or ask another question, please use this contact form.
What do we get for our entry fee?
Most importantly, you get the opportunity to have you play selected and performed in a two week festival in one of the greatest cities for the arts in the world.
In addition, all entrants received feedback on their scripts last year and that is what we are aiming at this year.
Is the festival funded?
At the time of answering this question, no, P2S is not currently funded. Last year, everything was paid for by writers’ fees and box office takings. But this answer may be superseded – fingers crossed. Watch the News section.
What prizes/awards are given?
The first year’s awards consisted simply of certificates for Best Festival Script, Best Actor, Best Supporting Actor, Festival Directors Award, and Writer’s Award for Best Actor.
This year, we will have some sort of trophy for some of these. There is no money prize planned – although, if someone wants to sponsor an award…
How well will my show do?
How long is a piece of string? Seriously, it all depends on a number of factors. Some shows sell out and some received very little in the way of audience. It depends on the way you promote your shows. While we endeavour to promote the festival as a whole, the most successful shows are those in which all involved continue to promote the shows throughout the process.
In what venues will my play be performed?
Venues cannot, as yet, be confirmed. We can say that they will NOT include the bigger theatres as they are far too expensive.
Venues that have been used previously include, The Treasure House Theatre (Liverpool Museum), Lantern Theatre, Bluecoat Liverpool, 81 Renshaw Street, The Pilgrim Inn. They are a mix of theatre spaces with full facilities and fringe performance spaces with little in the way of equipment. All plays are performed in each type of space.
What additional costs might I incur?
Depending on the complexity of your production, you may have to find funds for costumes, props and scenery. This is a reason for the requirement to keep it simple. Many professional productions have been staged using a chair and an empty stage.
You may have to provide some light refreshments for your cast. If space permits, it is always a good idea to have tea/coffee making facilities on rehearsal days for example. You may choose to include these in your deductions from the revenue or not.
What does my fee cover?
Your fee, together with the forty percent that we take form the revenue, will cover the workshops, venues, speed-dating event, casting day, a flyer pack and publicity. It does not cover expenses, props, scenery, costumes etc.
What “workshops” am I expected to attend?
There will be some compulsory workshops like the Writer’s Day, where you will receive essential information about the running of the festival and what you should expect. We will endeavour to arrange the speed-dating event (where we match you up with a director) on the same day. There will also be optional workshop which we will encourage you to attend. This year we hope to include workshops on rewriting, the art of producing, and character development.
What do you mean by “not for Profit?”
Not-for-profit means that Page to Stage is not a business in the normal sense of the word and that it has been set up to benefit the community and not shareholders or directors. Yes, the festival director will take a modest wage out of the takings; last year, the festival director was paid approximately £1.15 per hour of service. Viewed another way, the director received national minimum wage for approximately 140 hours of work and donated approximately 700 hours free of charge.
Doesn’t the concept of “Profit Share” contravene minimum wage legislation?
No. Page to Stage is not an employer within the legal definition of the term. Each writer/producer will form their own production company which will comprise a director, cast, crew, and the writer who will all have equal say in the production and will negotiate working arrangements to suit each individual’s needs. All this will be explained to the writer’s during one of the workshops.
Will I get my investment back?
Currently, there are no promises on this score as it depends on box-office revenue; we guarantee that if you don’t get your money back, we won’t take a cut. Last year, all writers received their investments back.
Should we receive any funding this year, we will guarantee a return.
How are the scripts judged?
There are three stages to judging the submissions. The first read will produce a long list of plays tat will go on to the next reading stage. The long list will be read by different readers who will score them according to a much tighter set of criteria and, from this, a short list of fifteen to twenty scripts will be selected. each of these will be read a third time to select the ten lucky writers (plus two in reserve) who will go on to produce their play.
Who will judge my script?
We will be employing playwrights with a track record to read your scripts. They will also provide feedback. To keep the contest fair, the names of readers will not be released. However, in 2014 the readers were an international panel (Australia, USA, UK), some of whom were award winning writers.
I have published a short story, can I still submit a stage adaptation?
Yes. As long as the play has not been published as a stage-play or performed previously, it will be eligible.
Why is there a production fee?
The production fee ensures a commitment from the writer as part of the process of staging a production. It is envisaged that this money will be recouped from the box office revenue. Last year, all writers received their investments back.
Why does Page to Stage charge for submissions?
Page to Stage is not a funded or commercial organisation. Consultants have to be paid, money has been spent on publicising the opportunity, qualified readers will have to be paid for their time, etc. A more detailed explanation is found here.