Gillespie House Playwrights Retreat Call for Submissions

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Driftwood Theatre is now accepting applications for its 2025 Gillespie House Playwrights Retreat (GHPR) series. The GHPR is an entirely self-directed, paid opportunity that offers time and space to Ontario theatre makers who are developing new plays that are epic and mythic in nature. 

In 2023, Driftwood Theatre launched a bold new artistic vision. Blending our history of touring Shakespeare’s works across the province, with our long-standing investment in the development of new plays, Driftwood Theatre is now an incubator for new plays by Ontario-based theatre creators, whose works respond to the world we live in today through epic and mythic storytelling. Like the driftwood which supports diverse ecosystems along Ontarian shores, Driftwood Theatre provides a framework for ideas and stories to take root and thrive. 

Now in its 3rd year, the GHPR is looking to support emerging and/or established Ontario-based playwrights who are exploring bold new ideas for a theatrical work that is epic or mythic in nature (whatever that may mean to the applicant). We are looking for projects which are still in an ideation phase of development that explore uncharted creative territory for the applying artist. 

Successful applicants will be invited to attend ONE of two available retreat periods in 2025; January 19th to 25th, 2025 OR April 6th to 12th, 2025. Applicants will be asked in our submission form to indicate which retreat period(s) they would be interested in/available to attend. 

What we’re offering: 

  • Travel stipend within Ontario, accommodation, and complimentary daily breakfast for the duration of your stay.
  • Access to support from our on-site dramaturg Caitie Graham, if desired. 
  • Two fire-side group discussions facilitated by Caitie with Artistic Director Jeremy Smith centring craft, process, and fellowship among attendees 
  • Opportunities to enjoy optional group activities in and around Prince Edward County
  • An honorarium of $750.00

**As lunches and dinners are not covered as part of the retreat, playwrights will be expected to participate in a grocery sharing/communal cooking schedule at their own expense. 

What we need from you: 

  • A Complete Application Form (click here)
  • An Artist’s CV (max 3pgs)
  • An Expression of Interest – in the form of a Written Letter (max 1pg, PDF) OR Applicant Video (max 5mins) that addresses the following;
    • A brief intro of who you are and what drives you as a theatre maker. 
    • A description of the project you’d like to bring to the retreat, and how you feel it connects to our mission of sharing epic and mythic stories.  
    • A description of why you’re applying for the Retreat and how you would like to use your time here.
    • Whatever else you think is important for us to consider!
  • An Artistic Sample – in the form of a Writing Sample (max 10pgs double spaced, PDF) OR Video Sample (one link, max 10mins). 
    • Samples should be from a previous work, and will be our way of getting to know you as an artist. 

Application Due Date: Wednesday, December 4, 2024. 11:59pm.

After completing the application form, you will be prompted to send your Artist’s CV, Expression of Interest and Artistic Sample to Caitie Graham at cgraham@driftwoodtheatre.com. Please include your full name in the title of ALL attached files. Video submissions will only be accepted as unlisted YouTube links. 

All applicants will be contacted via email upon receipt of their submission, and again by the end of December 2024 regarding the status of their application.

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The Gillespie House Playwrights Retreat welcomes applicants from all backgrounds who reflect the many communities that make up the province of Ontario. In particular, we will prioritize applications from artists who identify as BIPOC and/or 2SLGBTQ+. 

Driftwood Theatre is also committed to providing an accessible and barrier-free environment for its staff and artists. However, The Gillespie House is not fully accessible. There are currently five steps up to its main floor from the street, and all guest rooms are located on the second floor, accessible by 23 steps.

If you have any questions or concerns about the accessibility of this application process or the retreat environment itself, please reach out to Caitie at cgraham@driftwoodtheatre.com for accommodations. 

Gillespie House Information: 

The Gillespie House Bed & Breakfast is a family-run B&B in the heart of Prince Edward County. In addition to 3 private bedrooms on the second floor, there are two large communal working spaces on the main floor that playwrights can share. There is lots of outdoor veranda space as well in weather-permitting months. For photographs and more information regarding The Gillespie House, please visit the website here.

 

Driftwood Welcomes New Board Members

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Welcome to Driftwood Theatre’s Board of Directors: Peter Fernandes & Brandi Sundby

This season, we announced Driftwood’s journey of transformation from producing and touring outdoor summer theatre to cultivating and supporting the development of epic plays that respond to the world we live in today. To support this shift, our Artistic Director Jeremy Smith and Board Vice President Richard Lee have been hard at work recruiting new board members to our team who resonate with this change. 

Please join us in welcoming Peter Fernandes and Brandi Sundby to Driftwood as our newest board members! These incredible individuals will be joining current board members Mary Krohnert (President), Richard Lee (Vice President), Sarah Hilderley (Secretary), and Sheldon Swick (Treasurer) as they support and lead this new Driftwood toward future success.

Below are some thoughts from Richard on how he and Jeremy have been conducting this ongoing search using Driftwood’s reinvisioned mandate of “good people connected by great stories”. How have they been finding individuals who can contribute – not just to the new direction of this company – but to the ethos that is deeply a part of what this company wants to embody?

“The process so far has been interesting, fun-filled, adventurous…all of the things that reflect what this company wants and needs to be.” says Richard. During interviews with prospective board members, topics of conversation ran the gamut. ”From asking really serious questions and having discussions about what kind of theatre we’re making, to asking folks what they’d bring to a barbeque at Jeremy’s, or their favourite dessert…we’ve really tried to show folks through this process that we’re an organization looking to live its mandate.”

“What’s lovely about Peter is, he’s not only a great artist, but he wants to play, he wants to explore. He’s not looking at the traditional boundaries of how to make theatre, or what it’s ‘supposed’ to be…and that’s what this company is about. The artistry, the joy, the magic, Peter brings those values in spades just by his very being.”

“Brandi is fresh, exciting, and innovative…If something is not there, she’s willing to build it. If something hasn’t been done before, she’s willing to make a new pathway to do it. There’s great satisfaction in knowing we’re moving forward with a person who has been there and done so much from scratch before.”

We are so thrilled to be embarking on this new journey with Peter and Brandi. Learn more about them below!

PETER FERNANDES

Peter Fernandes is an award winning actor and emerging director and magic/illusions designer. He is currently performing as Francis Henshall in One Man, Two Guvnors for the Shaw Festival where he is also a Neil Munro Intern Director, assistant directing on Witness for the Prosecution and Sherlock Holmes and the Mystery of the Human Heart, as well as magic designer for Snow in Midsummer.

“Being asked to join the Driftwood Board was incredibly exciting, not only because of the incredible work that I’ve enjoyed watching over the years, but because of the wonderful group of people driving the company forward. The new focus on epic stories that respond to the world we live in resonates deeply with my own artistic practice and I look forward to collaborating with such a passionate team as we venture into this exciting new chapter together.” – Peter Fernandes

Read more about Peter in this recent Toronto Star article

BRANDI SUNDBY

Brandi is a strategy and financial planning expert for business and non-profits, with over 15 years of experience working for clients in media, arts & culture, architecture & design, and education. Her sense of adventure (which we like) has brought her to cities throughout North America, including Montreal, Vancouver, Toronto and New York City.

“Driftwood Theatre is charting an exciting new course, as it reinvents itself into an incubator for the development of contemporary plays. I’m elated to come on board at this moment in Driftwood’s history, to support the organization in laying a solid foundation that will benefit the organization –  and emerging Ontario playwrights – for years to come.” – Brandi Sundby

Learn more about Brandi at her website here

$30 for 30 years: Driftwood’s Anniversary Fundraising Campaign

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Attention all Driftwood friends and family! This summer we’re calling on you to help celebrate Driftwood’s 30-year commitment to epic theatre.

After decades of touring Shakespeare’s works across Ontario, this season, Driftwood Theatre has embraced a bold new artistic vision. Now in its 30th year, Driftwood has turned its focus to the incubation and development of contemporary plays by contemporary theatre creators, whose works explore themes and ideas as mythic and epic as Shakespeare’s. 

 

The goal for our $30 for 30 years campaign is to collect 100 donations in 6 weeks. That’s  $3,000 to help us develop vital new theatre by Ontario-based creators and share it with communities across the province. Donate today and join Driftwood as we embark on our most exciting adventure yet!

Want to take your impact even further? Share this campaign on social media to let your friends know what Driftwood is up to and why you’re excited about it. More awareness around what we do means more artists can benefit from our programs!

Wherever you post, be sure to tag us @driftwoodtheatre and use the hashtag #30for30

CLICK TO DONATE

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The Story of Our Change

Driftwood’s commitment to new play development has been growing steadily since 2004. While our Bard’s Bus Tour travelled across the province, our Trafalgar 24 Festival and Beyond the Bard Playwrights Unit nurtured the creation of over 100 short and 10 full-length plays. 

Now that we’ve set roots in Prince Edward County, we’ve reimagined our mission of good people connected by great stories. Where we were once a nomadic touring company that brought epic and mythic theatre to communities across Ontario, we are now – with our new home – becoming a development hub which fosters it. 

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Your Impact

Already we’ve launched several initiatives to make our new vision a reality, and your support will help us keep the momentum going. 

Your donation will help us to..

  • Host more Gillespie House Playwrights Retreats; paid, week-long, self directed retreat opportunities for Ontario-based creators working on new projects
  • Support our Playwrights Around the House Residents who work with us on projects from inception to production 
  • Hire artists to participate in new play workshops, performances, and classic Driftwood events (like Shakespeare D&D and William Shakespeare’s A Christmas Carol)
  • Launch FREE theatre creation and professional development programs for youth in Prince Edward County
  • Support our staff in daily operations and build capacity for the future!

Changing from a company that produces and tours epic theatre into one which supports and develops it is no small feat. That’s why your support is so meaningful to us. In celebration of our 30-year commitment to good people connected by great stories, make a donation of $30.00 and be part of Driftwood’s exciting future.  

CLICK TO DONATE

That tricky first draft

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Driftwood Metcalf Intern Artistic Director and dramaturg Caitie Graham reflects on our June playwrights retreat with some thoughts about that often elusive first draft. 

Hi! It’s Caitie here; Driftwood’s Metcalf Intern Artistic Director and Retreat Dramaturg. You’ll be hearing from me this month (how fun!) 

Last week, we hosted our second Gillespie House Playwrights Retreat of the season, with playwrights Anahita Dehbonehie, Helen Ho, and Mariya Khomutova, and it was a truly special experience. We shared good food, good conversation, and on more than one occasion we fell asleep watching a movie in the living room…

And while all of that sounds like a cozy and wonderful time, these playwrights were also hard at work generating first drafts of their new plays. And first drafts are tricky. Read on to learn more about the specific joys and challenges of being at the very beginning of a new process; something all three of our playwrights were doing last week.

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The early stages of writing a new play can be complex to navigate. It’s different for everyone, but for me at least, there’s a spectrum of experience during this period that usually hinges around the idea that – before a first draft exists – the play could be anything. On good days, this can be totally freeing; ideas flow and everything clicks – all seemingly without effort. But on rougher days, the idea of ‘anything’ can become a block; doubt pervades, you can feel lost.

In my experience, writing a first draft is basically just finding a way to stay afloat while bouncing between feeling totally empowered – and totally defeated – by possibility.  It’s doing whatever you can to trick yourself into writing one complete version of the story without running away from it entirely.

During this tumultuous stage, these are some pieces of advice I’ve learned to hang on to….

  1. A first draft’s only responsibility is to exist. That’s. It. There is no need to borrow trouble from future stages of development when all a first draft needs to do is be. 
  2. Getting it wrong is a necessary step before getting it right. All writing is productive, even if it doesn’t end up in the play. Exploring what doesn’t work ultimately helps us envision what does.  
  3. Remember the difference between choices and decisions. In first draft land, we are only making choices (i.e. trying on clothes, seeing what fits). Only later do we begin making decisions (i.e buying the dress). 
  4. No new play follows the same process as the one that came before it. No matter how many plays you’ve written, each new project has the power to change the way you work. Let it. 

To all the playwrights who are in the early stages of developing something new, thank you for staying in your process (no matter how uncomfortable it is at times) and for committing to the act of making something from nothing. As eager audiences of your work, we are grateful for your perseverance. 

And to you, reader. Thanks for being part of Driftwood’s new chapter. We’re in something of a new draft process ourselves, and we’re grateful for your support as we find our new way to be. 

Your favourite intern, 

Caitie.

Pictured above: Sometimes that first draft is about as elusive as your favourite feline. Like Merlin. Photo by Caitie Graham.