We have not officially begun 2021 pitch process, but we are always welcoming to pitches for our future seasons so the form remains open if you want to get ahead of the pack 😉
If you don’t have an idea for a play you want to pitch right now but you do want to direct something, you’re in luck! We are looking for a number of directors for our anthology show Full Stack, which will be performed this summer.
Please go HERE and fill out the form with your details and our New Writing Coordinator will be in touch for a quick chat about casting, rehearsals, the show, Zoom, social distancing, and all the other fun stuff!
Pitch your idea
Given the current climate this will be an unusually open pitch process, we’d like to hear your ideas. We have a large and enthusiastic actor community, as well as directors and technical people on hand to support your vision.
It is likely that physical distancing restrictions will remain in-place for the majority of the year to some extent, however we are also expecting them to be partially lifted so it is possible that we will be able to so some physical rehearsing and performance late in the year. Here are some examples of things that you might want to propose:
1. RADIO PLAY
Either a long full-length single audio production, or multiple shorter pieces to be released as a series. Think the Big Finish Doctor Who serials, or Radio 4 play like Neverwhere. We would imagine this would be initially rehearsed remotely, hopefully being able to gather in a venue to record the audio in late autumn. We can help with equipment, sound expertise, foley & mixing the show, what we really need is a enthused piece of writing or adaptation that we can record.
Holding an audience’s attention, narrating directly to them is one of the oldest forms of performance, and one we see less often now. What will you bring? A tale of fairies and castles with a strong moral core? A dark campfire horror of shock and gore? Paint your world with words. When we return to theatres it will probably require distancing of the audience and between the cast, so a set of stories told by lone actors would fit well.
3. MONOLOGUES / SMALL CASTS
A series of monologues or a play that has a very small cast that can be kept distant would also likely be possible. New writing is very welcome, but also existing pieces are good subject to us being able to acquire rights.
You can apply to direct with KDC using the forms at the bottom of this page.
General Hints and Tips
If you are keen to direct in a particular season, it can be good to have more than one pitch. This gives flexibility to progress the pitch that fits best with KDC and the rest of the season we are shaping. To pitch for more than one play, just complete the pitch form a second time. There isn’t a limit on how many pitches you can submit.
Group pieces are our favourite. We want to give opportunities for quite a few actors to take part in good size roles, so we will look at the number of actors needed for each pitch. We like plays that involve at least 5 people. More is better.
We try to select plays that cater to our membership. We look for casting that reflects the diversity of London and the profile of auditionees. Two thirds of KDC auditionees are women aged in their twenties or thirties.
If your pitch is successful, we will apply for any performance rights needed. However, sometimes the rights for plays are unavailable. To avoid disappointment, we invite directors to submit a rights-free production pitch to act as a back-up if their first choice isn’t available.
If you are interested in directing for us then you can apply using both the below forms:
If your pitch is selected then we’ll ask you for a chat, here are the sort of things we’ll want to talk about:
- Why did you choose the play/plays?
- What ideas do you have for staging?
- What previous directing experience do you have? (don’t be put off if you haven’t – we have lots of ideas for first timers)
- How would you run your auditions and rehearsals?
- How will you make your rehearsals fun for the cast?
- How would you discipline people who turn up late, are disruptive or don’t learn their lines?
- What sort of production team (i.e. stage manager, lighting and/or sound operator) might you require and if you have anyone in mind.
- What would you spend your budget on? (We will give you a budget and would like to know how you plan to keep control of it)
- What problems have you had to deal with if you’ve directed a show in the past and how have you solved them?