Jacqueline Goldfinger
the pulse:
resides in:
Philadelphia, PA
contact by:
jacquelinegoldfinger@yahoo.com
their site:
http://www.jacquelinegoldfinger.com
Playwriting Biography:
Jacqueline Pardue Goldfinger is a dramaturge and award-winning playwright from Tallahassee, Florida. She earned her M.F.A. from the University of Southern California (2004) and B.A. from Agnes Scott College (2000).
Her work has been developed and produced around the country and in Sydney, Australia. Her independent film, "Firefly," was produced and distributed by Meteor International. Her adaptation of "A Christmas Carol" is published by Playscripts.
For recent announcements and detailed information, go to: www.jacquelinegoldfinger.c
JacquelineGoldfinger's Blog
Arena puts playwrights on payroll
by Jacqueline Goldfinger
posted: 2010-06-21 08:25:16
Check it out:
Comments:
Important changes to how playwrights are paid
by Jacqueline Goldfinger
posted: 2010-03-29 09:21:01
Check out the NYTimes article:
http://www.nytimes.com/2010/03/25/theater/25rights.html?th&emc=th
Comments:
Make Sure Your Voice Is Heard
by Jacqueline Goldfinger
posted: 2009-03-20 08:18:10
NPI is interested in hearing what you have to say before creating classes and new programs. Complete this short three question survey by Tuesday to make sure your voice is heard. (Thanks to the ten writers who have already completed the survey!) While I know everyone is busy, if we don't show that there is an interest in classes then they won't be created. We need to let NPI know what we need, so they can support us.
Please forward your answers to the following three questions to my email account (jacquelinegoldfinger@yahoo.com). I’ll compile and forward the results to NPI to help inform their decisions.
Also, please forward this survey to local playwright friends.
(1) Which of these classes are you interested in?
A. Creating Ensemble Generated Work
B. Writing Solo Plays
C. Writing Plays Based on Newspaper/Real Life Stories
D. Writing Memoir Plays
E. Writing Adaptations
F. Text Analysis (reading and discussing plays, and why they work)
G. Writing Short Plays
H. Other: ________________
(2) How much would you pay for a class?
A. $1-$25
B. $1-$50
C. $1-$75
D. $1-$100
E. $1-$125
F. $1-$150
G. $1-$200
H. Other: ________________
(3) What's your preferred length for a class?
A. 1 day (weekend)
B. 2 days (weekend)
C. 3 days (long weekend)
D. Once a week for a month
E. Once a week for 6 weeks
F. Once a week for 8 weeks
G. Twice a week for a month
H. Twice a week for 6 weeks
I. Twice a week for 8 weeks
J. Once a month for 6 months
K. Other: ________________
Thank you for your time!
Best,
Jackie
Comments:
Make Sure Your Voice Is Heard
by Jacqueline Goldfinger
posted: 2009-03-20 08:16:39
NPI is interested in hearing what you have to say before creating classes and new programs. Complete this short three question survey by Tuesday to make sure your voice is heard. (Thanks to the ten writers who have already completed the survey!) While I know everyone is busy, if we don't show that there is an interest in classes then they won't be created. We need to let NPI know what we need, so they can support us.
Please forward your answers to the following three questions to my email account (jacquelinegoldfinger@yahoo.com). I’ll compile and forward the results to NPI to help inform their decisions.
Also, please forward this survey to local playwright friends.
(1) Which of these classes are you interested in?
A. Creating Ensemble Generated Work
B. Writing Solo Plays
C. Writing Plays Based on Newspaper/Real Life Stories
D. Writing Memoir Plays
E. Writing Adaptations
F. Text Analysis (reading and discussing plays, and why they work)
G. Writing Short Plays
H. Other: ________________
(2) How much would you pay for a class?
A. $1-$25
B. $1-$50
C. $1-$75
D. $1-$100
E. $1-$125
F. $1-$150
G. $1-$200
H. Other: ________________
(3) What's your preferred length for a class?
A. 1 day (weekend)
B. 2 days (weekend)
C. 3 days (long weekend)
D. Once a week for a month
E. Once a week for 6 weeks
F. Once a week for 8 weeks
G. Twice a week for a month
H. Twice a week for 6 weeks
I. Twice a week for 8 weeks
J. Once a month for 6 months
K. Other: ________________
Thank you for your time!
Best,
Jackie
Comments:
What classes do YOU want to take?
by Jacqueline Goldfinger
posted: 2009-03-17 14:36:02
Hello Fabulous Philly Playwrights!
At the New Play Initiative weekend in February we discussed the possibility of creating classes focused on specific topics.
If you're interested in classes, please forward your answers to the following three questions to my email account (jacquelinegoldfinger@yahoo.com). I’ll compile and forward the results to NPI.
(1) Which of these classes are you interested in?
A. Creating Ensemble Generated Work
B. Writing Solo Plays
C. Writing Plays Based on Newspaper/Real Life Stories
D. Writing Memoir Plays
E. Writing Adaptations
F. Text Analysis (reading and discussing plays, and why they work)
G. Writing Short Plays
H. Other: ________________
(2) How much would you pay for a class?
A. $1-$25
B. $1-$50
C. $1-$75
D. $1-$100
E. $1-$125
F. $1-$150
G. $1-$200
H. Other: ________________
(3) What's your preferred length for a class?
A. 1 day (weekend)
B. 2 days (weekend)
C. 3 days (long weekend)
D. Once a week for a month
E. Once a week for 6 weeks
F. Once a week for 8 weeks
G. Twice a week for a month
H. Twice a week for 6 weeks
I. Twice a week for 8 weeks
J. Once a month for 6 months
K. Other: ________________
Thank you for your time!
Best,
Jackie
Comments:
"the terrible girls" in Azuka's Spotlight Series
by Jacqueline Goldfinger
posted: 2008-10-10 14:29:37
Azuka Theatre is producing a staged reading of my one-act play, the terrible girls, for their Spotlight Series. It is directed by Allison Heishman and features Kristy Chouiniere, Mandy Schoonover, and Zura Young. We are using this reading as developmental tool to help expand the play into a full-length piece. We hope you'll join us and offer your thoughts.
READING INFO:
Tuesday, October 14
7p.m.
Free, No RSVP Required
Plays and Players, Third Floor
1714 Delancey Street
(between Spruce and Pine and 17th and 18th)
Philadelphia, PA
http://www.jacquelinegoldfinger.com
http://www.azukatheatre.org/
PLAY INFO:
the terrible girls is a wicked dark comedy of friendship, obsession, and Southern sensibilities. Two women battle for the love of one man, while the third guards his terrible secret. “It’s a wild mix of fearless comedy and Southern Gothic horror,” says Kristina Meeks, Founder, San Diego Playwrights Collective.
It premiered at the 2007 New York International Fringe Festival:
"Three Stars." -Time Out, NY
"All the smokiness of a Southern Gothic Drama." -Backstage
"Suspenseful and provocative...a refreshing new story admirably written...What makes this play different than a mundane portrait of the modern South is its mythic quality. the terrible girls forces us to reflect on the duality of human nature and witness how deceit, desire, and obsession can lead to transgression." -NYTheatre.com
___________________________________
Visit me online:
http://www.jacquelinegoldfinger.com
___________________________________
Comments:
Staged Reading in Center City Philadelphia Tonight
by Jacqueline Goldfinger
posted: 2008-08-03 07:51:14
The Cardboard Box Collaborative presents a staged reading of a new Southern Gothic play, "Slip/Shot," by PDC playwright Jackie Goldfinger on Sunday, August 3, 7p.m. at the Philadelphia Ethical Society (1906 Rittenhouse Sq, Philadelphia, PA 19103). Free - No RSVP Required. Join us afterwards at The Cafe at 2011 Walnut. For more information go to: http://www.cbctheatre.org/1.html or http://www.jacquelinegoldfinger.com.
Comments:
Summer Play Festivals/Conferences
by Jacqueline Goldfinger
posted: 2008-06-06 11:05:10
Summer Play Festivals
Summer is my favorite time in the theater season. During the summer, many theater companies shrug off classic plays and popular hits to focus on new works.
I was fortunate enough to be selected for two new play programs this summer; Northern Writes at Penobscot Theatre and Play Labs at Last Frontier. I was asked to blog a little bit about my experience, so here’s my two-cents.
Northern Writes is a two-week new play festival in Bangor, ME produced by the Penobscot Theatre at the historic Bangor Opera House. You simply submit your script, and Penobscot selects and produces the winning entries. This experience was exceptionally helpful because I had no input into the production of the staged reading. It gave me a sense of how my play would be interpreted when I’m not around. It taught me which aspects of my scripts are unclear, so I know what to clarify in the next draft. I would suggest submitting a play to this type of Festival – a Festival in which you are not involved in rehearsals – if you feel your script is at least 80% complete. If you have an early draft of a script, this is not the best type of Festival to submit to simply because you do not have the opportunity to work through the script with the actors and director. These festivals are best used to refine an already solid script.
However, there are summer opportunities focused on developing rather than refining a script. Play Labs at Last Frontier offers the opportunity to rehearse with the actors for a day before the staged reading. If you only have a rough draft of a script, or a short you’d like to turn into a full length, these events are perfect because you can rework the script throughout the rehearsal. Many of these types of events also offer post-reading professional critiques so you have a plethora of ideas to employ in the next draft.
If you have a brand new script that needs workshop time, I suggest attending the Sewanee Writers Conference. I attended last year and while they only offer stipends to select applicants, the Conference offers multiple opportunities to workshop your script with a group of fellow-playwrights. These workshops are led by professional playwrights who also serve as mentors and offer individual workshop sessions.
Here’s a short list of summer festivals and conferences to get you started. Some solicit plays specifically for their event (usually between November and March) while others select from plays submitted throughout the year to their company:
-Steppenwolf’s First Look
-Northern Writes New Play Festival
-PlayLabs, Last Frontier Theatre Conference
-Sewanee Writers Conference
-PlayPenn
-PlayShop (Begins in the spring and runs through early summer)
-Native Voices New Work Festival
-Resilience of the Spirit Festival
-Eugene O’Neill Theatre Conference
-Sundance Theatre Lab
-Hanger Theater Summer Lab
-Envision Retreat
There are also a number of Fringe Festivals with summer seasons. However, these Festivals usually require a producing company. I had a play at the New York International Fringe Festival last year and it was a great experience, however, just be aware, these productions are covered by professional reviewers so if you have a script in the early to mid-stages of development, the Fringe might not be the best place to showcase your work.
If you’d like to see a picture of Northern Writes or the New York Fringe, check out my website: www.jacquelinegoldfinger.com. Play Labs runs June 11-22, so I will be posting those photos at the end of the month.
BREAK A LEG!
Comments:
Jacqueline Goldfinger said on 2008-07-15:
RE: submitting to staged readings question
I think it's always great to submit to staged reading series and festivals when a play hasn't been produced, no matter how many readings it's had. Simply because these activities get your work seen. There aren't many opportunities to have work seen, and producers always say they're more interested in a play if they see it "on its feet" and it works. Of course, this doesn't mean you don't submit a play for full productions. It just means, get all of the juice you can out of reading series and festivals as well. Then once your work is being showcased, make sure to invite all of the artistic staffs from all of the theaters in the area. Best of luck!
Robin Rodriguez said on 2008-06-07:
First off, Jacqueline, congrats on getting into two new play programs this summer. Hope they go well. I don't know you or your work, but I look forward to seeing you, and it, soon. And thanks for the interesting post. I'm preparing to enter the workshop arena, so the idea of matching script to type of workshop is something to think about.
But I'm curious...once you have a play go through a festival like Northern Writes do you pretty much quit submitting to those venues and focus solely on full-production possibilities? Or do you find value in each additional opportuniy to see how someone handles your script without your input? And even if you don't find much value, do you feel obligated to keep building the resume of the play so it will look good to others?
Also, the process you suggest could easily take three years. Year one: hope to get in something catering to a new play. Year two: try for the middle ground. Year three: go for the almost complete version. I suspect most of us won't be quite so discriminating. I figure if I have something good enough to get into a Northern Writes, even if it's at a fairly new level, I'll go for it. Still, I will take to heart the idea that blanketing the earth with submissions isn't thebest approach.
And I certainly appreciate the list of festivals that you consider worthwhile. I wonder if there are others who have some different "favorite" submission sites they'd like to add?
(And to Brian, I'm not an active blogger but this is my modest response to your suggestion that we at PDC use this blog more.)