1. SDC PROGRAM QUESTIONNAIRE
   1. Complete the Questionnaire for SDC Program participation and upload your current resume.
2. DIRECTORIAL ESSAYS

1. 1. To us, your Directorial Practice should tell us why you are an artist in the first place, and why directing is the medium you’ve chosen to impact the world. It could possibly include your view of the world, your history, your influences, techniques you’ve employed in your work…and (hopefully, and most importantly) what distinguishes you from everyone else applying. Avoid cliches and really think…what is special about you? (400 WORDS MAX)
   2. Your Directorial Process, on the other hand, is HOW you direct, the actual process of preparation and execution you use when directing a play, musical, film, or other live performance. Some things that you might want to discuss here are how you read the text, how you take notes on it and prepare, how you approach research, how you execute the process of rehearsal, or production meetings, or casting, or previews, etc. Directorial Practice is who you are; Directorial Process is how you do it. Speak from the heart, and speak about yourself…we understand these are difficult questions (that’s why we ask them!), and we look forward to learning about you through what you choose to share with us. (400 WORDS MAX)
      1. OPTIONAL: Applicants may upload supplemental material exemplifying their directing practice, process, and/or experience. We will accept a maximum of 10 images with brief written contextualization.

3. DIRECTOR’S PITCH

Choose one of the scenes from the list of SDC nationally selected scenes.  Read the play the scene is from and provide a concept pitch for the scene you will prepare. (500 WORDS MAX)

• What play did you choose? 
• Why does this play need to be done RIGHT NOW?
• Why are you the artist to do this play, and what will you, specifically, bring to the production? 
• What impact do you hope your work will have on an audience? 
• What is your interpretation of this scene? Discuss what is happening both in the scene itself and how it relates to the rest of the play. Help us understand your approach to analyzing not just the meaning, characters, and action, but also the world of the play and what you hope to communicate.

4. RECOMMENDATION LETTER

Submit a Faculty/Nominator-of-Record Letter of Recommendation which speaks to the student’s directing accomplishments and potential. The letter should provide information about the student’s record as a student of directing, including coursework and practical directing experience, imagination and artistic vision, communication skills, and ability to collaborate with others. In addition, the letter should provide the faculty member’s assessment of how participation in this program may benefit the student.

All materials must be submitted by 01 DEC 2025 (11:59PM/EST) as ONE pdf document.

• Before the Conference: Student directors (1) choose a scene from this list (2) prepare their application materials (3) complete the program questionnaire. Register for the KCACTF Region 2 Conference January 13 – 17, 2026.
• Round 1: Selected student directors bring their prepared scenes to the festival. A panel of two or three respondents give feedback on the director’s choices and work.
• Round 2: Student directors participate in an interview with the respondents, during which their directorial practice & process will be discussed. They go back into rehearsal with their cast in preparation for Round 3.
• Round 3: The scenes will be presented in this final round, which will occur at least two days following Round 1. A response session will follow the final round.

The invited SDC students will prepare a fully-staged, off-book presentation (no longer than 15 minutes, including setup and breakdown) of their chosen scene from the 2026/27 list. The student is responsible for realizing all aspects of the presentation. Please consult your school about its policies for bringing a scene to the Regional Conference (such as limitations to the number of students who may be supported, restrictions to the casting pool, or resources available).

All scenes will be presented in a closed session in a standard conference room under room lights, with no other tech provided. We strongly encourage you to think simply and creatively with limited technical resources; the focus should be on the work of the actor and director in clear storytelling rather than on design or spectacle. Directors would be responsible for running any technical elements they bring. THERE WILL BE NO STORAGE IN THE CONFERENCE VENUE.

Scenic: Six directors will have access to the following in the room:

8 café chairs, 2 tables, 2 2’ rehearsal cubes, 4 1’ rehearsal cubes

Directors do not need to use all these elements, but as you rehearse, be mindful of what will be available in the actual space.

Directors are responsible for any other scenic elements, which should be portable and easily removed from the space.

Props: Directors may bring simple hand props, as needed (no weapons).

Costumes: Directors and casts are responsible for their own costuming. Keep costuming simple, portable, and low maintenance (e.g., use personal clothing that suggest the characters or world of the play but do not require period authenticity or complicated care).

Sound: Directors may bring their own Bluetooth speakers and playback devices for sound, if they can be easily deployed and broken down in the allotted time.

Lights: Directors should plan to present under room light. Directors may incorporate small handheld practical lights, if appropriate, but setting up and focusing any larger lighting is not permitted. A full blackout may not be possible.

A pair of respondents who are professional directors/educators will view all scenes and meet with each director for 15 minutes to offer feedback and discussion of the work.

Directors of scenes advanced to the finals should plan to schedule time with their casts during festival to explore ideas arising from the conversation with the respondents. Those revised scenes will be presented during the finals, which will be open to the full festival.

At the closing ceremony, the Region 2 committee will announce the SDC Regional Finalist selected by the respondents who will advance to the national festival.

All entrants for the 2026 and 2027 Regional Festivals will prepare one from the list of scenes below, selected by the SDC fellowship alumni.

Arbor Falls by Caridad Svich (New Play Exchange)
Recommended by Sanhawich Meateanuwat, 2022 Region 3 SDC Fellow

Blood at the Root by Dominique Morisseau (Concord Theatricals)
“This play tackles the complexity of identity, accountability, and justice. The beauty of this play lies not only in its rhythmic language, but in the faults of each of these characters. The challenges posed in this scene not only changed how I felt about the play, but how I interact with Southern culture.” – Tiara Staples, 2024 Region 4 SDC Fellow

Born with Teeth by Liz Duffy Adams (New Play Exchange) (Option 2)
“Born with Teeth provides an imaginative glance into the tumultuous relationship of William Shakespeare with Christopher (Kit) Marlowe, whom Adams writes alternately as his friend/rival/lover/enemy. In this two-hander, the men are cowriting a play, but on a deeper level much more is occurring. This play provides potential challenges in the dialect and language, as well as in the relationship between the two characters.” – Kate Pemberton, 2025 Region 7 SDC Fellow

Electricidad by Luis Alfaro (Dramatists Play Service)
“This scene centers around family confrontation with emotions running high as characters are wrestling with loyalty, betrayal and love. Electricidad is obsessed with vengeance and family honor while Clemencia challenges her stance. The power shifts between Electricidad and Clemencia will allow future fellows to visualize power through movement, levels and spatial relationships.” – Jaden Fabio, 2025 Region 1 SDC Fellow

Everything Rises by Sage Mitchell (Contact Kelsey Mesa at KRMesa@kennedy-center.org for a copy of this script.)
Recommended by Kelly Quinnett, KCACTF National Co-Vice Chair and University of Idaho Professor

Lungs by Duncan Macmillan (Dramatists Play Service) (Option 2)
“Lungs is a tremendously challenging piece for a director, thanks to its combination of “dizzyingly dexterous” writing and absolute lack of stage direction. A note at the beginning specifies that the play is to take place on a bare stage, void of sets, props, furniture, or miming. The only hints of direction in the script are commas that represent a pause of some kind, “determined by context.” This provides opportunity for careful analysis to develop the relationship between the characters.” – Kate Pemberton, 2025 Region 7 SDC Fellow

Machinal by Sophie Treadwell (Nick Hern Books)
“This scene and this play as a whole is an amazing challenge for a young director due it’s subject matter and how Treadwell has crafted this mechanical and cold world. The speech at the end alone is a monster for any actor or director willing to take this on. The scene also poses a challenging question about motherhood and the availability of choice in taking on that role.” – Jordan Mitchell, 2022 and 2023 Region 1 SDC Fellow

Mercury by Steve Yockey (New Play Exchange) (Option 2)
Recommended by Kelly Quinnett, KCACTF National Co-Vice Chair and University of Idaho Professor

Miss Julie by A. Strindberg (Carlson Translation via Concord Theatricals)
“This classic play is difficult to stage because of its fast-paced dialogue and intense tone switches. Miss Julie is a commentary on class, gender, and psychological power struggles. In the selected scene, Miss Julie delivers two monologues that showcase an incredible range and depth for the actor and director to work with. Strindberg’s naturalist views, coupled with desire and despair, inevitably make you feel like a caged bird longing to be free.”  – Elle Fraser-Row, 2024 Region 5 SDC Fellow

The Language Archive by Julia Cho (Dramatists Play Service)
Recommended by Sanhawich Meateanuwat, 2022 Region 3 SDC Fellow

The Night Witches by Rachel Bublitz (New Play Exchange & Dramatic Publishing)
“Based on the true story of the all-female 588th Night Bomber Regiment, this play blends song, movement, and physicality to portray the harsh realities these women faced. It explores sisterhood, purpose, fear, grief, and the small moments of humanity that emerge in wartime. The Chosen scene has devastating news for the characters, a Poignant monologue showing the universal truths of war and a hauntingly beautiful song.”  – Elle Fraser-Row, 2024 Region 5 SDC Fellow

When I Come to Die by Nathan Louis Jackson (Dramatists Play Service)
“A gorgeous play written by a KCACTF playwrighting alum, this piece challenges directors to observe the spectrum of Capital Punishment through ideology, race, and the uncertainty of what’s to come next. This scene displays a man’s last chance of human connection and interaction before his life is over. With little to no stage directions throughout the men’s interaction, directors must focus on Jackson’s dialogue to guide them through staging the scene.” – Emma Davis, 2025 Region 6 SDC Fellow

We also invite applications from students interested in directing as part of the 10-Minute Play Festival. Every year, the Region 2 NPP area chooses a limited number of new student-written plays to present. Selected student directors will be paired with student playwrights to work on a public reading of a new 10-minute play. The emphasis is on performance and supporting the playwright’s words, without props or other production elements. A stage direction reader will be provided.