Thank you to all who applied!
Stay tuned for our 2026 lineup!
Festival Dates: Tuesday, September 8 to Sunday, September 27
Use the links below for quick access to venue specs, festival facts, and Frequently Asked Questions, or scroll down to read the entire open call.
THE CANNONBALL MODEL:
The Cannonball model relies on artists who bring full length (45-60 minute) works that can load-in/out of the performance space in 15 minutes. For those of you with shorter or longer works, we may be able to accommodate you!
We love the challenge of helping to strategize how your work can fit into our model, but sometimes, there are certain works that we simply can’t accommodate. Feel free to reach out and chat with us about your show’s needs after submitting an application.
ALL ARTISTS RECEIVE:
Performance space, pre-set lighting looks, amplified sound, tech/dress rehearsal, and production support
Marketing and press support
Box office management, front of house staff, and insurance coverage
Access to community-focused programming: photo shoots, preview showings, social events, special workshops, drink tickets, and MORE!
MAIN FESTIVAL TRACKS
Buy-In
Cannonball’s classic production model,
and the one that makes it all work.
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Buy-In Artists pay a flat fee and receive 100% of their ticket sales (after FringeArts ticketing fees). Most artists are a part of the buy-in track. By buying in, they also support fellow festival artists for whom buying in is a barrier to entry. Buy-In artists directly help the festival cultivate (and yes, operate) an amazing creative community!
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Buy-In rates vary by venue and number of performances, all of which can be found here. If accepted, buy-in artists are asked to pay a deposit of half their buy-in fee when they sign their contract, the rest of the fee is deducted from ticket sales. Buy-in rates reflect the cost of the venue rental, support services (ticketing, marketing, tech support, insurance), and support staff (producers, stage managers, box office managers, front of house managers), and take into consideration the artist’s potential to recoup their buy-in fee through ticket sales.
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We strongly encourage anyone who has the means to do so to choose buy-in. By choosing to buy-in, if you are able, you are helping make Cannonball possible for artists who don’t have the financial resources to do so. Through cost-sharing and resource redistribution we are able to invest in a wider creative community.
Co-Presentation
Lower financial risk for artists
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Co-Presentation artists don’t pay a buy-in fee, and instead split their ticket income with Cannonball (typically a 50-50 split). The Co-Presentation track is designed for artists for whom the financial burden of the Buy-In track is a barrier to entry, or who have a demonstrated ability to draw a distinct audience to Cannonball Festival.
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If accepted, Co-Presentation Artists pay a refundable deposit of $300, and are paid a portion of ticket sales. Ticket splits are most frequently an even 50-50, but are sometimes variable based on the space and the length of the run, and can range from 50-50 to 70-30 (artist keeps 70%). In some exceptional cases, Co-Presented artists are awarded up front stipends to help make their participation in Cannonball possible. In the case that the refundable deposit would prevent an artist’s participation, it may be waived.
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This track is reserved for artists with financial hardship and/or artists with a demonstrated ability to reach new audiences. Invitations to the co-presentation track are at the producers' discretion, but we invite conversations from all interested artists and encourage everyone to ask for what they need!
The tracks below are competitive, panel adjudicated presentation and/or development tracks which come with additional opportunities and resources.
SPECIAL PRESENTATION TRACKS
BIPOC New Work
Presentation Track
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BIPOC NWT is an opportunity for all BIPOC artists regardless of discipline, to present new, full-length pieces of work. We define new work as something that has either never been seen by a public audience, or something that is still being created or made. Artists must agree to perform their piece a minimum of three times throughout the run of the festival and has the capacity to be performed in front of at least 120 audience members.
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BIPOC artists and companies/ensembles lead by artists of color creating new works are encouraged to apply.
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At least one and up to five projects will each receive a $2,500 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing, and administrative support.
Performance for Young Audiences Development Cohort
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The PYAC track is an opportunity to develop and present new performances appealing to Philadelphia audiences of young people and families. Selected artists will participate in cohort workshops, work-in-progress showings, and development opportunities with youth.
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Performing artists and companies of any discipline making work for any age group from 0-18 years are eligible to apply. Artists representing under resourced communities will be centered in the adjudication process.
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At least one and up to three projects will each receive a $500 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing, and administrative support.
CSAW Award for New Work
by Circus Artists of Color
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CSAW Award for New Work by Circus Artists of Color is an opportunity for development and presentation available to BIPOC artists, ensembles, companies or collectives who are creating a new full length circus show.
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BIPOC artists and companies/ensembles lead by artists of color creating a new, full-length circus show are encouraged to apply.
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One project will receive a $5,000 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing, and administrative support.
International Black and Indigenous
Circus Week (IBICW)
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Black & Indigenous Circus Week takes place during Cannonball Festival and the Philadelphia Fringe, where several new, full-length works by Black & Indigenous circus artists are presented. Supporting shows by artists is the core of Black & Indigenous Circus Week, supplemented by workshops, panel discussions, jams, kikis and cabaret performances. IBICW is a first step in removing barriers to allow Black/Indigenous creatives to see each others' work, commiserate and begin new artistic collaborations.
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Black & Indigenous Circus Week is a chance for Black and Indigenous circus artists of any discipline and skill level to gather, share, learn and grow in community with like-minded artists.
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Immersive Track
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We want your deliciously devious, site-specific installation, your heartfelt escape room that challenges our imaginations, and your childhood living room reimagined with granular detail. The Immersive Track is for artists who want to transform a space to something previously unrecognizable, with new levels of freedom to alter the Box Spring Gallery than Cannonball has ever received from a venue in the past! For the purposes of this track, ‘Immersive’ work is that which breaks the fourth wall for audiences and invites them inside your story to wander, peruse and engage with it on a more intimate level. Through this track, Cannonball seeks to uplift work that grants an unforgettable full-body experience to all its participants.
Artists agree their performance will have the capacity to be performed in front of at least 200 audience members over the course of their run.
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All artists and companies of any discipline making work that is in sync with the Cannonball vision, and can add to the conversation of what “Immersive” can be are encouraged to apply!
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At least one and up to three projects will each receive a $500 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing and administrative support.
Philadelphia Theatre Company
Text and Dramaturgy Cohort
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Three to five projects will be selected for the Philadelphia Theatre Company Text and Dramaturgy Cohort. Selected projects will each receive a $500 stipend, mentoring support, access to professional and artistic development opportunities, workshops, limited office space, limited rehearsal space, and a presentation of their work in one of our Cannonball venues.The Cohort will meet four times:
an initial meeting in June to introduce the cohort to each other
one monthly meeting at the end of June, July, and August, in person, at PTC to share readings of each other's work and receive feedback and guidance from Cohort mentors and PTC Co-Artistic Directors Taibi Magar and Tyler Dobrowsky
Selected artists will be expected to hold at least three ticketed public presentations of their work at Cannonball, which could range from a staged reading to a full production.
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Projects can be in any stage of development and in any genre but the focus of their engagement with the cohort should be on text or dramaturgy of their proposed project. Last year, projects included two staged readings of contemporary theatre, a dance theater production with spoken text, an hour-long circus show with spoken text, and a full production of contemporary theatre based on Macbeth. All of these projects engaged with text or dramaturgy differently, and the performances reflected different genres, but the focus of their engagement with the cohort was on the text of their project.
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At least one and up to three projects will each receive a $500 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing, and administrative support.
Live Wire
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This track supports and encourages new work that embraces one of Cannonball’s core values: Experimental.
How we think about it - new work, expanding, exploding, exploring genre, omni-genre, abandoning genre, anti-genre, new genre, no genre.
We want to spotlight artists who are working at the edges or limits of their practice, where work is driven by unique methodologies and research, and the results are daring, curious, new.
Live Wire work might expand genre (expanded choreography, devised theatre, embodied performance, etc.), be interdisciplinary, or have a new or different way of approaching and making work that we haven’t thought of yet.
What is experimental and takes risks - We are looking at risk from the perspective of creative risk. Work that is aware of broader contemporary cultural and artistic contexts and is moving into uncharted territory. Or work that challenges hegemonies of content and politics of presentation. We especially appreciate artistic research that requires us to continue thinking about what experimental means. -
All artists and companies of any discipline making work that expands what it “Experimental” can be.
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At least three and up to five projects will each receive a $500 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing and administrative support.
Work-Trade
Opportunity to exchange festival responsibilities for performance slots
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Cannonball has a limited number of voluntary work-trade opportunities in our Box Office, Front of House, and Production departments. If selected for this opportunity, Work-Trade Artists voluntarily perform a designated number of festival work hours in exchange for their show slots, and receive 100% of their ticket sales (after Fringe Arts ticketing fees). This is a great opportunity to be immersed in the Cannonball community and be a part of the team that makes the festival run.
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During the application process, artists who would like to be considered for the option of work-trade will be asked additional questions about relevant experience. Once the application is received a Cannonball producer will conduct a short interview. If selected, the artist will be given an assignment and number of hours. Work-trade hours are determined based on number of performances and venue, but are generally 10-20 hours per week during the month of September. Most shifts are 6 hours long, weeknights 4pm-10pm, and between 11am and 11pm on the weekends. Work-Trade Artists are expected to attend training for their department, and will be scheduled in line with their availability.
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This option is intended for artists for whom the buy-in fee is a financial barrier, and who have the availability to take on 10-20 hrs a week festival responsibility. We also ask that you have some experience or interest in the position you are interested in.
Unsure if you should be buying in? This tool can be one factor in helping you consider your financial privilege: CLICK HERE.
Award for SWANA Artists
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This is an opportunity for SWANA artists, ensembles, companies or collectives to create and present new full length works of any performance discipline. This opportunity is panel-adjudicated, and requires additional application questions.
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Artists of Southwest Asian and North African (SWANA) descent, or companies/ensembles led by artists of SWANA descent who are creating new, full-length works of performance are encouraged to apply. This award is focused on artists in the Greater Philadelphia Area, however, out of town and international artists will also be strongly considered.
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At least one and up to three projects will each receive a $2,500 stipend and a 50-50 ticket split with Cannonball, as well as additional production, marketing, and administrative support.
OUR SPACES
Icebox
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AAI
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Box Spring
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Icebox 〰️ AAI 〰️ Box Spring 〰️
Asian Arts Initiative Theater
Asian Arts Initiative
Third Floor
Icebox Project Space
Box Spring Gallery
Asian Arts Initiative Project Space
Found Spaces
READY TO APPLY?
Please review the information above prior to beginning your application!
Click here to view the application questions as a PDF
View a video walkthrough of the application (coming soon!)
You will need a Google account to fill out the application. If you don’t currently have a Google account, you can find instructions for setting one up here.
You may select to provide written answers to each question or upload one video or audio file answering all of the questions.
Once you start the application, it will automatically save your work, and you can leave and return as much as you like. When you are ready to apply click the Submit button. We won’t see your responses until you click Submit.
You do NOT need to register separately with the Philadelphia Fringe Festival. If you are accepted to Cannonball, we will work directly with FringeArts to register your show as part of the 2026 Philly Fringe Festival, with no additional work on your end!
If you have any questions about our application please feel free to reach out via email to producers@cannonballfestival.org
All shows in Cannonball are part of the Philadelphia Fringe Festival. You can find more information here. For questions about participation in the Philadelphia Fringe Festival, please reach out to Simon Rabinowitz, simon@fringearts.com
Please note that Buy-In Fees are subject to change.
If you need any assistance or accommodations in order to complete your application do not hesitate to reach out to producers@cannonballfestival.org
Have Questions? Sign Up for our Cannonball Festival Office Hours!
During these 60-minute sessions, a Cannonball Producer will be available to answer any questions you have about the application process, the festival in general, Special Presentation Tracks, everything! Please note this is an informal group conversation, not a formal presentation or an interview. Click a link below to register for Office Hours! All times are US EASTERN time.
Sunday, March 15, 11am to 12pm
Tuesday, March 24, 7pm to 8pm
Tuesday, March 31, 12pm to 1pm
Saturday, April 4, 10am to 11am
Tuesday, April 7, 12pm to 1pm
But wait…there’s more!
Cannonball offers a vibrant array of opportunities for artists and audiences to engage with each other outside of the mainstage shows at Cannonball. This can come in many shapes and forms, if you’re interested in extension programming, stay tuned for a proposal interest form.
Thank you so much! We can’t wait to hear about your work.
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Last year we got over 200 applications! Our small team is working as quickly as we can to get decisions to you, but please be patient with us. Everything is an estimate and subject to change:
February 1 - Artist Call Opens
April 16-19 - Come to miniball!
April 19 - Apps close
** All applications for BIPOC NWT, SWANA, CSAW and PYAC must be submitted by this date. Late applications will not be accepted.
End of April - SPT winners chosen
Mid May - Signed contracts due
End of May - All show info needed for Fringe
During the time applications are open, we may reach out to you for more details about your proposal. Be on the lookout! The quicker we get this information, the quicker we can make decisions.
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Yes! You are welcome to apply to all tracks for which your work is eligible.
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If accepted, buy-in artists are asked to pay a deposit of half their buy-in fee when they sign their contract, the rest of the fee is deducted from ticket sales.
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Co-Presentation Artists pay a refundable deposit of $300 at contract, and are paid a portion of ticket sales. Ticket splits are most frequently an even 50-50, but are sometimes variable based on the space and the length of the run, and can range from 50-50 to 70-30 (artist keeps 70%)
*In some exceptional cases, Co-Presented artists are awarded up front stipends to help make their participation in Cannonball possible. In the case that the refundable deposit would prevent an artist’s participation, it may be waived.
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The Co-Presentation and Special Presentation Tracks are all competitive opportunities. While Co-Presentation track decisions are made collectively by festival producers, the Special Presentation Track opportunities are adjudicated by panels of peer artists, award-producing partners, and previous recipients.
If you apply for a Special Presentation Track and you aren’t selected, you may still be offered a Co-Presentation or Buy-In Production Track. -
As Cannonball continues to grow, we will continue to assess and cater to the needs and dreams of artists to push the boundaries of what, how, and where a Cannonball show could happen.
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All Cannonball shows are also registered as part of the Philly Fringe Festival, and we serve as a “Hub” of the Philly Fringe. FringeArts, as the parent organization of the Philly Fringe, works closely with Cannonball and directly with artists. We all collaborate to create the best possible festival!
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No! We will share your registration information directly with FringeArts, the organization that administers the Philly Fringe. We will also cover your $30 registration fee! Please do not independently register your show for the Philly Fringe.
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Cannonball was founded by members of Almanac Dance Circus Theatre in 2021 (you can visit us at www.thealmanac.us). Since then, we’ve grown into a fully independent community-curated and artist-produced 501c3 nonprofit. We are truly artist-led! Lots of Cannonball artists work on the festival as producers, stage managers, box office managers, food vendors, and more!
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International Black Indigenous Circus Week (Sept 8-13, 2026) is part of Cannonball and anyone interested in applying to IBICW with a full length show should submit their application through the Cannonball Open Call above.
IBICW may open a separate Open Call in late April or mid May for anyone looking to apply with shorter performances, workshops, jams, parties, and any other kind of extension programming. For now, the best way to stay informed about when that Open Call goes live is to follow the Cannonball Instagram account at @cannonballfest or by signing up for our list serv here.
FAQs
OTHER WAYS TO JOIN OUR CREW
Still interested in getting involved? There are numerous ways to help out and be part of the Cannonball community! Click below to see our available paid and volunteer positions for this year’s festival (to be updated as the festival draws closer).
And, of course—we hope to see you at the shows!