A step in the right direction to be sure, but it could end up inadvertently serving institutional interests instead of artist interests, something which I (sorry to plug) actually wrote about a little here:
http://www.buzzine.com/2008/05/paying-for-art/

Thanks! I love the slog!
Isaac

Meanwhile, small fringe theatre companies develop literally scores of new works every year - and with just about as good a track record as the majors, I would venture - but they'll not see a dime of this, because the NEA won't consider them worthy of the largesse, despite the fact that $20,000 could represent a significant investment in these organizations, whereas it will amount to little more than pocket change to institutions that typically operate on multi-million dollar budgets.

My own company, just to cite one example, will have done THREE world premieres out of a four show mainstage season this year. But, the odds of us securing one of these seven slots would be about zero, given that every major theatre company in the country is going to submit for this.

Which is also assuming that your company (Annex) can even qualify for these grants. I have no idea what your operating budget is, however, I am sure that unless you have your own 501(c)3 you do not even qualify. If indeed you do, which I think Annex does, if you do not have an operating budget of at least $50,000 you are encouraged NOT to apply! Don't even get me started on how much bullshit is involved getting a grant to tour from the NEA!

Just give the grants to the Rep. already so they can produce Craig Lucas' next piece of shit.

But--excepting artistic collectives and declared ensembles--since when did the writing of plays become a committee event? This smacks more of pouring grist down the hungry, open, maw of Institutions than it does with helping and feeding our future playwrights.

There is the story of a new playwright given a six-week workshop at a major LORT house with first cabin actors and a Tony-award winning director, to boot. The play was about two men in love with the same women. After a month and a half of "development" (from actors, dramaturges, director, minions) the play had because a story of a woman's disgruntlement with men. The LORT theatre subsequently declined to pick it up. The Arena Stage expressed an interest, the playwright sent them his initial script, sans improvements, and the D.C. Institution went with the original piece.