Terrence McNally New Works Incubator Application - Cycle 5

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Deadline: December 4, 2026 at 11:59pm EST 

OR when 500 applications have been received. 

SUBMISSION FORM

As a continuation of Terrence McNally’s singular legacy of mentorship, and his commitment to fostering bold new voices in the American theater, the initiative is designed to support ambitious early-career playwrights by giving them time and space to develop their work, professional mentorship with veteran playwrights, and access to the community of artists and work being developed at Rattlestick Theater and Tom Kirdahy Productions.

You can read more about what the Terrence McNally Incubator provides for each fellow here. It is an express goal of this fellowship to provide multiple forms of mentorship during the process. To that end, fellows will be paired with mentors, directors, and actors at the discretion of Rattlestick Theater after meaningful consultation with each fellow. While we will always meet identity-based artistic needs, we encourage our fellows to expand their practice by working with new people beyond their usual circles. Mentors, directors, and actors who participate in the incubation process are carefully chosen to provide the structure and guidance each playwright needs to grow in a professional setting. To put it plainly, if you already have a director or specific actors attached to your play, we cannot guarantee they will be included in this workshop. If a workshop that doesn’t include your personal collaborators doesn’t appeal to you or your play’s process, this is probably not the right opportunity for this play.

For each application cycle, applicants may only apply once, with one play. Applicants who apply multiple times for one cycle will have all of their applications completely disqualified.

The selection process is open to artists of all ages, genders, sexual orientations, abilities, races, ethnicities, and national origins.

Each application is thoughtfully reviewed by a broad reader pool of industry professionals. Semi-finalists and finalists are selected through two rounds of consideration. If awarded the fellowship, playwrights must commit to working on only their submitted play during the fellowship and will forfeit the fellowship if they request to work on a different play during the fellowship that was not scored by the panel.

Approximately 80 semi-finalists will be notified of their status and asked to reconfirm demographic information (see eligibility below). Applicants will be notified of their semi-finalist status in January 2027.

Approximately 9 finalists are granted an interview with a selection panel, including representatives from Rattlestick Theater and Tom Kirdahy Productions. If applicable, applicants will be notified of their finalist status in March 2027.

In consultation with the Playwrights Advisory Council, three playwrights will be awarded the Fellowship in May 2027. The fellowship incubation and workshops will take place during the months of August and September 2027.

Eligibility

The Incubator is designed for early-career playwrights, which is a term that can apply to a person of any age and with any background, lived experience, or professional history; there is no one path to becoming a playwright. The following eligibility criteria are based on the organizations’ desire to provide the fullest, deepest new play development process and professional opportunity as possible. If your application does not meet these criteria, you will be automatically disqualified. If you have any questions about if you meet these requirements, please contact tmincubator@rattlestick.org.

An eligible Terrence McNally Incubator Fellow:

Is the sole author of their submitted play. Co-created and co-authored material is not accepted, and will be disqualified.

Is not a full time or part time student in any college, university, or degree granting program as of May/June 2027 and during the year of 2027/2028. 

Is committed to actively participating in the New York City playwriting and theater ecosystem.

This is a competitive opportunity that is designed to further playwrights’ networks specifically in the New York City theater industry. To that end, all Terrence McNally Incubator Fellows must live in New York City for the full duration of the fellowship (August 2027 - September 2027), and ideally during the full scope of the 2027 - 2028 Rattlestick Theater season for events and fellowship gatherings. If you are currently located outside of the New York City area, you must be prepared to be a New York City local for the full duration of the fellowship year, and, ideally, strive to put down roots as a New York-based artist after the fellowship has concluded. Housing and transportation are not provided.

Why? The Terrence McNally New Works Incubator Fellowship is funded by the Terrence McNally Foundation, with the explicit goal of supporting emerging writers working in the New York City theater ecosystem, as Terrence was himself. Is available to commit to significant, full time development of your play for a 4-week period sometime during August/September of 2027 in New York City.
Specific dates will be determined in consultation with selected fellows. All 29-hour workshop rehearsals and presentations will take place during regular weekday daytime hours and some weekend daytime hours.

Is actively pursuing a career in theater in NYC, as evidenced by past productions at regional theaters, past productions off-off-Broadway, a history of self-producing, and/or graduate studies.
Must not have had more than one significant Broadway or off-Broadway premiere as a playwright, book writer, or author of a piece of theater.

What defines Broadway?
Broadway theater consists of the theatrical performances presented in 41 professional theaters, each with 500 or more seats, in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City.

What defines off-Broadway?
An off-Broadway theatre is any professional theatre venue in New York City with a seating capacity between 100 and 499, inclusive. Here is a list that includes, but is not limited to, off-Broadway venues in New York City.

What defines a significant premiere? A premiere is the debut (first public presentation) of a fully produced work. Readings and workshops do not qualify as premieres.

An eligible Terrence McNally Incubator Fellow play:

• Is complete
• We are looking for plays that are complete and would benefit from a development process involving professional-level actors and a director. The play does not need to be production-ready, but must be in a further stage than a first draft. 
• Is a full-length play
• A full-length play generally runs at least 45 minutes or 70 pages. Solo plays qualify as long as they are full-length. 
• Is not a musical, opera, or play with more than 40% original musical composition. 
•  While Terrence McNally was a lover of music and music played a large role in his work, this specific opportunity is about playwriting. While music is one form of theatrical language that you may wish to use, we look forward to hearing the music of your dialogue. If you are planning to apply with a play that includes some music, please be aware that only text submissions are allowed. We do not accept or consider any audio files, videos, or links to external websites. Currently the Incubator workshops do not have the resources to support musicians, music directors, or any music development.
• Has not been previously produced for an audience and/or is not optioned to be fully produced by any other producer, theater, university, student group, or commercial entity. Workshops and readings do not qualify.

Questions? Contact us at tmincubator@rattlestick.org. No phone calls please.

Carlo Annoni International Playwriting Award 2027

Deadline: April 30, 2027

Website

Send to info@premiocarloannoni.eu

Carlo Annoni International Award is dedicated to plays addressing LGBTQ+ themes and diversity in the sphere of love in the time of gender fluidity.

Plays of any length are accepted, full-length as well as 10-minute short plays, including those already performed.

Two plays will be awarded, one in Italian and one in English, in September in Milan.

Discount tickets: Gi60 NYC One-Minute Play Festival

 

Gi60 NYC 2026 - One Minute Theatre Festival

November 12th-15th

Gi60 NYC International One-Minute Theatre Festival! Gi60 NYC enters its second year of bringing one-minute theatre to the masses. One hour of tiny plays written by playwrights from around the world and performed by a dynamic ensemble of actors in a single evening! With authors from New Zealand to New York and Great Britain to Mauritius, this rich collection captures the historic diversity of stories that Gi60 has presented through the decades. These short plays show us life's unique - and fleeting – moments of discovery, mistakes, and triumphs through the eyes of lovers, dreamers, and talking cats.

Since 2004, Gi60 has dedicated itself to the creation and support of one-minute plays to provide opportunities for playwrights and theatre artists from the global community. Gi60 has premiered over 2,500 plays from around the world, all available for viewing on the Gi60 YouTube Channel. For more information about the history of Gi60 and one-minute plays, please visit gi60.blogspot.com. To get in touch with the NYC festival, visit us on Facebook or Instagram @Gi60NYC, or subscribe to our Patreon at www.patreon.com/gi60nyc.

Ensemble

Sarvin Alidaee     Martha Bennett

   Gary Chung     Josue Guerrero

Vincent Ingrisano     Young Kim            

Collin McConnell     Monica Mendez   

     Leslie Renee     Marquis Richards

    Alex Scelso aka Sitanya Face     Bennie Trela                              

With a special cameo by

Waltah

Directors

   Noel MacDuffie     Petunia               

      Jay Strong     Ruby Welkovich

Gi60 NYC 2026 Steering Committee

           Waltah     Ruby Welkovich

     Sabra Shelly     Vincent Ingrisano

  Collin McConnell     Martha Bennett     

Anastasia Bell     Jay Nickerson   

Gi60 International Artistic Directors

Steve Ansell & Rose Bonczek

Tickets Here: https://thetanknyc.org/calendar-1/gi60?rq=Gi60

General Admission - $35; Discount - $25; Supporter - $45

Use Discount Code Gi6010 for an additional 10% off!

NAMT's Festival of New Music 2027

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Deadline: December 15, 2026 at midnight PST

Now in its 39th year, NAMT’s Festival of New Musicals is the cornerstone of NAMT’s mission to be a catalyst for nurturing musical theatre development and production.

In 1989, the Festival of New Musicals was created to provide a forum to celebrate the new musicals that were being produced and presented around the country. Since then, the Festival has introduced musical theatre producers to 300+ musicals and 600+ writers from around the world. More than 90% have gone on to subsequent readings, workshops, productions and tours; been licensed; and/or recorded on cast albums as a direct result of the Festival!

Held over two days in New York City every fall, the Festival produces 45–minute presentations of eight new musicals before an audience of over 1,000 industry professionals with the experience and resources to move the work forward. We look for new musicals at all stages of development from the broadest possible range of voices.
Festival Purpose and Goals

The Festival’s immediate goal is to connect writers with producers, particularly NAMT Members, and extend the development trajectory of presented musicals by establishing new creative partnerships. Over time, the long–term goals are to expand the musical theatre repertoire, advance the musical theatre art form and support the field.

QUALITY & RANGE

Showcase quality new musicals by musical theatre creators of all identities and backgrounds with a wide breadth and depth of stories, styles, sizes and stages of development.

CONNECT WRITERS & PRODUCERS

Encourage a forum to spark new collaborations and ventures.

PROFESSIONAL DEVELOPMENT THROUGH CREATIVE DEVELOPMENT

Provide musical theatre artists with a professional networking & breakthrough opportunity showcasing their creative talent.

DEVELOPMENT & PRODUCTIONS

Encourage future development and productions of selected new musicals.

Our 38th Annual Festival of New Musicals will take place on October 28 & 29, 2027.

We never take any royalties from our writers or ask them to pay for their participation in the Festival. The Festival is funded solely through sponsorships, grants and donations contributed by government agencies, foundations, organizations and individuals.

Step 1: Is Your Show Eligible?

• Any new musical can be submitted for consideration as long as it meets the criteria below.
• Must-Haves:The Musical must be complete and ready for readings, workshops and/or productions. No placeholder scenes or songs. No abbreviated or summarized scenes or songs.
• The Musical should have a demo that is an accurate representation of the music and style of the show and at least 50% of the score (meaning half of all of the music) must be available to submit on demo.
• The Musical must have full underlying rights clearances for any pre-existing material used (music, source material, etc.) in the script.
• The Writers must be ready and available for readings, workshops and/or productions at the time of submission and available for presentations in October 2027 at the Festival.
• Your Project is Ineligible to be Submitted if: The Musical is already being licensed through a professional licensing house.
• The Musical has been produced on Broadway. [Shows that have had readings, workshops and/or productions (including regional or Off-Broadway) are still eligible.]
• The Musical has already been submitted to the Festival three times. Each project can only be submitted three times for review by the committee.
• The Musical has already been selected for the NAMT Festival of New Musicals as one of our main presentations (excludes shows presented as part of our supplementary programming including concerts, cabarets & showcases).
• The Musical is not complete, missing songs or scenes.
• The Musical’s creative material (book, music, and/or lyrics) was developed, in whole or in part, using a large language model (LLM) or other generative artificial intelligence (AI) tool.
• You should also consider:Writers are writers-only for the NAMT Festival process and may not direct, music direct or star in their presentations.
• Writers must be available for all rehearsals in person in New York City. Rehearsals may begin as early as October 17, 2027. NAMT does not provide housing or travel assistance.

Still have questions? Check out the Eligibility FAQ.

Step 2: Compile Your Information

Please note the following deadlines for the 39th Annual Festival of New Musicals:December 15, 2026: 

Deadlines expire at midnight PST (west coast time).

All the information you need about the writers and (if applicable) agents, production/development history and more is outlined in the application, but you should read this entire page before prepping your materials.

You may save and return to your application without having to complete it all in one sitting.

Still have questions?

The Players Theatre Short Play and Musical Festival: LUV

Website

Deadline: November 20, 2026

SUBMIT AT https://shortplaynyc.com/submit/

Romance us, make us laugh with love, make us pine for lost love, remind us of our familial and friendship loves...all plays submitted must be centered on or revolve around the theme of love.
Plays run one weekend out of three in February 2027

• Thurs – Sat 7pm; Sun 3pm
• Week 1: Feb 4 – 7, 2027
• Week 2: Feb 11 – 14, 2027
• Week 3: Feb 18 – 21, 2027

We accept PDF, DOC, & DOCX

• Plays should be less than 15 minutes
• Playwrights are responsible for producing their own play – Host (us) provides theatre, technicians, marketing and box office. This is a full production. If selected, there is a $50 NON-refundable tech fee required. There is NO SUBMISSION FEE.
• Anyone over 18 can submit.
• Playwrights may submit up to 2 plays.
• Plays must not be performed elsewhere in the NYC area 3 months before or after appearing in our festival.
• All submitters will be contacted via email up to three or four weeks after submissions close to let them know if their play has been accepted or not.

DATES & LOCATIONS: Feb 4 – 21, 2027 at The Steve & Marie Sgouros Theatre at The Players Theatre: 115 MacDougal Street, New York, NY 10012 – 3rd floor walk-up: 3 weeks, 4 performances weekly (Thursday through Sunday), 5 new plays featured each week. Each play performs four times in its selected week (Week 1, Week 2, or Week 3). 

 
ELIGIBILITY: Short Plays and Musicals with a performance time of 15 minutes or less, no more than 15 pages in length (not including title page). Writers are eligible to submit up to 2 plays. There is NO submission fee.

PRIZE: Each week an audience favorite is selected by audience vote. The winner of each week will receive $100 prize after the conclusion of the festival. If you are the winner, you must submit a PayPal account to receive your prize. THEME: “LUV” Romance us, make us laugh with love, make us pine for lost love, remind us of our familial and friendship loves...all plays submitted must be centered on or revolve around the theme of love.

** Note ** 1) Playwrights are responsible for producing their own play – Host (us) provides theatre, technicians, marketing and box office. 2) If selected, there is a $50 NON-refundable tech fee required. Plays MUST be NO MORE than 15 minutes in length, which equals approximately 15 pages of script (not including title page). Submissions open: October 7, 2026. Submissions close: Nov 20, 2026. Play selection announced soon thereafter (it may take a few weeks after the close of the submission window). For more festival information visit: www.shortplaynyc.com.

Organization: Be Bold! Productions
Facebook: BeBoldProductions Instagram: @beboldtheatre

Theatre503 International Playwriting Award

Website

Deadline: Jan 31, 2027 at midnight

SUBMISSION FORM

We are delighted that the Theatre503 International Playwriting Award is returning

Supported by Philip Carne MBE & Christine Carne and Concord Theatricals

The Theatre503 International Playwriting Award opens for submission on Nov 1st 2026.

We are seeking the best new plays and the most talented early career playwrights from around the world. We are the home of new writers and the artists who bring their words to life. We stage the work of more debut writers than any other theatre in the world, and we launched modern classics including The Mountaintop and Rotterdam.

The winning playwright will receive the £6,000 Carne Prize, including an advance towards a guaranteed production at Theatre503 and publication by Samuel French Ltd, a Concord Theatricals company.

Previous winners are And Then Come The Nightjars by Bea Roberts and Valhalla by Paul Murphy (2014), In Event of Moone Disaster by Andrew Thompson (2016), Out of Sorts by Danusia Samuel (2018), Moreno by Pravin Wilkins (2020), A Woman Walks Into a Bank by Roxy Cook (2023) and Donbas by Olga Braga (2025).

Please read our Award criteria carefully, as we will be unable to consider any play or writer that does not meet what we have set out below. If you are a translator or collaborating with a translator, there is further information at the bottom of the page to take into account.

The 2027 Theatre503 International Playwriting Award aims to identify and champion debut/early career playwrights.

You are an eligible writer if you have NOT already had a full-length play of more than 65 minutes produced for 4 weeks or more in any theatre, or a two week run or more in a major subsidised theatre/organisation including a national tour.

You only have limited international credits where longer runs are not part of a country’s ecology and/or limited screen credits

Work must be submitted by the writer or the translator and not through a third party/agent

The reading process is anonymous. Please do not include your name or contact details anywhere in the text of your script. Your personal information will be held separately

The online portal will be open for submissions from 9am (GMT) Nov 1st until 12pm (midnight) Jan 31st 2027. Any entries received after this time will not be eligible

Only entries submitted online though theatre503.com/writers/submissions will be accepted.

Please do not submit any material by any other means. E.g. on paper, email, CDs, digital media
Please do not submit or include any other material, or include images in your script

Plays must not have a cast of more than 6

Adaptations or musicals are NOT eligible

Plays must be written/translated into the English Language

Plays (including translations) must never have been professionally optioned, produced or published at the point of submission

Only one script may be submitted by each writer

Co-written scripts can be accepted, provided both writers are eligible under our Award criteria – prize money will be shared in the eventuality of a co-written play

Theatre503 must be informed immediately should you wish to withdraw your play at any point

For Translators

While we are very keen to encourage first time translators, we are aware that a degree of experience may also help the realisation of the original writer’s script, so we are open to a wider pool of translation experience.

Please ensure permission of the original writer has been secured before submitting the translation (and vice versa)

Should a translated play win the award, the prize money and advance shall be split equally between both parties

Both parties shall also be credited as winning writer and translator (or as finalists) in all subsequent award information and publicity

More than one translation can be submitted but each must have a different original writer

By submitting a script for consideration you agree that:Y

ou are over 16 years of age

You have not had a play produced for a 4-week run in any theatre, two weeks or more in a major subsidised theatre/organisation including national tours, limited international credits and/or limited screen credits

The script does not contain any detail of your identity

You are the writer of the play and exclusively own and control all copyright and all other related rights to the play (and the translator owns and controls the rights to the translation)

The play is over 65 minutes in length

The play is an original, unperformed, unpublished work for the stage and has not been produced anywhere in the world. In the case of a translation, this applies to both the English language translation and the work in its original language.

The play is available for production and unattached to any other theatre or company

If you are the winner, you will receive £3,000 in prize money and £3,000 as an advance against 8% of the gross box office, to grant Theatre503 the exclusive license to produce the play for up to 18 months after the announcement of the award

Samuel French Ltd, a Concord Theatricals company, will have the exclusive right to publish the winning play in return for an advance to be negotiated in good faith

Umbrellas for Fish call for submissions: the lost and found of existence

Website

Deadline: November 15, 2026

Please send your submission to: ufjournal@aol.com
Subject line: SUBMISSION — THE LOST & FOUND OF EXISTENCE — [YOUR NAME
Please attach your manuscript as a PDF or Word document.

Umbrellas for Fish invites playwrights, dramatists, theatre-makers and writers from around the world to submit original three-page plays for a special international anthology exploring loss, identity, memory, time, desire, regret and the absurdity of existence.

WHAT IF YOU COULD CLAIM BACK SOMETHING YOU LOST?

THE THREE-PAGE CHALLENGE

Your entire play must fit within three pages.
In those three pages, give us:

A WORLD.
A CHARACTER.
A PROBLEM.
A TURN.

AN ENDING.The play should be complete in itself rather than an excerpt from a longer work.

We are looking for theatrical experiences in miniature.

STAGEABILITY

We particularly welcome plays that can be realised on stage with:

 Small casts
 Minimal sets
 Simple props
 Flexible locations
 Strong dialogue
 Economical stage directions

A play should not require an enormous production to create an extraordinary theatrical experience.

THE GOLDEN RULE DO NOT EXPLAIN THE ABSURDITY.

PLEASE INCLUDE
At the beginning of your manuscript:

Title of Play
Author's Name

At the end: 50–100 word third-person author biography

In the submission email, please include:

 Full name
 Play title(s)
 Country of residence
 Email address
 A brief description of each play

MORE INFORMATION HERE

Chain Theater Winter One-Act Festival 2027 seeks short plays

Website

Deadline: November 30, 2026

SUBMISSION FORM

New York NY

All themes or genres are welcome.

One-Act Play runtime must be no shorter than 10 minutes and no longer than 1 hour.

Shows will be performed in person.

Your entire team must be from the Tri-State area (New York, New Jersey, or Connecticut). We will not be accepting playwrights from any other areas of the country.

Chain Theatre is curating the event, not producing it - each production is responsible for staffing their own director, design team and cast.

Though the Chain Theatre will manage overall festival promotion, you are responsible for the marketing of your piece.

If you can no longer participate in the Chain Winter One-Act Festival, you must notify us before December 7, 2026. If the production drops out after you are accepted, you will be disqualified from participating in future Chain Festivals.

APPLICATION CHECKLIST
The script (PDF only) Cover letter (PDF only) explaining goals for the playContact information
Estimated run time

Technical requirements (no projections are allowed)

CONTACT INFORMATION

Applications ask for a contact name, address, phone, and email. The show contact will be the one contact point between Chain Theatre and your production.


This person will be considered your play’s producer should it be part of the Festival.

This person will receive all information and is responsible for passing it onto the rest of your team.

The contact’s provided email will be the sole email address that Chain Theatre will use to contact you regarding acceptance, any issues regarding participation, and festival communications. RUN TIME

We will need an estimated running time of your piece that will be factored into the programming. As such, we will enforce this time limit. If during your dress rehearsal or performance the play runs significantly over, we may insist that you revise or forfeit your participation in the festival and any ticket split revenue.

Applications that are not complete will not be accepted. No materials will be returned.
ONLY ONE SUBMISSION WILL BE CONSIDERED FOR EACH PLAYWRIGHT

If any false information is given in the application the Chain Theatre will not accept any future submissions from the applicant. Your address, email, name must be accurate.

Audible Emerging Playwrights Fund

Website

Deadline: November 18, 2026 (11:59PM EST)

SUBMISSION FORM

The Emerging Playwrights Fund (the “Fund”) is calling theatrical visionaries who are ready to push boundaries and captivate audiences through the intimate, limitless world of audio drama.

This is storytelling without walls. Your words, world-class performers, and millions of listeners waiting to be transported.

Who Should Apply

We're seeking early-career theatrical writers who craft immersive fictional experiences that engage, entertain, and inspire. We value diverse perspectives, innovative approaches to form, and stories that harness the unique intimacy and immediacy of audio storytelling. Whether your work explores internal worlds through sound, creates vivid landscapes through language, or experiments with narrative structure—if it pushes boundaries and demands to be heard, we want it.

For this cycle, we're particularly interested in original audio dramas in the following genres:

Action & Adventure including Mystery, Thrillers, Horror, Sci-Fi & Fantasy

Core Fiction including Contemporary Fiction, Romance, and Literary Companion Pieces


About the Fund

Audible is a leading creator and provider of premium audio storytelling. Since 2017, our theater initiative, which includes the Minetta Lane Theatre in New York City, has been built on one mission: to radically increase access to exceptional plays and performances.

The Emerging Playwrights Fund sits at the heart of that mission. We invest in and nurture self-identifying emerging playwrights—some of the most inventive, creative, and provocative storytellers working today. Through the Fund, we connect extraordinary performers with remarkable original work, amplifying new voices and bringing them to millions of listeners. To date, Audible Theater has commissioned 50 projects through the Fund. We support the creation of original dramatic work written with audio in mind, but theatrical in spirit—stories that live and breathe in the listener's imagination.


What the Fund Provides

Audible will select up to five applicants to receive a fee of $25,000 each to write and develop an original audio play. In addition to the fee, Audible may provide the selected applicants with creative and logistical resources to assist each artist and project, including but not limited to: development and production fees, casting expertise and talent budget, access to Audible’s state-of-the-art studio and production equipment.

Audible is dedicated to commissioning, developing, and producing work that reflects the diversity of our listeners and our world. We actively encourage submissions from emerging playwrights of all races, genders, sexual orientations, abilities, and backgrounds.

Your voice, amplified.

Submission Guidelines

One full-length script for an original play (in English language only) that represents your voice ("Script”). Submitted as a pdf or word doc

A professional biography (up to 300 words)

A pitch or summary for an original audio play (Action & Adventure OR Core Fiction preferred)

Please note, by submitting an application you will be directed to a third-party website (hosted by Accubate) and you agree to the applicable Audible and Accubate privacy notice(s).


Eligibility criteria

Any applicant over the age of 18, resident in US or UK may submit an application. Employees or independent contractors, or immediate family members (spouses, domestic partners, parents, grandparents, siblings, children, and grandchildren) or those living in the same household of employees or independent contractors of Audible Inc., including any of its affiliates (collectively, “Audible”), or any entity involved in any aspect of the administration of the Fund may not submit a Script for consideration, unless it is determined by Audible in its sole discretion in accordance with Audible’s then current policies and procedures that no conflict of interest exists in connection with accepting the relevant submission for consideration.

Break A Leg Productions’ Annual Love Fest

Website

Deadline: December 1, 2026

Please submit plays in PDF form by emailing plays.balproductions@gmail.com with the subject line “LOVE FEST: [TITLE OF PLAY] – [NAME OF PLAYWRIGHT]”.

Submissions for Break A Leg Productions’ Annual Love Fest are open from November 1st – December 1st. The Love Fest will be on February 12th and 13th at Polaris North in Manhattan.

The theme is “stages of love”; love in its many forms. 

Plays should run 15 – 20 minutes. 

Only one play per playwright will be accepted. 

She/NYC Arts 2027 Festival

Website

Deadline: November 5, 2026 at 11:59pm PST

We accept full-length plays and musicals during our open submissions period for our Summer Theater Festivals. In order to apply, you must be a playwright or composer of a gender marginalized group (including cis women, trans people, and non-binary people), or a writing team that is made up of at least 50% people from a gender-marginalized group.

SheNYC (New York) – Festival dates TBD, in July/August 2027

You’ll apply for all the cities you’re interested in in one form — there will be an option to select which cities you’d like to be considered for.

Note that we only accept script submissions during our submission window. If you would like to be considered for our summer festivals, you must submit your work during that time period. Read on below for more details on what you’ll need to submit!

AI Information

Our mission is to support human writers. Therefore, while using AI for background research is okay, we won’t produce anything that was written by AI. On the application, we’ll ask you to describe if and how you used AI. 

Examples include:
Used AI to find and organize research about the subject matter (✅ this is okay!)
Used AI to fact-check or spelling & grammar check my writing (❎ we don’t love this, but it won’t necessarily disqualify your show. Give us more details about how you used it.)
Used AI to write scenes or music (❌ this is not okay)
Used an AI program to automate vocals in the demo recordings included in this application (❌ this is not okay)
Used an AI program to automate instruments in the demo recordings included in this application (❌ this is not okay)

READING/PERFORMANCE INVITATIONS

Unfortunately, we do not have the staff capacity to see readings or performances, so do not accept invitations. However, the only way we would choose to produce your show is through the open submissions process listed above – so, send us your materials that way if you’d like to be considered for a production!

What You Will Need To Submit

1. The full script to your show, in PDF form. It must be at least 75% finished. If the rest is not finished, you need to provide a “treatment” (a detailed outline of the scenes that remain to be written, in order) along with the script. Bear in mind that you will have to send us completed script if you’re selected as a finalist.

IMPORTANT: Your script PDF must not have your name on it!

Why do we ask this?

Our model is based on giving writers an opportunity based on the quality of their writing, free from the types of bias that the entertainment industry normally considers, such as connections, having an agent, etc. Having your script anonymized to our readers ensures we can fulfill our mission of evaluating scripts without bias.

2. A completed application form with some basic information (see below for FAQs).

3. If your show is a musical, recordings of at least 3 full songs from the show, in mp3 or m4a form. The more you have, the better! A simple recording with just you and your piano is fine, though obviously you want to make your music sound the best it can. Please do not submit Finale or Sibelius files (or any other automated vocals).

* Note that we do not require that you send us a score or sheet music with your submission.

4. If your show is a solo show, a video of at least 5 minutes of your solo performer performing a cut from the show. This can be a video from a prior production or staged reading, or it can be a self-tape of your actor recording themselves at home.


Why do we ask this?

We’ve found that it’s incredibly hard to evaluate the quality of a solo show without knowing the performer who will be carrying it.

2027 Submissions Timeline

September 28, 2026: Submissions open for NYC, DFW, ATL, and LA Festivals.

November 5th: Deadline for all submissions. Submit your show before 11/5 at 11:59pm PST!

February 2027: If you’re a semi-finalist, we’ll notify you in February.

March 2027: Finalists for NYC & LA are chosen. 

April: All our festival participants are notified, and you’ll be given a deadline to accept your slot in the festival! We will also notify you if you are not selected. 

*This is SUBJECT TO CHANGE based on the Festival dates given to us by our venues.*

May: All the fun stuff starts! We’ll have a meet and greet and info sessions to make sure you feel 100% ready to produce your show in the Festival.

June/July: Start rehearsals for your show!

July/August/September: The Festivals run! Each show will get two set performances during these two weeks, as well as a tech and dress rehearsal slot. We will also leave a few empty performance slots in the schedule so that any show that sells out its first two performances can add extra performances. 

From the Dramatists Guild: CAN I IGNORE THE STAGE DIRECTIONS?

Read the entire short play in PDF format on NYCPlaywrights here.

Written by David Lindsay-Abaire, Dramatists Guild member. 

David Lindsay-Abaire received the Pulitzer Prize for Drama in 2007 for his play Rabbit Hole, which also earned several Tony Award nominations. Lindsay-Abaire won both the 2023 Tony Award for Best Book of a Musical and Tony Award for Best Original Score for the musical adaptation of his play Kimberly Akimbo.

Flathead Valley Community College Theatre seeks 10-minute plays

Website

Deadline: December 15, 2026

Email submissions to: rhaptonstall@fvcc.edu with the subject line “Play submissions”

Kalispell, MT

The Annual FVCC Ten Min Play festival is taking submissions for their 10 Min play Festival in Feb 2027.

We will select 8-10 plays (depending on the number of directors we have) to be performed Feb. 4th, 5th , and 6th. 

The box office for the festival will be split between all the selected playwrights.  (This has been about $100 give or take)

All submission emails should include the authors name and contact information, including phone number, current email, and a PDF of the finished play with the title only.  The authors name should be left off the script as this is a blind selection process.  You may submit more than one play per email.

All plays submitted should run within a few minutes of the 10 Min. format with limited technical requirements.

Clockhouse opens for submissions for Volume 14 (summer 2027)

 Website

Deadline: November 15, 2026 at 11:59 PM

SUBMIT VIA SUBMITTABLE

CLOCKHOUSE is a national literary journal published by Clockhouse Writers’ Conference, whose editors are MFA alumni of Goddard College.
​
We accept works of poetry, fiction, memoir, creative nonfiction, and ​dramatic works for stage or screen. We also accept submissions for cover art. We encourage submissions from both established and emerging writers.

We’re looking for work that beckons us to listen, share, and engage. Send us your best!

Before submitting, carefully read the general AND genre-specific guidelines. 

• All submissions must be original, unpublished work written by the author or, if you are submitting artwork for cover consideration, original artwork created by the artist. We do not accept work generated in whole or in part by AI.
• Follow genre-appropriate formatting; Word documents preferred; double-spaced for fiction, memoir, and creative nonfiction​
• Include a bio of approximately 100 words or less
• Simultaneous submissions are welcome as long as you withdraw them if accepted elsewhere
• Submit only through Submittable. No email or mailed submissions will be accepted
• Submissions that do not follow these guidelines will be discarded unread.
• If your work has been published in CLOCKHOUSE, please skip one issue before submitting again.

Dramatic Work for Stage or Screen

• Short plays and screenplays in traditional and experimental styles
• Standalone work only (not part of a longer work); no monologues
• Submitted work should be written with the audience in mind
• Submit up to 10 pages plus cover page with title and character breakdown
• Follow the industry-standard formatting guidelines appropriate for the plays/screenplays including paginations

VILLAGE PLAYWRIGHTS MONTHLY MEETING INVITES WRITERS, ACTORS AND SPECTATORS

Website

Village Playwrights meet the first Monday of each month to offer a space where playwrights can share excerpts and have them read by actors. There is constructive Q&A after each reading.

MONDAY, NOVEMBER 2ND 6:45-9PM

@ST JOHNS
81 CHRISTOPHER ST, NYC

RSVP
villageplaywrights@gmail.com

$10 suggested donation.

Jaemi Theatre Company seeks plays by AAPI playwrights for its inaugural AAPI Theater Festival

Website

Deadline: November 29, 2026, 11:59 PM Eastern

SUBMISSION FORM

Jaemi Theatre Company, an Asian-led nonprofit theatre company in the Washington, DMV area (DC, Maryland, Virginia)

Open to Asian American and Pacific Islander (AAPI) playwrights across the U.S. Playwrights with ties to the DC area are preferred, but everyone is welcome to apply.

Staged readings at partner theatres across the DC area in May 2027, as part of our inaugural AAPI Theater Festival. The festival will feature four new plays by AAPI playwrights and one Korean play in English translation.

Theme: "Invisible." We are looking for something provoking: stories never told, never seen, never heard, even never tasted.

Plays up to two hours in running time. One-acts and full-length plays are both welcome.

Playwrights may submit more than one play. If more than one is shortlisted, the playwright will choose one.

Previously produced plays are eligible.

We will build a shortlist in December and January, and festival directors will select their plays in February 2027. All submitters will be notified. Travel and housing are not provided this year. (We really hope to do so in the future!)

Questions can be sent to jaemitheatre@gmail.com.

Raise the Page / Uplift the Word Festival

Website

Deadline: November 3, 2026 at 11:59 PM

SUBMISSION FORM

The festival will take place February 2-3, 2027 at AMT Theater (345 West 45th Street) NYC

Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays Playwright Submissions
Seeking BIPOC playwrights for Abingdon Theatre Company's seventh annual Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays in collaboration with AMT Theater. Abingdon Theatre Company continues to be committed to creating opportunities for all voices to be heard. With this in mind, ATC is thrilled to open submissions for our seventh annual festival of short plays; a festival shedding light on stories by people of color.

Please read the following in full before submitting.

Short play submissions should be unpublished and no longer than 40 pages, written by BIPOC individuals.

Plays should not have been previously presented to New York audiences.

Please limit your submission to one play per playwright. If you have submitted to Raise the Page, Uplift the Word in the past, please do not re-submit work unless there have been significant changes to the script.

We are accepting applications from artists from all experience levels, locations, and ages.

Should you have any questions, please email info@abingdontheatre.org. 

Manhattanville University's School of Arts and Sciences seeks self-productions for NEW WORKS at Manhattanville

Website

Deadline: November 2, 2026

CLICK HERE TO SUBMIT

Purchase, New York

One original musical will be selected for a 29-hour reading in Fall 2027, performed by students in Manhattanville's Musical Theatre BFA program.

THE OPPORTUNITYA 29-hour reading of your musical, performed by Musical Theatre BFA students.
A $1,000 stipend for each creative team member, including the director.

Photo and video documentation of the reading.

Please submit the following materials:

A biography for each member of the creative team.
A PDF of the musical's book/libretto.
Song samples.

We recognize that new musicals are continually evolving. Partially unfinished works will be considered, provided a complete draft is available by Winter/Spring 2027.

CREATIVE TEAM & PARTICIPATION

Creative team members are expected to attend most, if not all, scheduled rehearsals and both performances.

If you have been developing your musical with a particular director, we welcome that person to direct the reading.

REHEARSAL & PERFORMANCE SCHEDULE

Saturday, September 25, 2027: 10 AM–6 PM

Sunday, September 26, 2027: 10 AM–6 PM

Monday, September 27–Thursday, September 30, 2027: 6–10 PM

Friday, October 1, 2027: Performance at 7:30 PM

Saturday, October 2, 2027: Performance at 7:30 PM

Transportation between campus and the White Plains Metro-North station can be provided.

QUESTIONS?
Please contact us at newmusicals@mville.edu. We look forward to hearing about your work!

GAYDAR OFFENSIVE ONE-ACT PLAYWRITING FESTIVAL seeks NYC-based playwrights

Instagram

Deadline: November 1, 2026

To be considered for this festival, submit the following to againstthewall.nyc@gmail.com with "GAYDAR FESTIVAL" in the subject line. 

Each playwright may submit up to two scripts at this time. One-act plays: 30-60 minutes.

Please be sure to have all the following information listed in one pdf in submission

-Name of play
-No musicals
-Playwright name
-Playwright bio
-Synopsis
-Character Breakdown
-Script 
-Social media handles
-Any artist that may already be attached to said script

Against the Wall Productions is proud to announce the call for script submissions from gay playwrights based in NYC for their inaugural GAYDAR OFFENSIVE ONE ACT PLAYWRITING FESTIVAL set to be presented in June 2027 in New York City. Festival is produced and curated by B.Michael Peterson, the company's Artistic Director.

Six scripts will be selected for this festival, and each playwright will also act as a co-producer with Peterson. The festival does not charge a submission or participation fee. The co-producer will be responsible for rehearsal space, casting, supplying a director and be in charge of their own budget.

Against the Wall Productions will provide a tech time slot for each show with a technical director and performance space during the festival. They will also provide marketing on their social media and other advertising, but each show is responsible for promoting their show to their own networks. Each co-producer will receive 40% of each ticket sold.

Additional Information
-Playwrights must live in NYC
-Follow our Instagram page @atw.productions for future updates and announcements
-Scripts must be unpublished and unproduced at the time of the festival
-Scripts selected will be contacted by the end of January 2027

Pronoia Theater seeks new works inspired by works in the public domain

Website

Deadline: November 29, 2026

Submissions at this form: https://forms.gle/bQEAQmAvztyLg4qK6

Length: Any length accepted, works over fifteen minutes may be excerpted

Works must be based on, in conversation with, or inspired by work in the USA public domain. 

International writers welcome.

Production type: staged reading, no stipend, no restriction on previous productions or number of works that may be submitted, playwrights are not responsible for production after submission.

We are accepting new works inspired by works in the public domain for a staged reading in Houston Spring 2027.

We are accepting short completed works or excerpts of longer works for a duration of less than fifteen minutes. This is not a hard limit and page counts between 15-22 are acceptable, but know that they will be scrutinized more closely.

Anyone globally is permitted to submit as long as you have the right to consent to your work being performed in your local polity (we expect this only affects people under the age of majority.)

A writer may submit up to five scripts with any co-authored works counting towards their submission limit. Works which have been performed elsewhere or submitted to the festival before are eligible.

Musicals may be submitted for consideration, however our technical capacity is limited and musicals are less likely to be chosen than straight plays.

Our definition for "Public Domain" is narrower than the government definition: we only include material which at one time was (or could have been) copyrighted broadly defined as "creative expression in fixed form." We are disinclined to accept proposals based on recipes, government publications, game rules, educational materials, etc. This especially includes historical facts (or news stories), so bioplays are discouraged unless there is a significant creative component or notable copyrighted source underlying the submission.

Preference is given to proposals based on work that has recently entered the public domain in the United States (publication year 1924-1931). The festival is especially interested in works that could not have been easily published prior to the work entering the Public Domain and so parodies of works or other examples of "fair use" are discouraged.

While we are especially interested in works which creatively play with the Originating Material, straight, strict, or literal adaptations of lesser known works in the public domain are acceptable.

The festival has received many works based on the following properties and so submitters are cautioned against submitting more unless they think their interpretation demonstrates significant and substantial creative change: The Great Gatsby, The Seagull, Peter Pan, Romeo and Juliet, Hamlet, Macbeth, and The Raven.

Plays do not have to be exclusively written in English, or even written in English at all, but keep in mind that we expect the reading to take place in front of a largely English-speaking audience.

All submissions will be read blind. Please ensure that your script does not have your name or other significant identifying information anywhere on them.

Neither the proposal or final product has any restrictions on content, as long as it does not incur copyright violations. While the festival will do what it is able to find actors best suited to all roles, we cannot guarantee any particular casting will align with identitarian characteristics of the characters in the work as actors will play multiple roles throughout the festival.

As of right now there is no payment, award, or honorarium associated with being selected.

CALL FOR SUBMISSIONS | The Soliloquist Journal | WINTER 2027 ISSUE

Website

Deadline: January 20, 2027

The Soliloquist Journal seeks submissions of poems and soliloquies for its Winter 2027 Issue.

Website: https://thesoliloquistmagazine.my.canva.site/#submit

Email: thesoliloquistmag@gmail.com

Submission Guidelines

What to send: Up to 5 original, unpublished poems or soliloquies.

Length: Maximum of 40 lines per poem/soliloquy.

Bio: Include a 50–70 word author bio written in the third person.

Where to send: Email your work as a single Word or PDF document to thesoliloquistmag@gmail.com.

Subject Line: Winter 2027 Submission – [Your Name]


Issue Theme: The Person I Pretended to Be

Publication: January 25, 2027

Who are you when no one is watching? And who have you become after years of performing a version of yourself that the world finds acceptable?

We learn early that certain parts of us must remain hidden. We become agreeable when we are furious, confident when we are terrified, generous when we are desperate to be loved. We construct identities out of expectations, fear, ambition, family obligations, and the simple desire to belong. Eventually, the performance becomes so convincing that we may no longer recognize the person beneath it.

For our Winter 2027 Issue, The Soliloquist Journal invites poets and writers to confront the uneasy distance between the self we present and the self we conceal. What happens when the mask becomes indistinguishable from the face? Is authenticity a form of freedom, or is it another performance? And if you have spent a lifetime pretending to be someone else, how would you begin to explain the truth to yourself?

We seek psychologically daring, emotionally honest, and formally adventurous poetry and soliloquies that interrogate identity, self-deception, social performance, and the private negotiations through which we become strangers to ourselves.

Subthemes to Inspire You

The Architecture of a Mask — The identities we construct to survive, succeed, belong, or avoid rejection. What does each layer protect, and what does it imprison?

The Acceptable Self — The person shaped by family, culture, gender expectations, professional ambition, or society's demand for respectability. What parts of the self must be sacrificed to remain acceptable?

The Impostor Within — The suspicion that your achievements, relationships, virtues, or even your suffering belong to a character you have invented rather than to the person you truly are.

Confession Without Absolution — The truths we know about ourselves but refuse to admit, even in private. What if acknowledging the truth does not make us better, kinder, or more forgivable?

The Day the Mask Cracked — A moment when the carefully maintained performance collapses: an unexpected outburst, an unforgivable thought, a public failure, or a silence that reveals more than words could.

The Stranger in the Mirror — The unsettling possibility that the authentic self is not waiting beneath the disguise. What if the person behind the mask has never existed as a single, stable identity?

Fast Turnaround: We value your time. Writers will receive a notification timeline within 1 to 2 weeks of submission.

Take off the face the world recognizes. Examine the person beneath it—or the possibility that there is no beneath. For our Winter 2027 Issue, give the hidden self a voice, and let it speak without rehearsal.

Mini Plays Review seeks short plays and monologues for December 2026 issue

Website

Deadline: November 30, 2026

How to Submit
Email: Send your script as an attachment to miniplaysmag@gmail.com
Subject Line: Submission: [Play Title] - [Your Name]
In the Body: Include a brief 50-word biography and your contact details.

Submission Guidelines

Length: Maximum of 2 pages per mini play/soliloquy/monologue.
Format: Standard playwriting format (PDF or Word document preferred).
Limit: Maximum of 5 submissions per playwright. Send all submission in single email.
Originality: Works must be original and unproduced in print format. Simultaneous submissions are welcome, provided you notify us immediately upon acceptance elsewhere.

Theme: Borrowed Time

This issue explores the strange arithmetic of time — what we owe it, what it owes us, and what happens in the narrow windows when it seems to bend, stall, or run out. We are looking for sharp, short scripts about waiting rooms, deadlines, deathbeds, time loops, inheritances, and the small negotiations people make with the clock.

Subthemes for Submission:

• The Waiting Room: Strangers thrown together in a liminal space, each counting down to something different.
• Borrowed Hours: A character who has "bought," "stolen," or been "loaned" time from someone else — literally or figuratively.
• The Last Good Day: A scene built entirely around someone who knows, but hasn't told anyone, that this is their final ordinary day.
• Rewind: A comedic or absurdist take on a character stuck reliving the same five minutes.
• The Inheritance Clock: A family conflict over what a dying or dead relative's "time" — a legacy, a promise, a debt — is now owed to.
• Fashionably Late: The quiet devastation or comedy of someone who has spent a lifetime arriving too late for the moments that mattered.
• Overtime: A workplace two-hander where the real conversation only happens after the shift should have ended.
• The Countdown: A high-stakes dialogue happening in the final sixty seconds before an irreversible decision.
• Aging in Real Time: A monologue or dialogue where a character watches themselves — or someone else — visibly change over the course of the scene.
• The Appointment: Two people meet for a reason neither will say out loud until time forces their hand.
• Daylight Saving: A small, strange dislocation — lost or gained time — that throws a relationship or routine into chaos.
• The Long Goodbye: A scene stretched across a departure that keeps almost-but-not-quite happening.
• Frozen Clocks: A survivalist or dreamlike drama in a place where time has visibly stopped working.
• The Second Chance: A character granted an impossible do-over, and the argument over whether to take it.
• Running Out: A ticking-clock two-hander where the stakes are ordinary, but the urgency is not.

Ninth Annual Eric H. Weinberger Award for Emerging Librettists

Website

Deadline: November 30, 2026

APPLICATION FORM

All submissions must be sent through the online application form. Only one submission per playwright/librettists will be accepted.

The Eric H. Weinberger Award for Emerging Librettists is a juried cash and production grant given annually to support the early work and career of a deserving musical theatre librettist. It commemorates the life and work of playwright/librettist Eric H. Weinberger (1950-2017), who was a Drama Desk Award nominee for Outstanding Book of a Musical (Wanda’s World), and the playwright/librettist of Class Mothers ’68, which earned Priscilla a Drama Desk Award.

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2027 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas was the development home for several of Mr. Weinberger’s musicals, including the World Premiere of Wanda’s World and the New York Premiere of Tea for Three.

The winner of the Award is announced in Spring 2027.

Amas Musical Theatre will not ask for any fees for entry or for any fiduciary involvement

from the playwright/librettists at any point of the process.

Submission Requirements

The Musical must:

• Be a full-length show (at least 80 minutes)

• Have no more than eight actors (actors may play multiple roles; if so, please include a suggested breakdown of role distribution)

• Be complete and ready for readings, workshops and/or productions

• Have a demo that is an accurate representation of the music and style of the show (at least five songs)

• Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)

• Not have had a full production or be published in any way, even if with a different name.

What to Submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of

1. Biography and resumes of the creative team, including writer, composer, lyricist (if applicable)

2. History of the musical'ss development, and any previous titles it has gone through (if applicable, maximum one page)

3. Brief synopsis (maximum 150 words)

4. Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)

5. Proof of rights (if applicable)

6. Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)

7. PDF document of the full-script and sheet music, if available (no writers named)

​​

Guidelines for Materials

All submissions must adhere to the following or your application will be disqualified before reaching our selection committee.

Proof of Rights

If the musical contains any copyrighted material, please submit a signed letter from the authors and/or underlying rights representative stating that underlying rights have been secured.

Full Script

The full script must include:

1. Title page (which should only have the title on it and absolutely no other information)

2. Character breakdown (maximum one page)

3. The complete script with page numbers

For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.

Demo Tracks

The recording should be a significant representation of the songs in the show that accurately highlights the style and character of the score and lyrics.

• Demo tracks should:

1. Include at least one song from the first 25 pages

2. Have at least five recordings available – they do not need to be professional or studio quality, but they must be clear enough to hear lyrics, melody, and accompaniment

3. Have singers of appropriate vocal types for their respective roles

4. Be full songs only, no medleys of spliced songs

For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.

The Selection Process

Scripts will be read and evaluated through a blind submission process by Amas Musical Theatre’s literary team. A group of finalist plays will be read and evaluated by a selection committee, comprised of distinguished artists and playwrights, using a blind evaluation process. Committee members will not be given any additional information beyond the title of the show, the script, and the demo tracks.

Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee. 

Our process is based on the quality of the work submitted.

Round 1 (September-December)

1. Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.

2. The team fills out evaluations for each show, which determine the submissions that continue to Round 2.

Round 2 (January-April)

1. The selection committee reads the scripts in full and listens to all demo tracks submitted.

2. Committee members write their evaluations to determine which one is best suited for the Award.

3. The winner is announced in the Spring of 2027.

4. The application’s primary contact is notified and a development schedule is created with the winner.

We will not be able to provide feedback regarding why a particular piece was or was not selected.

The Winner will:

• Receive $2,000 to help pay for cost-of-living expenses.

• Receive development assistance in the 2027 New Works Development Program of Amas Musical Theatre.

• Have the selected show rehearsed and performed by New York theatre professionals in an Amas Lab production.

• Be present in New York City for the development process.

Seeking monologues for Best Women's and Best Men's Stage Monologues published by Smith & Kraus

Website

Deadline: December 1, 2026

Now accepting monologues for the 2027 Best Women's and Best Men's Stage Monologues published by Smith & Kraus. Submissions close on December 1, 2026.

To submit for Best Men's Monologues, click here.

To submit for Best Women's Monologues, click here.

Four Letter Words seeks plays for workshop

Website

Deadline: December 15, 2026 at 11:59 PM EST

NYC

APPLICATION FORM

If you have any issues with this form, please email info@four-letter-word.com.

Submissions must be:

1) Between 60 and 100 minutes long, based on your best estimation.

2) Completely yours. You must own the rights to all of the materials in your show, and all of the writing must be your own work.

3) In development. As part of our process, you will work with us to revise your script and get it ready for the stage. If your work is set in stone, we can't do that!

The chosen playwright will:

1) Engage in a bimonthly revision process with our artistic director, H. Tait Brencher, an award-winning director and editor, beginning March 2027.

2) Participate in two informal readings of their script with provided space and actors before rehearsals begin.

3) Work with an early career director to lead a five-rehearsal process culminating in a June 2027 public reading. This final reading will be produced by Four Letter Word as part of our season, including advertising, front of house services, and venue.

The Judith Royer Excellence in Playwriting Award seeks work from higher education professionals

Website

Deadline: December 15, 2026

Only the first 200 scripts will be accepted.

DO NOT SEND - THEY HAVE CLOSED THEIR SUBMISSION WINDOW

The Judith Royer Excellence in Playwriting Award honors an outstanding new play marked by sophisticated and nuanced storytelling with the potential to make a significant artistic impact in production by a current professional in higher education (faculty, regardless of rank, and staff).

This year’s winner will be invited to the annual meeting of the Association for Theatre in Higher Education for a reading and/or showcase of the award-winning play. Plays must be entered by December 15, 2026. Only the first 200 scripts will be accepted.

Applicants will send in three different documents:

• Please submit an excerpt or scene(s) between 10 to 20 pages that is exemplary of your full-length play. (A full-length play is no less than 1 hour in length/typically 60 plus pages. Please do not submit one-acts or 10-Minute Plays)

• A short (no more than 2 page) resume or CV, which should include current professional affiliation (as a contingent, tenured or tenure track faculty member, or staff member);

• A brief (no more than 200 word) Statement of Fit as to why this play should be considered for this award and what the playwright hopes to gain from the opportunity to be showcased at ATHE.

After the initial submissions have been evaluated, the Royer leadership will request via email full
scripts for a second round of reading from select playwrights. All playwrights will be notified at that time of their play’s status.

Criteria:
Our aim for this award is to address the core constituency of ATHE, professionals who are currently working in or affiliated with higher education. The Royer sets no restrictions on subject matter, style, or intended audience. Past winning plays have spanned a diversity of topics and
represented varied perspectives on race, culture, language, disability, gender, nationality, and
political worldview. Authors need not be ATHE members.

Only full-length plays will be considered. A playwright may only enter one play in any given year.

The plays can be produced or unproduced but must be unpublished.

The audience and potential group of actors for the reading will be drawn from ATHE members.

Since the main recognition of this play and the playwright will be at ATHE, we ask that the
playwright compose a short “Statement of Fit” as to why they are choosing to pursue this
opportunity and what they hope to gain.

Heartland Theatre Company 25th Annual 10-Minute Play Festival

Website

Deadline: February 1, 2027

Normal IL

HEARTLAND THEATRE 10-MINUTE PLAY ENTRY FORM.

Heartland Theatre Company is seeking eight 10-minute original plays to be considered for production inJune of 2026 as part of our 25th Annual 10-Minute Play Festival, with the theme BOOK CLUB.

IMPORTANT INSTRUCTIONS:All entrants must complete and submit the ENTRY FORM at the link below
All entrants must attach their play to the ENTRY FORM and submit.

PLEASE FOLLOW THESE RULES:

1. Your play must fit the theme – BOOK CLUB – or it will not be considered.
2. Your play must fit our theater and its performance space.
3. We require internet submissions in MS Word or PDF.
4. When formatting your play, we ask that you follow our style sheet.
5. We are looking for NEW plays. Please do not send us anything that has previously been produced.
6. Your play must contain at least two (2) characters, but no more than four (4).
7. Heartland Theatre Company has a pool of actors ranging in age from 18 to 80. Make sure that your characters can be played by actors within that range.
8. Your play should consist mainly of dialogue, not monologues.
9. No children’s plays, musicals, or plays which were previously chosen as winners in any Heartland Theatre playwriting competition will be considered.
10. Do not put your name on the play itself, as submissions are judged blind. Make sure your title and page numbers appear on every page of the play, however.
11. Please read and consider the Judging Criteria.
12. Those plays which win and are staged will be videotaped for archival purposes.
13. No contracts beyond the guidelines mentioned here will be offered.
14. Only one entry will be accepted from each playwright.
15. Your play must be written in English.
16. Keep your play under ten minutes in length.
17. Remember that something has to happen in those ten minutes.
18. MAKE IT GOOD!

All entrants must attach their play to the ENTRY FORM and submit.
HEARTLAND THEATRE 10-MINUTE PLAY ENTRY FORM.

Your play must be in the theme BOOK CLUB or it will not be considered. There are NO fees. You must attach your script in MS Word or PDF format when you send the entry form.

If you have any questions, please email playfest@heartlandtheatre.org

DEADLINE FOR ALL ENTRIES IS FEBRUARY 1, 2027. Finalists will be notified approximately mid-March, 2026. Winners will be announced approximately mid-April, 2027.

YOU will be notified if your script is a finalist or selected for performance. Winners will be posted on this web page, but the playwrights of those scripts not selected will not be notified. We appreciate the efforts of all playwrights who submit their scripts.

2027 10-MINUTE PLAY FESTIVAL PERFORMANCES:

June 3,4,5,6 | 10,11,12,13 | 17,18,19* – 2027

*Two performances June 19

Grosse Pointe Theatre 14th Annual Ten Minute Play Festival

Website

Deadline: October 31, 2026

SUBMISSION FORM

Grosse Pointe Theatre announces their 14th Annual Ten Minute Play Festival in May 2027.

The theme for 2027 is Meet Me in the Park. Each play should center around the interaction of people meeting in a park. Plays that do not involve a park scene and situation will be disqualified without notice.

The winning plays will be presented on a black-box stage without doors or windows. The only set dressing to be used are a park bench, a lamp post, and some shrubbery. Plays should involve two to four characters. The plays are judged anonymously, so no playwright identification should appear on the pages of the script.

For questions or more information, email playfestival@GPT.org

Playing Ace: A New Asexualities Play Festival seeks short and full-length plays

Website

Deadline: November 1, 2026

Madison, Wisconsin

SUBMISSION FORM - PDF files preferred

• Staged reading and inclusion in an anthology proposal
• Plays must be connected to concepts of asexuality or aromance. Further descriptions of how that is defined can be found on our website.
• Playwrights may submit only one play
• Plays must not be previously published.

The “Playing Ace” play festival is an opportunity for folks who are interested in showcasing and exploring asexual worldmaking to connect and share their work! We aim to provide opportunities for playwrights to produce and then publish their work, to expand the reach of these important stories. Over the next year, we will be collecting and carefully reviewing play submissions to be showcased in a staged reading held in Madison, Wisconsin in spring 2027. Playwrights will have the support of a dramaturg during the play rehearsal process and will see how live audiences react to their play. After the play festival, playwrights will have an opportunity to join a proposal to publish their play in the first anthology of asexual plays!

Overall, we recognize that there is a growing need to share stories about asexual lives, experiences, and perspectives. As asexuality becomes more of a topic for discussion in the world, it is important that we create spaces where stories and perspectives can be shared. We believe that theatre is a fantastic place to come together and create new communities, and with the proposal for an anthology, we want to ensure that these stories are shared with as many people as possible.

ellipsis… literature and art open for submissions for the 2027 issue

Website

Deadline: December 16, 2026 2:00 AM

SUBMIT VIA SUBMITTABLE

Please submit one English language drama piece per year, up to 8,000 Words. Use 12 point font.

ellipsis…is the annual literary journal published by the students of Westminster University since 1965. We sponsor a yearly poetry contest (all accepted poems are eligible for a $100 prize) as well as an annual student writing contest ($200 prize in each genre), judged by Laurie Ann Guerrero in 2021, Carolyn Forche in 2022, Brent Ameneyro in 2023, Matty Layne Glasgow in 2024, and Abraham Smith in 2025. 

Contributors to ellipsis... include well-known, up-and-coming, and never-before-published writers. We accept original English language submissions in poetry, short fiction, creative non-fiction, drama, and art. Submit poems in one document, please. 

Our submission period is August 1 through December 15 for poetry, short fiction, drama, and creative non-fiction. We accept art submissions from August 1 through January 31. 

Please include a 75 -word contributor’s note and your address, telephone number, and email address. 

Simultaneous submissions are welcome but withdraw your submission immediately if your work is accepted elsewhere. Note that we do not republish pieces, including work online.

 We usually pay $10 per poem and page of visual art, and $3 per page of prose, plus two free copies of the issue. We cannot pay international contributors. Submissions cannot be accepted via email.