Lost Lake Folk Opera is open for short play submissions

Website

Deadline: August 1, 2025 at 11:59 PM

SUBMIT VIA SUBMITTABLE

We are accepting submissions of short stories, short plays, poetry and opinion essays for the Fall 2025 issue of Lost Lake Folk Opera from April 1-August 1, 2025. 

Lost Lake Folk Opera is proud to announce that Submissions are Open for its fifteenth issue, Volume 10, with the special theme, United We Write. LLFO v10 will feature a guest editorial team led by Joshua Davies serving as Managing editor. 

LLFO will feature poetry, fiction, short plays and essays responding to the socio-economic and political realities in the United States, writing that identifies political crises, societal grief, economic shocks, social injustice. We are not looking for political writing per se, but rather literary art that address the struggle we individuals face collectively to maintain a grip on reality and a firm foothold safe from the sinkholes, ruptures, and buried ordnance littering the landscape of our lives. 

Suffering is endemic to human existence. It is shaped by the times, by race and culture, by politics, war, economics—and by each person’s experience. The ancient Hebrew concept of Tikkun Olam captures this reality: that this world is made by brokenness, by disconnections. Or the Japanese art of kintsugi, where broken pottery is soldered back together with gold – not to disguise the breakage, but to illuminate it. To witness the sacredness each being carries, to honor the interconnection in life, and art, and one’s conduct is to aid in mending of the world. With this in mind, please submit up to five poems or maximum 2500 words of fiction, essay or short play. Rough maximum of ten pages. Submissions deadline is August 1, 2025.

Line by line, word by word, at Lost Lake Folk Opera, we aim to stitch each broken seam together. Voice by voice and ear by ear, we seek to honor all that’s most precious in each other. In our own small way to work towards repair and healing, in community: United, We Write.

BabelFest: A Festival of New American Plays seeks full-length plays

Website

Deadline: May 16, 2025

SUBMISSION FORM

BabelFest: A Festival of New American Plays at Redhouse House Arts Center, Syracuse, NY Submission Guidelines

Redhouse Arts Center is seeking groundbreaking new plays and musicals that feature new voices and new perspectives. The festival will be curated by respected arts leaders in the Central New York area and around the country. One new play and one new musical will be selected for two public staged readings at Redhouse Arts Center in Syracuse. Submissions are free.

Winners Announced: July 7, 2025

Festival Dates: September 25 - September 28, 2025

• Scripts must be submitted in PDF format.
• Scripts must be completed drafts. No incomplete drafts or treatments
• Scripts must be unproduced and unpublished. Readings and/or workshops are acceptable.
• Playwright (and collaborators if applicable) are the sole owners of script copyright.

On the cover of your script, please include;

NAME OF PLAY

PLAYWRIGHT’S NAME

CONTACT INFORMATION [Address, Phone Number, Email Address]

Script Summary

CHARACTER BREAKDOWN

SETTING

TIME PERIOD

Supporting Materials

COVER LETTER

BIO OF PLAYWRIGHT and COLLABORATORS

MUSIC FILES [for musical submissions only]

Playwright Eligibility

Playwright must be 18 years of age or older by the scheduled dates of the festival. Playwright must be a citizen of the United States. Playwright may submit more than one script.

Winning Playwrights

Redhouse will choose 2 new works; 1 musical and 1 play. Winners notified by email in mid June. Winners must be available to participate in the festival.

Winning playwrights will have access to Redhouse Arts Center facilities to continue to develop their work during business hours. Top level local actors and top level local directors will be chosen to rehearse in the evening for one week, culminating in two public staged readings of each chosen new work. Playwrights will have the opportunity to edit their work between readings.

Chosen playwrights will receive a $1,000 commission for their work.

Out of town playwrights will be given travel and accommodations at Redhouse’s expense.

A playwright and cast talkback will follow each staged reading

Redhouse will market and advertise each new work chosen

Semi finalists, and finalists will be announced in each category. Feedback available upon request.

Please visit theredhouse.org audition and submissions page for submission links

Email babelfest@theredhouse.org with questions

CHAIN THEATRE SUMMER ONE-ACT FESTIVAL

Website

Deadline: May 21, 2025

APPLICATION FORM

1. Choose your show.

2. COMPLETELY fill out the application form.

3. REVIEW your completed application to make sure it is complete and correct.

4. EMAIL PLAY as per instructions received upon submitting application. Make sure that the PDFs of your script and cover letter are included in your submission email.

If there are technical issues, contact us at info@chaintheatre.org to discuss them.

5. Include the title of your show in the subject line of the email and on all relevant materials.

Should they become separated, this is how we will reunite them.

CHAIN THEATRE SUMMER ONE-ACT FESTIVAL
July 11th - Aug. 3rd

Plays are chosen for the Chain Summer One-Act Festival based on originality, inspiration, and innovation. The background or experience of the playwright is taken into consideration, but submissions will be judged on the quality of the play. 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.

NON UNION shows will have the ability to LIVE STREAM for at least one performance.

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

PLEASE INFORM US IN THE APPLICATION IF YOU PLAN ON APPLYING FOR EQUITY SHOWCASE. All Equity Showcase paperwork is the responsibility of the producer, not the Chain Theatre. It is crucial that we have this information in advance because it affects our scheduling of the productions for streaming. If you do not plan on applying for Equity Showcase you cannot use Equity Actors.

You will assign a contact person for the piece; that person will be considered your play’s producer should it be part of the Festival. That person will receive all information and is responsible for passing it onto the rest of your team.

Though we will be doing overall festival promotion, you are responsible for the marketing of your piece.

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.

APPLICATIONS

The deadline for submitting to the 2025 Chain Summer One-Act Festival will be May 21, 2025. There are no submission or participation fees for the Chain One-Act Festivals. Complete the following application and you will be directed to information on submitting your play.

After completing the application form you will need to email a PDF (no Word, Pages, or Final Draft files, please!) of the script, and a brief cover letter explaining your goals for the play.

Applications ask for a contact name, address, phone, and email. Show contacts will be the one contact point between Chain Theatre and your production. The email given will be the sole email address that Chain Theatre will use to contact you regarding acceptance, any issues regarding participation, and festival communications.

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.


ACCEPTANCE

Notification of acceptance status will be sent by email on or about May 28, 2025.

If you are accepted into the festival, your email will inform you of the location of the organizational meeting to be held on June 2, 2025 at 6:30pm. IT IS REQUIRED AND MANDATORY THAT SOMEONE REPRESENTING YOUR SHOW BE AT THE ORGANIZATIONAL MEETING. This meeting is where you will receive your performance schedule and meet your fellow participants.

Each accepted ONE ACT show will be given 5 free hours of rehearsal space at one of the Chain Theatre rehearsal rooms. Availability and scheduling of these hours is at the Chain Theatre’s discretion. They must be used to rehearse the show in the festival and cannot be gifted, sold or used for other purposes. Additional rehearsal hours/locations are the production’s responsibility. If you choose to rehearse at one of the Chain Rehearsal studios you can book subsidized rehearsal space for this production for $10 an hour.

Each accepted show will receive a code for ticket tracking. Each show will receive 20% of the net box office for every ticket purchased using their code. (Code use for online sales is mandatory to receive this box office split. No exceptions.)


SCHEDULING

Each One-Act show will be guaranteed at least three performances. The precise number of shows is TBD, based on number of submissions and running lengths. However, depending on the schedule there may be more. Performance blocks will be at 6:30pm and 8:30pm during the week and will run throughout the weekend between 12-10pm.

There will be limited time between shows for changeovers. Keep in mind that when you are striking or setting up your show, another show is also likely striking or setting up. Minimalism rules. PLEASE FACTOR THIS TIME INTO YOUR TECHNICAL PLANS. Houses will be opened 5 minutes before the start time and will start promptly.

BOX OFFICE and TICKETING

Chain Theatre handles all aspects of ticketing and box office. Tickets will be $23 in advance online and $26 at the door.

TECHNICAL

You will need to keep the technical requirements of your show very simple. There will be no projection in shows. The Chain is equipped with a full light board and sound system, however the board will be shared by several shows and we will maintain a standard rep lighting plot. Keep light and sound cues as simple as possible. No show will be able to refocus lights. Each company will have only one cue-to-cue technical rehearsal in the venue which will be run by a Chain Theatre hired PSM. The Chain Theatre PSM will be running lights and sound for all shows at no cost to participants. Storage space/dressing room space is also limited and will be shared by all shows. You will be given a small, unlocked area to store your props, set pieces, and costumes, which must be completely cleared at the conclusion of your performances.


Any additional equipment your show requires should be listed on your application and will be need to be approved by Chain Theatre. Chain Theatre has the right to disqualify any shows that bring in unapproved technical elements. If approved, this equipment will be provided for your show by you. Chain Theatre assumes no liability for this equipment; it is your responsibility.

PUBLICITY

Chain Theatre will publicize the festival and coordinate overall press relations, including interviews and critic attendance. You may be asked to submit publicity photos and PR materials. You are also responsible for publicizing your own show through your own press releases, mailers, handbills, busking and/or posters. Should a critic accept your invitation to see a performance, this information must be forwarded to Chain Theatre so we may coordinate this. Chain Theatre will provide a blanket press kit to help all shows promote.

EXCLUSIVITY

If you are accepted to the Chain Summer One-Act Festival, part of our agreement prohibits the performance of your show anywhere in New York, New Jersey or Connecticut any time from acceptance into the festival through September 2026. Please keep this restriction in mind when accepting other invitations to perform your show during these months, particularly before you have received acceptance status notification from Chain Theatre. Chain Theatre is making an investment in you and your production. We are not previewing your show to take to other festivals and want our mutual efforts of promotion to bring an audience to this production.

If you can no longer participate in the Chain Winter One-Act Festival, you must notify us before May 21, 2025. If the production drops out after you are accepted, you will be disqualified from participating in future Chain Festivals.

If you still have questions, we are available to help you in advance of the deadline at info@chaintheatre.org. You may want to print and keep or bookmark these instructions and your original application for your reference.

Portland CEMA Theatre Group 2025 Dramatic Short Cuts

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Facebook page

Deadline: August 25, 2025

Victoria Australia

Please send your entries to Corey by 25 August:
Corey – coozy10@hotmail.com

Portland CEMA Theatre Group are starting preparations for the 2025 Dramatic Short Cuts, our annual season of short plays, which is scheduled for November. The first step is to collect some plays to assess.
We would like to invite any playwrights and/or creative writers to please submit scripts.

There are some guidelines for any plays you submit:
- Scripts must be no shorter than 8 minutes long
- Scripts must be no longer than 15 minutes long

NOTE - To accurately assess running time, it’s a good idea to read through your play aloud, also allowing time for any action that takes place, as if you were acting it out.

- One act plays only. There are to be no set changes within the middle of the performance, except where these are quite minor or subtle, eg. lighting of action occurring in different parts of the stage, or any relocation of very minimal props

- Only ONE script per writer will be accepted.

- Please ensure you provide a thorough synopsis of your play along with your script submission as the coordinators will use this information to present your play to Theatre Group members for reading and assessment.

- Please send us your script in Word format.

We choose the plays for our season using a ‘blind read,’ which means that we don’t allow voting members to know who wrote the submitted scripts. This is why we ask for a Word version, so we can easily remove your name from the script for the reading.

If you submit a play, you do so with the understanding that if your play is selected, then it will be directed by someone other than you.

We thoroughly enjoy reading all submitted plays and feel most grateful to all who put their scripts forward. Typically, about seven plays are chosen for performance and it is not uncommon to receive twenty or more submissions. Please do not be disheartened if your play is not amoungst those chosen for performance.

Fall 2025 Spark Theatre Festival NYC

Website

Deadline: June 2, 2025

SUBMISSION FORM 

Submissions for the Fall 2025 Spark Theatre Festival are now open through June 2, 2025. 

The Fall festival will take place Sept. 8 – 28, 2025. 

Please read our submission guidelines below.

The Emerging Artists Theatre (EAT) Spark Theatre Festival NYC is a three-week festival of self-produced work for the stage that allows artists of different disciplines to produce one performance of a polished “work-in-progress” with audience feedback.

Beginning in Fall 2025, EAT is excited to announce that the upcoming festival will now be broken into two categories: workshop productions and fully developed new work. Additionally, some productions may be given more than one performance slot.

Many pieces selected for the festival will have never been performed before an audience, while some selections have been performed previously but feature new material. We are not interested in presenting established pieces of theatre. We want to see something brand-spanking-new hit the stage for the first or nearly the first time. This festival is an opportunity to present work for a paying audience for the first, or newly the first, time.

There is no submission charge and no obligation to participate if chosen. Plus, participants receive 50% of the box office. Artists are held to an audience guarantee equal to one ticket buyer per minute of your show. Successful Fringe, NYMF, and Off-Broadway shows have been born out of this series, and Emerging Artists is excited to present a new round of opportunities to local artists for yet another year.

We accept submissions for the following new works:

• Solo Shows
• Dance
• Cabaret
• Musicals (Short and Long)
• Short Plays (60 min or less)
• Subway Musicians
• Storytelling Show
• Sketch Comedy
• Interactive
• Other … Out of the Box

HOW TO APPLY

PART ONE: Read the FAQs carefully. 

Note: the FAQ page may not work if you use Safari as your browser - you will have to switch to another browser like Google Chrome.

Please pay special attention to the audience guarantee section to ensure you are ready to gather an audience for your work. 

PART TWO: Fill out the application form. You will be asked to provide information on the following:

• How you heard about Emerging Artists Theatre’s Spark Theatre Festival NYC
• Why your show would be a good fit
• Show title, running time, and production history (if applicable)
• Description of your production
• Support materials including a script, video, or other means of sharing 
• Contact information, website, social media handles, and professional bio(s)

Hit SUBMIT to submit your application'

GETTING ACCEPTED

If you are accepted into the Spark Theatre Festival NYC, there will be a required information session/meet-and-greet on a date to be determined. 

APPLY

Submissions for the Sept 8-28, 2025 Spark Theatre Festival NYC are now open. Click below to continue to the FAQs and access the application.

Midsummer Short Play Festival seeks short plays and monologues for self-production festival

 Website

Deadline: May 23, 2025

APPLICATION FORM

We are seeking new and original plays and musicals (not to exceed 20 minutes) and monologues (not to exceed 5 minutes). This opportunity is nonunion only. Please read all of our policies below before applying

WHAT: A festival of short original plays (up to 20 minutes) and monologues (up to 5 minutes). Musicals are welcome.

WHERE: Performances will be at the Episcopal Actors' Guild Hall at 1 East 29th Street, NYC.

WHEN: Performances will be Sundays, July 20, July 27, Aug 3, and Aug 10 at 1pm and 4pm. An encore performance (comprised of the audience favorites from each grouping) will be held on Sunday, September 7.

APPLICATION TIMELINE: 

May 23: Applications due.

June 15: Applicants will be notified of their application status.

June 22: Confirmation of participation for accepted applicants due.

COST: Free to submit! One submission per playwright please.

WHERE DOES THE MONEY GO?: All ticket sales go towards supporting EAG's charitable work. Learn more about EAG here.

HOW WILL THIS WORK?: We provide performance space, but you are responsible for assembling your team and preparing the performance.

TECH?: None! Pieces should be bare-bones with no lighting or sound cues (beyond lights up, lights down).

EQUITY?: This is NOT an Equity showcase, and no performers should be a member of Equity.

If selected, EAG PROVIDES:

2 performance slots (one at 1pm, one at 4pm) in our midtown Manhattan theatre space (details here)

Use of a Steinway model M baby grand piano

Simple light plot with lights up/down capability

1 free yearlong membership in EAG 

WE CANNOT PROVIDE:

Free rehearsal time

Script printing

Amplification or recorded sound

AEA contracts

QUESTIONS?: Please contact Johnny Culver - johnnyculver@pineyforkpress.com

Please do not email or call the EAG office. Thank you!

Leni's Last Lament by Gil Kofman at the Paradise Factory Theater - opens May 29

Leni’s Last Lament

Written by Gil Kofman

Starring Jodie Markell

Directed by Richard Caliban

May 29 – June 14, 2025

Paradise Factory Theater

64 East 4th Street, NYC

For tickets and more information, visit https://www.paradisefactory.org/lenislastlament

Fresh from its critically acclaimed run at the Edinburgh Fringe, Leni’s Last Lament arrives at Paradise Factory Theater for a limited engagement this spring. This darkly satirical solo play, penned by Gil Kofman, offers a provocative, but also humorous, exploration of history, ambition, and the human capacity for self-deception.

★★★★ 

“The brilliance — and also the tragedy — of Leni’s Last Lament is that Leni herself makes us the victim of the same fascist trap that originally ensnared her.”

— EdFringe Review

In a surreal, cabaret-style setting, Obie Award-winning actress Jodie Markell embodies Leni Riefenstahl, the infamous filmmaker whose work for the Nazi regime left an indelible mark on cinematic history. 

Set in an ethereal editing room, Riefenstahl attempts to re-edit her controversial past, striving to present herself as a misunderstood artist rather than a propagandist. Directed by Richard Caliban, lauded as a “legendary downtown theater-maker” by the Village Voice, the production weaves together elements of theater, music, and multimedia. Live accordion and violin performances by Spiff Wiegand enhance the immersive experience, while innovative projection and lighting design by Joey Moro, along with puppet design by Lake Simmons, contribute to the play’s haunting atmosphere.

★★★★ 

“Soars with a timely relevance! A stellar performance by Jodie Markell. Fresh and atmospheric staging from director Richard Caliban”

— Culture Fix

Leni’s Last Lament delves into the complexities of artistic responsibility and extenuating moral ambiguity. As Riefenstahl reconstructs her narrative, the audience is compelled, as well as seduced, to confront uncomfortable questions about complicity, denial, and the rewriting of history. Kofman’s script challenges viewers to consider the extent to which individuals will go to absolve themselves and the consequences of allowing such narratives to persist unchallenged.

★★★★ 

“A Triumph! Kofman’s script, Markell’s charisma and Caliban’s atmospheric and inventive production add up to a smart, funny, and chilling experience.”

— Jon Sobel/Blog Critics

The play’s relevance resonates in today’s sociopolitical climate, where the manipulation of truth and the glorification of controversial figures remain pressing issues. By examining Riefenstahl’s justifications and the seductive power of her artistry, Leni’s Last Lament serves as a cautionary tale about the dangers of unchecked ambition and the ethical compromises made in pursuit of greatness.

★★★★ 

“The show is at once bawdy and intellectual. Packed with song and cabaret elements.”

— Beyond the Curtain

Performances run from May 29 through June 14 at Paradise Factory Theater, located at 64 East 4th Street, New York, NY 10003. 

General seating tickets are priced at $27, with a runtime of approximately 80 minutes and no intermission.

Special post-show discussions will be held on select dates:

• June 1: Featuring Liesl Schillinger, professor and writer for publications including The New York Times, The New Yorker, and The Washington Post.

• June 12: Featuring Lawrence Weschler, veteran New Yorker staff writer and director emeritus of the NY Institute for the Humanities.

• June 14: Closing night party.

For tickets and more information, visit https://www.paradisefactory.org/lenislastlament

You can advertise your show on NYCPlaywrights - more details here.

Scenes from the Staten Island Ferry 2025

Website

Deadline: September 15, 2025

Sundog Theatre in NYC is seeking one-act plays for “Scenes from the Staten Island Ferry 2025”

This is Sundog Theatre’s 24th presentation of
new and original, one-act plays about our favorite boats.
This year’s theme: It’s About Time!

Plays can be comedies or dramas. However, humor is always appreciated.

-Original plays not previously produced or published, with a signed note affirming that.

-10-25 minutes in length and set on the Staten Island Ferry.

-Set in a contemporary time period. Strong priority will be given to plays with 2 characters, however, 3-character plays will be considered. No special set pieces other than benches or railings found on the Ferry, as well as limited and easily accessible props/costumes, and no unusual sound or lighting effects.

-Avoid overt and unnecessary sexual/violence situations and language since we cater to a broad audience.

-No musicals, long monologues, poetry, rants or verse

–Theme: It’s About Time!

Some ideas for the theme are: time travel; lost time you can’t get back; something dreadful looms in your future and time is racing by; you’re looking forward to a special event and time slows to a crawl; or…?

Submission Guidelines:

Please send two hard copies, bound or stapled, blind submission (removable cover page with title, author and all contact information) with page numbers and the name of the play on each page to:

Sundog Theatre, “Scenes 2025” PO Box 10183, Staten Island, NY 10301.

-Submissions should include a brief play synopsis (2-3 sentences at most), a 70-word bio, and a full resume of the writer.

–DEADLINE: Must be postmarked from now through September 15, 2025.

-We are not accepting plays electronically. Reasons: hard copies are easier to pass around/make notes on; protects your work; can’t get lost in email chains; and…easier on reading eyes. We will let you know by email that we have received it.

-NO SUBMISSION FEE

-Questions: info@sundogtheatre.org/Susan Fenley, Producer.

6 plays are chosen by a reading team; writers each receive $200 and plays are produced in five November 2025 performances in Staten Island, NY. Plays are cast in NYC, rehearsed, and performed on stage.

Playwrights of selected plays will be contacted in September and their names/play titles listed on Sundog’s website in Fall 2025.

The Ten-Minute Musicals Project 2025

Website

Deadline: August 31, 2025

SEEKING: Complete original stage musicals which play between seven and twenty minutes. Works which have been previously produced are acceptable, as are excerpts from full-length shows, if they can stand up on their own.

MUSICAL STYLE AND THEATRICAL FORMAT: Any musical style: pop, rock, show, opera, C&W, etc; or theatrical format: comedy, mystery, drama, etc.

CAST SIZE: Maximum of ten performers—five women and five men.

SUBMISSIONS SHOULD INCLUDE THE FOLLOWING:

1. A printed script. (Note: printed on paper; not sent as a computer file on disk.) And please make sure your POSTAL ADDRESS appears on it.

2. A CD or DVD of either the entire piece or just the musical material. (Please don’t send a USB flash drive.)

3. A stamped self-addressed large envelope if you want the work returned.

4. More than one work can be submitted at a time, in the same envelope or separately.

CONCERNING THE ABOVE, PLEASE NOTE: NO ELECTRONIC SUBMISSIONS — HARD COPIES ONLY

DEADLINE: Simply postmarked by August 31st. (Do not waste money on overnight express, registered, or certified mail. All that’s requested is that the package be postmarked by August 31—but even if you’re just a day or two late, don’t worry. This is not an officious arts bureaucracy.) Responses will be mailed out by November 30th.

FINANCIAL REMUNERATION: $250/US royalty advance for each piece selected, with an equal share of licensing royalties when produced.

SEND TO:

The Ten-Minute Musicals Project
Michael Koppy, Producer
P.O. Box 461194
West Hollywood, CA 90046 USA

GENERAL CONSIDERATIONS“The more restrictions you have, the easier something is to write.” — Stephen Sondheim

“The enemy of art is the absence of limitations.” — Orson Welles

The single most important piece of advice we can offer is to caution that it will surely take much time and effort to create a quality work. (Occasionally a clearly talented and capable writer and/or composer seem to have almost dashed something off, under the misperception that inspiration can carry the day in this format. However, all the works selected in previous rounds clearly evince that considerable deliberation, craft, and time were invested.)

We’re seeking short contemporary musical theater material, in the style of what might be found on Broadway, off-Broadway or the West End. Think of shows like Candide or Little Shop of Horrors, pop operas like Sweeney Todd or Chess, or chamber musicals like Once on this Island or Falsettos. Even small accessible operas like The Telephone or Trouble in Tahiti are possible models. All have solid plots, and all rely on sung material to advance them.

Of primary importance is to start with a solid, complete story, even if it means postponing work on music and lyrics until that dramatic foundation is complete. This is one reason it is suggested (no; strongly, strongly recommended!) that musicals be based on a short story, play, film, poem or teleplay—either in the public domain (usually meaning it was originally published more than seventy-five years ago) or for which adaptation rights have been obtained. (While we’d love to have pieces based on works by Gabriel Garcia Marquez, Rod Serling, James Baldwin, Raymond Carver, William Faulkner, Chinua Achebe or Stephen King, getting the rights to adapt a work still in copyright can often be quite difficult. Stories or narrative poems by writers from previous eras, like Jack London, Katherine Mansfield, Anton Chekhov, Ambrose Bierce, Mary Shelley, Robert Service, Franz Kafka, Geoffrey Chaucer, Anna Laetitia Barbauld, Banjo Paterson, Aesop of Samos, Louisa May Alcott, Jonathan Swift, Giovanni Boccaccio and Guy de Maupassant—among so many, many others—are in the public domain and can be freely adapted.)

We prefer works using larger casts. If from six to the maximum of ten voices are used it’s a plus, even if most are secondary or ‘chorus’ roles.

Fast-paced comedy material has an advantage.

If adapting a story, you might consider setting it in another time or place, adding or subtracting (or combining) characters, or even changing the character genders. Yet be wary of doing so on whim, sans firm rationale.

It seems from experience here that fairy tales may easily end up being too cute, trite.

A narrator often slows things down. Trust audiences to get the story through what characters say, sing and do. And it’s better for a character to share his or her reactions to what is happening than to simply describe events—we can see them unfolding with our own eyes.

Be wary of writing only introspective musical ‘moments’, as they usually stop the progression of the plot. Solo ballads should be thought of as icing on the cake, as you’ll surely still need other sung material—much of it uptempo—which advances the plot in duets, trios, and production numbers.

Don’t worry if an idea seems ‘unstageable’. That’s what directors, designers, choreographers—and rehearsals—are for.

Finally, please understand that NONE OF THESE OBSERVATIONS ARE GOSPEL. They’re simply recommendations based on what’s been learned from seeing works submitted previously. Given that, please take them seriously. However, nearly every one of these recommendations has been ignored by at least one of the works so far selected.

In the end what matters most will be the idea and aim of your piece and how economically, effectively, elegantly they are realized.

The People’s Theatre Playwrights Unit 2025 is seeking playwrights

Website

Deadline: May 31, 2025

or when 100 submissions are received

SUBMISSION FORM

Call for Submissions - The People’s Theatre Playwrights Unit 2025

The People’s Theatre is seeking playwrights whose voices, experiences, and perspectives emerge from communities that have been historically excluded from the American theatre. We are especially focused on uplifting the work of Black, Indigenous, and People of Color, immigrants, and LGBTQIA+ artists.

This Playwrights Unit is grounded in our mission to build a more equitable, representative, and inclusive theatre landscape. Applications will be evaluated with a strong emphasis on alignment with that mission.

Three playwrights will be chosen to develop new plays each under the mentorship of award-winning playwright Marco Antonio Rodriguez. The culminating plays will be showcased at The People’s Theatre New Horizons Play Reading Festival in December 2025.


YOU WILL RECEIVE:

Ongoing Support to Develop Your Play: Develop your work-in-progress into a 90 min play in workshops led by award-winning playwright Marco Antonio Rodriguez.

Actor Readings and Feedback: Have actors read your latest writing during workshops and receive supportive feedback.

Insight on the business of show business and resources to access: Gain show business insights and resources from well-recognized industry members to advance your career.

Director and Actors for Staging: Have your play directed and staged by professionals.

Showcase your work: Present your play at The People’s Theatre New Horizons Reading Festival.

Shared Dinner: Enjoy meals provided during each in-person workshop.

$1500 award for your participation.

The People's Theatre will receive

The right of first refusal to produce the selected plays within three years.

ELIGIBILITY:

The applicant must have completed at least 1 full-length play or at least 2 one-act plays.

Local NYC and its surrounding areas. If not living in the NYC metropolitan area, you must be willing to travel to NYC for in-person sessions.

Must be available to attend in-person workshops and Reading Festival.

SCHEDULE:

Developmental Workshops

Wed, Aug 6, 5:30-8pm (In-person)

Wed, Aug 20, 5:30-8pm (In-person)

Wed, Sep 3, 5:30-8pm (In-person)

Wed, Sep 17, 5:30-8pm (In-person)

Wed, Sep 24, 5:30-8pm (Zoom)

Wed, Oct 22, 5:30-8pm (In-person)

Wed, Nov 5, 5:30-8pm (In-person)

Wed, Nov 12, 5:30-8pm (In-person)

Location: The People's Theatre Office, 700 W 192nd St Suite 2, New York, NY 10040


New Horizons Reading Festival

Dec 1- Dec 7, 2025

Each play will have 1.5 day rehearsal that culminates in a public staged reading.

Venue: TBA

Reflection meeting

Wed, Jan 21, 2026, 5:30-7pm

SUBMISSION SCHEDULE

May 31, 2025: Submissions Close, or when 100 submissions are received

The week of June 16, 2025: Finalists invited to online interviews

The week of July 7, 2025: Participants Selected

For any questions regarding The People’s Theatre Playwrights Unit 2025, please email sinny@peoplestheatreproject.org.

The Barr Hill Players: Script Submissions for 2025 Fellowship Staged Reading

Website

Deadline: May 15, 2025

"priority may be given to early submissions"

Script submission form

As a part of our 10th annual season, the Barr Hill Players (BHP) will present a staged reading of new works by emerging playwrights. Selected scripts will be workshopped by our ensemble of acting fellows during the BHP summer intensive in Greensboro, VT, then presented for a developmental staged reading at La MaMa ETC Galleria in New York City on August 16, 2025.

At BHP, we believe actors can serve as generative collaborators in the development of new plays. This reading creates an opportunity for playwrights to gain an outside-in, actor-led perspective to inform further development of their dialogue-driven work.

Deadline: May 15, 2025 (Regular Deadline) / June 15 (Late Deadline)

*Priority may be given to earlier submissions

Length: Full-length (60-100min)

Cast size: 8-12

*Scripts that can be cast with exactly 12 actors are particularly desirable​

The scripts we’re looking for are:

Written for “balanced” ensembles (all roles have meaningful stage time)

Grounded in spoken dialogue (not primarily movement-based, not musical/sung)

Somewhat flexible in ensemble composition (gender, ethnicity, age, etc.)

Eligible under the Actors’ Equity Staged Reading Guidelines (have not been/will not be registered with Actors’ Equity for a Reading March-August 2025

You may submit up to 3 plays for consideration. If you submit the form more than 3 times, only the first 3 submissions will be considered. Please review the FAQs below before submitting.

​
FAQ

Q: Do you charge playwrights fees?

No, there are no submission or production fees associated with this opportunity.


Q: Will selected playwrights receive money from ticket sales?

No – the reading will follow Equity protocols for a staged reading, so tickets will not be sold, and the reading will be by invitation only. (The playwright will have the opportunity to invite guests.)

​
Q: If selected, what will I have to do?

Nothing! If selected, you will NOT be responsible for finding a cast, director, venue, date, or even attending the reading, though we encourage you to attend.

​
Q: Will playwrights attend the Barr Hill Players core intensive in Greensboro, VT?

No, selected playwrights will not attend our 2025 intensive. However, we hope to build lasting relationships with playwrights that may translate into residency and full production opportunities with the future – so if these opportunities excite you, please apply!

Q: The script submission for isn't working for me. What should I do?

You may email your submission with all the inputs required (on the online form) to info@barrhillplayers.org.

SkyPilot Theatre Company, seeks original one-act plays

Website

Deadline: May 15, 2025
(Fee waived for members of the Dramatist Guild with proof of membership)

SkyPilot Theatre Company, a non-profit ensemble company of actors, directors and designers producing provocative, compelling and challenging new works for the Los Angeles theatre-going audience, will once again present a selection of original one-act plays this Fall. Playwrights are invited to submit works based on the theme “Second Chances”.

Do you believe in redemption? Forgiveness? Does everyone deserve the chance to redeem themselves? If you could go back and do it differently, would you? Will you allow them to? Perhaps going forward you are given the opportunity. Comedic or dramatic. Life or death. The possibilities are endless and so will be the fun. Playwrights are asked to submit one-acts based on this theme.

Parameters are as follows:

Length – 20-30 minutes maximum
6-8 characters maximum
Submission Deadline – May 15th
Original, never produced material only, no adaptations
No musicals
No elaborate costumes or elaborate sets


Submission fee is $10 (Through PayPal or Venmo: SkyPilotSubmissions@gmail.com) (Fee waived for members of the Dramatist Guild with proof of membership)

Once again this year, there will be two awards given out to playwrights. The Audience Award and the Producers Award will include a cash prize of $50 each and will be voted on and awarded to two of the overall plays selected for the festival at the end of the run.

Please submit one play per playwright with “One Act Festival” in the subject line to SkyPilotSubmissions@gmail.com by May 15th. In your submission, please include a synopsis, how it fits the theme, and any performance history. For more information on SkyPilot and its upcoming productions, visit www.skypilottheatre.com.

The Soliloquist Journal seeks submissions of poems and soliloquies for Summer 2025 issue

Website

Deadline: July 5, 2025

Following the introspective depth of Unfinished Dialogues, our second issue invites soliloquies and poems that explore duality, reflection, and the fractured self—"Echoes in the Mirror."

We seek works that grapple with:

• The masks we wear (public vs. private selves)
• Confrontations with the past (ghosts, memories, alternate versions of
• oneself)
• Bodies and distortions (dysmorphia, aging, transformation)
• Whispers of the subconscious (dreams, repressed desires, inner chaos)
• Literal and metaphorical mirrors (as truth-tellers, liars, or portals)

Send up to 5 poems (no more than 40 lines each).
Include a brief bio in third person (50–100 words).

Submissions must be original and unpublished.

Email your work to thesoliloquistmag@gmail.com
with the subject line “ Summer 2025 Submission
– [Your Name].”

Publication Date: July 15, 2025
Notification Timeline: Within 1 week of submission.

2025-26 PlayGround-NY Writers Pool

Website

Deadline: May 31, 2025 at  11:59pm PT

SUBMISSION FORM

2025-26 Writers Pool Submission Guidelines

Applications for the 2025-26 PlayGround-NY Writers Pool are being accepted now through May 31, 2025.

– 25 early-career playwrights as well as 3 alternates will be competitively selected from applications to form the Writers Pool.

– Members of the Writers Pool may submit scripts to be considered as part of the Monday Night PlayGround-NY staged reading series. Four times each season, September through March (see tentative schedule below), PlayGround-NY will announce a prompt and Writers Pool members have just four-and-a-half days to generate an original short script (max. 10 pages) inspired by the prompt. The top six scripts each round will be staged publicly with leading local directors and actors. Those not selected may submit their scripts to Recess for cold readings via zoom (see below).

– From the plays staged throughout the season, up to six will be selected for Best of PlayGround-NY (produced in April 2026).

– Writers Pool members can gain peer feedback on their work by participating in Recess cold readings (one week after each Monday Night PlayGround-NY and generally via Zoom) as well as through a staff one-on-one session (available upon request). New this year, Writers Pool Alternates will have full access to Recess.

ELIGIBILITY REQUIREMENTS AND RESPONSIBILITIES

– Writers must reside within the five boroughs of New York City

– NEW THIS YEAR: Writers Pool members must commit to submitting for ALL FOUR Monday Night PlayGround-NY events in a given season (see below for schedule, subject to change). Writers failing to meet the eligibility requirements must sit out the remainder of the season and one additional full season. Alternates are asked to submit each round and may be admitted to the Pool should there be an opening during the season.

– The submission of a script to Monday Night PlayGround-NY grants PlayGround-NY the exclusive option to stage the play as part of the Monday Night PlayGround-NY and, should it be so selected, to present the world premiere as part of Best of PlayGround-NY and non-exclusive option to publish the script in a “Best of PlayGround” anthology.

– Current members of the Writers Pool must reapply in order to be considered for the following season.

WHAT TO SUBMIT

– Playwrights must submit a 10-page max, properly formatted script as PDF attachment. Both previously produced and unproduced scripts are eligible. See below for formatting examples.

– The script must have the playwright’s name, address, email and phone number at the top of the first page and include a detailed cast breakdown, and all pages must be numbered.

– The script title must be labeled by Lastname, Firstname_Title (e.g., Shakespeare, William_The Tempest).

– Excerpts from longer works are not accepted but short plays that meet the above requirements and are derived from a longer work are accepted.

– BIPOC, trans/gender-non-conforming & playwrights with disabilities are encouraged to apply.

– Applications must be received by 11:59pm PT on Saturday, May 31, 2025.

To view sample script formats, click the link(s) below.
Submission Format #1
Submission Format #2

WRITERS POOL ANNOUNCEMENT
– Applicants will be notified of selections on or before August 1, 2025.
– Selected writers must attend a mandatory company meeting on Sunday, August 24 (time to be announced).

2025-26 SCHEDULE (subject to change)
MNP1 Topic Announced: September 19, 2025
MNP1 Scripts Due: September 23, 2025
MNP2 Topic Announced: October 31, 2025
MNP2 Scripts Due: November 4, 2025
MNP3 Topic Announced: December 19, 2025
MNP3 Scripts Due: December 23, 2025
MNP4 Topic Announced: January 30, 2026
MNP 4 Scripts Due: February 3, 2026

For any questions not answered above, email to info@playground-ny.org

The Kleban Prize for Musical Theatre 2026

Website

Deadline: May 15, 2025 at 5pm EDT.

Edward Kleban, the lyricist of A Chorus Line and other extraordinary works, created the Kleban Prize in his Will, which is given annually to writers of extraordinary promise – to a librettist and a lyricist, respectively. Kleban designed the prize based on his personal experience as a promising writer. He was acutely aware that, though composers and musicians may often work within the theater, lyricists and librettists generally have to work outside the theater in order to support their writing. He wanted a prize of sufficient size to allow promising writers the time to simply write; his creation of the prize flowed from his desire to help other worthy artists like himself.

The prize is administered by New Dramatists on behalf of the The Kleban Foundation, Inc. Board of Directors. To ensure a robust and equitable adjudication, applications (including work samples) are submitted and reviewed blind by an independent panel of musical theatre artists and industry leaders. The Kleban Foundation Board sets the amount of the Prize annually. In recent years, a sum of $100,000 in each category has been paid in two annual installments to Prize recipients.

Eligibility

Kleban’s instructions, as interpreted by the Board, specify that applicants must meet either of the following criteria: 1) The applicant must previously have received a production of one of their works on a stage or in a workshop performance; or 2) The applicant must be or have been a member or an associate of a professional musical workshop or theater group, i.e., ASCAP, BMI Theater Workshop or the Dramatists Guild Fellows Program.Any individual whose work has been performed on the Broadway stage for a cumulative period of two years prior to the opening of the application window is not eligible. In the case of multiple Broadway productions, the sum of the lengths of the runs must not exceed two years.

If the material is co-written (written by more than one lyricist or more than one librettist) all writers must apply as a team. (This does not include the composer unless s/he has also contributed lyrics or text.) Each applicant must be eligible in their own right to apply.

Applicants may apply in both categories, but must submit a separate application for each category and may win in only one such category.

Applicants may only apply once per category per year.

Applicants may win in only one category.


Application Materials

Submissions are coded and reviewed blind. The name(s) of the writer(s) must NOT appear on any submission materials, including in the file names or file author information. Do NOT include hyperlinks in your files. Failure to meet this requirement may render the applicant ineligible. Only work from musical theater will be considered. Materials must be in English.

LYRICIST CATEGORY

Submissions must include lyrics for a minimum of five and a maximum of eight songs.
The lyrics may be from one or various shows.
Audio files/recordings of each song are strongly encouraged but are not necessary. Acceptable formats are mp3, ogg, and wav.

LIBRETTIST CATEGORY

Submissions may consist of a full-length musical book, or one act from two separate shows.
Lyrics should be included in the libretto even if they were written by someone other than the librettist.
Submission files must be in either word or PDF formats. Audio files are not accepted in the librettist category.

Application Step-by-Step

You will no longer be required to have an account on the New Dramatists website to complete a 2026 application.

It is in your best interest to prepare your materials (script document, resume document) for upload in advance, and to complete the application in one session. Your progress will be saved automatically if you continue in the same browser, but there is not an option to save.

1. Click the appropriate button below to begin your application. If you are applying in two categories, simply return to this page.

2. You will be asked to confirm you are eligible to apply. In the text field you must provide details substantiating your eligibility. Optionally, upload a resumé.

3. Fill in your full name, address, phone number and email address. If you have a co-lyricist or co-librettist, enter their information here.

4. For a Lyricist application, upload a text document for each song. You will also have the option to upload audio files for each song. For a Librettist application, upload your Musical text file. If you are submitting two acts from separate musicals they must be combined into one file. DO NOT INCLUDE YOUR NAME ON ANY OF THESE SUBMISSION MATERIALS.

5. Check the box that you have read and agree to our Privacy Policy, and click “Submit Your Application” to complete the process. You will receive a confirmation that your application has been received.

Lyricist Application

Librettist Application

Baltimore Center State Trans History Project commission

Website

Deadline: May 11, at 11:59PM EST 

SUBMISSION FORM

The Trans History Project is a revolutionary national initiative. Created by Bo Frazier, Baltimore Center Stage’s Artist-in-Residence, and led by Baltimore Center Stage and Breaking the Binary Theatre, this project aims to commission, develop, and publish 10 new plays about the real history of gender non-conformity which has existed across all cultures since the beginning of time. 

There will be 10 Trans and Gender Nonconforming playwrights (TGNC) commissioned by BCS who will subsequently be placed into 2-year development residencies at theaters across the country in 2 cohorts. Cohort 1 will begin Fall 2025 and Cohort 2 will begin Fall 2026. 

MISSION: 

• Tell the history of Transgender and Gender Nonconforming people across all cultures who have existed since the beginning of time 
• Commission and pay 10 TGNC playwrights/creators/writers
• Create a cohort of theaters to develop and program TGNC stories in their seasons 
• We hope to publish a TGNC canon/anthology of the 10 plays
• Enable Regional Theaters to engage, uplift and empower their local TGNC Communities

SUMMARY:

In an effort to teach the world our TGNC history and build a “Trans Canon,” Baltimore Center Stage is partnering with other forward-thinking theatrical institutions across the country to commission, workshop (and hopefully publish and produce) 10 new plays by 10 TGNC writers of differing cultures, allowing them to tell stories of TGNC folks from history/folklore and how it relates to the aggressive legislative attacks seeking to “eradicate” our community from society. 

Cohort 1 will begin a 2-year residency at a major theatre in the 2025/26 season with Cohort 2 beginning the following 2026/27 season. Starting in 2026, the writers, dramaturgs and artists will come together for an Annual Summer Convening hosted by Baltimore Center Stage.


COHORT 1 RESIDENCY THEATER PARTNERS : 

• Rattlestick Theater – New York City, NY 
• Diversionary Theatre – San Diego, CA 
• Round House Theatre – Bethesda, MD
• Baltimore Center Stage – Baltimore, MD

APPLICATION INFORMATION:
Applications are due Sunday, May 11, at 11:59PM EST

Project Eligibility:

• Must be an original story or adaptation about the history of transgender or gender non-conforming people/culture before our timeCan take place in modern times but must be about history i.e. Great Privation by Nia Akilah Robinson, or Arcadia by Tom Stoppard. 
• Can be a play with music, choreo-poem, realism, magic realism, expressionism, docu-drama, but we are not accepting full musicals at this time
• Can be from one writer, a devising team, or writing team, but please know that the commission fee is per project, not per artist. 
• Can be a completely brand new idea or a script that has a full draft but cannot be a piece that has been previously produced
• We are open to writers of all disciplines who want to write for theatre

Applications must include:

• Project Pitch or Full Draft
• Artist Statement Video or Essay
• Resume/CV 
• Long Writing Sample 
• Statement of Connection to the Material
• Statement of Style/Form and how it utilizes history
• Contact Info & Headshot

For full transparency, here is some insight on process and selection:70% of stories chosen will be from the Global Majority/BIPOC experience

We are seeking diverse cultural representation and forms of storytelling within the cohort of 10 plays

Each theatre may have different preferences like cast size, or interest in only local playwrights etc. 

Each theater is not required to produce the play they develop, but has agreed to seriously consider it in their 2027/28 season selection 

Our Reading Committee will evaluate each submission and each writer will be chosen by BCS and BTB staffs in conjunction with each regional partner

Each Selected writer will receive: $10,000 Commission Fee
Dramaturgical/Research Support
A 2-year residency at a theatre that will include:1 Reading in the 2025/26 Season
1 Workshop in the 2026/27 Season
Travel/Housing to our Annual Summer Convening beginning Summer 2026
Regular Share-Out/Support Zoom Meetings with fellow cohort members throughout 2-year residency

Stories can be (but not limited to): a retelling of folklore from your culture, a factual/fictional story about real historic people, or a brand new story about an existing trans or gender nonconforming culture/identity below 

• Two Spirit (Native American)
• Hijra (India)
• Sulawesi (Indonesia)
• Kucek (Ottoman Empire)
• Bakla (Filipino)
• Muxes (Mexico)
• Dagaba Tribe (Ghana)
• Public Universal Friend (USA)
• Amun (Egyptian)
• Okule and agule (Congo & Uganda) Marsha P. Johnson, Sylvia Rivera, Stormé De Larverie (USA)
• Amelio Robles Ávila (Mexico)
• Dionysus (Greece)
• Nommo intersex teachers (Mali, Africa)
• Joan of Arc (France)

And there are endless more examples from history that we were never taught…

Looking for inspiration? Check out: Eli Erzel’s Coloring The Past
Our Glossary of Articles about TGNC Identities throughout History
Free Trans Library TransReads

Literature Today- an International Literary Journal seeks short plays

Website

Deadline: June 18, 2025

Send all submissions to : editorliteraturetoday@gmail.com

Literature Today- an International Literary Journal is inviting submissions for the JUNE 2025 issue of 'Literature Today'. 

Send not more than 2 one minute plays (2 pages for each play)

Simultaneous submissions are welcome.

Please send a cover letter and short Bio-data, (Maximum 50 words) in third person narrative, with your submission. Please attach a high resolution photo of yours too.

The theme of our JUNE 2025 issue is "Echoes of the Human Experience". You can send us poems, short stories, memoirs and one minute plays on any of the following sub themes :

Main Topic: "Echoes of the Human Experience"

This overarching theme explores the multifaceted nature of humanity—our emotions, struggles, triumphs, and connections. It invites poets and authors to reflect on what it means to be human in both personal and universal ways.

Subtopics

1. Whispers of Identity

Exploring self-discovery, cultural heritage, gender, race, and individuality.

Literary works about finding one's voice or grappling with societal expectations.

Examples: Coming-of-age stories, reflections on belonging, or celebrating uniqueness.

2. Threads of Connection

Focusing on relationships—romantic love, familial bonds, friendships, or even fleeting encounters.

Themes could include loss, reconciliation, longing, or joy found in human interaction.

Examples: A letter to a loved one, memories of childhood, or strangers who leave lasting impressions.

3. Shadows and Light

Delving into contrasts—hope vs. despair, resilience vs. vulnerability, light vs. darkness.

Literary works might address mental health, grief, healing, or moments of transformation.

Examples: Overcoming adversity, finding beauty in pain, or embracing imperfection.

4. Footprints on Earth

Examining humanity’s relationship with the natural world, climate change, and environmental consciousness.

Literary works could celebrate landscapes, mourn ecological loss, or call for action.

Examples: Odes to forests, rivers, or oceans; reflections on sustainability and stewardship.

5. Time’s Tapestry

Reflecting on time as a force that shapes lives—memories, aging, legacy, and the passage of seasons.

Themes might include nostalgia, generational wisdom, or existential musings.

Examples: Letters to your future self, meditations on mortality, or honoring ancestors.

6. Dreamscapes and Realities

Blurring the lines between imagination and reality, dreams and waking life.

Encouraging surrealism, magical realism, or explorations of inner worlds.

Examples: Vivid dream sequences, alternate realities, or abstract visions of hope.

7. Voices Unheard

Amplifying marginalized perspectives, untold stories, and silenced voices.

Highlighting social justice issues, historical narratives, or underrepresented communities.

Examples: Protest poetry, tributes to forgotten heroes, or reclaiming erased histories.

8. Sacred Spaces

Investigating spirituality, faith, rituals, and sacredness in everyday life.

This subtopic can encompass religious traditions, secular spirituality, or personal quests for meaning.

9. The Art of Living

Celebrating creativity, artistry, and the pursuit of passion.

Literary works might explore how people find purpose through their work, hobbies, or creative expression.

Examples: Homages to artists, writers, musicians, or reflections on the act of creation itself.

10. Fragments of Tomorrow

Imagining the future—utopias, dystopias, technological advancements, or evolving societies.

Encouraging speculative literary works that questions where humanity is headed.

Examples: Visions of space exploration, AI companionship, or warnings against hubris.

Green Mountain New Play Festival Summer 2025 Festival seeks plays of any length

Facebook page

Deadline: June 1, 2025

Plainfield, Vermont

SUBMISSION FORM

The inaugural Green Mountain New Play Festival is now accepting submissions for its summer 2025 festival, taking place August 8-10, 2025 as part of the brand-new Green Mountain Shakespeare Festival, a division of Plainfield Little Theatre at The CreativeCampus@Goddard in Vermont.

This exciting new venture is dedicated to fostering bold, original voices in contemporary playwriting. Selected playwrights will receive a staged reading with professional directors and actors.

Submissions are open through June 1, 2025, and there is no fee to apply.

The festival seeks unpublished, unproduced plays from emerging and established playwrights. Any length, any characters, any theme - we are looking for a diverse selection of plays and will build the festival according to chosen submissions. No musicals please. One submission per playwright.

Three works will be selected for staged readings during a weekend of new play development and celebration. Selected playwrights will be notified in early July.

Once a progressive hub for radical education and artistic exploration, Goddard College has recently closed its doors as an academic institution. But the spirit of creativity and experimentation lives on. TheCreativeCampus@Goddard is a bold new initiative to reimagine the historic Vermont campus as a thriving, interdisciplinary arts and culture space. The Green Mountain New Play Festival is proud to be part of this next chapter—welcoming artists back to the grounds to make new work, build community, and carry forward Goddard’s legacy in fresh and vital ways.

For questions, please contact Erin Galligan Baldwin: egalliganbaldwin@gmail.com.

Nashville Rep Ingram New Works Project

Website

Deadline: May 30, 2025 at 5PM CST

APPLICATION PAGE

Looking for exciting and inspiring plays with a dynamic voice, an interesting point of view, and a strong sense of narrative momentum. We are looking for a play script that is in progress. That progress can be an early unfinished draft, a few pages written with an outline and synopsis, or a fully completed first draft. Overall, we must comprehend the concept of the play and where the playwright intends to take the piece.

We will only accept one submission per person.

We will accept a play already in very early development. However, we highly encourage brand new plays and early drafts to be submitted.

The Ingram New Works Lab is not designed for plays that have already received development with other programs. We highly encourage brand new plays and early drafts to be submitted.

Housing, travel, and hospitality are provided to all Lab playwrights. Local playwrights are also strongly encouraged to apply.

Do I have to be in Nashville for the entire 2025-2026 season?
No. Each playwright selected will be chosen for one (1) on-site lab week.

The 2024-2025 Lab Weeks are as follows:

Lab 1: October 6-11, 2025

Lab 2: January 12-17, 2026

Lab 3: March 9-14, 2026

Do playwrights have to attend all dates?

No. We will focus on one play for each lab week. Playwrights will attend the lab week for their play. In addition, some Zoom/online workshops will take place.
What can I expect if I’m selected for the Ingram New Works lab?

Each playwright will be given the resources needed to work on their script and take it to the next level. Each play will be staffed with a director and dramaturg, and each play will be cast with actors. Before attending an in-person lab week, the playwright will take part in 1-2 Zoom readings and workshops. This will give the playwright time to make changes and re-writes before coming onsite for their lab week.

For lab week, playwrights arrive early in the week. There will be 3 to 5 lab sessions throughout the week catered to the needs of the playwright. We realize each play has specific needs, so time will be allowed for playwrights to do readings, work sessions, re-writes, dramaturgical work, and discussions. These sessions will include work with a director and dramaturg as well as professional actors from the Nashville region. The week will culminate in a reading.

In addition to Lab sessions, weeks in Nashville also include opportunities to experience our great city and connect with the larger community of artists in Nashville.
What materials do I need to send to apply?

Applicants must send the following:

A cover letter of intent introducing yourself and telling us why you would be a good fit for this program. You should also pitch your play in this letter, detailing why you want to develop this play now and your connection to the material.

• A draft of the proposed play. Please keep in mind this can be any of the following:
• An early, unfinished draft
• A few pages written with an outline or synopsis
• A completed first draft.
• Overall, we must comprehend the overall concept of the play and where the playwright intends to take the piece.
• A professional resume
• A full-length sample play that best represents your work. Materials must be sent by using the form on our Applications page.

Yes, we are now accepting musical submissions for the 2025-2026 Season. If you are submitting a musical proposal, you should also include links to any early audio reference demos or recordings of your work.

Who reads the submissions?

Submissions are read by a combination of professional readers, community stakeholders, Ingram Lab alumni, and Nashville Rep artistic staff.

What happens after I submit?

You will be notified by email that we have received your application. Finalists will be notified by email, and many finalists will be asked to take part in Zoom interviews. A public announcement of the 2025/26 Lab playwrights will be made in late July/early August.
What is the deadline for submissions?
The submission deadline is Friday, May 30 at 5pm CST.
What if my question isn’t answered in this FAQ?

Additional questions can be sent to Yolanda Treece, Artistic Associate at yolanda@nashvillerep.org

Thumbcoast Live Theaters seeks full-length plays

Website

Deadline: May 9, 2025

SUBMISSION FORM

Marine City Michigan

ThumbCoast Theaters is putting out the call to all playwrights who have something written and would like to see it on stage. This Summer in Marine City, the tradition continues as ThumbCoast Theaters presents Playfair’s Second Year. 

In addition to one-act plays, ThumbCoast is now looking for full-length shows. Selected productions will be presented at the Snug Theater in a workshop format for the author to see their production on its feet and be able to receive feedback for polishing their material. In the spirit of collaboration, feedback may be received from the audience as well as fellow artists. Performances will go up at the end of June.

M. T. Pockets Theatre open for season submissions

 Website

Deadline: September 30, 2025 11:59 PM

Submit on the online form

Submissions are open for our 2026 season. 

We will continue taking submissions after this date for our 2027 season. 

Up to 4 selections will be made from the submissions, and authors will be notified by email on November 15, 2025. Announcement of the 2026 season will be made on Dec. 2, 2025 - the National Day of Giving.

Mission

To enhance the theatre community in Morgantown, West Virginia and surrounding regions by presenting live performances of classic, contemporary and new works that promote women and minorities in the arts; provide a venue for alternative theatre that addresses contemporary and sensitive issues through performance; provide a venue for new works and support the work of emerging playwrights and artists without bias; provide theatre accessible to those whom otherwise might not have the opportunity to experience live theatre due to physical, financial or geographical limitations.

Vidalia Winter Yield seeks 10-minute plays

Website

Deadline: June 30, 2025

We're accepting submissions for our Winter Yield collection of 10-minute plays to be produced in January 2026. The setting for this show is the airport. It can be at the gate, ticket counter, baggage claim, etc… as long as it’s in the airport (not on an airplane). We are only seeking plays that fit this setting at this time.

Submissions should contain a maximum of 6 characters, minimal prop requirements, and provide opportunity for diverse casting. Adult language and content are permitted, but it should be relevant to the story and not gratuitous.

Submissions cannot have been previously produced in the Atlanta Metro Area.

Limit TWO (2) submissions per playwright.

(Any playwright caught violating this will be disqualified)


PAY: A $30 stipend is paid to the playwrights whose plays are selected.


***PLEASE READ THE SUBMISSION INSTRUCTIONS THOROUGHLY***

If submitting two plays, send each submission in a separate email


Email submissions to: vidaliatheatre@gmail.com


In the subject line type: Your Name - Title of Play – WY26

Be sure to include the following information in the body of the email:

your email and telephone

city, state (or country if outside USA) in which you reside

Number of characters

Comedy or Drama

All scripts must be attached as a PDF. No other file types will be accepted.

Note: *We do not utilize blind submissions in our review process*


**ANY SUBMISSION THAT DOES NOT FOLLOW THESE INSTRUCTIONS WILL NOT BE CONSIDERED**

OPEN TO ALL PLAYWRIGHTS

(with special consideration for those who reside in Georgia)

CONTACT US


Mail: 2382 Charleston Ter, Decatur GA 30034

Email: vidaliatheatre@gmail.com

Tel: 678-315-2767

Mini Plays magazine seeks submissions for their JUNE 2025 anthology

Website

Deadine: June 15, 2025

We are looking for submissions for our JUNE 2025 anthology.

The theme of the June 2025 issue is 'LOVE'. Please send us mini plays and monologues on this theme.

The length of a mini play or monologue should not exceed 2 pages of text.

Last date of submission: June 15th, 2025

Please send your work to miniplaysmag@gmail.com

Submit your high definition photo in JPEG format for publication with your work.

Please share your author profile (60 words) for publication in the anthology.

Note:

The anthology will be published in pdf and paperback edition.

A free Pdf edition of anthology will be published on our website .

A paperback edition will be published on ingram spark or lulu.com.

There is no publication, reading, processing or publishing fee.

First Ever International Human Rights Art Festival: Queens version

Website

Deadline: June 15, 2025

QUEENS-BASED ARTISTS ONLY

September 26-28, 2025
Court Square Theater44-02 23rd Street, Long Island City, NY 11101
(Just 10 minutes from Times Square; 7, G, and E trains within a 4-minute walk.)

Results announced by mid-July, 2025

The submission window is now open for performance work in any form - every discipline!

Work may not have been produced within the last year in NYC, or be scheduled in the next six months of September 28th, 2025.

Please note:
the performances must be fully produced by you; IHRAF is a presenting platform.

Considering performances 10-20 minutes long.

We accept just one proposal for each application.

Submit all work to costanza@humanrightsartmovement.org

We are jurying work with the following interests:

• Ten Minute Play Festival 
• Climate Change Action
• Immigration
• LGBTQIA
• Celebration of Women/Women in Power
• Celebration of Black Men/Undiscovered Women
• Shalom/Salaam
• With Love from Africa
• Queens historyAmerica's Slide Into Authoritarianism
• Any other social justice concerns you might have

All accepted performers will receive:

• Performance stipends of $150
• PR and marketing support
• 30-minute tech rehearsal
• Festival TD and SM
• Free photographic documentation of their performance

…and bragging rights as participants in this vital and growing NYC creative-activist institution!

SUBMISSION REQUIREMENTS

A brief description of your piece, including approximate running time - we’re accepting 10-20 mins works.

A cover letter, including details regarding the piece’s discipline, issue of concern treated and a brief summary of your artistic goals

Your bios or resumes and the names of any collaborators already on board

A sample of work (scripts, pics, videos, songs, any other links or file that could help us to know more about your project)

As email subject, please type IHRAFQueens 2025, then add Association-Company-your name (i.e. IHRAFestival 2024, Joan Doe)

We are seeking artists who use their creativity as their weapon of justice, and operate under our signature values of
Beauty as a fundamental artistic principle;
Sincerity and Vulnerability of presentation;
Celebration of Diversity, and opening doorways of engagement with all members of society.

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Qutub Minar Review seeks short plays

Website

Submission Deadline: June 20, 2025

Submission Email: editorqutubminarreview@gmail.com

Qutub Minar Review is inviting poetry, short stories (maximum 500 words for each story), one minute plays, interviews, book reviews, memoires and travelogues for July 2025 issue. Submission guidelines are as follows:

1 All submissions must carry a cover letter and a short literary bio-data (about 70 words) of the author.

2. We accept submissions only by email. All submissions must be sent to editorqutubminarreview@gmail.com

3. All submissions must carry:

• Full legal name of the author
• Pen name (if any)
• Postal address

Drama: You can submit up to 3 one minute plays at a time.

USAGE RIGHTS
By submitting your work you accept that you hold the copyright of the work and there is no need to get permission of any third party to publish your work. After publication the copyright of the work will revert back to the author.

NOTIFICATIONS
We notify the authors through email regarding acceptance of their works.

PAYMENTS
Unfortunately, there is no pay at this time.

Veterans' 10 Minute Playwrighting Contest 2025

Website

Deadline: June 30, 2025 11:59 PM

SUBMIT VIA SUBMITTABLE

All playwrights, regardless of military affiliation, are invited to enter Salem State University’s 10-Minute Playwriting Contest. However, preference will be given to those with a direct military connection. This includes active-duty military, reservists, National Guard, Veterans, and direct family of any of these.

The theme of the play should directly touch on military service and/or how military service affects a community. The contest and festival look to recognize and celebrate those that have served and currently serve. We are looking to bring together a variety of voices exploring both the challenges and the victories and positive influences that Veterans have on our community.

Judges will select finalists, whose plays will be part of a series of staged readings in November 2025.

Important Dates

June 30, 2025 - Entry deadline

August 15, 2025 - Notification of finalists

November 2025 – Staged readings with post-performance discussions. Additional details forthcoming.

Contest Rules

• Only submissions through Submittable will be considered.
• One submission per playwright.
• Only original plays, not-yet produced or published, are eligible.
• All plays are judged blind. Do not include any personal, identifying information anywhere on your submission.
• Musicals and adaptations are not eligible.
• Simultaneous submissions are allowed. If your play is accepted elsewhere, please let us know immediately. If your play is chosen to be performed, you agree to withdraw your play from all other places where it is under consideration.
• By submitting, you agree to allow Salem State University to produce the first staged reading of your play.
• Scripts meeting the rules and submitted by the deadline will be reviewed by judges.
• Judging will be done by SSU faculty and members of the SSU Veterans’ community.

Judging Criteria

StoryPlot seems fresh, intriguing and original
Something happens; sufficient conflict and tension throughout the play
Plot is active, vital and dramatic on stage
Story moves along; pace is engaging

VoiceStrong, interesting writing style
Clear viewpoint that’s well integrated into the play

CharactersInteresting and compelling characters
Characters seem credible and real
Main character evolves or develops through the course of the play

DialogueDialogue suits the characters
Dialogue sounds natural and credible for the plot and location
Each character has own unique voice
Dialogue seems fresh and compelling (not dull, boring, or generic)

AppropriatenessThe play can be staged in the 10-minute time allotment in a black box theatre with limited set, sound, and design.

Overall effectPlay is transformative and memorable

Submitting Your Work

The script must be in standard playwriting format with 12-point Courier font. Use double spacing when changing from one character to another. Use single spacing everywhere else. If you are unfamiliar with standard playwriting format, please check out this example.

PLAYS THAT FAIL TO MEET THESE CRITERIA WILL NOT BE CONSIDERED.

Questions: email arts@salemstate.edu

Community Players Theatre seeks full-length plays

Website

Deadline: August 31, 2025

Bloomington IL

Playwright will be notified of acceptance by October 1st, 2025

Submit to Playreading@communityplayers.org

Enhanced Staged Reading: There will be set, costumes, and props. It is a short rehearsal process which is why we are not requiring memorization.

Restriction: Story must take place in no more than 2 locations. Cast no larger than 6. Must be in English.

Playwrights are more than welcome to submit as many scripts as they would like.

There is no restriction on if a show has been performed before. We just ask that you let us know so it can be properly advertised.

The Playwright will not be required to pay any fees.

Lab Theatre Project seeks full-length plays

Website

Deadline: April 30, 2025 at midnight

Tampa, Florida

LAB Theater Project is officially seeking bold, original new works for our 11th season—running January to December 2026.

We are on the hunt for powerful stories that spark conversation, challenge perspectives, and reflect the world around us. How do we live, feel, and respond to the times we’re in? What truths are you ready to reveal? Show us the mirror you’re holding up to society and the ways your work can inspire change and ignite cultural shifts.

Above all—captivate us with a story we won’t forget.

Are you ready to make your mark? We can’t wait to read what you’ve got.

Format: PDF only, please.
Limit: One script per playwright. Make it count!
No AI: Your words, your ideas, your voice. Let’s keep it human.

If you’ve got questions, drop us a line at submissions@labtheaterproject.com.

We are currently accepting new work. We will accept one submission per playwright for a full-length work and comedic short. Sending multiple scripts to us will result in none of them being read. We want to read what you feel is your best work that you seek for us to produce. Unproduced work only. Staged or even concert reads are acceptable in the production history. Produced, even in community theater, makes the work ineligable for submission to LAB.

LAB runs on a calendar year season, January to December.

For all submissions, please provide in the body of your email a 100 word playwright bio, a 100 word synopsis of your play, and production/development history of the work. You may submit directly to submissions@labtheaterproject.org.​

For full-length work, please provide: A PDF document with the title page, scene breakdown, character breakdown and only the first 20 pages of your script. Submissions received after the deadline will be held for consideration for the following season.

For comedic short submissions to our annual LAB Laughs/Comedic Short Festival, please submit a PDF of the full play. Submissions received by August 1st will be considered for the next production of LAB Laughs, usually in the following summer. All received afterwards will be held for the next season.

Little Plays Big Murder short play festival

Website

Deadline: June 30, 2025

​

Email a Word or PDF file of your script to producer@westchesterplays.com. We will respond that we have received the script. All communications will be via email. Read the format section above for what to include.

Westchester Civic Theater (WCT) is holding another round of our 8x10 Play Festival. It will include 8, ten-minute scripts that are new. We hope one (or more) will be written by you!

WHO KILLED THE DIRECTOR?
Your job as the writer is to come up with a 10 min play using the characters provided in the opening as well as any other characters you feel you may want to add to enhance the play and solve the crime as to who killed the director and why. One catch, the opening of your play must have a character start your play by saying, "This is what happened."

At the start of the show, the attached scene: view here will provide the setup your play will be one of the 8 short plays that follow.

GRACE GODPLOP, 20's, young and a bit naive when it comes to the theatre world, originally from the south and acts like a Southern Belle. Many eyes are on her due to her charm and looks.

DONALD SPEAR, 50's, older actor and a bit of a grump, seems to be stuck doing Community Theatre and wants to some day breakout, he does not suffer fools

MORRIS CATROPHY, also in 50's, this guy IS a fool, nice man but clueless to the point where others think he cannot be that dumb

DEBBIE LITTLE, 50's-60's, loud mouth and intelligent but puts her foot in her mouth too many times, is never afraid to speak her mind and one not to mess with

KAT CROTHERS, older than 40, female, all business and no pleasure make this person a dullard

JOHNNY NICER, 30's, works with the lights and has the hots for Grace, he knows his job well and hopes to someday break away from lighting and maybe direct his own show one day

You must incorporate the theme but feel free to color outside the lines.

From script submission to performance - the process:

Phase 1: Script Submission - Due by June 30

Requirements

Ten Minutes - This is about 8 pages of dialogue in 12 pt font. While we will read all scripts, if they are much over 8 pages they will not be considered for production. 

Subject Matter - Write the best story that incorporates the theme in some way. 

Cast Size - No requirement.​ If your script is on the convention hall floor, know that we'll add in extras as appropriate to pass by in the background. 

Playwright Location - We don't care where you're from. Have an amazing script, submit it!

**Format - PDF or Word. On the title page include your Name, location and email address. Do not include your name on the script pages.

Never Performed Material - We want scripts that have never been performed with set, cast and all the drama. If it went through a stage reading or two, okey doke.

Set - When writing your script, know that we have limited space, tech, and no projection. Single set works best but if things need to come in and out, that's cool we'll figure it out. We use chairs and simple items to represent the area.

You can submit as many scripts as you'd like! More the merrier

**SPECIAL OPTION - Feel like submitting 3, 2-3 minute scripts that are vignettes telling one story? Do that. We will weave each of the 2 minute scripts in-between the other 7 scripts. You can submit them in one document.

Scripts remain your property. If selected, we will produce them, perform them, take production pictures, and record them in production. The pictures will be shared and the recordings will live on our YouTube page. Beyond that, they are yours.

We look forward to reading your scripts! 

Phase 2 - July 1 - July 20, 2025

We have an awesome group of people who will read all the scripts to determine which are the best fit for WCT and the production. Keeping to the ten minutes is critical! This team will reduce the submitted scripts down to 15-20. These scripts will enter Phase 3 - director matching.

Phase 3 - Script/Director Matching - July 21 - 30

8 Scripts, 8 Directors

The narrowed down selections will be shared with 8 directors (director spots still open). The directors will read the scripts and determine which they would like to direct. The core WCT team will do some fancy analysis of the 8 director's responses and complete the final matching. From there...on to casting.

Phase 4 - Three Performances

Friday, September 5, 7:00pm

Saturday, September 6, 2:00pm

Saturday, September 6, 7:00pm