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Wednesday, January 31, 2018

Primary Previews

Get an advance look at the 2017/18 Season of exciting new plays at Primary Stages!

Each section of this seminar is dedicated to reading and discussing one of our upcoming plays with Erin Daley, Artistic Associate at Primary Stages. Delve into the text, discuss production and design elements, and place these plays within the larger NYC landscape of American theater.

Register for one or more sessions. Each session is just $20.

Session 1: A Walk with Mr. Heifetz by James Inverne
Tuesday, February 13 from 5:30pm – 7:00pm
In 1926, the most famous violinist in the world, Jascha Heifetz, played a concert in pre-Israel Palestine. What followed, changed the world as we know it.

Session 2: Feeding the Dragon written and performed by Sharon Washington
Monday, March 26 from 5:00pm – 6:30pm
In this autobiographical solo piece, award-winning actress Sharon Washington revisits her time growing up in an apartment on the top floor inside the St. Agnes Branch of the New York Public Library, where her father served as the building's custodian.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

Tuesday, January 30, 2018

Pan Asian Rep NuWorks 2018

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Pan Asian is now accepting submissions for our 2018 NuWorks 1-week performance.

Performing June 12-18, 2018 in Studio Theater at Theatre Row. NuWorks presents a wide range of new work from emerging artists who dare to explore different genres and techniques.

Submission Guidelines

• News works (solo or duo show preferred) that is fully rehearsed and READY to perform as only one rehearsal in May/June.

• Work can be any style (comedy, drama, cabaret, musical, dance, experimental, etc.) at 15-45 minutes in length.        

• Work previously not presented in New York City is preferred.

• Shows should be low tech (no projections), high quality in content, and provide own props and costumes.

• We are looking for a diversity of voices, does not have to reflect contemporary Asian American themes.

• Pan Asian will provide artist stipend, rehearsal, theatre space, and marketing/PR.

To Apply
Please submit a one-page resume (of each collaborator), title, synopsis and developmental history, script, and list of tech needs. Please submit the materials in PDF format to info@panasianrep.org.

If you have any questions, email us at info@panasianrep.org.

Submission deadline: Wednesday, February 21, 2018 

Artists will be notified by Thursday, March 15, 2018

Monday, January 29, 2018

The University of Arizona’s MFA Generative Dramaturgy seeks proposals

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Is erasure “to scrape or rub out; to expunge, efface, obliterate?” What does erasure encompass?
The University of Arizona’s MFA Generative Dramaturgy inaugural cohort invites playwrights to submit proposals for 10-minute play projects responding to the concept, process, or effects of erasure.

Proposals may be a description of a concept, a short summary, or an explanation of your ideas and/or responses to the idea of erasure. We leave the interpretation up to you, but we’ve listed potential topics and material for inspiration.

Selected playwrights will work with graduate dramaturgs over the coming weeks to develop their plays from inceptive idea to complete script.

Proposal Submission Form: https://goo.gl/forms/d1qZfzR9U7yUvHTj2
Proposal Length: 250 words MAX
Deadline: Sunday, February 11, 2018 11:59PM (PST)
Proposals may touch on, but are NOT limited to these topics:

  • - Racial/Ethnic Erasure
  • - Heritage Erasure
  • - Erasure of Civilizations
  • - Erasure of Tradition
  • - Erasure of Indigenous Peoples
  • - Gender Erasure
  • - Sexual Erasure
  • - Political Erasure
  • - Religious Erasure
  • - Physical Erasure
  • - Literary Erasure
  • - Scientific Erasure
  • - The Right to Erasure
  • - Self-erasure
  • - Aesthetic Erasure
  • - Familial Erasure
  • - Generational Erasure
  • - Environmental Erasure
  • - AND MORE (whatever kind of ‘erasure’ interests you)

For questions regarding this proposal, email the MFA Cohort at uaimaginarytheatre@gmail.com

Wide Eyed Productions WINKS reading series

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We would like to invite you to work with us in our WINKS development reading series this year.

To Submit: Please send us a 10-20 page excerpt (or the whole script if it is done and sitting in a drawer) to submissions.wideyed@gmail.com by February 5th we will read it in the next two weeks and let you know A.S.A.P. if we would like you to participate.

The Theme for 2018:
The United States Constitutional Amendments 2-5

At the Drama League Center, we will feature a fifteen-minute segment from four original works by four different writers which are related to, or inspired by, that month’s Amendment theme.

For each month of readings, Wide Eyed sponsors an hour of rehearsal time at a midtown studio to prepare the 15 minute staged reading. We will help pair you with a director and actors. If you have people in mind that you would like to work with, bring them along! We just ask that you have one artist (director or actor) who is part of the Wide Eyed community. (We’re friendly, we promise).

At the end of each night, the audience will be invited to select their two favorites of the evening by casting an anonymous ballot. These events are meant to be a low stakes atmosphere for playwrights to have the opportunity to workshop in front of an audience. And the WINKS are also a great place to network with people in the indie theatre community.

After the audience’s favorite is chosen all four playwrights will be notified of the results via email. The majority favorite will be named a semifinalist and be invited to submit a (still in process) full text to Wide Eyed Productions’ Artistic Board for consideration for our final round. For the final round the Wide Eyed board than chooses their three favorite pieces and those three will receive a full length reading in a theatre in October – everyone involved will receive a small stipend.  The board will then choose their favorite and the playwright will receive an additional $100 from Wide Eyed.

This Year:

Tuesday 3/13/18 7pm-9pm
2nd Amendment-

A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.

Tuesday 4/10/18 7pm-9p
3rd Amendment-

No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but in a manner to be prescribed by law.

Tuesday 5/8/18 7pm-9pm
4th Amendment -

The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.

Tuesday 6/12/18 7pm -9pm
5th Amendment

No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.

Please note these 15 minute pieces can loosely be based on or inspired by the amendments

- EXAMPLE: for 3rd Amendment – futuristic sci-fi setting? – with military and citizen relationships strained with? Government officers placed in our homes to watch us?

To Submit: Please send us a 10-20 page excerpt (or the whole script if it is done and sitting in a drawer) to submissions.wideyed@gmail.com by February 5th we will read it in the next two week and let you know A.S.A.P. if you are invited to participate.

Thank You for your time, we hope to read your work soon!

Leonora Bernstein, WINKS Producer
Sophia Cohen Smith, Artistic Associate
Stephanie Cunningham, Artistic Director, Wide Eyed Productions East

Sound Bites seeks 10-minute musicals

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SOUND BITES is an annual musical theatre festival which showcases ten 10-minute musicals or musical excerpts in one evening.  Do you have a 10-minute musical or 10-minute musical stand-alone excerpt of a full-scale musical?  Any 10-minute piece that can be performed and includes music can qualify! The Fifth Annual Sound Bites 5.0 Festival of little musicals is perfect for you.  SOUND BITES offers a unique opportunity for talented writers, composers, and lyricists to showcase their work in front of audiences and industry professionals.  Through an open submission process, Theatre Now New York will select the ten best 10-minute musicals or musical stand-alone excerpts which will then be presented in New York City in the Spring of 2018.

Each musical will compete for festival awards and for possible inclusion in future new works development programming with Theatre Now New York.  SOUND BITES gives an exhilarating opportunity for artists of all theatrical disciplines at any point in their careers in getting their work seen and possibly developed further or even produced.

  • Theatre Now New York (TNNY) will ONLY be accepting online submissions.
  • The submissions will be accepted beginning  SEPTEMBER 1, 2017 until FEBRUARY 1, 2018 at Midnight -- Any request for an extension must be received before the February deadline at soundbites@tnny.org and approval is not guaranteed.
  • There are NO FEES to submit and NO participation FEES if your show is accepted.
  • Please feel free to contact us at soundbites@tnny.org with any questions.
  • There is no limit to the number of musicals that an individual may submit, but each musical must be submitted separately.
  • Scripts must be submitted in Word or PDF format and must have a cover page with the project name, names of all members of the creative team and contact information of one primary contact person. Music file(s) of song(s) should be uploaded at the time of submission. Please also upload bios of all creative team members and a production history of the piece submitted, if any.  Finally, a letter from a theatre professional recommending your work must also accompany your submission.
  • Ten finalists will be chosen to present their musicals.
  • Each entry must be no more than 10 minutes.  It can be either a stand-alone musical or an excerpt from a larger full-scale musical or another performance piece that includes music.  If it is an excerpt, the excerpt is strongly encouraged to have a beginning, middle, and end and able to stand on its own.
  • The top ten finalists will need to be hands on responsible for producing their own musical with the TNNY staff regardless of whether they live in NYC or not. 
  • Each musical finalist will be responsible for direction and casting of their own piece.  TNNY will help in casting and securing a director if needed.
  • TNNY will work with you on your production helping you throughout the process. TNNY will provide up to 20 hours of rehearsal time 2 weeks prior to SOUND BITES. Any additional or prior rehearsals needed will be your responsibility. TNNY will provide the venue and will run the final rehearsal run-thru of all the pieces and the tech rehearsal on the day of the performance.  TNNY will also provide assorted stage cubes, stage chairs and electric keyboard. Your team, your director & cast will be responsible for costuming & providing props and any simple scenic elements needed for your show. Your team is responsible for any and all expenses not provided by TNNY as listed here.
  • All actors, dancers, and singers must be off book.
  • TNNY handles publicity, promotion and ticket sales.
  • Performance dates will be in the SPRING of 2018.  Based on venue availability we expect the performance date to be Memorial Day, Monday May 28, 2018, subject to change
  • If you have other questions please look at our F.A.Q. page first.  Please submit any other specific questions not covered to soundbites@tnny.org.
  • Click SUBMIT when you are ready to submit your 10-minute musical. 

Sunday, January 28, 2018

Experience Theatre Project Seeking Immersive Plays

Experience Theatre Project, a 501c3 non-profit organization in the Portland, Oregon area, is looking for one-act and full-length scripts.

We seek work that:
  • Has [relatively] simple casting, tech, costuming, and prop requirements
  • Would work well in a non-proscenium seating environment, allowing the possibility of being performed in non-traditional spaces like a rooftop, restaurant, pub or brewery
  • Feature immersive elements or takes advantage of being performed amidst or among (not “at”) a live audience
  • Is entertaining, bold, and collaborative
  • Has not had a fully-produced production in the past three years (workshops and readings are fine). 
We are open to any genre and favor those works which are imaginative, bold, and innovative. Essentially we wish to produce exciting, immersive, entertaining plays that move a modern Millennial audience, and will elevate theater to its next natural evolution without seat numbers and prosceniums.

All work will be considered regardless of gender identity, ethnic background, skin color or sexual preference. We wish to curate voices which celebrate the diverse cultures.

Playwright Compensation: Upon production, playwright will receive a $500 finders fee, plus 5% of all net house receipts of the play’s world premiere production in Portland, Oregon in late 2018.

Submission Requirements:
  • A one-page treatment of your piece
  • A 10-page writing sample from the piece
  • A brief cover letter telling us a little about yourself, the production’s history (whether it has been workshopped) and why you think this would be a good choice for Experience Theatre Project to produce
  • A resume of your theatrical experience (optional) 

Please submit your documents in PDF format ONLY.

If we would like to investigate further, we will ask for a full script submission. Please no more than three submissions per playwright. This is a national search.


No submissions will be reviewed after this date.

TO SUBMIT: Please email your information to playsearch@experiencetp.org. Finalists will be contacted via email no later than April 1, 2018 and asked to provide our company with a full copy of your play for further consideration.

If you have any questions, please feel free to email alisa [at] experiencetheatreproject.org.

Saturday, January 27, 2018

HERE Artist Residency Program (HARP) Application

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Application DEADLINE: February 2, 2018

One of the most robust residency programs of this nature in the country and serving as a national model, HARP provides a commission, development support, career planning, and a full production to hybrid artists, all within a collaborative environment of peers working across disparate art forms – including theatre, dance, music, puppetry, visual art, and new media. HARP provides significant long-term support, as well as $50,000 in cash and $50,000 in space, equipment and services over 2-3 years to tailor each residency to each artist’s individual needs. Through significant investment of time and resources, dynamic work within a strong community is created.

“In these times, it's become increasingly hard for artists to find a place to take risks, a safe haven where they can develop daring new work. One theater has regularly bucked the trend, making its mission to ensure that artists have a home for their R&D, and that theatergoers can sample the exciting results.” - OBIE Committee, on the Ross Wetzsteon Award to HERE

About HERE:

“HERE still manages to be the forum for fresh talents” - Ben Brantley, NY Times

From our home in Lower Manhattan, HERE builds a community that nurtures emerging and career artists as they create innovative hybrid live performance in theatre, dance, music, puppetry, media and visual art. Over 25 years, HERE has come to occupy a unique and essential place in the landscape of downtown theatre, and to be known as a destination for audiences who are passionate about groundbreaking contemporary work and the creative process behind it. Since 1993, HERE has been one of New York’s most prolific producing organizations and today stands at the forefront of the city’s presenters of daring new work.

“Best Off-Off Broadway venue” - The Village Voice

About HARP:

Since HARP’s founding, HERE has supported the work and career development of 165 lead artists and hundreds of their collaborators. Through HARP, HERE has developed such highly acclaimed works as Eve Ensler’s The Vagina Monologues, Basil Twist’s Symphonie Fantastique, Trey Lyford and Geoff Sobelle’s All Wear Bowlers, James Scruggs’ Disposable Men, Young Jean Lee’s Songs of the Dragons Flying to Heaven, and Taylor Mac’s The Lily’s Revenge. Over the years, HERE’s artists have received 18 Obie Awards/Grants, 2 Bessies, 5 Drama Desk Nominations, 2 Pulitzer Prizes, 4 Doris Duke Awards, and 2 MacArthur Fellowships.

HARP nurtures the development of 9 –11 hybrid artists and their audiences, through cross-disciplinary exchange, monthly meetings, peer-driven workshops, and panel discussions. Created nearly 20 years ago to address a compelling need in the field—the void of artistic, administrative, and financial support for artists with certain professional accomplishments, but without breakthrough recognition—HARP assists artists who are developing distinct artistic voices and experimenting with new approaches that expand the parameters of performance work. HARP is unique in that it offers a meeting ground where artists from varied disciplines share diverse perspectives, and where works developed represent a hybrid performance aesthetic.

As the works being developed are complex hybrid projects, each residency lasts 2-to-3 years. Each artist in the program receives the following:

• A commissioning fee of $5,400 and a minimum of $4,000 creator fee for production phase

• $2,000 for work-in-progress showings

• $3,000-4,000 for workshops in two CULTUREMART festivals

• Time, technical support, & equipment for developmental works-in-progress in
our spaces

• Rehearsal Space at HERE, Governors’ Island and with partner organizations

• Food, lodging and space at our annual out-of-town week-long HARP artists

• In-depth one-on-one guidance and support from entire HERE staff
throughout their residency

• A world premiere produced by HERE in one of our the two theatre spaces,
including a minimum commitment of $30,000 in HERE funding in addition to
show-specific fundraising and significant in-kind resources (average
production costs are $100,000)

Over a 3-year residency, HERE invests over $50,000 in cash in each project and an additional $50,000 in space, equipment and staff resources.

As the works being developed are complex hybrid projects, each Residency will last for 2 to 3 years, renewed annually. At the end of each residency year, the artist and HERE mutually decide whether to continue the residency. It is unlikely that any project accepted in 2018 will go to production before 2020.


Artists or collaborative teams chosen for HARP are expected to participate in the program by developing the work as outlined in their application and by actively participating in the member and public activities associated with the program. Since HARP is designed to respond to the ideas and needs of its members, the members themselves must be proactive in bringing those ideas and needs to HARP and to each other. We expect our members to be both good citizens of the HERE community as well as ambassadors to the public.

During the residency, HARP Artists participate in monthly artistic meetings, bi-monthly work groups focused on both artistic and business topics, regular individual meetings on budgeting, production, and fundraising issues, and formal and informal work-in-progress showings.

At the monthly meetings, artists show work, give feedback to other artist projects, engage in and contribute to artistic skill sharing. At the bi-monthly work groups, artists share career skills and learn from others, as well as from HERE staff and outside experts on topics ranging from grant writing to touring to budgeting to work samples.

Artists are also encouraged to show work in each stage of development. A number of work-in-progress showings, both public and private, allow members of HARP to contribute to the growth of their peers. Through this component, we create a balance of practical and theoretical work that exposes the whole group to a comprehensive experience. Each season, we present 8-10 public showings of HARP works-in-progress and provide HARP artists with a more formal opportunity to present stages of their work in CULTUREMART, our annual winter festival of workshop productions, before a public paying audience.

Each year, HARP artists participate in a one-week retreat at an artist colony where they are able to dedicate all of their energy to the creative process without the distractions of daily life. At times, when possible, we offer one- and two-week project-specific intensive retreats for second- and third-year HARP artists.

Three to five projects that are in development are selected for production each year. Each selected artist participates in all development activities, and collaborates with HERE to raise funds and develop appropriate resources and support for their production. Projects are produced at the scale appropriate to the work – there is no set formula for producing in the season – chamber or mainstage, four performances or 20, one performer or 25. It is our expectation that the works being developed in the program are being scaled to fit and will be produced in one of our spaces. Most works developed through HARP are fully produced by HERE.

The artists themselves shall retain ownership of all work initiated, developed, or workshopped during their residency. For the works that go to full production, HERE and the artists will negotiate a separate ownership and rights agreement. However, in all public materials about the artist or team the following must appear: "(Name of Artist or Team) was/is a member of HERE’s Artist Residency Program (HARP), 20 __ - 20__, NYC", and in all public materials relating to the work’s development, the following line shall appear: “Development of (Name of Work) was made possible through the HERE’s Artist Residency Program (HARP), 20_ - 20_, NYC." For works that go to full production the following line shall appear: “(Name of Work) was commissioned, developed, and produced through the HERE Artist Residency Program (HARP), 20_ - 20_, NYC.”


Artistic Development:

While in residence, the artist or team’s residency is linked to a specific project in development and an exploration of ideas and processes intrinsic to their artistic growth. HERE believes that artists must be in control of the work that they create. This control goes hand in hand with a responsibility to participate in all phases of their artistic projects from inception through all development stages to full production. HARP is designed to respond to the ideas and needs of its artists. The artists themselves must be proactive in bringing those ideas and needs to HARP and to each other; they shape workshop and discussion offerings, create performances, and work with HERE staff to publicize and promote HARP events.

Career Development:
HARP also includes hands-on administrative sessions to supplement our already strong artistic development process. We believe that in order for these artists to stay in the field, they must have the necessary skills to function as viable creative enterprises. HARP offers advice on business issues such as grant writing, project planning, budgeting, marketing, and nonprofit incorporation. Administrative sessions are led either by a HARP artist with the necessary skill, an appropriate HERE staff member, or an outside expert.

HARP artists also have access to an online resource managed by HERE that fosters these skills and asks the artists to participate in an online community discussion by posting work and responding to others’ work between meetings and presentations. Most important, frequent meetings provide community and address the needs of the whole artist. In addition, each member of the HERE staff dedicates significant one-on-one time with each artist to articulate the vision for the project in terms of producing strategy, audience development, marketing, fundraising, finance and production.

Facilities and Equipment:
HARP Artists have access to the HERE staff, including development, marketing, and general management team, and access to sample contracts, grants, and budget templates. Due to the lack of on-site rehearsal space and the heavy use of our theatre spaces, HARP is not primarily a space residency. However, HERE offers resident artists limited rehearsal space and equipment on an as-needed, as-available basis in our theatres. The Mainstage Theatre is a flexible black box theatre with a sprung wood floor which measures 46' x 46'. It can seat up to 150 (depending on the configuration of the seating platforms), and usually seats 99. The theatre has a complete lighting package including 92 dimmers and a complete sound system. The Dorothy B. Williams Theatre is a charming proscenium-style theatre with a 14' x 38' stage. The theatre also has the capability to transform into a flexible black box space. It has a fixed grid, a state-of-the-art lighting package including 75 dimmers and a complete sound system. The theatre has 63 seats and 8 stools. HERE has an extensive inventory of high quality equipment available for our artists’ use. HERE also actively develops partnerships with other organizations and landlords to offer dedicated rehearsal space to our resident artists.

In addition to the extensive range of community, development, and production resources listed above, HERE offers each resident artist a developmental commission, work-in-progress (WIP) and workshop fees in order to develop their project. The developmental commission is up to $5,400 total over a 3-year residency. HERE also provides each artist with an annual WIP fund of $1,000, as well as a fee of $1,500-$2,000 for each workshop in our annual CULTUREMART festival. All of these funds may be used as each artist deems fit for their individual project. In addition, there are fees for creators and their collaborators in the budget for the final production. The budget is developed jointly by HERE and the artist. HERE allocates at least $30,000 towards the final production in addition to partnering with the artist to raise project-specific funding. Over a 3-year residency, HERE invests over $50,000 in cash in each project.

HARP is designed to assist mid-career individual artists or collaborative teams (writers, performers, composers, directors, designers, dramaturgs, puppeteers, dancers, singers) working in a hybrid form in live performance. Hybrid form refers to the full integration (not just as backdrop) of two or more genres (theatre, dance, music, puppetry, media, and visual art) in the work.

We define a mid-career artist as one who has:

(1) completed their education within the last 8-15 years

(2) had at least a few significant residency or commissioning opportunities,

(3) created a body of work over at least 5 years and at least one full evening-length work, and

(4) earns some income from their art practice.

Artists must also meet the following criteria:

*The artist or team are residents of the NY metro area.

*The artist or team find themselves at a point in their career where they are developing a distinctive form/style/content of work, or are interested in stretching the previously accepted boundaries of their work by experimentation with form/style/content.

*The artist or team is interested in actively participating both in the community of HERE and in a peer-based program aimed at exchanging resources, ideas, critique, and support.

*The artist or team are proposing a project that is very early in its development process, meaning at its inception and has not been previously workshopped, and any underlying rights for pre-existing material for the project have already been secured.

Additionally, HERE believes that diversity is extremely important within the makeup of our residency program. HARP actively seeks this diversity both from the work itself in terms of genre and content, and in the background of the artists.

The selection panel includes HERE leadership, artists, and performing arts curators from NYC.


Application Due Date: February 2, 2018 12 noon

Final Decisions Announced: March 16, 2018

Residencies Begin: April 1, 2018

The residence year extends annually from April 1 to March 31, with the exception of when a project is heading into final production.



Please provide full name and address of applicant. Only residents of the New York Metro area will be considered.

Project Summary:

Please provide a summary of your project.

Project Description:

What do you envision on stage and what will the audience experience be? Why does your project need the time our residency offers? Because of the long-term development process that we offer, we look for proposals that are in the very early stages of their growth - the seeds of an idea or an outline. A project that has already been workshopped is probably too far along to benefit from what the program offers. Please feel free to use bullet points if space demands are too limiting.

Artist Statement:

Please briefly tell the panel about your interest in this project, why this residency is a good fit for you right now, how you see yourself as a mid-career artist, and how you hope to develop over your residency. If more than one primary artist is included in this application, each primary artist should provide a statement in the space provided. If an ensemble is applying, one shared statement is appropriate.

Project Timeline:

This should be a 2-3 year timeline of how you will develop the work during the residency, indicating potential works in progress. This obviously will change and adapt over time, but it is helpful for the panel to see how you might use the flexible opportunities offered by the residency.

Short narrative bio and/or resume of the lead artist(s):

Please provide a resume or narrative bio.


Please list other collaborators on the project. If you don’t know your collaborators yet, please indicate what kind of collaborators you may intend to bring into the project.

Work Sample & description:

Please pay close attention to work sample instructions listed below on the form and then tell us why this work sample is relevant to the proposed project. Please include year, performers, and contributing artists.


After applications are reviewed by the panel, finalists will be interviewed by Kristin Marting, Artistic Director and Kim Whitener, Producing Director. Application DEADLINE: February 2, 2018 at 12 noon. Final decisions will be announced by March 16, 2018. Questions can be addressed to programming@here.org or 212-647-0202 x320.

Friday, January 26, 2018

Watermelon One-Act Play Festival

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We welcome all original and unpublished works between 10 and 45 minute total running time (includes set up/breakdown and curtain call). Twelve to sixteen entries will be selected based on the quality of the writing, story/plot, and character development. Minimal technical requirements is advised as there are only 60 minutes for a technical rehearsal, all props and actors must fit into a 10- by 10-foot space (prior to set up and after breakdown), and there is no technical award.
​WOAF rules and a script submission form are available below. A sample adjudication sheet is provided for educational purposes.
A total of three (3) original and unpublished scripts can be submitted for each playwright. Please remember that a separate submission form is required for each play. The script along with its submission form must be emailed to watermelon@watermeloninc.org by Valentine's Day.

WOAF Submission Form.pdf
WOAF Submission Form.doc

The production representative is the person submitting the play and the main point of contact. If the representative is not the playwright, a letter signed by the playwright giving WOAF permission to show a production of their play is required with the submission form.
For scripts equal in story quality, preference may be given to shorter scripts with minimal technical requirements.
Watermelon is NOT producing the play, merely presenting the finished product, which may be performed a total of two times if selected as a finalist.
Script submission is FREE.  However, if selected, a non-refundable $100 entry fee is required to assist with defraying festival expenses.
​Please email us if you have any questions.

Thursday, January 25, 2018

The Blank Theatre’s Annual Young Playwrights Festival

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Celebrating its 26th Anniversary this year, The Blank Theatre’s Annual Young Playwrights Festival is now seeking submissions nationwide from playwrights 19 years of age and younger. The submission deadline is March 15, 2018. Winning plays will be presented by professional actors and directors in June of this year at the Stella Adler Theatre in Hollywood, CA.

The Blank Theatre’s Young Playwrights Festival is a nationwide competition that produces the work of 12 young writers each year. Since 1993, the festival has produced 308 plays by playwrights 19 and younger from 34 states.

Each winning play will have four performances in a weekend run. The productions are made possible in part by grants from The Plum Foundation, The Rosenthal Family Foundation, Los Angeles County Arts Commission, and City of Los Angeles Department of Cultural Affairs.

The rules for the festival competition are as follows:

  • Playwrights must be 19 years of age or younger on March 15, 2018
  • Original plays and musicals can be any length, on any subject
  • Scripts must be legible and pages must be numbered and unbound
  • Submissions may be made online at theblank.submittable.com or hard copies mailed to YPF, c/o The Blank Theatre, PO Box 1094, Los Angeles, CA, 90078 (and must be postmarked or emailed by March 15, 2018)
  • There is a limit of three (3) plays per playwright
  • All plays must include a cover sheet with the play’s title, playwright’s name, date of birth, school (if any), mailing address, contact phone number, e-mail address and the play’s production history (if any)

Wednesday, January 24, 2018

Arundel Festival Theatre Trail 2018 Writers' Competition

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The Arundel Festival Theatre Trail, conceived and presented by Drip Action Theatre Company, is now in its seventeenth year.

It performs at the end of August, on each of the Arundel Festival’s eight days, eight short plays at eight different venues all over Arundel – for example, in a community hall, a restaurant, a football club or Arundel Jailhouse.  An audience of over 2,000 came to see the eight 2016 Theatre Trail plays.

The Trail is firmly established as one of the major components in the Festival and is a great showcase for both new and established writers, both from the UK and beyond.

Writers are invited to submit plays for the 2018 Trail from November 2017.

Plays should be between 30 and 40 minutes long, with practicable casting, props and effects.

All entries should be submitted to Drip Action Theatre Trail 2018

c/o Arundel Festival
Town Hall
Maltravers Street
West Sussex
BN18 9AP

Entries must be received by 31st January 2018. There is no reading fee.

One play only per entrant, in hard copy (not e-mail).

Please enclose an SAE if you’d like your play returned.

Our reading committee will select the plays that will be performed, with the best submitted script receiving the Joy Goun award of £250 at our Theatre Trail launch in May 2018.

Each successful playwright will receive a £150 writer’s fee.

For further information call 01903 885250 or email info@dripaction.co.uk

Monday, January 22, 2018

ESPAfest 2018: Free Writing Workshops, Master Classes, and Performances!

Primary Stages Einhorn School of Performing Arts (ESPA) is thrilled to announce ESPAfest 2018. Join us for a week of FREE writing and acting workshops, master classes, and performances.

All events are free and open to the public. RSVP to attend.
SOLO TRAIN: An evening of solo performances
Tuesday, January 23: 5:00pm Doors / 6:00pm Performance
Hosted by Judy Gold (Actor/Co-writer, The Judy Show at DR2 Theatre)

ESPAfest ROUNDTABLE: What We Leave Behind
Monday, January 29 at 2:00pm
Led by Casey Childs (Founder, Primary Stages) & Kimberly Senior (Director, Disgraced on Broadway)
A discussion about legacy and, in the current climate, how we make an impact as artists and as people

Monday, January 29 from 4:00pm – 8:00pm
One year after the election, a safe space to get your thoughts on the page

Tuesday, January 30
3:30pm – 5:00pm: Free Master Class with Judy Gold & Kate Moira Ryan (Co-Writers, The Judy Show at DR2 Theatre): Collaboration and comedy in today’s decidedly un-funny world
5:00pm – 6:00pm: Free Alexander Technique Workshop with Karen Braga (Acting Faculty, NYU Tisch)
6:00pm – 7:00pm: ESPAfest Mixer!
7:00pm – 8:00pm: Free Writing Workshop with Adam Kraar (Writer, New World Rhapsody at MTC)

FREE WORKSHOP: Refining Your Audition
Wednesday, January 31 at 2:00pm
with Mary Bacon (Actor, Arcadia on Broadway, The Roads to Home at Primary Stages) & Matthew Sullivan (Owner and Manager, Sullivan Talent Group)

Wednesday, January 31 from 3:30pm – 5:30pm
Personalized feedback for actors, writers, and directors
with Erin Daley (Artistic Associate, Primary Stages) & Phil Haas (Director of Marketing, Primary Stages)

FREE MASTER CLASS: The Oral History Project & the Immigrant Experience
Thursday, February 1 at 3:30pm
with Casey Childs (Founder, Primary Stages; Creator, Primary Stages Oral History Project)

Thursday, February 1 at 5:00pm
with Richard Topol (Actor, Indecent on Broadway)
Broadway, film, and TV veteran Richard Topol (most recently seen as Lemml in Broadway’s Indecent) shares his experiences about the ins and outs of the acting industry

See the full listing of events and RSVP: www.primarystages.org/espa/our-community/espafest

ESPA is a home for all artists, in all stages of their careers.  For more information, call 212.840.9705 x220 or email espa@primarystages.org.

Shout-out from the Petaluma Radio Players

Thanks to the Petaluma Radio Players folks for allowing NYCPlaywrights to share this excerpt from one of their recent emails:
"Well, we’ve taken the idea of ‘we’ll get right back to you’ to a whole new dimension thanks to the overwhelming volume of plays we received from New York to New Zealand. To be sure, we had no idea that one posting on NYCPlaywrights.org would generate such massive response.”
~  Ralph Scott and Kendra Murray
You can learn more about the Petaluma Radio Players here.

Manhattan Rep's Spring One Act Play Competition

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Manhattan Rep's Spring One Act Play Competition! $1000 prize!

Seeking fully produced, (cast, directed and ready to be performed by April 2018)
7 - 20 minute One Act Play Productions!

For Manhattan Rep's
Spring One Act Play Competition 2018

April 5 - April 20, 2018 
at Manhattan Repertory Theatre, 
17-19 West 45th St. Third Floor NYC

$1000 prize for the Best Short One Act Play production!

Each one act play will be given a short tech rehearsal, a full dress rehearsal with the other plays participating, a minimum of 3 performances and 3 more performances if your play goes on to the Finals on Thursday April 19 at 6:30 pm and Friday April 21 at 6:30 pm and 9 pm.

To submit your 7 - 20 minute fully produced One Act Play Production please email: 

The complete script of your one act play as a .pdf, a synopsis of the play,
the character breakdown, the set and lighting requirements, 
the play's production history (if it has been produced before and where)
your mailing address, and a creative team leader contact email address to:

manhattanrep@yahoo.com by March 1, 2018.

Please put “Spring One Act Play Competition” in the subject heading. 
We will contact you within a week, if not sooner,  as to your acceptance.

Plays that we love will be accepted on a First-Come First-Served basis.
The earlier you submit the better chances you have of being accepted for we may end submissions before March 1, 2018, if we fill up all available performance slots

There is no submission fee.  NON-EQUITY ONLY. 

We will supply a technician to run the sound and lights.

Once accepted, there will be a $150.00 participation fee.

For more information on the voting process and more, please log on to: http://www.manhattanrep.com/

Women Are Funny Seeks Scripts for 2018

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Send your full-length comedic script, and if it’s the funniest, you will receive $100 and confirmation that you are hilarious.

  • Full-length comedic scripts (75-120 pages)
  • Written in English within the last three years
  • U.S.-based female playwrights
  • Unpublished, no professional production but amateur, university productions and readings ok
  • No restrictions on subject matter but please no screenplays, solo plays or children’s plays
  • Limited to first 100 entries
  • No entry fee

Deadline: February 4, 2018

 How to Submit

  • Email your script as a PDF to playmakersspokane@gmail.com. File name should be TitleOfPlay_Your Last Name
  • Write Submission – Title of Play in subject line
  • In body of email, list your name and email
  • Be sure to include your name in the script

Feel free to contact Sandra Hosking, Women Are Funny Coordinator, playmakersspokane@gmail.com, with any questions.

Sunday, January 21, 2018

The Nora Salon submission guidelines

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The Nora Salon (TNS), Nora’s Playhouse’s new monthly reading series, is an opportunity for emerging women playwrights from diverse backgrounds and life experiences to hear their work read aloud in a cozy, casual setting.

TNS is also an informal gathering of artists and Nora’s supporters who want an inside look at how plays get from page to stage and the opportunity to participate in the development process.

Since formally launching in January 2017, we are off to a roaring start with every TNS to-date being filled to maximum capacity.

We welcome submissions of any genre and length, provided they:

  • are by women playwrights in the NYC area,
  • centrally feature women’s stories and perspectives,
  • have not yet had a production.
  • Finished pieces and works-in-progress both welcome.

Please email a copy of your submission along with a brief cover letter to Rebecca at submissions@norasplayhouse.org.

Saturday, January 20, 2018

5 Minute Short Play Festival (La Jolla CA)

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Deadline: January 31 2018

San Diego Center for Jewish Culture (SDCJC) Straight From The Page, a staged reading series, is around to announce the 5th Annual 5 Minute Play Festival.

Plays will be performed by professional actors on Monday, May 7, 2018 at Larence Family Jewish Community Center Jacobs Family Campus 4126 Executive Drive, La Jolla, CA.

  • The play must speak to Jewish identity, heritage, cultural experiences or values
  • Submission must be five minute original play (approx. 750 words)
  • Play can have 2 or 3 characters - no monologues
  • No musicals - if there is any music it must be sung a cappella.
  • Comedy, drama, historical, political are all welcome.
  • Plays must be submitted as a MS Word document - PDF is not accepted.
  • Play must be created in 12 pt Ariel font
  • Plays will not be returned

Submit plays to jewishplays@lfjcc.org

Finalists will be notified by March 1, 2018.

All plays submitted will be read as "blind readings" by the Straight from the Page committee.

Top scripts will be chosen to be cast and directed for a staged reading.

Casting and directing of the top scripts to be done sole by Straight From The Page producer9s) or their designate - playwrights do not have input in casting or directing decisions.
(Editor's note: the Dramatists Bill of Rights specifies playwrights should have final say in such decisions.)
Selected scripts will be performed at the Lawrence Family JCC as a staged reading immediately following the winning play will be selected by audience hand-written ballots
Top three scripts will be published in L'Chaim Magazine www.lchaimmagazine.com

SDCJC reserves the right to cancel and/or modify the program at any time.

Straight From The Pages is unable to compensate for any travel and accommodation expenses.

Friday, January 19, 2018

Strange Sun Theater is now accepting submissions for the 2018 Greenhouse New Play Development Project

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This year, Strange Sun Theater will select two plays as part of its Greenhouse Project, and we are proud to announce that each of the two playwrights will receive a $500 award, and be a part of our ‘ON BOOK’ series, which explores and develops the plays through a rehearsal process culminating in a public staged reading of the plays in New York City.*

This year Strange Sun Theater invites playwrights to submit their COMIC PLAYS to our Greenhouse Project.  In today’s fraught world, we look to the power of laughter for release, for the off-beat way it allows us to interrogate our society, and for it’s ability to shine a light on human behavior with all its complexities, absurdities, and joys.  Submit your comedies - Satirical, Topical, Farcical, Situational, Dark, Absurd, Odd - anything that makes us laugh!

The submission deadline is February 16th, 2018.

*The $500 award will be awarded only if the playwright agrees to participate in our ON BOOK development process.  Although face-to-face involvement in the process is not strictly necessary, we are hoping the $500 award may help to defray some off the costs of participating in the ON BOOK process.


We are using Google Forms to process our submissions, which requires a Google account to use.  If you do not have a Google account, you may email your script as a .pdf, along with your contact information, to: info@strangesuntheater.com

Click here to submit to this year’s Greenhouse Project – Please read our submission guidelines below before submitting.

  • Plays must be submitted on or before February 16th, 2018 in order to be considered.
  • Please use the form to submit your entire play, along with a brief synopsis and playwright bio.
  • We are accepting submissions of “COMIC PLAYS.”  Although our theme this year is purposefully broad and may include plays of many genres and styles, we will reject any submissions which are not related to the theme of “Comic Plays.”
  • We are looking for playwrights who are interested in actively developing their play in a collaborative environment with Strange Sun Theater artists.
  • Please submit only one play per playwright.
  • Please do not submit plays which have had previous productions, either amateur or professional.
  • Please do not submit a play you have previously submitted to the Greenhouse, even if it has undergone major revisions.
  • If you are submitting a musical, please include links to samples of the music.
  • We are not accepting dance pieces, though plays with a dance component will be considered.
  • We are looking at theatrical pieces which constitute a full evening of theater. At least 70 minutes.
  • Strange Sun encourages submissions from artists of diverse backgrounds and experiences to support our mission of exploring our shared humanity.
  • Due to the large number of submissions, we will only be contacting our finalists.
  • Finalists can expect to be contacted in late February, and our On Book development process scheduled in April of 2018.
  • If any of the guidelines are disregarded, your submission will not be considered.

Heartland Theater Company 2018 10-minute play festival

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2018 10-Minute Play Festival Rules

Heartland Theatre Company is seeking eight short original plays to be considered for production in June of 2018 as part of our 17th annual 10-minute play festival. This year, the theme is MAGIC!

The competition is open to all playwrights who wish to submit a play. Eight plays will be selected and performed from among all the submissions


1. Your play must fit the theme – MAGIC– 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. If your play cannot be considered for any reason, we will notify you as soon as possible. If, in the judges’ opinion, the problem is easily fixable and the play otherwise has merit, we may ask you for revisions. Asking for revisions is completely up to the judges. If you’d like to see what criteria the judges consider, please read the Judging Sheet (PDF or Word).
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.

All entrants must complete and submit

Heartland Theatre 10-Minute Play Entry Form.

You must attach your script in MS Word format (preferred) or PDF when you send the entry form.

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


Finalists will be notified approximately March 10. Winners will be announced approximately March 31.

2018 10-MINUTE PLAY FESTIVAL PERFORMANCES: June  7, 8, 9 | 14, 15, 16, 17* | 21, 22, 23 | 28, 29, 30* – 2018

For a complete listing of previous 10-Minute Play winners, click here.

Thursday, January 18, 2018

Comedy Writing

A solid grasp of the mechanics of comedy writing for the stage is a powerful tool in the hand of any playwright. While comedy is a main element of an over-the-top farce or a burning satire, it is just as essential to delicately lace comic elements into the most serious drama.

Instructor: Kate Moira Ryan (Writer (with Judy Gold), The Judy Show at DR2 Theatre)
Thursdays from 6:30pm – 9:30pm
Starts March 1

This class might be for you if you are:
  • A playwright in any stage of your career interested in the comedic form. 
  • Looking to infuse your playwriting of any genre with smart, well-structured comedic elements.

In this class you will:
  • Study the specialized set of rules for comedy, which are vastly different from the dramatic form. 
  • Complete writing assignments and workshops focused on these unique rules to develop your comedic work over ten weeks. 
  • Shape your ideas, structure your plot, develop believable characters, and write witty dialogue. 
By the end of this class you will:
  • Have a solid understanding of the principles of comedy and how to weave them into any script.

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x215 or email espa@primarystages.org.

Wednesday, January 17, 2018

The Bridge Award

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The Bridge Award was established in honor of Arts in the Armed Forces upcoming tenth anniversary with the purpose of recognizing an emerging playwright of exceptional talent within the United States military. The award consists of a $10,000 prize, and an AITAF produced reading of the winning work. The head judge will be Pulitzer Prize winning playwright Suzan-Lori Parks.

In addition to bringing world-class theater to the military, AITAF is committed to supporting and sharing the talents of those who serve. This Award will offer a deserving current military service member or veteran artist important connections with the theater community and access to developmental resources, helping to facilitate a deeper understanding and more active dialogue between military and civilian communities.

  • Submissions will be accepted December 1st 2017 through March 1st 2018.
  • Please submit your play in PDF form with the title: Title of Play.pdf
  • Please include a brief accompanying statement, including a description of your service (dates, military branch, foreign countries served in, if applicable.) This description may be 250 words or fewer.
  • Only finalists will be notified of their status.
  • When the winning playwright is named, finalists will also be announced.

Tuesday, January 16, 2018

2018 FailSafe Festival

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FailSafe Festival is a five-day festival of live performance, taking place in the Times Square/Hell's Kitchen area of New York City. FailSafe Festival provides a space for artists to push beyond what they consider "safe" to present, giving them an opportunity to present work that may not have a home elsewhere.

FailSafe Festival submissions are open to live performance projects, including but not limited to theater, performance art, and dance/movement.
  • Submitted projects can be finished, portions of larger/longer works, or works-in-progress.
  • There are no submission fees, participation fees, or festival fees.
  • Submitted projects should be between 30 minutes (minimum) and 60 minutes (maximum) in length. Sorry, submissions that are either shorter or longer in length will not be considered for participation.
  • Sorry, no AEA showcases or AEA readings will be accepted.
  • Live performance submissions only, please. No work that is wholly pre-recorded. For example, a film by itself will not be accepted. Live work with multi-media elements including film may be accepted.
  • Submissions can come from an individual artist, group/collective, or producer. Up to two different projects from an individual artist, group/collective, or producer can be submitted. 
  • A project can consist of one work from an individual artist, group/collective, or producer, or can be multiple works from multiple artists as long as it meets the time length criteria. For example, three playwrights can collectively submit three 20 minute one-acts as one project/submission (maximum time length: 60 minutes). As another example, five performance artists can submit a concert of five 10-minute pieces as one project/submission (time length: 50 minutes).
  • Persons submitting to FailSafe Festival should either have obtained or own all necessary presenting rights for the material submitted.
  • If you have any further questions, please e-mail: failsafefestival[at]gmail.com

PAST PERFECT Benefit Performances

PAST PERFECT by Rita Lewis returns to Manhattan Rep for two benefit performances for The LGBT National Help Center on Saturday January 20 at 8 pm and Sunday January 21 at 3 pm. 100% of the ticket sales for these performances will go to benefit The LGBT National Help Center.

PAST PERFECT by Rita Lewis is a passionate love story between two female childhood best friends who reconnect thirty years later after a childhood incident caused a bitter estrangement. And how one friend's teenage daughter will now fit into this new scenario. It is funny, moving and a testament to the universal truth that love is love is love.

The play features Gerry Glennon, Jennifer Pierro and Erika Yesenia, and is directed by Ken Wolf, Artistic Director of Manhattan Repertory Theatre.

The LGBT National Help Center, an out growth of the New York Gay and Lesbian Switchboard, the oldest and longest running hotline of it’s kind in the world works every day to help end the isolation and fear that many in our community still face.  The LGBT National Help Center runs multiple hotlines and online services to connect highly training peer support volunteers with callers dealing with concerns such as coming out, school bullying, gender identity, relationship concerns, sexual orientation, suicide, fear, depression and so much more.

Ticket reservations for the PAST PERFECT benefit for The LGBT National Help Center can be made online at:


All Tickets are $20.  Please book early for there is limited seating for this event.

Manhattan Repertory Theatre is located at 17-19 West 45th St. (between 5th and 6th Aves) on the Third Floor.
For more information: www.manhattanrep.com

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