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Wednesday, November 29, 2023

Long Beach Short Play Festival 2024


Deadline: December 3, 2023

MAY 4-5, 2024 FESTIVAL 



This short play festival is in keeping with Artist in Partnership (AIP)'s mission to
  • Foster a partnership between the arts and our community at large to raise the visibility of the arts in Long Beach, NY And the surrounding Long Island area; 
  • Assist new playwrights in getting their talents seen by and shared with our local audiences, and to 
  • Cultivate an appreciation of theater by new patrons. 
There is NO FEE to submit your play to be considered for inclusion in this Festival. Playwrights may submit up to two (2) plays, with a separate application accompanying each submission.


All plays submitted will be reviewed by a selection panel chosen by the Festival’s Artistic Director and Executive Producer, who will also have input. Playwrights will be notified on or about January 15, 2024, if their play has been selected for inclusion in the festival.

Selected playwrights must submit a PARTICIPATION FEE of $150.00 per accepted play to help defray some production expenses, along with a signed Participation Agreement by no later than February 2, 2024. All selected playwrights will receive  one (1) complimentary admission to each performance of their selected play(s).

The 2024 Long Beach Short Play Festival is hosted by Temple Emanu-El in their ballroom at 455 Neptune Blvd, Long Beach, NY, which seats 150 patrons. So, our host’s congregations will be considered by the Festival Selection Panel in reviewing the language, situations and themes used in any play submitted. The Festival’s Artistic Director, and the Executive Producer reserve all final decisions regarding selection, content, staging, and running time presented.

All submissions must be original and unpublished (but our festival’s production of them does not have to be a premiere).

All production and publication rights will remain the property of the playwright. No royalties or other monetary compensation will be paid to the playwrights nor anyone else by the festival for presenting any of these plays. Other than reviewing these plays for selection, no critical analysis or feedback will be provided by the festival to the playwrights.

Ease of production is a prerequisite for all plays considered for production in this Festival. The stage is 40’ wide x 18’ deep, with masking to provide wings on stage left, center, and right. A simple set footprint and minimalist production requirements (e.g., costuming, props, audiovisual, etc.) are non-negotiable. A basic lighting/sound plot will be used for all plays in the festival. Given the available resources, musical plays cannot be considered for this year’s Festival.

Plays submitted for the festival can run no longer than 30 minutes (if unsure, please use 1.1 minute per page for estimation), and regardless, brisk pacing is a prerequisite for the Festival’s Artistic Director. Plays can be comedies or dramas (or in between), as well as monologues. The festival will present two (2) performances of each play selected on the same day, with the dates, times and order of presentation assigned at the sole discretion of the Festival’s Artistic Director and Executive Producer.

Playwrights can submit their play(s) for production by AIP or they can self-produce it (them). If the latter, please note that the ballroom stage is only available for one (1) evening tech/dress rehearsal on either April 30 or May 1, 2024 (TBD for each play) and the Festival’s Artistic Director must attend a full run-through of each selected play by no later than April 24, 2024, to forestall any technical issues and ensure proper pacing and projection. All tech rehearsals will be scheduled in the exact order that the plays will be presented at the festival to properly work through the set changes between them (each play’s cast will be expected to assist with set changes, if necessary). Each Program may consist of as many as seven (7) plays.

Videos of our 2022 Festival plays can be seen here: https://www.youtube.com/@longbeachshortplayfestival2022

The Decameron Project - Hollywood is Seeking One Minute Play Submissions.

Facebook page

Deadline: January 11, 2024

Submission link: https://docs.google.com/forms/d/e/1FAIpQLSfV8UKIo1ZXy9AHTviDSxkhrbPUkPEUlLiFsDljL18R8NHSzg/viewform

The plays will be produced as a theatrical production in the Fall of 2024 in Los Angeles. A show featuring some of the selected plays will be produced in Tokyo in Winter 2024.

Please submit up to 5 plays.

We are encouraging first-time writers to submit works in standard play format.

Submission period: November 1, 2023 to January 11, 2024.

Playwrights whose work is selected will receive a pair of comps to the show.

If you are having any issues with the Google form, please feel free to email your play(s) to 1minplays@gmail.com

For more information about the Decameron Project - https://www.facebook.com/TDPHollywood

Tuesday, November 28, 2023

Four Play: A Showcase of Play Readings of the South Simcoe Theatre


Deadline: November 30, 2023

Cookstown Ontario Canada

2023-24 Season Show Date:  May 30-June 2, 2024

Audiences will be treated to a showcase of lightly rehearsed “readings” of plays never before seen or heard on the Town Hall stage.

Original sketches, monologues, short or full-length plays accepted for consideration. Please avoid submitting musicals, works with large casts or anything technically heavy that would not translate well in a staged reading.

While all submissions will be accepted for consideration, please note that preference will be given to submissions from local or Canadian based playwrights. Additionally, royalties will not be paid for any submission.

We are using a blind submission process this year. Please do not include your name or any other identifiers on the attached script; however, please include your name, address and any other pertinent information in the body of the email when submitting.

For more information on how to become involved or to submit a play, contact fourplay@thesouthsimcoetheatre.com

Grosse Point Theater Take Ten 10 minute festival 2024


Deadline: December 31, 2023

According to creator and Michigan playwright Mary Lou Britton, you don’t have to be an accomplished playwright to enter, you just need a desire to tell the story in play form, developing a plot, characters and setting that can engage the audience.

The deadline for submission of plays for the 2024 Festival is midnight, Sunday, December 31, 2023. Plays in proper format and length must be submitted electronically to playfestival@gpt.org. There is no charge to enter. Anyone over 18 years of age can enter, GPT member or not, from anywhere in Michigan or across North America. All plays will be evaluated anonymously by out-state judges who will select the ten plays to be included in the 2024 Festival. They will be announced around April 1, 2024.

The theme for 2024 is ‘What if…’ Your skills as a playwright should indicate that your protagonist or antagonist considered several optional solutions to the issues facing them, individually or together – or that the premise upon which the play is based is one that involved several well thought-out options.

“Playwriting opens up another dimension to storytelling, connecting each character’s experiences in a believable and entertaining way – in this case, all in ten minutes,” said Britton. “We look forward to seeing this year’s play entries and showcasing the best 10-minute plays next spring.”

  • The short play is five to seven pages, maximum. It serves us well because the shortness enables you to keep the whole play in mind as you write and allows you to examine your technique each time you write a line. Many times, the craft of playwriting gets lost in the momentum, problems and length of a full-length play. Remember that once you’ve mastered the short-play technique, you can easily expand your ideas and characters into a longer piece…either one-act or full length.
  • The short play must have a beginning, a middle, and an end – and all the other pieces: a protagonist, an antagonist, a dramatic question, a climax.
  • Keep your play ‘realistic’ or ‘naturalistic.’ Because it is a form that you know well, you can master the basic craft in your attempt to explore style. A ‘realistic’ play is about contemporary people who you might know and who are executing their contemporary activities. Realism also involves contemporary, ordinary speech. Avoid dialects. Of course, realism does not mean boring or even serious.
  • Limit your play to two or three characters. Each character must have a complete character arc. Therefore, you may not have utilitarian characters. I encourage you to work with two characters.
  • Keep all of your characters on stage as long as possible. Entrances and exits create activity, but many times deflate the dramatic action. You do not need blizzards or other phenomena to keep characters on stage. If characters have dynamic goals, they will stay on stage to pursue those goals. If you have written a character that keeps leaving, let him/her leave the play entirely because the goal is not strong enough for dramatic impact.
  • Keep the setting in one locale. There are to be no breaks, no scene shifts, no blackouts and no time lapses. A short play cannot support the loss of momentum that each stage machination requires. For our purposes, you are to stay in one locale for a real-time conversation or dialog.
  • Create an early point of attack. The short form has no patience for introduction and exposition. Let this information find its way into the rising action.
  • Avoid speeches. If your characters’ needs are strong enough, they will not allow each other to talk too much. Make sure your crisis and your climax are ‘onstage events’ rather than ‘now I realize’ speeches.
  • Keep the action onstage. Don’t talk about something that happened elsewhere or at another time; make all the action happen on your stage in your play.
  • Get rid of greetings. When a new person enters a scene, drop the hello’s and the how-are-you’s. Although we say it all the time in real life, it’s just plain boring on stage. There are other ways to reveal relationships.
  • Stage directions. In most cases, the fewer directions you have, the more concentrated and focused the actual action of the play will be.
Things to include in stage directions:
  • Basic description of the setting.
  • Entrances and exits.
  • Physical action that must be performed or the dialog makes no sense.
  • Pertinent pauses in the dialog not filled by previously described actions.
Things NOT to include in stage directions:
  • Tone of voice or delivery hints for lines.
  • Costume descriptions of what characters are wearing, unless pertinent to the action.
  • Background on the sets or characters, other than the most basic information.
  • Characters’ thoughts or intentions.
  • Never delve into the interior lives of the characters or why objects are on stage.
  • Don’t worry about upstage, stage right, etc. Make all references in relation to objects you’ve placed in their world. (EX: BETH moves behind the sofa or FRED enters from the bedroom.)

Monday, November 27, 2023

Experimental Theater Writing Workshop – Winter 2023

Seeking female or female-identifying experimental writers for the Fall Experimental Theater Writing Workshop. This is a series of ten Zoom classes/workshops held every Tuesday evening from 01/09/24 - 03/12/24. Classes will consist of discussions of homework material; prompt assignments; and readings of work generated in class. The last class will consist of final presentations.


Literary movements and theories allow us to see the social response of theatre to the world.  While these movements and theories enlighten us to historical artistic responses, they can also seem like arcane academic subjects to the writer.  Questions we may ask are: can some of these concepts unearth new dramatic possibilities for the writer?  Can theories or techniques of the past be relevant in today’s socio-political landscape?  If we are seeking new ways to express ourselves as dramatists and theatre makers, we might continue our search for other techniques that allow us to expand our toolkit and create unique experiences for our audiences.

The goals of this course are: 1) to gain additional theater writing techniques which expand the writer’s current theatrical repertoire; 2) to investigate writing techniques as a representation of a writer’s response to the world; and 3) to strengthen a connection between theatre and various other theories and movements. 



  • Only 1 submission per playwright
  • 1 experimental writing sample. Each sample is up to 10 pages only. 
  • Title page on sample should contain:
    • title
    • name
    • contact info
  • Second page should contain:
    • Character breakdown
    • setting
    • time
  • file name of sample play should read: titleOfPlay_lastname_exp.pdf

Writers will be selected based on the nature of the work submitted and availability. By experimental, we mean work that challenges the conventional elements of theater. If selected, the fee is $400 ($350 for returning students).   Please note that this is an intensive course with an expectation that the writer will participate in class discussions and spend time writing 10 pages of new material outside the class each week.

Apply here: https://forms.gle/NgrqJVpkjUCyr5pt5

Deadline: December 20th, 2023 5 pm.

Web: 3ws dot silverglassprods dot com

FB: @etww19nyc


Join Us on Fb: Experimental Theater Writer's Workshop

Suzanne Willett

Silver Glass Productions

View our latest show, Quantum Debt.

TYPE! seeks micro-plays for future publication


Deadline: none given

Seeing Micro-plays, 1 - 2 pages long

Thank you for considering sharing your work. TYPE! is free to read — we cannot pay for submissions or chosen work, but we will work with authors to promote the piece and their other writing. We also require written confirmation that submissions are original work.

Please note – due to the high number of submissions we receive we will only respond to those we wish to publish, however we do read EVERY submission. Submission also carries no guarantee of inclusion or feedback.

Please send in your writing via the submission form online.

Hunter College MFA Playwriting Program 2024

The Hunter College MFA Playwriting Program is accepting applications through January 15th! Please visit https://theatre.hunter.cuny.edu/mfa for more information.


Reunion: The Dallas Review accepting submissions for 2024


Deadline: January 15, 2024

Thank you for considering Reunion: The Dallas Review! We look forward to reading your work. To keep our readers and editors happy, please be aware of the following:

Our submission window is from October 1 through January 15. Occasionally, we will make decisions during this window; however, most will be returned between February and May. We are a small journal run by student volunteers, and while we do have a passion for the arts and publishing, we cannot guarantee a fast turnaround. Thank you for your patience with us.

Also, at this time, we are a non-paying market. Because we are student volunteers, our budget is limited, but enough to ensure physical copies and a free-to-enter submission process. All work submitted to us is also considered for our monthly digital extension of the annual print journal—Reunion: Online. Additionally, we nominate every year to The Pushcart Prize, Best of the Net, and we are always looking for other avenues of opportunity for our authors and artists. If selected, you will have the opportunity to present your work at the Launch Party held in the fall semester.

We do accept simultaneous submissions; notify us promptly via Submittable should your work be accepted elsewhere. Please note that due to the high volume of submissions we receive, we can read only one submission per person per reading window. Show us your best work. If you do choose to withdraw, please do not upload a new submission until the next reading window.

For an idea of what types of material we generally publish, we recommend purchasing and reading our past issues, available in both print and digital formats, or reading through Reunion: Online.

General Submission Guidelines:
  • All submitted work must be previously unpublished. We consider anything found on personal blogs, online archives, other websites, social media accounts, online journals, or print magazines as previously published. If you have questions regarding this requirement, please email the editor prior to submitting.
  • A brief cover letter and a biographical statement of no more than 100 words is appreciated. 
  • Do not include your name on the submission attachment unless it is part of the work itself. Instead, your name and contact information should be included in the body of your cover letter. 
  • All texts should be Times New Roman, 12 pt. font, and double spaced (with the exception of poetry.) We accept text submissions in the following formats: .doc, .docx, .rtf, or .pdf. 
  • We do not accept any work above 5,000 words. Any submissions with a word count above this will not be read. 

Some specifics: 

Fiction: We are not limited to a specific sub-genre and are happy to read “literary” as well as “genre” fiction. We also consider micro/flash fiction; please label it as such in your cover letter.

Drama: Plays and screenplays that are formatted to industry standards.

Visual Art: Up to 10 images, including visual poetry, drawing, painting, digital, other 2-dimensional formats, and photography. We do accept photographs of 3-dimensional works of art. Please take into consideration that the photo you submit of your 3D work is part of your presentation—what we will publish. Visual Arts submissions will need to be submitted in high-resolution TIFF format of between 5-8 mbs, 300 DPI. For Reunion: Online we are able to consider sound and movement as part of the work.

Poetry: Up to 5 poems. Please submit poems in one document.

Translation: Up to 5 poems or up to 3,000 words of prose. Please obtain all necessary permissions prior to submitting your piece. At this time, we are looking for creative works. If your work is a scholarly essay on translation, we encourage you to submit to Translation Review a publication of The University of Texas at Dallas.

Creative Non-fiction: One piece or one essay. You are welcome to add visuals within the document. 

Please refer to the visual arts guideline above when submitting visuals.

Lastly, if you are a student with The University of Texas at Dallas, the Robert Bone Memorial Creative Writing Endowment allows for Reunion: The Dallas Review to sponsor an annual creative writing contest. The submission window for this scholarship opportunity opens November 1 and runs concurrently to the broader reading window until January 15. All contest entries will also be considered as general submissions. Please use the designated Submittable form to submit to the contest. Submissions that use the general form will not be considered for the contest.

If you have any questions regarding our guidelines, please email the editor for clarification before submitting.

Thank you for reading! We look forward to your submissions.

May your wi-fi and coffee be strong,
The management team at Reunion: The Dallas Review

The Robert J. Pickering / J.R. Colbeck Award for Playwriting Excellence 2024


Deadline: December 31, 2023

This annual award was established to honor past member and playwright, Bob Pickering, and to provide a vehicle for playwrights to see their works produced. In 2020, the award was renamed to also honor longtime BCCT member and Pickering director, J.R. Colbeck. $200 is awarded for first place, $50 for second place and $25 for third place.

Manuscripts must be received by December 31st each year.

Types of Plays Accepted

Full length, unproduced plays and musicals. Children's plays are accepted. We are unable to return without a self-addressed stamped envelope.

Selection Process

BCCT committee members read and review each entry and select ten finalists from which the first, second, and third place winners are chosen by the membership at large.


BCCT reserves the right and agrees to produce the first place winner in this yearly competition. First place winners are required to sign a production contract.

Production House

BCCT productions are staged in the historic Tibbits Opera House in Coldwater, Michigan. Built in 1882, Tibbits is a completely restored 500-seat proscenium theater.

How to Submit

BCCT does not accept digital submissions. Send hard-copy submissions to:

Branch County Community Theatre
14 S. Hanchett St.
Coldwater, MI 49036

Sunday, November 26, 2023

Dramatic Chaos Productions seeks holiday monologues

Facebook page

Deadline: November 30, 2023 Midnight

We are seeking Writers with Short Monologues inspired by the Festive Season for reading on our YouTube channel. 

Topics could include Winter, Christmas, Gifting and the lead-up to the New Year.

Max 10 Pages, Must be in English. It's as open a prompt as we can give!

Submit up to 3 pieces to: DramaticChaosTP (at) gmail.com by Midnight, 30th Nov.

Bunbury Players Festival of One Acts II


Deadline: December 1, 2023


Plays MUST be 20-25 pages long (not including Title Page, Character/Scene Descriptions, etc.) and must be submitted in Standard Play Format.

Works must be solely original and not based on or contain any previously copyrighted material.

We ask that writers submit only one play to help limit the size of submissions that our selection team needs to read.

Plays will be presented over the weekend of March 8 & 9, 2023 at the historic Strand Theatre in Hudson Falls, NY.

For any questions, email andersonme1388@gmail.com or mrnichols1992@gmail.com.

Saturday, November 25, 2023

Sundog Theatre seeking radio dramas or comedies


Deadline: November 30, 2023

Sundog Theatre's longtime series "The Originals" will take place on MakerPark Radio's internet-based station in NYC. Sundog is seeking plays that actors will read, broadcast live on the web, and hear throughout NYC, the US, and worldwide in January 2024.

Producers: Victoria Colella and Susan Fenley


-- Original dramas or comedies - no more than 5 characters.

-- Like true radio plays, sound effects should be written into the script to set the scenes.

A Foley operator will create the effects.

-- Plays should not rely on visuals to tell a story and set the mood, only words, music, and


-- Ideal running time: 45-60 minutes.

-- Exhibit care with any sexual/violent situations. We cater to a broad audience and families.

-- Sundog will pay a remuneration of $150 for each play that is used.

-- No fee to submit.

Mail (easier on the eyes and no potential virus issues) submissions to:

Sundog Theatre
Radio Plays
PO Box 183
Staten Island, NY 10301

Postmark deadline: November 30 - no fee to submit. Deadline - the sooner the better.

Questions: info (at) sundogtheatre.org

International Short Play Festival 2024


Deadline: December 31, 2023

GATHER BY THE GHOST LIGHT and LE CHAT NOIR THEATRE are collaborating to bring Augusta, GA its first ever International Short Play Festival! Eight total plays will be selected from submissions around the World for performances in April 2024!

GUIDELINES: (please read carefully)

- Open to stage play submissions worldwide from playwrights ages 18 and older

- ONE submission per playwright

- 15 pages or less

- No monologues or one-person plays

- No musicals

- Submitted scripts should have NO author information on them (Blind copies)

- All styles and genres, including adult language and situations, are allowed.

- Produced scripts are okay but no published scripts

- Playwrights of selected scripts will be notified in early February




- Selected plays will receive Five performances in the OBS Short Play Fest in April 2024

- Selected playwrights will each receive $150

- Publication in the inaugural Gather by the Ghost Light OBS Short Play Fest Anthology

- All scripts submitted will be considered for audio production in Season 5 of the Gather by the Ghost Light podcast whether you are selected for the OBS short play fest or not.

*NOTE - we are also currently working on providing lodging to playwrights who are able to attend. If we can make this happen, there will be an update listed here.

Send scripts to submissions@gatherbytheghostlight.com

Deadline: Entries must be submitted by December 31, 2023.

Glass Ceiling Breakers: 2024 A Festival of Short Plays and Films by Women Artists


Deadline: January 24, 2024 11:59PM

GCB 2024 is scheduled for June 14, 15 and 16, 2024 at the Philipstown Depot Theatre in Garrison NY.

Submission guidelines for films can be found on Film Freeway where all films must be submitted:: https://filmfreeway.com/GCB

Films selected for Best of the Fest will have an additional screening at the Bedford Playhouse in Fall of 2024

Submission guidelines for plays:

● Plays must be written by female or female identifying playwrights.

● Plays should be no more than 12 pages (excluding the title page) in standard play format. Type size (12) with 1” margins. (longer plays will not be read)

● Save File as follows in PDF only: LAST NAME_TITLE OF PLAY_GCB24

● Please only submit plays that have not been produced in Westchester or Putnam Counties NY from June 2023 to June 2024. Readings are ok.

● All plays must be received by 11:59pm on January 24, 2024.

● Playwrights may submit up to 2 plays.

● Monologues are accepted but we prefer plays. Monologues should not be more

than 3 pages.

● BIPOC playwrights are strongly encouraged to submit.

Playwrights will be informed in mid-March

Plays can be submitted here: https://forms.gle/4QrFhRRTPLZf1Ynv7

If selected, playwrights are responsible for producing their play. There is no compensation for plays or films. Theatre Revolution may provide some production assistance (not financial) in some or all of the following areas: casting, directing, rehearsals, props, etc.

In all cases, Theatre Revolution will provide limited set pieces, lighting and sound equipment, and production staff.

There will be a mandatory pre-production meeting via ZOOM for all playwrights or their representatives in March 2024. Questions? Email us. theatrerevolution1@gmail.com We are looking forward to reading your work!

Learn more about us at www.theatrerevolution.org and on Facebook and Instagram

Friday, November 24, 2023

Call for Experimental Theatre Playwrights: CUT / EDGE ~ NYC 2024

NYC, 2024

Playwrights, Application Deadline December 1, 2023

Final decisions by December 15


Please send a writing sample (10 pages), artist statement and resume to 
Cut Edge Collective <cutedgecollective@gmail.com>

Join us in 2024 in NYC for our fifth season.

We meet twice monthly, on the second and third Tuesdays of each month (except July and August). 

On the second Tuesday of each month, we will hear the work of a single writer out loud (read by professional actors) and discuss this writer’s work. This is an in-person meeting.

On the third Tuesday of each month, we will engage (online) in a moderated philosophical discussion about where we’re at in terms of style, form, the direction of theatre/art today etc. Each accepted writer will have the chance to suggest a topic for the monthly salon, and lead the discussion.  (Past discussions have included what makes a theatrical production experimental; from what/where do we draw our inspiration; censorship in theater; mysticism in theater; differences in ideas of catharsis between East and West; gender issues in written theatre roles; when is spectacle essential to theatre; repetition and play in storytelling, etc.)


The Upshot

Upon invitation, the rate is $125 for the year. This covers space to meet for an entire year and a modest stipend for the actors who’ll read our words during the workshop meetings(Cut Edge will cast all readings, if desired by the playwright).  Additionally, it will help defer costs for our annual 10-minute play Festival, available to  all accepted writers (Cut Edge provides TD, SM, free rehearsal space options and all marketing).  Lastly, the fee helps underwrite the publication of the plays in the Ten Minute, with each playwright receiving three copies of the antholofy.

(Our 2023 cohort will be presenting their 10-minute plays this February  10-12, 2024 at the Tank, 312 W. 36th Street).

The Breakdown
  • To participate, you must be an experimental theatre writer. What do we mean by this? You must write for live performance and you must be in the process of creating something that isn’t “conventional.” This departure from normative theatre can include dialogue, structure, staging, character and/or character development, format, passage of time or any other manner of pushing at theatrical boundaries. Teach us something.
  • The Cut Edge Collective currently has only a few available slots.  Playwrights will be selected based upon the quality of the work submitted and experimental nature of the work.
  • If you’re in New York City and able to commit to two events monthly in Midtown, and write experimental work for theatre, please send a sample, segment or example and tell us why you want to be a part of the collective.
And So Who Is This For
  • Experimental Theatre Writers
  • Able to Commit to Twice Monthly Meetings, including one in-person in Midtown Manhattan, through 2024 
  • Submit Compelling Samples
  • $125 for Space, Actors and Ten Minute Play Festival (early 2024).  The writers retreat will occasion another $20/day fee ($100 total), which will include transportation, room and board (but not alcohol, coffee and meals out, local t-shirts and other swag, etc.)
Please reach out if you have any questions to: Cut Edge Collective: cutedgecollective@gmail.com

Cut Edge Collective
At the cutting edge of contemporary theatre

Exhume seeks work for Spring 2024 Issue


Deadline: December 31, 2023

We strive to publish visual art, poetry, prose, and drama in order to help writers who discuss queerness and trauma find a home for their works. Though we especially seek submissions that discuss these topics, we accept good writing across the board. We appreciate work that speaks to the human experience on a raw level. Consider works like Allen Ginsberg’s “Howl,” Jo Ann Beard’s “The Fourth State of Matter,” and John Cheever’s “The Swimmer.” Above all else, we want writing that makes us feel something. Writing can be traditional, experimental, or a hybrid of the two. Surprise us!

We accept both established and emerging artists and writers across the board. We welcome simultaneous submissions, though we ask that you let us know immediately should your submission be accepted somewhere else. At this time we do not accept previously published work.

All submissions should be emailed to exhumeliteraryjournal@gmail.com. Please list the genre you’re submitting under in the subject of your email, as well as your first and last name. Please paste your third-person bio, maximum 75 words, in the body of your email and submit your works as attachments in .doc or .docx format. All documents should be submitted in 12 point fonts.

Submit up to 3,500 words of prose in one double-spaced document.

Carlo Annoni 2024 International Playwriting Prize


Deadline: April 30, 2024

The Carlo Annoni International Playwriting Prize is now open for submissions with topics concerning the LGBTQ+ community, including love, diversity, and identity in a time of gender fluidity.

We accept full-length or short plays, even if already represented.

€1000 (euros) awarded to two best plays (one in English and one in Italian) and special jury mentions on multiple categories.

Award ceremony in Milan, September 2024

Send your submission to info@premiocarloannoni.eu 

Thursday, November 23, 2023

Soundbites 2024 - seeking 10-minute musicals


Deadline: January 2, 2024 at midnight
Submission form

Theatre Now defines a 10-minute musical as any piece that can be performed in10 minutes or less, has a beginning, middle, end story arch, and includes music. Having produced nearly 100 pieces, we want musicals that are diverse, current, test the musical form and communicate a well-crafted story. 

We accept musicals across all styles and genres, as well as consider foreign language and/or bilingual scripts. 

We strongly encourage submissions from female writers, BIPOC and LGBTQ+ writers.
  • Ten-minute musicals will be accepted from November 1st 2023 - January 2nd, 2024 at midnight.
  • Submissions won’t be considered before or after the deadline.
  • Musical theatre writers can only submit up to two scripts.
  • The story must have a beginning, middle, and end.
  • We also accept submissions in foreign languages or that are bilingual. Although the application process is still in English, the work itself may be submitted and performed in any other language if selected. 
  • Each piece must include music.
  • All submission must be submitted via this website. No physical copies.
  • Each musical must be ten minutes long maximum. Cuts will be made if accepted. 
  • Longer one-acts or full-length musicals will not be considered although the submission may be a 10-minute portion of a longer piece.
  • A musical may be a previously produced work with a production history.
  • Though we have no formal script formatting guidelines, all scripts must be easy to read.
  • The volume of submissions prevents us from providing feedback on all submissions.
  • If your piece is visual (ie. Choreography heavy), please include video footage or detailed descriptions. 
We expect to contact all writers by mid February, 2024 on the status of their submission with one of the following emails:

An acceptance email into the festival that will include additional information to confirm their involvement.

A waitlist email. In the event an accepted musical declines their participation, a selected wait listed musical will be notified to serve as a replacement.

The remaining musicals will receive a "not selected" email and are encouraged to submit again next year.

Sixth Annual Eric H. Weinberger Award for Emerging Librettists 2023


Deadline: December 1, 2023


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

The winner will receive $2,000 to help with cost-of-living expenses. The winning musical will receive development assistance in the 2023 New Works Development Program of Amas Musical Theatre, culminating in an Amas Lab production with New York theatre professionals. Amas, which is administering the award, was the development home for several of Mr. Weinberger’s musicals, and which produced the World Premiere of Wanda’s World and the New York Premiere of Tea for Three. 

We are grateful to be afforded this opportunity to continue making theatre and creating an impact in our community. We are excited to begin work with our 2023 winners Annie Dillon and Samantha Caps on their piece Show Me Eternity and welcome a new wave of inspiring voices to our musical theatre family.

Submissions open Monday September 18, 2023 and will close on Friday, December 1, 2023. All submissions must be sent through an online application that can be found HERE. 

Only one submission per playwright/librettist will be accepted. The winner of the award will be announced in spring 2024.

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

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

Submission Requirements:

The musical must:

  • Be a full-length show (at least 80 minutes)
  • Have no more than seven actors  (actors may play multiple roles, if so please include a suggested breakdown of role distribution)
  • Be complete and ready for readings, workshops and/or productions
  • Have a demo that is an accurate representation of the music and style of the show (at least five songs)
  • Have full underlying rights clearance of any pre-existing material used in the script (music, source material, etc.)
  • Not have had a full production or be published in any way, even if with a different name.

What to submit

  • All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.
  • Biography and resumes of all contractually attached people such as composer, director, producer to the project
  • History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
  • Brief synopsis (maximum 150 words)
  • Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
  • Proof of rights (if applicable)
  • Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)
  • PDF document of the full-script and sheet music, if available (no writers named)

Guidelines for Materials

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


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


The full script must include:

  • Title page (which should only have the title on it and absolutely no other information)
  • Character breakdown (maximum one page)
  • The complete script with page numbers
  • ​​For the anonymity of your submission, the full script and sheet music cannot include any information on playwright/ librettist or contractually attached people, previous casts, or any agents. All submissions will go through a blind evaluation process, any personal information you provide will only be available to Amas Musical Theatre staff.

Demo Tracks

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

Demo tracks should:

  • Include at least one song from the first 25 pages
  • Have at least five recordings available – they do not need to be professional or studio quality but they must be clear enough to hear lyrics, melody, and accompaniment
  • Have singers of appropriate vocal types for their respective roles
  • Be full songs only, no medleys of spliced songs
  • For the anonymity of your submission, tracks cannot include any personal identifiers for playwright/librettist(s), the performers recorded, or contractually attached people.

The Selection Process

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

Any personal information you provide in the application is seen by the Amas Musical Theatre staff only, not the selection committee. Our process is based on the quality of the work submitted.

Round 1 (September-December)

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

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

If selected as a finalist, the show’s application primary contact is notified via email.​​

Round 2 (January-March)

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

Committee members discuss the finalists to determine which one is best suited for the award.

The winner will be announced in the spring of 2024

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

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

The Winner

Will receive $2,000 to help pay for cost-of-living expenses.

Will receive development assistance in the 2024 New Works Development Program of Amas Musical Theatre.

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

Must be present in New York City for the development process.

Must give the right of first refusal for a world premiere of the selected show that will expire 90 days after Amas Musical Theatre presents the Lab production.

Wednesday, November 22, 2023

Chaotic Merge seeks Winter Print Issue Submissions


Deadline: December 8, 2023 11:59 PM


*Note: We don’t have themes for Issues. We believe all art forms and genres can beautifully collide into a Chaotic Merge.

Chaotic Merge is looking for submissions from all different forms of artists. We seek work that is adventurous and test the border of art and structure. Don’t be afraid to mess with everything you have ever learned. We encourage the voices of people of color and members of the LGBTQIA+ community to submit their work.

General Submission Guidelines
All work(s) should be submitted through Submittable with either Garamond or Times New Roman 12pt. Font. Please look below to see if the section(s) you are submitting to have specific guidelines. We have the right to refuse the right to read your work if submitted otherwise.

As a Magazine, we do not tolerate and reserve the right to reject or not to respond to work that contains racism, homophobia, violent themes, etc. content.

Content Warnings:
Please include content warnings for any sensitive material after the title of your piece or by messaging us directly. If you do not know if it should have a trigger warning or not, put it in there anyway. It can only help.

All our zine are all online only. Our regular Winter and Summer issues are print & online.

We accept up to 2 unpublished Screenplay or Play totaling to 10 Pages.

Famous Plays Who We Feel Are Very Chaotic Merge: Wolves by Sarah Delappe, Wives by Jacklyn Backhaus, and The Flick by Annie Baker
Chaotic Merge Fiction Contributors We Admire: Sarah Elizabeth Grace and Allison Fradkin

Our response time is from 2 weeks to 1 months for zines and 1 month – 3 months for Print Issues. If you haven’t received word back from us by then, you may send us a query to our email chaoticmergemagazine@gmail.com or through submittable. Please remember we are doing the best we can to get back to you as quickly as possible.

A person can submit up to one time per category (poetry, fiction, nonfiction, etc.) per submission period.

Chaotic Merge Magazine publishes only unpublished work, unless we ourselves request for them. By submitting your work, you affirm that you are the sole author and maintain all rights for your work. By submitting your work, you authorize Chaotic Merge Magazine to publish your work in both its e-journal, online platforms, and print.

While we accept simultaneous submissions, please notify us on our email (chaoticmergemagazine@gmail.com) or through submittable immediately to withdraw your work once it has been accepted elsewhere.

We will now be offering a small $3-$5 payment for each work(s) accepted. Currently, that is the best we can do for our writers, and we are working on improving this amount in the future. Also, all works will be considered and nominated for The Pushcart Prize.

Appalachian Voices New Play Festival Greenbrier Valley Theatre


Submission Deadline: December 1, 2023

Requirements and How to Submit - https://www.gvtheatre.org/play-fest 

(PDF only acceptable format)

Greenbrier Valley Theatre, the State Professional Theatre of West Virginia, is proud to open submissions for their second annual Voices of Appalachia New Play Festival. 

The goal of this open submissions process is to collect new works from across the region to tell the stories of life in Appalachia. 

We are aiming to produce one 30-minute one act and three 10-minute short plays. 

The winners of this year's contest will receive $500 for the one act and $200 for the short plays, plus a minimally staged production of their play at GVT, located in the “Coolest Small Town in America” Lewisburg, West Virginia.

The final selections will premiere as part of the 2024 Voices of Appalachia Play Festival, February 23 & 24, 2024 at Greenbrier Valley Theatre, the State Professional Theatre of West Virginia.

We are seeking one 30-minute one-act and three 10-minute short plays focused on different aspects of life and culture in Appalachia. Targeted themes include:
- Identity in Appalachia
- Heritage in Appalachia
- Appalachian Wilderness
- Duality in Appalachia (Disparity/Triumph)
- The Appalachian Exodus
- Diversity in Appalachia
- Women/Femininity in Appalachia

Anyone may submit work meeting these requirements. It is acceptable to submit more than one play. The play must not have had any productions. Folks who submit will be notified of the results either way by mid-December. There is no submission or participation fee.

Contact Jenna Sulecki at artisticassociate@gvtheatre.org with any questions.

Tuesday, November 21, 2023

RADIOPLAYS - Festival 2023-24


Deadline: April 30, 2024


July 23 through May 2024
(Productions will air continuously)

Works must feature some aspect of LGBT life.

If you skipped our webpage, please see: https://freshfruitfestival.com/radioplays-2023/for details.

APPLICATION INSTRUCTIONS: Please complete all fields on the following pages, attaching requested information or providing the appropriate links. Note this application should be finished in one sitting. Once completed in its entirety, please click "Submit" at the end, to officially submit to this Festival program.

APPLICATION REQUIREMENTS: Please complete the application fully. Incomplete applications can not be considered. (Script revisions are expected, but staying within length limits).
Submit any required work samples for your work: Text attachments must be in .RTF, .PDF, or .DOC file formats. Supporting files: Do not upload video or audio files; give Links to them only. Video/Audio links may be on Vimeo, YouTube, Dropbox, or other services. Please make sure you give us a full link and any password required to audit them.

Submissions: Please attach a complete, current or draft version of the text. SHORTS (of 10-30 min. long) and SHOTS! (4 to 12 min) will both be considered for this season's program. Complete rules on the website.

If this work is NOT yet a radio-script: you will be asked to also submit a 2-page excerpt in Radio-Script format, with detailed ambient, blocking, and sound design notes.

great weather for MEDIA seeks dramatic monologues


Deadline: January 15, 2024 at 11:59 PM PST

Send all work through Submittable.

great weather for MEDIA seeks flash fiction, short stories, dramatic monologues, and creative nonfiction for our annual print anthology.

We look forward to reading your poetry and prose submissions. The deadline is January 15, 2024 at 11:59pm PST.

This submission call is for our anthology. Please note that we do not accept unsolicited solo collection manuscripts.


Submissions for our next print anthology are open from October 15, 2023 (midnight EST) to January 15, 2024 (11:59 pm PST). We welcome work from writers worldwide. Our focus is on the innovative and unexpected.

We highly recommend reading one of our previous collections to see the type of work we are interested in and the design of our books. Our latest anthology is A Shape Produced by a Curve

(Online store available in United States only. International orders are easily available through Amazon, etc..)

We would love to send you our monthly email newsletter. You are welcome to unsubscribe at anytime – no hard feelings!

Anthology submissions are only reviewed through Submittable. Email submissions will not be read.

We accept poetry, short fiction (under 2,500 words), flash fiction, creative non-fiction, hybrid…Surprise us with your fearless best!

We do not consider previously published work, whether print or online. This includes limited edition chapbooks and personal blogs.

If your work appears in our most recent anthology, please wait a year before submitting again in any genre.

Please submit only once in each genre (poetry / prose) and do not submit again until you have received a response.

One to four poems of any length. If you are submitting more than one poem, include them all in a single document. Do not submit multiple poems in separate files. Single-spaced please, or how it should appear on the printed page. Start each poem on a new page.

One prose / creative nonfiction piece, two if both under 500 words. Maximum word count: 2,500. Please include the word count on the first page.

Simultaneous submissions are fine - just notify us with your good news immediately. If you wish to withdraw individual pieces from consideration, click on the title of your submission, click on Active, and add a note listing the title(s) to be withdrawn. If you need to withdraw your entire submission, please use the Withdraw button.

Please don't send revisions. You can always add a note to your submissions if there is something you need to let us know about.

Payment: One contributor copy, plus $10 for writers based in USA. International writers receive one copy.

We aim to respond in 1-4 months. If you have not heard from us after five months, please email editors@greatweatherformedia.com

Copyright: great weather for MEDIA holds first serial rights for material that we publish. The copyright automatically reverts to the author upon publication. All work may be permanently archived online. We ask that great weather for MEDIA be acknowledged in any subsequent publication of the work.

Monday, November 20, 2023

McNally New Works Incubator


Deadline: January 15, 2024 11:59 EST
Or until 500 applications have been received


As a continuation of Terrence McNally’s singular legacy of mentorship, and his commitment to fostering bold new voices in the American theater, the initiative is designed to support ambitious early-career playwrights by giving them time and space to develop their work, professional mentorship with veteran playwrights, and access to the community of artists and work being developed at Rattlestick Theater and Tom Kirdahy Productions. If you would like to learn more details about the Terrence McNally New Works Incubator, its offerings, and it's structure, please review the program's website here.

Applications close January 15th, 2024 at 11:59pm EST OR when 500 applications have been received.
Only complete applications will be considered. Please review the Application Materials Checklist before submitting your application below to ensure you have not missed any steps. All materials must be submitted in PDF format.

Each application is thoughtfully reviewed by a broad reader pool of industry professionals. Semi-finalists and finalists are selected through two rounds of consideration.

Semi-finalists will be notified of their status and asked to reconfirm demographic information. Finalists are notified and granted an interview with a selection panel, including representatives from Rattlestick Theater and Tom Kirdahy Productions. In addition to the interview, applicant’s Playwright Reference will be contacted by the review panel.

In consultation with the Playwrights Advisory Panel (Names TBD), three playwrights will be awarded the Fellowship in the Spring of 2024.

Important to note:
  • Applicants may only apply once per cycle, with one play. Applicants who apply multiple times will be completely disqualified. 
  • We will only accept a maximum of 500 submissions for the 2024 Fellowship cycle. 
  • The selection process is open to artists of all ages, genders, sexual orientations, abilities, races, ethnicities, and national origins.


You: Are the sole author of your play (co-created material is not accepted, and will be disqualified).
Will not be a full time student during this Incubator Cycle in 2024/2025. (You are eligible if you graduate in May 2024)
Must be committed to growing your participation in the New York City playwriting ecosystem. This is a competitive opportunity that is designed to further your networks specifically in the New York City theater industry. To that end, you must live in New York City for the full duration of your fellowship. (Housing and transportation are not provided.)
Must be available to commit significant time to develop your play for a 4-week period sometime during 2024. (Specific dates to be determined in consultation with selected fellows.)
Must be actively pursuing a career in theater, as evidenced by past productions at regional theaters, past productions off-off-Broadway, a history of self-producing, and/or graduate studies.
Must not have had more than one significant off-Broadway premiere.

Your Play:
  • Is complete.
  • Is a full-length play, not a one-act.
  • Is written only by you.
  • Is not a musical.
  • Has not been previously produced.

Most Important to Note:
  • The incubator is designed for early-career playwrights, which is a term that can apply to a person of any age and with any background, lived experience, or professional history; there is no one path to becoming a playwright. 
  • We are looking for plays that are complete and would benefit from a development process involving professional-level actors and a director. The play does not need to be production-ready, but must be in a further stage than a first draft.
Questions? Contact us at tmincubator@rattlestick.org. No phone calls please.

THINK FAST Short Play Competition seeks short plays


Deadline: November 27, 2023

Eight finalists compete online for Audience Favorite and $500 Judges' Prize


15-minute plays are accepted for review October 18 through November 27, 2023 for the event, March 1-3, 2024.
  • Electronic submissions only
  • No fee to submit
  • Plays are accepted for six weeks each fall
  • Only one entry per author

E-mail your short play to: OneActFest@TheTheaterProject.org
Include in the Subject line: “Submission + The Title of Your Play.”

Email submissions must contain this sentence in the body of the email: “If my play is accepted and I choose to take part in the festival, I understand that I will be responsible for the casting and rehearsal of my play and that I will be charged a $100 participation fee.”

If Your Play Is Selected​​​

The Theater Project will supply a stage manager/technical director to oversee the Zoom recording process

Individual productions supply the actors, directors and make their own agreements with actors and directors regarding compensation

Production Fee

​Playwrights will be charged a $100 fee to cover the $500 prize as well as the cost of hiring the stage manager/technical director.

The Theater Project does not charge a submission fee for its THINK FAST one-act festival. We do, however, charge a $100 production fee to help cover the cost of the $500 prize as well as the hiring of a stage manager/technical director to work with the productions on their technical needs as well as supervise a rehearsal and record the final performance on TTP’s Zoom platform.

Although we would rather not charge a production fee, the reality is that without help from participating playwrights, we would not be able to offer this showcase for new works.
About the Competition

​The Theater Project’s annual short play competition awards the winner for Best Play a $500 prize. The contest is open to adult playwrights, 18 and up. There is no fee to submit your play for consideration, but there is a participation fee for the finalists who present (see below). Plays are accepted in the fall for a virtual event in March 1- 3, 2024. Eight to ten short plays are selected for three prerecorded broadcast performances.

At each performance, the audience will vote for their favorite play. After the final performance, judges will award: Best Play ($500 prize), Best Actor, Best Actress, Best Director, and Audience Favorite (play) certificates.

Plays can be either dramas or comedies but must be no more than 15 minutes running time. This restriction is absolute and plays that exceed 15 minutes will not be considered. Sets, lighting and sound requirements must be simple. No elaborate props or effects. Playwrights invited to participate must have plays that are ready-to-perform and supply their own actors and directors who are recorded via Zoom by The Theater Project.

Sunday, November 19, 2023

Annual Readers' Theatre Matinee seeks short plays


Deadline: January 5, 2024 11:59 PM

Theatre Southwest is NOW accepting short plays for its Annual Readers' Theatre Matinee!

This year the TSW-RTM will happen on Sunday, Jan. 21st, 2024 at 3:00 P.M. and our event
producer Brian Heaton will be accepting 5-10 minute scripts from NOW until Jan. 5th, 2024

Selected plays will be read and voted on by the audience in attendance and the Audience Favorite will receive a $100 cash prize!
  • Scripts will be accepted via snail-mail and email.
  • Scripts entered should be in PDF format for email. Printed entries should be in standard play format and bound in a 3-hole punch folder or with brads.
  • Limit of 2 entries per playwright of original works that are unpublished, and unproduced.
  • ALL scripts should be numbered with title, list of characters, brief synopsis of play and
  • playwright's contact info on title page. 
  • No Monologues or one man/woman plays will be accepted.
  • ALL genres of plays will be accepted.
  • ALL plays should be able to be read within 5 to 10 minutes, no longer, no exceptions. If using
  • standard play format a good gauge would be if the play's text is 4 to 11 pages long (excluding
  • title page).
  • Please make sure the play you are submitting is conducive to Readers' Theatre, simple stage
  • directions, story mostly expressed through dialogue, not action.
Approximately 8-12 plays will be selected to be given a performance level read, and the playwrights selected will be informed prior to the event.

Please email scripts to: heaton_it_up@hotmail.com
By 11:59 p.m. on January 5th, 2024.

Please mail scripts to:
Theatre Southwest
8944 Clarkcrest St.
Houston, TX 77063
Postmarked by: January 5th, 2024

To learn more about Theatre Southwest of Houston, Texas please click on the link below to visit their website: https://tswhouston.com/

Call for Pirandellian Dramaturgies, 3rd edition – Comical and Grotesque Short Stories to Drama


Deadline: January 31, 2024

PSA, the Journal of the Pirandello Society of America (www.pirandellosociety.org/psa-journal), seeks submissions of short dramatic pieces (5 to 30 minutes of expected performance time) inspired by Luigi Pirandello’s short stories, for publication in the next or future issues.

Scripts should be previously unpublished and unproduced for the stage except for staged readings.

Given that the previous issue highlighted more serious topics, this one will privilege short stories that have a comical and/or grotesque tone.

An essential requirement is that proposed dramaturgies draw inspiration from Pirandello’s numerous short stories, for example those recently translated and available at www.pirandellointranslation.org

Dramaturgies could take several shapes such as:
1. adaptations for the stage of a single short story
2. adaptations that combine two or three stories
3. dramatic development of a section of a short story
4. monologues/dialogues of characters who appear in the short stories
5. dramatic situations that entail the reading/recitation of passages from the short stories

Importantly, each play should stand on its own without requiring previous knowledge of the adapted short story or its characters.

Plays that simply reference Pirandello by “being metatheatrical” won’t be considered.

Dramaturgies should also avoid adapting the following, already used for theatre in some form by Pirandello himself, specifically “The Doctor’s Duty,” “The License,” “The Jar,” “The Imbecile,” “Sicilian Limes,” “Think It Over, Giacomino!,” “A Character’s Tragedy,” “Death Is Upon Him,” “The Changeling,” “It’s Nothing Serious,” “Farewell, Leonora!,” “The Lord of the Ship,” “Mrs. Frola and Mr. Ponza, her Son-in law,” “The Friend to the Wives,” “Interviews with Characters,” and “Characters.”

Instead, inspiration should derive from any of the other stories, already translated on the website www.pirandellointranslation.org or read in other translations, that did not find a dramatic form yet.

Please e-mail submissions as Word document or PDF
by January 31, 2024 to Stefano Boselli, PSA Theatre and Performance Editor: Stefano.Boselli@unlv.edu.

If accepted, authors will be notified by e-mail by May 31, 2024, and scripts will be published on the next issue (XXXVI, 2023–24) or scheduled for publication in following issues.

Saturday, November 18, 2023

Players Theatre Short Play Festival LUV 2024


Deadline: November 25, 2023 11:59 PM


DATES & LOCATIONS: February 8th-25th, 2024 The Steve & Marie Sgouros Theatre at The Players Theatre: 115 MacDougal Street, New York, NY 10012 - 3rd floor: 3 weeks, 4 performances weekly (Thursday through Sunday), 5 plays featured each week. 

 ELIGIBILITY: Short Plays and Musicals with a performance time of 15 minutes or less, no more than 15 pages in length. Writers are eligible to submit up to 2 plays.

PRIZE: Each week a audience favorite is selected by audience vote. The winner of each week will receive $100 prize 

THEME: "LUV" Make it sweet or sexy - Luv is Luv! All plays submitted must be centered on and revolve around this theme. ** Note ** 

 1) Playwrights are responsible for producing their own play - Host (us) provides theatre, technicians, marketing and box office. 

2) If selected, there is a $50 NON-refundable tech fee required Plays MUST be NO MORE 15 minutes in length and no more than 15 pages Submissions open: October 8, 2023 Submissions close: November 25, 2023 Play selection announced soon thereafter. 

For more festival information visit: www.shortplaynyc.com 

Click Here to download a sample contract for the festival - This is a sample of what you would receive IF your play is accepted - please DO NOT sign & send this sample.



Deadline:  February 1, 2024 at 3pm EST 

One of the most robust residency programs in the country and serving as a national model, HARP provides a commission, developmental support, career planning, and an opportunity for a full production to cross-genre artists within a collaborative environment of peers working across disparate art forms – including theatre, dance, music, puppetry, visual art, and new media. Each HARP artist receives significant long-term support of $125,000, which includes $50,000 in cash and more than $75,000 in equipment, space, and services over 2-3 years to tailor each residency to each artist’s individual needs.

With the launch of URHERE (our new digital and outdoor platform), HERE has expanded our HARP cohort to include digital and outdoor artists. Selected artists will partake in a 1-2 year residency to create digital native and/or outdoor works that will premiere on URHERE. URHERE HARP residents will receive $50,000 ($25,000 in cash and $25,000 in equipment, space, and services) over 1-2 years. Through significant investment of time and resources, dynamic work within a strong community is created.

Throughout the year, we offer a window into the creative process of the artists in our nationally recognized HERE Artist Residency Program (HARP). Watch for RAW / Resident Artist Works to catch these fresh in-process works!

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 must be proactive in bringing those ideas and needs to HARP and each other; they shape workshop and discussion offerings, create performances, and work with HERE staff to publicize and promote HARP events. We expect our artists to be both good citizens of the HERE community as well as ambassadors to the public.

Artists retain ownership of all work initiated, developed, or workshopped during their residency. For the projects that go to full production, HERE and the artists will negotiate a separate 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 the HERE 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 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.”

Selection Criteria:

HARP is designed to assist individual artists or collaborative teams (writers, performers, composers, directors, designers, dramaturgs, puppeteers, choreographers, singers) working in a multi-genre form in live performance. Multi-genre 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 an appropriate artist/team for our program as one who has:

Completed their education within the last 8-15 years.

Had at least a few significant residency or commissioning opportunities.

Created a body of work over at least 5 years & at least one full evening-length work.

Earns some income from their art practice.

Never been selected as a HARP artist.

Artists must also meet the following criteria:

The artist or team are residents of the NY metro area

The artist, team, and collaborators are fully vaccinated and willing to participate in whatever testing protocols HERE utilizes to ensure the health and well-being of the performing ensemble.

The artist or team finds 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.

The artist or team is interested in actively participating in the HERE community and in a peer-based program to exchange 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, we believe that diversity is extremely important within the makeup of our residency program and actively pursue this diversity both from the work itself in terms of genre and content and in the background of the artists.


Information Session: Monday, November 27, 2023 5:30 - 6:30pm EST

Application Due Date: Thursday, February 1, 2024 at 3pm EST

Final Decisions Announced: Friday, April 12th, 2024

Residencies Begin: April, 2024

Selection Process Overview:

Applications are at first reviewed by the HERE Programming team to ensure they are complete (we might reach out if there is missing information).

Next, the applicant-selected panels will then review all applications and rank them in relation to our guidelines. The panels will then discuss the projects, rerank and recommend the finalists.

The HERE curatorial staff (who do not serve as voting panelists) - Remi Harris and Amanda Szeglowski - will then meet with the finalists and make a final decision on which 2-3 artists will be invited to join the community of existing resident artists.

Send any questions to programming@here.org or call 212-647-0202 x 320.

Equity Library Theater of New York Winter 2024 Virtual Play Festival, seeking short plays


Deadline: May 1, 2024

Submissions are being accepted for the Equity Library Theater of New York Winter 2024 Virtual Play Festival. Seeking short plays (no more than 20 pp/minutes), from playwrights from around the globe. Also seeking monologues (no more than 5pp/minutes). Musicals welcome! 

We post your YouTube link of the performance to the festival site for voting. One submission per playwright. No submission fees. Please include name, address, telephone number and email address on your submission. We do not produce your work; we provide a venue for you to present actors performing your play. There are no costs involved for anyone. Seeking actors and directors, too! 

Friday, November 17, 2023



Deadline: January 15, 2024

• Plays should run between forty minutes and one hour including any required or desired breaks.

• The “cast” should be limited to no more than six people. Cast can include actors, musicians, or other artists required to tell the story directly to the audience.

• Plays should have not been produced elsewhere. We are looking to present world premiere plays.

• As an outdoor, summer theatrical experience like no other in Utah, entrants are invited to consider stories and genres suitable to the occasion. Ideas include but are not limited to:
  • Campfire tall tales
  • Backyard ghost stories
  • Summer love stories
  • Action-packed adventures
  • Musical comedies
  • Local histories
• Meanwhile Park celebrates the diversity of humanity and welcomes stories from diverse races, ethnicities, cultures, genders, and sexualities.
  • Submission for the 2024 Meanwhile Park Playwright Prize are now being accepted.
  • The deadline for submissions is January 15, 2024. Submissions should be sent via email to info@meanwhilepark.com
  • The winner will be announced February 16, 2024. All entrants will be informed of the winning entry via email.
  • The winner will be awarded a $500 honorarium no later than March 1, 2024 via Venmo or check.
  • The winning play will be performed six times during July and/or August 2024.
  • Entries will be judged by Jeff Paris and a panel of theatre enthusiasts.
  • The winning playwright will be involved in staffing and casting the production in conjunction with the producer.
  • The production will be granted the following:
  • Onstage performers will each receive $500.
  • The director will receive $500.
  • The stage manager will receive $500.
  • The lighting budget is $250.
  • The sound budget is $250.
  • Costume design will be determined based on the needs of the play.
  • Each performance will feature a pre-performance reception/party with drinks and snacks sponsored entirely by Meanwhile Park. For this reason, ticket sales are limited to individuals 21 and older.
  • Seating will be limited. Comp tickets will be made available solely at the discretion of the producer.
  • Meanwhile Park reserves the right to cancel the competition or the production at any time for any reason.

2024 Long Beach Short Play Festival


Deadline: December 3, 2023


Submissions are now being accepted for the 2024 Long Beach Short Play Festival, to take place on 4-5, 2024, at the Temple Emanu-El ballroom, which seats 150. Seeking original, unpublished short plays (maximum 30 minutes running time) that can be staged with minimal production requirements. 

Selected plays can be self-produced at the playwright’s option

Up to two (2) submissions per playwright will be reviewed. 

Submission is free, but each play selected for production requires a $150 participation fee to help defray some of the production expenses. Complete submission information and guidelines can be found at https://www.aip4arts.org/long-beach-short-play-festival

 Deadline for submission is December 3, 2023, sent to lbshortplayfestsubmissions@gmail.com.

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