The Westchester Review seeks 10-minute plays

Website

Deadline: Dec 31, 2025 11:59 PM

SUBMIT VIA SUBMITTABLE

The Westchester Review considers previously unpublished stories, creative nonfiction, and poems by established and emerging writers wherever they reside. We are an exclusively online journal, publishing quarterly issues.

We welcome submissions from a diverse range of writers, including voices and perspectives that have historically been underrepresented in the literary sphere. Past contributors are welcome to submit again. All submissions must come through Submittable.

We receive thousands of submissions every year and do our best to respond within five months. Please do not query the status of your submission until at least six months have elapsed.

FOR ALL SUBMISSIONS

Thank you for considering The Westchester Review as a possible home for your work. General submissions are free. We consider simultaneous submissions, but kindly notify us as soon as possible if a piece has been accepted elsewhere. Please include a cover letter that lists word count (for fiction and creative nonfiction) along with your name, address, phone number, and email address. If you have a connection to Westchester County, please note it in the applicable field in Submittable. Westchester authors are acknowledged, but a connection to Westchester is not required in order to submit, and will not affect submissions status.

Please be sure to submit your work through the appropriate portal. Submissions sent through the wrong portal cannot be read. Please submit work only once during a submission period. Multiple submissions cannot be read.

The Westchester Review is not currently a paying market. Our editors and readers are all volunteers. We do our best to promote the work of our contributors via social media.

We do not accept submissions of AI-generated work. We reserve the right to withdraw acceptances of any work found to be AI-generated, even after publication.

Do not send work in PDF format.

We do not accept translations in any of our categories.

Please do not submit revisions of previously declined work unless specifically requested to do so.

PLAYS

We consider 10-minute previously unpublished plays which must be double-spaced and sent as word documents. Anything longer will not be considered. Please do not send work in PDF formats

BREAK A LEG PRODUCTIONS seeks 20-40 minute plays for our 2026 Love Fest: Love on Location

Website

Deadline: December 1, 2025

Email your script as a PDF to plays.balproductions@gmail.com. 

The subject line should be "Love Fest: Title of Play – Playwright's Name."

We are looking for plays about love, set in a location that plays an integral part in the plot.

Submission Rules

- One submission per playwright
- No children's plays or musicals
- All characters must be performed by adult actors (18 years or older)
- Length must be 20-40 pages (any more and you will not be considered.)

Brave New Work, a short play development series seeks 10-15 minute plays

Website

Deadline: January 16, 2026

APPLICATION FORM

New York Shakespeare Exchange and The CRY HAVOC Company are thrilled to debut our collaborative project Brave New Work, a short play development series that invites NYC playwrights to create original work inspired by, expanding, reflecting upon, remixing, and critiquing the plays of William Shakespeare.

Across several weeks, four writers will craft short plays responding to a Shakespearean prompt through development workshops facilitated by NYSX and CRY HAVOC, culminating in a public reading of all four plays. Applicants need to be local to the NYC area to participate and we are especially seeking artists from underrepresented communities for this project. No fee to apply or participate; writers are paid a stipend for the use of their work in the public presentation.

In year one of this project—Shakespeare as Prologue—we are looking for playwrights interested in exploring the aftermath of Shakespeare’s plays. Apply with an idea for a new short two-character play that takes place after the end of a Shakespeare play (the moment after the play ends, five years later, 50 years later, 500 years later…)
The Guidelines

• You do not have to be a “Shakespeare Nerd” to participate in this project (but if you are, you are also welcome!)
• Select a single Shakespeare play as your starting point.
• We are looking for a proposal for a 10-15 minute play with two characters.
• One character must be from your chosen Shakespeare play; the other can be invented.
• Writers will be developing their plays in a workshop feedback process; we are looking for playwrights that are interested in discussing their work and supporting the work of others!

How does the collaboration work?
Each writer is paired with a facilitator—a CRY HAVOC or NYSX artist—to confer with before and after each feedback session. Facilitators moderate each session in support of the playwrights and their goals. The feedback sessions will include a combined roster of artists from the NYSX and CRY HAVOC communities, the Brave New Work writers, and their invited guests and colleagues.

The Schedule (all sessions will be in the evening)

Sun. 3/1: welcome meeting with playwrights and staff

Tue. 3/10 and Thu. 3/12: 1st draft feedback workshops

Tue. 3/17 and Thu. 3/19: 2nd draft feedback workshops

Tue. 3/24 and Thu. 3/26: 3rd draft feedback workshops

Tue. 3/31 and Thu. 4/2: rehearsal draft feedback workshops VIA ZOOM

Thu. 4/16: public reading of the play collection

ABOUT US

The CRY HAVOC Company believes that writing a script doesn’t have to be a solitary experience. Feedback at key points in the writing process can bring you closer to your goals. Our approach to script development places your writing goals at the center of the workshop discussion, ensuring that collaborators are offering feedback in service of the play you are trying to write.

New York Shakespeare Exchange uses Shakespeare's body of work as a starting point and toolkit for building stronger, more empathetic communities. We invite our fellow New Yorkers to form a relationship of “exchange” with Shakespeare’s legacy, creating new opportunities for artistic expression, social connection, and mutual learning. This active exchange between centuries-old works and contemporary points of view honors an essential quality of Shakespeare’s creative spirit - to search the world around us for inspiration, and our own imaginations for innovation.

Locally Grown Theatre is now accepting play submissions for its 2026 Season

Website

Deadline: December 1, 2025

Submit your script to: artistic.director@locallygrowntheatre.org 

We’re a small but mighty community theatre based in Cottage Grove, Minnesota, performing under the open sky — so we’re looking for scripts that thrive in the great outdoors!

What We’re Looking For:

Plays 50–90 minutes long

Simple tech and set requirements (we perform outside!)

Flexible cast sizes, ages 10–100

Family-friendly stories — think adaptations of classic literature, folklore, fairy tales, or even spooky season tales!

 Royalty: $50 per performance (we typically do 6 performances)

Our Mission:
The mission of Locally Grown Theatre is to plant the seed of theater; to cultivate the inner artist in youth; to nurture the love of theatre arts within the community; and to grow artists, of all ages, through experimentation in multiple theatrical forms.

If your play aligns with our mission and style, we’d love to read it!


Let’s grow something beautiful together — on stage and in our community.

Gather by Ghostlight seeks 10-minute plays

Website

Deadline: December 31, 2025

Or when they receive 300 submissions

Send scripts to submissions@gatherbytheghostlight.com.

GATHER BY THE GHOST LIGHT'S 3rd Annual Off-Broad Street Short Play Festival will take place in April 2026 at Le Chat Noir Theatre in Augusta, GA! And we want you to submit your script!

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

• One submission per playwright.
• 12 pages or less.
• No monologues or one-person plays.
• No musicals.
• No screenplay scripts. This is a stage play festival.
• Open to ALL genres (adult language and situations are allowed).
• Plays must be in English language.
• Previously produced plays are okay.
• PDF files only (any other format will not be read).
• Submissions should have no author information on the script itself. Your contact info should only be in the body of your email.
• Playwrights of selected scripts will be notified in mid-February.
• No submission fee.
• The deadline is December 31st or once we receive 300 submissions (whichever comes first).
• The ONLY file attached to your email should be the PDF of your script with no author info.

YOUR SUBMISSION (IMPORTANT)

Your email should have these details included (copy and paste this if needed)
PLAY TITLE:
YOUR NAME:
YOUR EMAIL ADDRESS:
This is the ONLY info we need. Please don't add your resume, production history, or any other supplemental information.

IF ANY OF THE ABOVE GUIDELINES ARE NOT FOLLOWED, THEN IT MEANS THAT YOU LIKELY DIDN'T READ THROUGH THEM SO YOUR SUBMISSION WILL ALSO NOT BE READ

SELECTED SCRIPTS:
- A total of 8 selected plays will be performed in April 2026 at Le Chat Noir Theatre.
- Selected playwrights will each receive $50
- Selected plays will be published in the 2026 Off Broad Street Festival anthology by Ghost Light Publications. (Non-exclusive, all licensing rights still belong to the playwright).

The Solidarity Project: a Celebration of Historical Nonviolent Resistance

Website

Deadline: December 31, 2025

SUBMISSION FORM

Atlanta Dramatists is producing The Solidarity Project: a Celebration of Historical Nonviolent Resistance. They seek plays ranging from 10 minutes to 30 minutes which illustrate nonviolent resistance throughout history and all over the world. For the purposes of this project, scripts should be inspired by events that occurred prior to 2015. The focus of this festival is history, and the overall themes will be hope and empowerment. Scripts may be historically accurate, historical fiction, historical fantasy, etc. provided they are inspired by actual events.

The resistance depicted must be non-violent, but the play may contain violence in other aspects, such as if there were a violent reaction to a non-violent protest. Atlanta Dramatists is open to the use of music, puppetry, and dance as well as traditional “straight plays.” No projections or elaborate sets; this is a festival of plays that will all share the same set, though chairs, benches, blocks, and tables may be added or removed between pieces.

Each script may utilize up to 5 actors. Unless ethnic specificity is vital to the plot, please allow for flexible yet diverse casting.

Playwrights will receive royalties for the scripts selected. Performances will be at The Academy Theatre in Hapeville, GA, in 2026. (There is a chance the show will tour to other venues, as well.) Playwrights will receive 2 comp tickets. Playwrights may submit up to two scripts each.

Some examples to inspire your research (but you’re not limited to these!):

• Haiti 1946
• Indian Independence Movement
• Women of Liberia Mass Action For Peace
• South Africa: Anti-apartheid movement
• Scotland: 
• Anti-nuclear power protests 
• Holy Loch protests 1960-61
• Ireland: 
• Irish Non-cooperation Movement
• 1879 Boycott (Irish Land League)
• France:
• Coup of 18 Bromaire
• Jewish Refuge (le chambon-sur-lignon)
• America:
• Declaration of Independence
• Civil Rights Movement
• Children's Crusade
• Trail of Broken Treaties
• Kaho’olowe
• Montgomery Bus Boycotts 
• Women's Suffrage parade 1913
• Poland:
• Solidarity 
• Orange Alternative
• White Rose Resistance
• Arab Spring 
• Singing Revolution (Estonia, Latvia, Lithuania)
• Korea: March 1st Movement

And many more!

Spring Shorts: Savannah Country Day School Upper School Ten-Minute Play Festival

Website

Deadline: December 19, 2025

Performance Dates: April 23–25, 2026

The Upper School of Savannah Country Day School is seeking submissions of original ten-minute plays for our upcoming festival, Spring Shorts! Selected plays will be fully staged and performed by Upper School students in April 2026.

We are committed to the best-practice standards set forth by the Dramatists Guild for contests and festivals, including open, fair, and transparent procedures. Submissions will be accepted without reference to the author’s identity (judging is blind), and every playwright will receive notice of their submission status. We are seeking unpublished plays (previous productions are welcome), and all selected scripts will be performed by high school actors, so content and casting requirements should reflect that. Because this is a festival setting, technical simplicity is preferred. By following these principles, we aim to provide an equitable, professional, and artistically supportive opportunity for all participants.

GUIDELINES FOR SUBMISSION

• Eligibility: Open to all playwrights. Plays must be suitable for performance by high school students.
• Length: Running time should be between 9–11 minutes.
• Format: Please submit scripts in standard play format, as a PDF. Your name should appear only on the title page. Submissions will be read and judged blind.
• Number of Submissions: Playwrights may submit up to two plays for consideration.
• Compensation: A royalty of $25 per performance will be paid for each play selected.

SELECTION PROCESS
A panel of students and faculty will review all eligible submissions. All playwrights will be notified of their submission status by January 30, 2026.

SUBMISSION INSTRUCTIONS
Email submissions to: playsubmissions@savcds.org

• Subject line: Spring Shorts Submission – [Play Title]
• Attach your play as a PDF file. Ensure your name does not appear anywhere in the document except the title page.

Questions may be directed through Facebook or emailed to playsubmissions@savcds.org.

CHAIN THEATER Winter One-Act Festival 2026

Website

Deadline: November 30, 2025

APPLICATION FORM

February 6 - March 1, 2026

FREE TO PARTICIPATE

FREE REHEARSAL HOURS

ALL PERFORMANCES AT THE CHAIN THEATRE COMPLEX IN THE HEART OF MIDTOWN

Plays are chosen for the Chain Winter One-Act Festival based on originality, inspiration, and innovation. The background or experience of the playwright and premiere status is taken into consideration, but submissions will be judged on the quality of the play. All themes or genres are welcome. One-Act Play runtime must be no shorter than 10 minutes and no longer than 1 hour. Shows will be performed in person.

NON UNION shows will LIVESTREAM for at least one performance.

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


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

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

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

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

APPLICATIONS

The deadline for submitting to the 2026 Chain Winter One-Act Festival will be November 30, 2025. There are no submission or participation fees for the Chain One-Act Festivals. Complete the following application and you will be directed to information on submitting your play.

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

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

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

Applications that are not complete will not be accepted. No materials will be returned.

ONLY ONE SUBMISSION WILL BE CONSIDERED FOR EACH PLAYWRIGHT.

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


ACCEPTANCE

Notification of acceptance status will be sent by email on or about December 8, 2025.

If you are accepted into the festival, your email will inform you of the location of the organizational meeting to be held on December 15, 2025 at 6:30pm. IT IS REQUIRED AND MANDATORY THAT SOMEONE REPRESENTING YOUR SHOW BE AT THE ORGANIZATIONAL MEETING. This meeting is where you will receive your performance schedule and meet your fellow participants.

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

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


SCHEDULING

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

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

BOX OFFICE and TICKETING

Chain Theatre handles all aspects of ticketing and box office. Tickets will be $24 in advance online and $27 at the door.

TECHNICAL

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

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

PUBLICITY

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

EXCLUSIVITY

If you are accepted to the Chain Winter One-Act Festival, part of our agreement prohibits the performance of your show anywhere in New York, New Jersey or Connecticut any time from acceptance into the festival through March 2027. Please keep this restriction in mind when accepting other invitations to perform your show during these months, particularly before you have received acceptance status notification from Chain Theatre. Chain Theatre is making an investment in you and your production. We are not previewing your show to take to other festivals and want our mutual efforts of promotion to bring an audience to this production.

If you can no longer participate in the Chain Winter One-Act Festival, you must notify us before December 7, 2025. If the production drops out after you are accepted, you will be disqualified from participating in future Chain Festivals.

WHAT TO DO NOW

1. Choose your show.

2. COMPLETELY fill out the application form.

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

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

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

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

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


CONTINUE TO APPLICATION

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

Masque & Spectacle seeks short plays for its March 2026 issue

Website

Deadline: January 31, 2026

Send drama submissions to masqueandspectacle@gmail.com. Attach written submissions in a single Word doc or docx file, and include the word “DRAMA” in the email subject line.

Masque & Spectacle reads submissions for its bi-annual issues November 1 – January 31 and May 1 – July 31. Submissions received outside of this time period will be automatically deleted. Responses can be expected within a month. Acceptance rate is around 10%. Submissions not titled/tagged or formatted or properly under the Submissions Guidelines will not be considered for publication. We only consider one submission per author/format during any given reading period. We generally avoid publishing authors in consecutive issues.

The theme for our March Issue is storms.

We do not accept previously published work, and we ask for First Electronic Rights and Non-Exclusive Archival Rights upon acceptance. Unfortunately, we are unable to pay contributors at this time.

Simultaneous submissions are accepted, but please let us know if your work has been accepted elsewhere. Additionally, we do not typically publish the same authors in back-to-back issues.

For any queries, please contact us at masqueandspectacle@gmail.com.

Drama
We welcome 10-minute plays (up to approximately 10 pages in length). No full-length plays will be considered at this time. Shorter plays are also welcome.

While traditional plays are welcome, we are particularly interested in innovative and/or interdisciplinary texts that break new ground, either in relation to their subject matter, or in how the text itself is performed/written/represented on stage.

Playwrights may submit one previously unpublished 10-minute play for consideration. The script should be accompanied by a cover letter, which includes your name, address, phone number, and email address. Proper playwriting format should be used. If you are uncertain about this format, several examples can be found online.

2026-2027 Excellence Artist Fund Residency - Innovation in the Arts - The Department of Theatre & Dance at the University of Wyoming

Website

Deadline: December 8, 2025

Applications should be compiled and submitted as a single PDF document and sent via email to theatre_dance@uwyo.edu with “Application for 2026-2027 Excellence Artist Fund Residency” in the subject line.

The Department of Theatre & Dance at the University of Wyoming invites proposals for the 2026-2027 Excellence Artist Fund Residency - Innovation in the Arts. This prestigious residency is designed to support visiting creative artists, writers, and/or scholarly programs in the development and presentation of innovative new work at the University of Wyoming, while fostering meaningful engagement with both our campus and the broader Laramie community.

Through this residency, the Department of Theatre & Dance aims to award between one and three artists, artistic groups, and/or companies with funding ranging from $50,000 to $150,000, supporting both the creative process and community-centered practices integral to the artist’s residency.

Residency Period

The residency will take place over a two to four week period during the University of Wyoming’s 2026-2027 academic year. Specific dates will be determined in collaboration with the selected artist(s) to best align with the university’s calendar and the needs of the proposed project.

Residency Requirements

All recipients of the 26/27 Excellence Artist Fund Residency are expected to actively engage in the following activities throughout the duration of their residency:

• Engagement with University of Wyoming students through workshops, lectures, class visits, or other interactive opportunities.

• Engagement with the broader Laramie and Wyoming communities, fostering connections beyond the university setting.

• On-campus presence during the development of the proposed work is required for the term of the residency.

• Collaboration with The Neltje Center for Excellence and Creativity in the Arts in a meaningful capacity. This might include a public presentation, workshop, or dedicated development time.

• The residency must culminate in a public presentation, performance, exhibition, or other form of sharing the completed or in-progress work with the university and/or wider community.

Eligibility Criteria

Creative artists, writers, and scholars of all backgrounds, geographies, and levels of experience are encouraged to submit a proposal.

Proposals will be reviewed based on the following criteria:

• Artistic merit and originality of the proposed work

• Feasibility of the project within the scope and duration of the residency

• Potential for meaningful engagement with University of Wyoming students and the broader  Laramie community

Priority will be given to proposals that:

• Demonstrate a strong interdisciplinary approach that incorporates the disciplines within Theatre & Dance

• Thoughtfully incorporate the theme of Innovation in the Arts

Submission Requirements

Round 1 – Preliminary Application

As the first step in the application process, artists must submit the following materials, compiled into a single PDF document, via email to theatre_dance@uwyo.edu with “Application for 2026-2027

Excellence Artist Fund Residency” in the subject line.

1. Curriculum Vitae (CV)/ Resume/Company Website

2. Artist Statement (This is where applicants can include any publicity and/or reviews

relevant to their proposed project)

3. Project Proposal, including:

a. A detailed (1-3 page) description of the process to be utilized and the project to be

developed during the residency, including how the work will incorporate the theme of

Innovation in the Arts.

b. A clear explanation of how the project intends to utilize an interdisciplinary approach.

c. A description of how the project will be shared publicly at the conclusion of the

residency (e.g., performance, exhibition, workshop, lecture, etc).

4. Residency Activity Proposal, including:

a. An engagement plan outlining how you will interact with students at the University of  Wyoming’s Theatre & Dance Department and how your project supports the  department’s vision and mission (e.g., class visits, workshops, talks, etc).

b. An engagement plan for connecting with the greater Laramie and Wyoming communities (e.g., public events, community workshops, etc).

c. A description of how you envision collaborating with The Neltje Center for Excellence and Creativity in the Arts (e.g., public showings, workshops, creative development, etc). You can learne more about the Neltje Center here - https://www.uwyo.edu/as/neltje-center/

5. Portfolio/Website Link: A minimum of five work samples that best represent your artistic  practice and demonstrate relevance to the proposed project. Work samples may include images, videos, audio files, and/or writing samples.

6. Preliminary Budget Estimate

a. Budgets must fall within the range of $50,000 to $150,000.

b. Budgets should account for all expenses, including fees for participating artists/collaborators, travel, accommodations, materials, and production costs.

7. Proposed Project Timeline

a. A detailed estimated timeline outlining the project’s development and residency activities, including research and development work planned to be done in preparation before the start of the residency, potentially in collaboration with The University of Wyoming students and staff.

b. Please note that the required two to four week residency period may be scheduled flexibly and does not need to be consecutive.

Round 2 – Final Application (By Invitation Only)

Applicants selected to advance to Round 2 will be asked to submit the following additional materials:

1. Online Interview - Finalists will be invited to participate in an online interview with the

selection panel prior to final decisions being made.

Submission Timeline

Round 1 – Preliminary Application

Deadline: December 8, 2025

Applications should be emailed as a single PDF document to theatre_dance@uwyo.edu with

“Application for 2026-2027 Excellence Artist Fund Residency” in the subject line.

Round 2 – Zoom Interview (By Invitation Only)

Notification: Applicants selected to advance to Round 2 will be notified by February 2026.

Decisions and Applicant Notifications

All applicants will be notified of their status by March 2026.

Public Announcement

Final decisions will be made and announced after contracts and agreements have been made

Reunion: The Dallas Review open for submissions for 2026

Website

Deadline: February 1, 2026 1AM

SUBMIT VIA SUBMITTABLE

For over three decades, Reunion: The Dallas Review has been dedicated to finding and publishing exceptional examples of short fiction, drama, visual art, poetry, translation work, and creative nonfiction. Our mission is to cultivate the arts community in Dallas, and promote the work of talented writers and artists both locally and across the globe.

Thank you for considering Reunion: The Dallas Review for your Drama piece! We look forward to reading your work.

At this time, 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 Drama: We accept plays, screenplays, one acts, etc. that are formatted to industry standards.

• 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.
• Submissions may be multilingual, with English as the main language, but may not be translations. Any translations should be submitted to Reunion's translation portal. Translations will not be accepted in drama submissions.
• We do not accept any works made with the use of AI. 

Downtown Urban Arts Festival/DUAF 2026 is Open for Submissions

Website

Deadline: December 8, 2025

Please submit to https://www.duafnyc.com/submit

Downtown Urban Arts Festival (DUAF) is seeking theatrical works (plays, musicals, and solo performances) for its 24th Annual season to be held in June 2026 in downtown New York City.

DUAF supports diverse, new, and emerging voices from America’s burgeoning multicultural landscape. Over 200 playwrights have participated in DUAF and some have gone on to greater success on Broadway and have claimed top prizes such as the Pulitzer, Tony and Obie awards and nominations.

Submission Categories:

Short-length play (under 45 minutes)

Full-length play (up to 70 minutes)

Eligible Projects: 

• Plays do not exceed 70 minutes
• Plays should be new or existing work with minimal exposure 
• Plays should not have any other production in New York City during the 30-day period before and after the 2026 festival 

Playwright’s Supports: 

• No submission or participation fees 
• $800 (short) and $1,200 (full) playwright stipends
• Actor and director stipends
• Casting support 
• Technical design and operation 
• Reimbursed rehearsal space rentals
• Actor’s Equity Showcase Code application administration
• $1,000 awards for best full, short and audience

Submission Checklist: 

• Playwright's bio with contact info including name, address, phone # and email
• Photo of playwright
• Synopsis of theatrical work
• Complete script of theatrical work
• Estimated running time of work

Please submit all attachments as .pdf. Photos must be in either .jpg or .jpeg.

For more info about DUAF, visit: duafnyc.com.

Irish American Heritage Museum (IAHM) one-act play competition

Website

Deadline: December 1, 2025

Send script by snail mail to:

Meg Carroll
One Act Play Contest
Irish American Heritage Museum
21 Quackenbush Square
Albany, NY 12207

The one-act play competition is open to all. 

One submission per author is allowed. 

Scripts must be original, unpublished and not-yet produced, and must be with an Irish or Irish American theme. 

The scripts must be 20 – 35 minutes long, with a maximum of six actors. Settings should be simple, with a single compelling conflict. 

A variety of genres are welcome, including comedy, tragedy, drama, magical realism, myth, romance, satire, and musicals. The only genre not eligible is children’s plays. 

The winners will be responsible for casting and production of their respective plays; IAHM will provide access, date/s for show/s, and refreshments for attendees of the performances.

The schedule for IAHM’s One-Act Play Competition is:

• December 1, 2025 (Close of Business): Deadline for submissions.
• February 1, 2025, Winners of Competition announced.
• May 2026, winner’s works performed at the Irish American Heritage Museum’s Flanagan Theater.

Judges from IAHM’s Board of Directors, Programs Committee and the region’s theatrical/literary community will review all entries. The judges’ decisions will be final.

The Ephemeral Players is accepting submissions for new works to produce

Website

Deadline: December 15, 2025

The Ephemeral Players are a new Nonprofit Theater Company based in NYC whose mission is to create accessible immersive theater that empowers emerging artists and supports causes illuminated by plays we produce.

We are currently accepting submissions for new works to produce as part of our upcoming 2026 season. For consideration in our 2026 season, please submit by December 15th, 2025. Any submissions received after this date will be reviewed but will likely be considered for future seasons.

We are interested in collaborating with emerging writers and producing their plays as readings, staged readings, and fully staged productions. We are prioritizing plays with immersive elements/audience interaction that have a social message in their theme. Plays can be of any range of length, from 10-minute to full-length


SUBMISSION GUIDELINES

Format & File Types:
PDF or .docx only. Please name your file: LastName_Title.pdf

Submission Limit:
Up to 2 pieces per artist.


What to expect:
Our artistic team reviews submissions on a rolling basis. If we feel your piece aligns with an upcoming production, reading, or fundraising event, we’ll be in touch.

If you’re interested, you can submit directly on our website at www.ephemeralplayers.org/work-with-us at the submission form towards the bottom half of the page.

Press Box Theater seeks submissions for New Playwrights Festival

Website

Deadline: November 30, 2025

by November 30 for consideration.

The Press Box Theater on Facebook

Submissions are now open for The Press Box Theater’s New Playwrights Festival, coming in January.

We’re seeking original plays from talented writers—no agent required.

Eight Annual Eric Weinberger Award for Emerging Librettists

Website

Deadline: November 30, 2025

SUBMISSION FORM

Only one submission per playwright/librettists will be accepted. The winner of the Award is announced in Spring 2026.

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

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

Submission Requirements:

The musical must:

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

​​
What to submit

All documents must be submitted as PDF files and they should be named with the part of the submission it refers to and the title of the show in the format of PART_TITLE, i.e.: for Tea for Three; BIO_TEA-FOR-THREE, SYNOPSIS_TEA-FOR-THREE, etc.

1. Biography and resumes of the creative team like writer, composer, lyricist (if applicable)
2. History of the submission’s development, and any previous titles it has gone through (if applicable, maximum one page)
3. Brief synopsis (maximum 150 words)
4. Brief artistic statement on the piece itself, including all source material, inspiration, goal, message, etc. (maximum one page)
5. Proof of rights (if applicable)
6. Demo and track listings (Demo selections to be posted as a Dropbox or Google Drive link)
7. PDF document of the full-script and sheet music, if available (no writers named)

Guidelines for Materials

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

PROOF OF RIGHTS

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

FULL SCRIPT

The full script must include:

1. Title page (which should only have the title on it and absolutely no other information)
2. Character breakdown (maximum one page)
3. The complete script with page numbers

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


Demo Tracks

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

1. Include at least one song from the first 25 pages
2. Have at least five recordings available – they do not need to be professional or studio quality, but they must be clear enough to hear lyrics, melody, and accompaniment
3. Have singers of appropriate vocal types for their respective roles
4. Be full songs only, no medleys of spliced songs


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


The Selection Process

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


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

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


Round 1 (September-December)

1. Our literary team reads the first 25 pages of the book and listens to the demo for any track related to these pages.
2. The team fills out evaluations for each show, which determine the submissions that continue to Round 2.
3. If selected as a finalist, the show’s application primary contact is notified via email.



Round 2 (January-March)

1. The selection committee reads the scripts in full and listens to all demo tracks submitted.
2. Committee members write their evaluations to determine which one is best suited for the Award.
3. The winner is announced in the Spring of 2025.
4. The application’s primary contact is notified and a development schedule is created with the winner.



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



The Winner

• Will receive $2,000 to help pay for cost-of-living expenses.
• Will receive development assistance in the 2025 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.

Seeking Decolonization Stories seeks one-act plays

Website

Deadline: December 10, 2025 at 11:59 PM PST

SUBMISSION FORM

Submissions in Spanish and Portuguese also accepted.

The prompt

We seek to commission non-musical one-act plays that focus on the underexplored relationships between our communities and climate change. We call on playwrights with the desire to share stories of resistance, celebration, and truth.

We are looking for playwrights who write in Spanish, Portuguese, native languages, English, or any combination of these to send a sample of playwriting that they consider representative of their work in light of this prompt. We will accept applications from November 1st to December 10th. From the applications we receive, our selection panel will choose 3 to 5 playwrights to be part of the resident cohort of Decolonization Stories: Climate Change Edition. This commission includes a playwriting residency, workshop, and public reading as part of the Decolonization

• Selected playwrights will have eight (8) weekly meetings between April and May 2026, followed by four (4) bi-weekly meetings between June and July 2026 with playwright Diana Burbano. All meetings will be on Zoom.

• Each playwright will write a one-act play responding to the prompt.

• Each playwright will receive $50 after signing the agreement and attending the first day of the

four-month residency.

• Each playwright will receive $950 compensation upon delivering their completed script.

• Commissioned works will be workshopped during the summer of 2026.

• Commissioned works will be presented as staged, directed readings in the fall of 2026.

To apply:

Please submit application materials here:

- At least one sample of theatrical writing in Spanish, English, or Portuguese*

- A one-paragraph statement of professional goals and aspirations

- A one-paragraph statement of why you were drawn to this call

- A one-paragraph statement about your community ties to Climate Change that motivates you to tell this story.

We are commissioning three to five plays centered on Black, Indigenous, Latino/a/x, and queer voices. We are seeking stories in Spanish, Portuguese, native languages, English, or any combination thereof that focus on the relationship between colonization and climate change.

These works will be developed and presented as staged readings at La Lengua's Fall 2026 festival in San Francisco, CA.

What are the Decolonization Stories?

Our residency and festival, Histories of Decolonization, is a platform for disseminating information about the ongoing legacy of colonization, specifically in the Americas. The project works to combat misinformation by centering narratives that shed light on the real impact and consequences of colonization that still exist today. We aim to create a space for playwrights with personal experiences and nuanced perspectives on this topic, providing an opportunity for knowledge sharing and mutual growth. You can check out our first edition's festival here.

What is Climate Change?

Climate Change describes the measurable shifts in the Earth’s temperature and weather patterns over a long period of time. Since the 1800s, the biggest catalyst for these shifts has been human activity. The burning of fossil fuels, deforestation, industrial processes, and agriculture are all contributors to the ongoing Climate Change crisis.

Why focus on Climate Change?

While Climate Change remains a salient aspect of public discourse, we rarely see conversations centered around the impact of Colonization on Climate Change. The increasingly boundless pushes for land acquisition (“legal” and otherwise) and the prioritization of new construction over conservation and preservation are examples of modern colonial practices.

By investigating these human activities and uncovering their roots in the colonial practices of resource exploitation, the establishment of settlements, and the displacement of native populations, we can better understand how Colonization exacerbates the Climate Change crisis.

We are living in a time where these realities are being denied and change-makers are often silenced, cast out, or criminalized. As art-makers in an increasingly digital world, we believe in the power of theatre to inject humanity back into the conversation. We also understand our role in bringing light to overlooked perspectives and giving space to the voices of our most vulnerable.

Our past Decolonization Histories Festival featured the play ‘The Arid Silence of Water’ by Viviana Calderón (a playwright and member of our second cohort), which offered insight into how colonization and the indiscriminate exploitation of natural resources connect and impact the daily lives of our communities. This piece played a key role in determining the direction of our Decolonization Histories project in this third edition.

11th Annual Pyro PlayFest 2026 Call for Plays Theme: "Spark of Creation: Humanity, Invention, and Expression"

Facebook page

Deadline: January 12, 2026

 SUBMISSION FORM

Paris Junior College Department of Drama's 11th Annual Pyro PlayFest is now accepting submissions!

In a season celebrating new voices, we are looking for bold, original short plays that explore the heart of creativity — the human spirit, invention, imagination, and the drive to express. Whether you tackle these ideas literally, abstractly, or metaphorically, we want to experience the spark that fuels your storytelling!

The chosen submissions will receive a full production on our 3/4 thrust stage space performed by students and community members in late April 2026, right here in Paris, Texas, on the Duane Allen Stage in the Ray E. Karrer Theater.

Please note: This is a non-paying opportunity. While we are unable to offer financial compensation at this time, selected playwrights will have the opportunity to have their work brought to life in front of a live audience by a dedicated team of emerging artists and community members.

Submission Guidelines

• Unpublished, minimally produced plays (readings okay; no full productions).
• Length: 10 minutes or less.
• Page Limit: 10 pages max (standard format, 12-pt font, with page numbers).
• Cast: No more than 6 characters.
• Technical Requirements: Keep it simple — minimal sets, basic lighting, and modest props.
• Theme Connection: Must explore creation, humanity, invention, or expression in some form.

Content Note: Please keep language and themes suitable for a general adult audience.

Important Dates:
• Submission Deadline: January 12, 2026
• Festival Dates: April 22-26, 2026

How to Submit:
Please submit your scripts (Up to three) in PDF format through this Google Form: New Works Submissions

Include a cover page with the following information:
• Play title
• Playwright's name
• Contact email
• Short synopsis (2-3 sentences)
• Character breakdown

Please make sure that your name is not on any part of the play except the Cover Page as we submit our shows to a panel, blind.

VILLAGE PLAYWRIGHTS ANNOUNCES OPEN SUBMISSIONS "LOVE IS QUEER" TEN MINUTE PLAY FESTIVAL

Website

Deadline: January 3, 2026

Submit to : villageplaywrights@gmail.com

The festival will be held at The Center 208 W13th NYC

in February 2026. 

Playwrights must be able to attend the festival in NYC

Labute Festival seeks one-act plays

Website

Deadline: January 21, 2026

Submissions should be sent to:
LaBute New Theater Festival, St. Louis Actors’ Studio, 360 N Boyle Ave, St. Louis, MO 63108

Created and staged exclusively each summer by STLAS, at The Gaslight Theatre in St. Louis and 59E59 Street and Davenport Theaters in New York.

Submissions will be accepted October 1, 2025 through January 31, 2026(Postmarked).

​PROFESSIONAL SUBMISSIONS

Successful entries will have no more than four characters and be crafted specifically to exploit our intimate performance space. (18′ x 18′ stage) Changes in scenery or setting should be achievable quickly and with few major set moves. Our focus is on fundamental dramaturgy: plot, character and theme.

Professional, new and previously unproduced one-act play submissions should include a letter of inquiry, a synopsis and a 10-page sample from the script. Running time for each performance should not exceed 45 minutes. Up to Eight plays will be chosen. In addition, a new piece from Mr. LaBute will be performed every night for the run of the festival.


For more information: 314-458-2978 or help@stlas.org

Oakland Review: Inaugural Playwriting Prize [Vol. LII - "Gibbous" Issue]

Website

Deadline: December 31, 2025 at 11:59 PM

SUBMIT VIA SUBMITTABLE

Inaugural Playwriting Prize [Vol. LII - "Gibbous" Issue]

Playwriting Prize: A competition for twenty-minute stage scripts. Only one playwriting piece will be accepted per issue. The final round will be judged by CMU Drama faculty (ranked #4 globally by The Hollywood Reporter in their 2025 list of best drama schools).

One piece per submission. Your name should not be printed anywhere on your submission, save the document title. Prize pot is $250.

Titles should follow the format “Name, Genre”.

Editors’ Foreword:

Having recently published our half-century issue, the Oakland Review is growing, working, waxing. Taken on its own, “gibbous” represents a concept still in the works, under construction, nearly-there. Perhaps this is what it means to live in a gibbous phase of the decade: something swollen, marked by tension and possibility. How do you—and your work—handle the half-light?

Shubert Fendrich Memorial Playwriting Contest 2026

Website

Deadline: December 31, 2025

INFO ABOUT SCRIPT SUBMISSIONS

To encourage the development of quality theatrical materials for the educational, community and children’s theatre markets, Pioneer Drama Service is proud to sponsor the annual Shubert Fendrich Memorial Playwriting Contest.

Submissions will be accepted on an on-going basis with a December 31 cutoff each year. All eligible plays accepted for publication will be considered contest finalists, from which the winner will be selected by April 30 of the year following submission. The contest winner will receive a $1,000 royalty advance in addition to publication.

Contest entries must meet all general guidelines and submission requirements.

Individuals currently published by Pioneer Drama Service are not eligible for this contest. Pioneer Drama Service employees and their families are also excluded.

NAMT's Festival of New Musicals 2026

Website

Deadline: December 16, 2025

SUBMISSION FORM VIA SUBMITTABLE

Now in its 38th year, NAMT’s Festival of New Musicals is the cornerstone of NAMT’s mission to be a catalyst for nurturing musical theatre development and production.

In 1989, the Festival of New Musicals was created to provide a forum to celebrate the new musicals that were being produced and presented around the country. Since then, the Festival has introduced musical theatre producers to 300+ musicals and 600+ writers from around the world. More than 85% have gone on to subsequent readings, workshops, productions and tours; been licensed; and/or recorded on cast albums as a direct result of the Festival!

Held over two days in New York City every fall, the Festival produces 45–minute presentations of eight new musicals before an audience of over 800 industry professionals with the experience and resources to move the work forward. We look for new musicals at all stages of development from the broadest possible range of voices.
Festival Purpose and Goals

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

QUALITY & RANGE

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

CONNECT WRITERS & PRODUCERS

Encourage a forum to spark new collaborations and ventures.

PROFESSIONAL DEVELOPMENT THROUGH CREATIVE DEVELOPMENT

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

DEVELOPMENT & PRODUCTIONS

Encourage future development and productions of selected new musicals.

Our 38th Annual Festival of New Musicals will take place on October 22 & 23, 2026.

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

Step 1: Is Your Show Eligible?

Any new musical can be submitted for consideration as long as it meets the criteria below.

Must-Haves:

• The Musical must be complete and ready for readings, workshops and/or productions. No placeholder scenes or songs. No abbreviated or summarized scenes or songs.
• The Musical should have a demo that is an accurate representation of the music and style of the show and at least 50% of the score (meaning half of all of the music) must be available to submit on demo.
• The Musical must have full underlying rights clearances for any pre-existing material used (music, source material, etc.) in the script.
• The Writers must be ready for readings, workshops and/or productions at the time of submission and available for presentations in October 2026 at the Festival.

Your Project is Ineligible to be Submitted if: 

• The Musical is already being licensed through a professional licensing house.
• The Musical has been produced on Broadway. [Shows that have had readings, workshops and/or productions (including regional or Off-Broadway) are still eligible.]
• The Musical has already been submitted to the Festival three times. Each project can only be submitted three times for review by the committee.
• The Musical has already been selected for the NAMT Festival of New Musicals as one of our main presentations (excludes shows presented as part of our supplementary programming including concerts, cabarets & showcases).
• The Musical is not complete, missing songs or scenes.

You should also consider:

• Writers are writers-only for the NAMT Festival process and may not direct, music direct or star in their presentations. No exceptions.
• Writers must be available for all rehearsals in person in New York City. Rehearsals may begin as early as October 11, 2026. NAMT does not provide housing or travel assistance.

Still have questions? Check out the Eligibility FAQ.

Step 2: Compile Your Information

Please note the following deadlines for the 37th Annual Festival of New Musicals:December 16, 2025: Early Deadline for All Submissions
January 6, 2026: Late Deadline for All Submissions ($40 fee applies)

Shows submitted by the early deadline require no fee for submission. Shows submitted after the early deadline will be charged a $40 late fee, which must be paid by credit card on the submission portal. No exceptions.

Deadlines expire at midnight PST (west coast time).

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

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

TIGER’S HEART PLAYERS PREMIER SIX LINES CONTEST

Facebook page

Deadline: November 23, 2025, Midnight

SEND SUBMISSIONS (two max, please) TO: Tigersheartplayers@gmail.com
Don’t forget title page with your contact info

MINI CASH PRIZES

$25 1st Prize
$15 2nd Prize
$10 3rd Prize
Honorable Mentions—cup o’ joe ($5)

What IS “Six Lines?”

Any 6 exchanges between any number of performers.

No more, no less.

Please consider a “Prompt,” title your Six Lines as such, and have fun!

We have listed a number of previously used prompts below—from which you’re free to choose—or otherwise create your own.

For those unfamiliar with “Six Lines,” you may also want to check out the sample following the list of previous prompts.

• Whack a Ground Hog
• These aren’t my pants
• The Bunny Ranch
• The Gold Toilet
• Teenage Vomit
• The Brief Return of Wally & The Beaver
• Throw the Baby Out with the Bath Water
• Not my cup of tea
• Killing the Chicken to Scare the Money
• what if poetry isn’t enuf?
• I’m terrible at this
• Living like a Maggot in Bacon

Also included is a very recent Six Liner based on an actual quote from Rupert Lowe, a British Parliamentarian

“GO AWAY, YOU DISCOURTEOUS MAN”

British Reporter: Oh hello, gentlemen, would you mind answering a few questions on the genocide in Palestine? Aided and abetted by the British government.

Parliamentarian : Go away you discourteous man. We’re about to dine and you’ll spoil our appetites.

Reporter: But to the point, sir, Palestinians are being starved—to death I might add--while you enjoy champagne and foie gras.

Parliamentarian: I’m afraid you’re mistaken, young man, I saw no foie gras on the menu.

Reporter: That’s not quite the point, is it sir? Palestinians are being starved while you gorge yourselves here this evening.

Parliamentarian: My good young man, if you continue to disrupt my progress I shall never make it to the dining table. And to suggest that any of us here would “gorge” themselves is entirely misrepresentative if not slanderous. Now, again, please withdraw your…tool and be off, you contumelious fellow. 

end

I found the Parliamentarian’s remark so inappropriately and stereotypically British, that I felt it would suit Six Lines well. Because this “form” is so restricted, one must also restrict action to those that are decisive. Most Six Liners will rely on language almost entirely. (Too much/many Stage Directions and they cease to be Six-Liners). As the absurdity of this adjective in the Parliamentarian’s opening sentence is what I felt fueled its genre, I felt the climax needed to be in the language, that is, even more ridiculously absurd. Obviously, the piece is contrasted with the devastating genocide in Gaza—so I created the dinner to which the Parliamentarian is focused on to contrast with the starvation in Gaza, obviously. There are fundamental elements of a “play” here, although it’s entirely unnecessary. (For an Inciting Incident—we could go back to the war itself, but for our purposes, I believe the dinner is the Inciting Incident—which brings the Reporter and Parliamentarian together. (Point of attack). The Parliamentarian tries to make the Reporter leave—to “go away…”--the Reporter persists, the Palestinian “theme/condition” rises, more pressure is applied to persuade the Parliamentarian, but he is dedicated to the dining table. The Parliamentarian charges The Reporter with “misrepresentation”—the language elevates to more absurd description/adjective and the confrontation is concluded. (Through language—or so I see it).

Anyhow, Six Lines is for fun, so please have some!

(The origin of “Six Lines” is unknown to me, and somewhat disputed, but I came to learn of it through playwright and author, Jeffrey Sweet)

Thank you to all who participate and/or invite others! And do drop by our Lab Sessions taking place every Sunday at 2p ET on Zoom. It’s FREE and includes playwrights, actors, directors & others from around the world working in both Stage & Screen. 

The link is at our Facebook page.

Sincerely,

Tiger’s Heart Players

Wayne Paul Mattingly
Artistic Director
Aliona Garcia
Executive Director

Queens Short Play Festival Winter 2026

 Website

Deadline: January 31, 2026

PLEASE NOTE: PLAYS ARE ACCEPTED ON A ROLLING BASIS. WAITING UNTIL THE DEADLINE TO SUBMIT IS NOT ADVISED.

Apply HERE: https://form.jotform.com/253154851790158

Following our successful Feastival at our new location we are pleased to announce that Queens Short Play Festival is now accepting plays for its Winter 2026 festival. The Secret Theatre seeks to promotenew work and emerging playwrights through our biannual One Act Festival. Last year's festivals were a success, and this year we are excited for more!

No fee to submit or produce.

• $250 Cash Prize for Best Play
• $100 Cash Prize for Best Director
• $75 Cash Prize for Best Actor
• $75 Cash Prize for Best Actor

• Each Play is guaranteed multiple performances [the exact number is decided once our final selection is made. Factors include the length of plays but is not usually less than 4 performances.

Guidelines:

• Plays must be between 10 and 15 minutes in length. Preference given to plays that havenot been produced before. Timings must be accurate; please overestimate if not sure. We will reject any play longer than 15 minutes. A rule of thumb is one minute per page if using 12pt Courier/Times Roman

• Playwrights are responsible for selecting the director and cast.

(We can help you if you do not have a director but preference will be given to playwrights who can provide their own directors and actors.)

• Easy to produce. (If you have a play that, for instance, includes a swimming pool, a large amount of sets and props, or anything else too elaborate or is impossible to cast, we may reject it.)

• Excerpts limited to 15 mins are acceptable

• Please submit plays in PDF or Word format only.

• We will divide selected plays into more programs, and selected Playwrights will be informed on a rolling basis.

• We offer discounted rates for rehearsals from $10 per hour for participants

 

QR:

The Secret Theatre
1010 44th Ave, LIC, NY 11101

ellipsis… literature and art open for submissions for the 2026 issue

Website
 
Deadline: December 16, 2025 at 2AM

SUBMIT VIA SUBMITTABLE

ellipsis… literature and art is a nationally and internationally recognized journal published by the students of Westminster University since 1965.

We accept original English language submissions in poetry, short fiction, creative non-fiction, drama, and art. Submit poems in one document, please. Our submission period is August 1 through December 15 for poetry, short fiction, drama, and creative non-fiction. We accept art submissions from August 1 through January 31.

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

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

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

New issues of ellipsis… literature and art are published each April.

Drama 2025-26 submission: Please submit one English language drama piece per year, up to 8,000 Words. Use 12 point font.

Theatre Now Soundbites festival seeks 10-minute musicals

Website

Deadline: December 1, 2025

SUBMISSION FORM

​

Theatre Now defines a 10-minute musical as any piece that can be performed in 10 minutes or less; has a beginning, middle, and end story arc; and includes music. Having produced over 100 pieces, we want musicals that are diverse and current, that test the musical form and communicate a well-crafted story. We accept musicals across all styles and genres and are happy to consider foreign language and/or bilingual scripts. 

We strongly encourage submissions from female, BIPOC and LGBTQ+ writers as well as writers with disabilities.

​​

Please review the following criteria thoroughly before sending your submission:

• Ten-minute musicals will be accepted from July 1st, 2025 - December 1st, 2025 at midnight.
• Submissions will not be considered before July 1st or after the deadline.
• Musical theatre writers can submit no more than two scripts during the current submission period.
• The story must have a beginning, middle, and end.
• We accept submissions in foreign languages or that are bilingual. Although the application process is in English, the work itself may be submitted and performed in any other language if selected.
• Each piece must include music.
• All submissions must be submitted via the submission form. No physical copies.
• Each musical must not exceed ten minutes when performed. If accepted, cuts may be required.
• Longer one-acts or full-length musicals will not be considered, although the submission may be a 10-minute portion of a longer piece as long as it tells a complete story with a beginning, middle, and end story arc.
• A musical may be a previously-produced work with a production history.
• We have no formal script formatting guidelines, but all scripts should be easy to read.
• The volume of submissions prevents us from providing feedback on all submissions.
• If your piece is visual (i.e. choreography-heavy), please include video footage or detailed descriptions. 

We expect to contact all writers by mid-February, 2026 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 waitlisted 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.

 

*All criteria is subject to change*

The Robert J. Pickering / J.R. Colbeck Award for Playwriting Excellence 2026

Website

Deadline: December 31, 2025

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.

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.
Production

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

Hepburn Hooks Theatre Co "Brown Skin Girl" seeks short plays

Website

Deadline: December 15, 2025

To submit your play, go to www.hepburnhooks.com/2025brownskinnedgirls or flash the QR Code.

For the second edition of our evenings of shorts, we are seeking out four female, BIPOC playwrights whose works we will fully produce and present at a London venue to be determined.

A clear element of inspiration for our very first endeavour is legendary superstar and timeless icon Beyoncé's 2019 song "BROWN SKIN GIRL", a gorgeous, heartfelt celebration of Black girl/womanhood. Its music video (which we enjoin you to watch, if you haven't already, features a plethora of Brown Skinned Girls and illustrates the broadness of this term!)

The plays may be set in any era, they may tackle whatever subject you desire, the stories may even not centre Black/Brown women at all!

We are quite simply looking to pick the brains of young, BIPOC female playwrights from all over the world and get a sense of how they feel about the world at large, or about very specific things in it. Let your imagination run wild, do not be afraid to be goofy, cringey, subversive or unapologetically militant - we want to see and hear it all!

• There is no entry fee for this opportunity. 
• This year, we are happy to announce that all four selected playwrights will receive a 100 GBP stipend. The remaining three playwrights will be offered a free yearlong subscription to www.playsubmissionshelper.com, the most comprehensive and up-to-date online directory of play submission opportunities available anywhere. 
• Playwrights must be aged (at least) 18 at the time of submission. 
• Your play should have a running time of 10 to 15 minutes. 
• Your play should require no more than 4 actors and minimal props. 
• Your play should be in English (mainly). 
• The play should be original, unpublished and it should not have been performed in the UK as of the day of submission. 
• Submissions containing copyrighted material that does not belong to you cannot be accepted. 
• Unfortunately, we cannot yet accept musicals. 
• Your play should NOT BE BLIND. 
• The document you submit should be a PDF. 
• Unfortunately, written feedback will only be provided to short-listed writers. 
• All submissions are final. No revisions to the text of a play will be accepted after it is submitted. 

Terrence McNally New Works Incubator Application - Cycle 4

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Deadline: November 21st, 2025 at 11:59pm EST
 OR when 500 applications have been received.

APPLICATION FORM

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

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

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

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

Approximately 80 semi-finalists will be notified of their status and asked to reconfirm demographic information (see eligibility below). Applicants will be notified of their semi-finalist status in January 2026.

Approximately 9 finalists are granted an interview with a selection panel, including representatives from Rattlestick Theater and Tom Kirdahy Productions. If applicable, applicants will be notified of their finalist status in March 2026.

In consultation with the Playwrights Advisory Council, 3 playwrights will be awarded the Fellowship in May 2026. The fellowship incubation and workshops will take place during the months of August and September 2026.

Eligibility

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

An eligible Terrence McNally Incubator Fellow:

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

2) Will not be a full time student or enrolled in a degree granting program as of May/June 2026.

3) Must be committed to actively participating in the New York City playwriting and theater ecosystem. This is a competitive opportunity that is designed to further playwrights’ networks specifically in the New York City theater industry. Why? The Terrence McNally New Works Incubator Fellowship is funded by the Terrence McNally Foundation, with the explicit goal of supporting emerging writers working in the New York City theater ecosystem, as Terrence was himself.

To that end, all Terrence McNally Incubator Fellows must live in New York City for the full duration of the fellowship (August 2026 - September 2026), and during the full scope of the 2026 - 2027 Rattlestick Theater season for events and fellowship gatherings. If you are currently located outside of the New York City area, you must be prepared to be a New York City local for the full duration of the fellowship year, and, ideally, strive to put down roots as a New York-based artist after the fellowship has concluded. Housing and transportation are not provided.

4) Must be available to commit to significant, full time development of your play for a 4-week period sometime during August/September of 2026 in NYC. Specific dates will be determined in consultation with selected fellows. All 29-hour workshop rehearsals and presentations will take place during regular weekday daytime hours and some weekend daytime hours.

5) Must be actively pursuing a career in theater in NYC, as evidenced by past productions at regional theaters, past productions off-off-Broadway, a history of self-producing, and/or graduate studies.

6) Must not have had more than one significant Broadway or off-Broadway premiere as a playwright, book writer, or author of a piece of theater.

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

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

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

An eligible Terrence McNally Incubator play:

1) Is complete.

We are looking for plays that are complete and would benefit from a development process involving professional-level actors and a director. The play does not need to be production-ready, but must be in a further stage than a first draft.

2) Is a full-length play.

A full-length play generally runs at least 45 minutes.

3) Is not a musical, opera, or play with more than 40% original musical composition.

Why? Terrence McNally was a lover of music and music played a large role in his work, however, this specific opportunity is about playwriting. While music is one form of theatrical language that you may wish to use, we look forward to hearing the music of your dialogue. If you are planning to apply with a play that includes some music, please be aware that only text submissions are allowed. We do not accept or consider any audio files, videos, or links to external websites. Currently the Incubator workshops do not have the resources to support musicians, music directors, or any music development.4) Has not been previously produced for an audience and/or is not optioned to be fully produced by any other theater, university, or commercial entity. Workshops and readings do not qualify.

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