Fall 2025 Spark Theatre Festival NYC

Website

Deadline: June 2, 2025

SUBMISSION FORM 

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

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

Please read our submission guidelines below.

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

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

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

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

We accept submissions for the following new works:

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

HOW TO APPLY

PART ONE: Read the FAQs carefully. 

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

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

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

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

Hit SUBMIT to submit your application'

GETTING ACCEPTED

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

APPLY

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

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

 Website

Deadline: May 23, 2025

APPLICATION FORM

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

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

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

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

APPLICATION TIMELINE: 

May 23: Applications due.

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

June 22: Confirmation of participation for accepted applicants due.

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

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

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

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

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

If selected, EAG PROVIDES:

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

Use of a Steinway model M baby grand piano

Simple light plot with lights up/down capability

1 free yearlong membership in EAG 

WE CANNOT PROVIDE:

Free rehearsal time

Script printing

Amplification or recorded sound

AEA contracts

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

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

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

Leni’s Last Lament

Written by Gil Kofman

Starring Jodie Markell

Directed by Richard Caliban

May 29 – June 14, 2025

Paradise Factory Theater

64 East 4th Street, NYC

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

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

★★★★ 

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

— EdFringe Review

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

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

★★★★ 

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

— Culture Fix

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

★★★★ 

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

— Jon Sobel/Blog Critics

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

★★★★ 

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

— Beyond the Curtain

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

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

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

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

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

• June 14: Closing night party.

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

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

Scenes from the Staten Island Ferry 2025

Website

Deadline: September 15, 2025

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

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

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

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

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

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

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

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

–Theme: It’s About Time!

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

Submission Guidelines:

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

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

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

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

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

-NO SUBMISSION FEE

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

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

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

The Ten-Minute Musicals Project 2025

Website

Deadline: August 31, 2025

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

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

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

SUBMISSIONS SHOULD INCLUDE THE FOLLOWING:

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

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

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

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

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

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

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

SEND TO:

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

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

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

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

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

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

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

Fast-paced comedy material has an advantage.

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

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

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

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

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

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

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

The People’s Theatre Playwrights Unit 2025 is seeking playwrights

Website

Deadline: May 31, 2025

or when 100 submissions are received

SUBMISSION FORM

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

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

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

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


YOU WILL RECEIVE:

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

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

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

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

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

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

$1500 award for your participation.

The People's Theatre will receive

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

ELIGIBILITY:

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

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

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

SCHEDULE:

Developmental Workshops

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

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

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

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

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

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

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

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

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


New Horizons Reading Festival

Dec 1- Dec 7, 2025

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

Venue: TBA

Reflection meeting

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

SUBMISSION SCHEDULE

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

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

The week of July 7, 2025: Participants Selected

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

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

Website

Deadline: May 15, 2025

"priority may be given to early submissions"

Script submission form

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

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

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

*Priority may be given to earlier submissions

Length: Full-length (60-100min)

Cast size: 8-12

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

The scripts we’re looking for are:

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

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

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

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

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

​
FAQ

Q: Do you charge playwrights fees?

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


Q: Will selected playwrights receive money from ticket sales?

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

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

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

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

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

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

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

SkyPilot Theatre Company, seeks original one-act plays

Website

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

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

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

Parameters are as follows:

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


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

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

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

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

Website

Deadline: July 5, 2025

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

We seek works that grapple with:

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

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

Submissions must be original and unpublished.

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

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

2025-26 PlayGround-NY Writers Pool

Website

Deadline: May 31, 2025 at  11:59pm PT

SUBMISSION FORM

2025-26 Writers Pool Submission Guidelines

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

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

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

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

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

ELIGIBILITY REQUIREMENTS AND RESPONSIBILITIES

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

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

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

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

WHAT TO SUBMIT

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

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

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

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

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

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

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

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

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

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

The Kleban Prize for Musical Theatre 2026

Website

Deadline: May 15, 2025 at 5pm EDT.

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

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

Eligibility

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

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

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

Applicants may only apply once per category per year.

Applicants may win in only one category.


Application Materials

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

LYRICIST CATEGORY

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

LIBRETTIST CATEGORY

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

Application Step-by-Step

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

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

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

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

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

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

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

Lyricist Application

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Baltimore Center State Trans History Project commission

Website

Deadline: May 11, at 11:59PM EST 

SUBMISSION FORM

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

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

MISSION: 

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

SUMMARY:

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

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


COHORT 1 RESIDENCY THEATER PARTNERS : 

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

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

Project Eligibility:

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

Applications must include:

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

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

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

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

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

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

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

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

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

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

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

Literature Today- an International Literary Journal seeks short plays

Website

Deadline: June 18, 2025

Send all submissions to : editorliteraturetoday@gmail.com

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

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

Simultaneous submissions are welcome.

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

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

Main Topic: "Echoes of the Human Experience"

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

Subtopics

1. Whispers of Identity

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

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

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

2. Threads of Connection

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

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

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

3. Shadows and Light

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

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

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

4. Footprints on Earth

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

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

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

5. Time’s Tapestry

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

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

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

6. Dreamscapes and Realities

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

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

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

7. Voices Unheard

Amplifying marginalized perspectives, untold stories, and silenced voices.

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

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

8. Sacred Spaces

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

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

9. The Art of Living

Celebrating creativity, artistry, and the pursuit of passion.

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

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

10. Fragments of Tomorrow

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

Encouraging speculative literary works that questions where humanity is headed.

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

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

Facebook page

Deadline: June 1, 2025

Plainfield, Vermont

SUBMISSION FORM

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

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

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

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

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

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

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

Nashville Rep Ingram New Works Project

Website

Deadline: May 30, 2025 at 5PM CST

APPLICATION PAGE

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

We will only accept one submission per person.

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

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

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

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

The 2024-2025 Lab Weeks are as follows:

Lab 1: October 6-11, 2025

Lab 2: January 12-17, 2026

Lab 3: March 9-14, 2026

Do playwrights have to attend all dates?

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

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

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

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

Applicants must send the following:

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

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

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

Who reads the submissions?

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

What happens after I submit?

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

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

Thumbcoast Live Theaters seeks full-length plays

Website

Deadline: May 9, 2025

SUBMISSION FORM

Marine City Michigan

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

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

M. T. Pockets Theatre open for season submissions

 Website

Deadline: September 30, 2025 11:59 PM

Submit on the online form

Submissions are open for our 2026 season. 

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

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

Mission

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

Vidalia Winter Yield seeks 10-minute plays

Website

Deadline: June 30, 2025

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

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

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

Limit TWO (2) submissions per playwright.

(Any playwright caught violating this will be disqualified)


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


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

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


Email submissions to: vidaliatheatre@gmail.com


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

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

your email and telephone

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

Number of characters

Comedy or Drama

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

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


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

OPEN TO ALL PLAYWRIGHTS

(with special consideration for those who reside in Georgia)

CONTACT US


Mail: 2382 Charleston Ter, Decatur GA 30034

Email: vidaliatheatre@gmail.com

Tel: 678-315-2767

Mini Plays magazine seeks submissions for their JUNE 2025 anthology

Website

Deadine: June 15, 2025

We are looking for submissions for our JUNE 2025 anthology.

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

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

Last date of submission: June 15th, 2025

Please send your work to miniplaysmag@gmail.com

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

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

Note:

The anthology will be published in pdf and paperback edition.

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

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

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