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Friday, October 31, 2025

LaGuardia Performing Arts Center Rough Draft Festival

Website

Deadline: November 20, 2025

SUBMISSION FORM

The Rough Draft Festival offers artists a supportive environment to develop their work and provides students and community with the chance to witness the creation of new theater pieces.

Rough Draft Reading Festival: An open call inviting professional and student
playwrights to apply, running in MARCH. Applications are accepted from October through mid-December, with a committee selecting five professional and five student playwrights.

Work-in-Progress Festival: Taking place in the fall, featuring two of the professional plays chosen based on audience surveys. This component provides a platform for both professional and student playwrights to develop their work further.

Workshops: The Rough Draft Festival offers workshops aimed at community engagement and artistic development:

Artist-Led Workshops: Professional artists lead workshops on various theater production aspects and thematic explorations.

After completing the interest form, email your full proposal package (including your script, budget, and any supporting materials) to lpacresident@lagcc.cuny.edu

Wednesday, October 29, 2025

Free show ~ SEA WALL by Simon Stephens

SEA WALL 
by Simon Stephens
Performed by Peter-William Jamieson

Friday, November 14th, 2025
7:00 PM (doors 6:30pm)
AP Space Gallery, 54 W 28th St, New York, NY

Free tickets: https://www.eventbrite.com/e/sea-wall-a-play-by-simon-stephens-at-gallery-ap-space-tickets-1804254175809

Sea Wall is an intimate and emotionally raw one-man play by Simon Stephens that explores love, loss, and faith through the eyes of Alex, a photographer whose world is shaken by tragedy. Performed inside a contemporary art gallery, this production reimagines the theatrical experience by breaking away from the traditional stage, blending performance and visual art in a powerful, immersive setting.

Tuesday, October 28, 2025

SEEKING Submissions for the 2026 Women in Theatre New Play Festival‍

Website

Deadline: November 7, 2025 at 11:59 pm

ll submissions and correspondence should be sent to womenintheatre@duluthplayhouse.org

‍The Women in Theatre, New Play Festival celebrates new, short plays by women playwrights. Duluth Playhouse in Duluth, MN, created the festival as an opportunity for women playwrights, directors, and actors to have a focused space to express themselves and showcase their stories through theatre.

‍The Women in Theatre, New Play Festival will feature a collection of short plays and monologues written by playwrights who have experienced womanhood in all its intersectionality, including cisgender, transgender, nonbinary, and gender nonconforming individuals. The festival aims to amplify the voices of those historically marginalized, celebrating the richness and diversity of women’s stories and experiences.

Additionally, as this is a New Play Festival presenting multiple plays on the same stage, the technical elements will be kept simple. For plays with complex requirements, stage directions will be read as part of the performance. Our focus will be on exploring the words and story, and less so on creating a full production.

Selection will be based on relevance to the spirit of the festival and excellence of work. Priority may be given to playwrights with regional ties.

Submission Requirements:A playwright may only submit one (1) piece.
  • Plays should require no more than 5 actors.
  • Works should have been written within the last 5 years.
  • Submissions must be no more than 20 pages with a font no smaller than 12 pt. 
  • Submissions must include a brief synopsis and character description.
  • Submissions must include a title page with the following information: 
  • Playwright Name
  • Playwright city of origin 
  • Playwright's current contact information
  • The submitted piece must be unpublished but may have been previously workshopped or produced. 
To Submit: 

The script must be submitted electronically in PDF format to womenintheatre@duluthplayhouse.org

You will receive confirmation that submissions have been received. No other contact will be made unless the script is selected for production.

Selected Playwrights will receive: $100 prize

2 complimentary tickets to the public performance on June 12, 2026

Correspondence: All submissions and correspondence should be sent to womenintheatre@duluthplayhouse.org 

Please allow up to two weeks for follow-ups to any questions.
When submitting, make sure you’ve attached your play as a PDF.

Monday, October 27, 2025

Call for Submissions: "Hello Godot" – A One-Minute Existential Play Anthology (Volume 11)

Website 

Deadine: November 28, 2025

Email your submission to dramaanthologyfreshwords@gmail.com with the subject line: Submission: Hello Godot – [Your Name].

1. Theme and Tone

Plays must explore existential themes such as meaning, futility, waiting, hope, despair, or the absurdity of existence.

Tone can range from darkly humorous to poignant or tragic, but should align with the spirit of existential literature (e.g., Beckett, Camus, Sartre).

Submissions should resonate with the idea of "waiting for Godot" or the search for meaning in a seemingly indifferent universe.

2. Format and Structure

Each play must be exactly one minute in length when performed. This typically translates to 1-2 pages of dialogue or action.

Plays should be minimalist, with a focus on concise, impactful dialogue and action.

Maximum of 2-3 characters per play to maintain simplicity and focus.

Stage directions should be minimal but clear.

3. Originality

Submissions must be original, unpublished works.

Plays should not infringe on any existing copyrights or intellectual property.

Adaptations or reimaginings of existing works (e.g., Waiting for Godot) are acceptable as long as they are transformative and original.

4. Submission Details

Submit your play as a PDF or Word document with the file name: HelloGodotYourNamePlayTitle.

Include a cover page with:

Play title

Your full name

Contact information (email, phone number)

A brief bio (50-70 words)


5. Rights

Playwrights will retain copyright to their individual works.

6. Deadline

Submissions must be received by November 28th, 2025. Late submissions will not be considered.

7. Selection Process

Submissions will be reviewed by a panel of editors and theatre professionals.

Selected playwrights will be notified via email by December 5th, 2025.

We look forward to receiving your one-minute existential masterpieces! Let’s explore the absurd, the profound, and the fleeting moments that define our existence together.

For questions, contact dramaanthologyfreshwords@gmail.com.

THE 2026 MEANWHILE PARK PLAYWRIGHT PRIZE

Website

Deadline: November 30, 2025

Submissions should be sent via email to info@meanwhilepark.com

Meanwhile Park is a small, private park in Salt Lake City, UT. The Park hosted its first performing arts evening in 2022. Since 2023, Meanwhile Park has produced and presented a new, one-act play chosen through our Playwright Prize competition. Submissions for the 2026 (and possibly 2027.)

Entries into the MPPP should consider the following:

• Plays should run between 30 minutes and one hour including any required or desired breaks.

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

• Plays should not have been produced elsewhere. We are looking to present world premiere plays. Previous staged readings or workshops are allowed.

• As an outdoor, summer theatrical experience like no other in Utah, entrants are invited to consider stories and genres suitable to the occasion. Ideas include but are not limited to:

o Campfire tall tales
o Backyard ghost stories
o Summer love stories
o Action-packed adventures
o Musical comedies
o Local histories

• Meanwhile Park celebrates the diversity of humanity and welcomes stories from diverse races, ethnicities, cultures, genders, and sexualities.

THE RULES

• Submission for the 2026 Meanwhile Park Playwright Prize are now being accepted.

• The deadline for submissions is November 30, 2025. Submissions should be sent via email to info@meanwhilepark.com

• The winner will be announced no later than January 31, 2026. All entrants will be informed of the winning entry via email.

• The winner will be awarded a $500 honorarium no later than March 1, 2026 via Venmo or check.

• The winning play will be performed eight times during July 2026.

• Entries will be judged by Jeff Paris and a panel of theatre experts and enthusiasts.

• The production will be granted the following:

o A significant production budget including paid onstage performers, directors, and creative staff.o Each performance will feature a pre-performance reception/party with drinks and snacks sponsored entirely by Meanwhile Park. For this reason, ticket sales are limited to individuals 21 and older.

• You may submit a bio with your play, but it is not required. Our initial cuts are based on the plays without consideration for who the playwright is.

• Meanwhile Park reserves the right to cancel the competition or the production at any time for any reason.

• To learn more about Meanwhile Park visit our Instagram account: @meanwhilepark. Or visit our website at www.meanwhilepark.com.

Sunday, October 26, 2025

FOREWORD 2026 New Work Series seeks

Website

Deadline: October 31, 2026

SUBMISSION FORM

FOREWORD, which started in 2020, is our annual program devoted to the development of new works of theatre.

There have been different formats of the program through the years, and this year we are returning to an open call format which means any interested playwright (18 or older), who is available to work with us here in Arlington, VA during February/March of 2026, can submit their script for consideration.

How does the process work?

Each of the submitted scripts will be evaluated by members of our review team and up to three new plays will be selected to be part of the 2026 cohort.

Selected playwrights will be paid to spend two weeks working on their script with us - plus a paid team of a director and performers.

Prologue Theatre will be selecting up to three (3) new plays to be workshopped in person, at our Arlington, VA rehearsal space, in February and March 2026. Scripts will be reviewed by a team of readers and the playwrights selected for the workshop will be contacted in December 2025.

 

We employ a blind initial review process to avoid unintentional bias on the part of our team of readers. Scripts that move into the semi-final round will be reviewed by the team who will have access to all information regarding the submitted play.

 

WORKSHOP DETAILS:

Each selected play will be workshopped for two weeks in February/March of 2026 (pursuant to team availability).

The workshop team will consist of a Director and Performers who will also be paid for their participation.

Selected playwrights will receive a stipend of $2000 for the entire workshop process.

Non-local playwrights are encouraged to apply. Housing and travel not provided.

At the end of the workshop period, selected works will have two (2) public readings and may be considered for a full production with Prologue Theatre.

PLAY SUBMISSION REQUIREMENTS:

Playwright must be 18+ years of age and be currently authorized to work in the United States.

The play must be the playwright’s original work.

Must be a previously unproduced work. (Workshops or readings do not count as productions. However, any staging by a theatre [including non-Equity, regional, or community theatre] where actors are off-book and admission is charged does count as a production.)

Must fit one of the following thematic categories: Geography; Entertainment; History; Arts & Literature; Science & Nature; Sports & Leisure.

Must be a full length play and should have a complete running time of between 1 hour 25 minutes (85 minutes) to 2 hours 15 minutes (135 minutes) - No musicals.

Must be able to be read with a maximum of 6 performers. (Doubling is permitted, provided performer tracks are submitted with the script’s cast list.)

Only one (1) script per playwright may be submitted for consideration.

To submit your play for consideration, you will be prompted to enter:

Your contact information

Play title and a brief synopsis (max 100 words)

Any workshop or reading history of your piece

Number of performers required & number of roles in your play

If there are more roles than performers, you will need to enter the roles played by each track (e.g. Nancy/Clerk; David/Barista/Trainer)

A short bio/something about yourself (max 150 words)

An artist statement reflecting on your goals for the workshop and how your play reflects one of the prescribed themes (max 150 words)

You will upload a PDF version of your script in the submission form

Please do not indicate the name of the playwright on any page - including the title page.

Please make sure the PDF includes page numbers.

The Fine Print

Submissions are limited to one script per playwright. Once a script has been submitted and enters the review process, we are not able to accept revisions. Revisions to the final scripts are welcome as part of the development process. Please note that Prologue Theatre does not provide feedback on unselected scripts.

If you have any other questions, please contact Daniel Niewoehner (He/They) at DanielNie@prologuetheatre.org.

Saturday, October 25, 2025

NYCPlaywrights seeks monologues on the theme "Black Woman Genius"

NYCPlaywrights seeks monologues.

THE DEADLINE IS SUNDAY NOVEMBER 30, 2025 at 11:59 PM.

The theme is "Black Woman Genius."

In November 2024, NYCPlaywrights began the "Resisting Fascism" project. The winning piece was a monologue, THE 92% by Bryan-Keyth Wilson that highlighted the fact that 92% of Black American women voters did not vote for Trump - and their intelligence and wisdom are increasingly clear.

The murder of Charlie Kirk was horrific, but that does not erase the fact that he said hateful things like this:
“If we would have said three weeks ago [...] that Joy Reid and Michelle Obama and Sheila Jackson Lee and Ketanji Brown Jackson were affirmative-action picks, we would have been called racist. But now they're comin' out and they're saying it for us! They're comin' out and they're saying, "I'm only here because of affirmative action.

Yeah, we know. You do not have the brain processing power to otherwise be taken really seriously. You had to go steal a white person's slot to go be taken somewhat seriously.”
Kirk dropped out of community college to become a full-time political pundit, while the Black women he attacked graduated from Harvard and Princeton and Yale.

And so this call for submissions seeks monologues on the theme of Black Woman Genius

SEMI-FINALIST SCRIPTS

NYCPlaywrights will select as semi-finalists as many of the scripts that we like and which meet the submission guidelines.

The semi-finalists will be listed on this blog and an excerpt from each monologue (if permission is granted by the playwright) will be displayed in a blog post, one per day, along with any website links or other contact information the author wishes to share. 

The semi-finalist script selections will be announced Sunday, January 4, 2026

THE WINNING MONOLOGUE

The winning monologue will be selected from the semi-finalist monologues. The winning monologue will be recorded with an actor and an excerpt of the recording will be posted on NYCPlaywrights.org and on the NYCPlaywrights YouTube channel (if permission is granted by the playwright) along with author and actor contact information, biographies, etc.

The author of the winning monologue will receive an award of $100

The award-winner will be announced Sunday, January 18, 2026. Excerpts from the semi-finalist scripts will begin posting that day one monologue per day, and the winning monologue will be posted after all the semi-finalist monologues have been posted.

💡 THE SUBMISSION GUIDELINES ðŸ’¡

Failure to follow guidelines will result in your script being rejected.

As always, there is no fee for submissions. 
  • The deadline is November 30, 2025 at 11:59 PM EST.
    • All rights will remain with the playwright.
    • Monologues must be no more than two pages long, using standard 12-point text size and line-spacing.
      • Send only one monologue script per author to genius@nycplaywrights.org.
        • The monologue script must be submitted by the author of the script, no agents or others may submit. 
      • The monologue script submission should be sent by email, with the script itself as a file attached to the email.
      • The file format of the monologue script should be .pdf because it will retain your original script formatting.
      • Make sure you have your name and your email address on the script.
      • Plays can be submitted by anybody, from anywhere in the world but must be primarily in English (a few non-English phrases are acceptable, but the phrases must include English translations in production notes or stage directions.)
      • A play that has had a production is acceptable.
      • A play that has been published is not acceptable.
      • There will be no money awarded for selected scripts except for the winning monologue.
      • NYCPlaywrights' decisions are final.
      • Any questions email info@nycplaywrights.org
      PLEASE NOTE: when you submit your play, you should get an automatic response that says:

      ***
      Thank you for sending your monologue to the NYCPlaywrights “BLACK WOMAN GENIUS” project.

      The semi-finalist script selections will be announced Sunday, January 4, 2026.

      The award-winner will be announced Sunday, January 18, 2026.

      Nancy at NYCPlaywrights

      ***

      If you don't receive the automatic response, email us at info@nycplaywrights.org to check if we received your script.

      Please note:

      • The monologues must be dramatic - we love facts, but the monologue must not simply be a lecture on some aspect of history or current events. A dramatic monologue should have an emotional impact and often will tell a story. We'd like to see creativity and invention.
      • The call for submissions is open to any person, anywhere in the world. 
      • Although the theme is Black Woman Genius, the character speaking in the monologue does not necessarily have to be a Black woman.
      • Although this is a serious subject, you do not have to be grim. We welcome humor and playfulness, and we are just as interested in hopeful monologues, and anticipating a brighter future as much as we are in the injustices of the past and present.


      DATE RECAP
      • November 30, 2025 - submission deadline
      • January 4, 2026 - semi-finalists announced
      • January 18, 2026 - the winning monologue will be announced and then each day an excerpt from one of the semi-finalist monologues will be posted. 
      Some genius prompts:

      Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays

      Website

      Deadline: October 31, 2025 at 11:59 PM

      SUBMISSION FORM

      Seeking playwrights, directors, and actors for Abingdon Theatre Company's sixth annual Raise the Page, Uplift the Word: A BIPOC Festival of Short Plays in collaboration with AMT Theater. Abingdon Theatre Company continues to be committed to creating opportunities for all voices to be heard. With this in mind, ATC is thrilled to open submissions for our sixth annual festival of short plays; a festival shedding light on stories by people of color.

      The festival will take place March 9-10, 2026 at AMT Theater (345 West 45th Street).

      Short play submissions should be unpublished and no longer than 40 pages, written by BIPOC individuals. 
      Plays should not have been previously presented to New York audiences. 

      We are accepting applications from artists from all experience levels, locations, and ages. 

      Please limit your submission to one play per playwright.

      Newport NewWorks Summer 2026 Musical Theater Festival

      Website

      Deadline: November 2, 2025 at 11:59 PM

      SUBMISSION FORM

      For Summer 2026, up to three unproduced works will be selected from a worldwide pool of submissions, for a two-week-long, artist-driven workshop residency by the sea— in beautiful and creatively inspiring Newport, Rhode Island. Artists in Residence are provided housing, transportation, most meals and a stipend. Workshops are staffed with industry-leading Broadway level professionals.

      The process is hypercollaborative and each team will work with top-notch directors, producers, dramaturgs, musicians, and actors for an intensive 64-hour rehearsal period. Our goal is to elevate every participating show by bolstering and matchmaking each work with the customized artistic resources the work needs to get to the next level. The festival culminates in two public, script-in-hand, workshop presentations.

      Artists are welcome and encouraged to revise, rework, and rewrite as much as possible while in residence with us. Risk-taking is encouraged. Artists are also welcome to attend rehearsals and presentations of their peers' work as we aim to build a strong community of fellow writers, artists, songwriters, and theater-makers, lasting long after the festival! Evening bonfires, time at the beach & on the water, divine culinary delights, and industry expert conversations are also an integral part of the Newport NewWorks experience.

      Please note: We require that all works submitted remain without professional production throughout their participation in the festival. Thank you!

      At Newport NewWorks, if we select your work, it means we deeply believe in it and are committed to actively supporting your piece, including:

      1) Facilitating development guidance and support for your piece in the months leading up to the festival to make sure it is as ready as possible to maximize your time at the festival 

      2) Helping to find a life for your piece beyond the festival

      To achieve these goals, we have found in some situations that additional collaborators for the creative team may be helpful and beneficial to the project. Is this something you would be open to considering?

      (*Please note we do not always find this necessary, and saying no does not disqualify you from selection. Please be open and authentic about your comfort level with this.)

      Please confirm all members of the creative team are available to attend the festival IN RESIDENCE in Newport, RI for the ENTIRETY of Aug 2 - 16, 2026.

      Friday, October 24, 2025

      Fresh Words seeks one-minute plays/monologues for "Rewriting Shakespeare" (Vol. 2)

      Website

      Deadline: October 28, 2025

      FRESH WORDS – An International Literary Magazine is thrilled to announce the call for submissions for Volume 2 of its acclaimed special anthology: ‘Rewriting Shakespeare’—a curated collection of bold, inventive, and contemporary one-minute plays and monologues that reimagine the timeless works of William Shakespeare.

      Following the success of Volume 1, we invite playwrights, poets, and dramatists from around the globe to breathe new life into Shakespeare’s canon—through modern voices, diverse perspectives, experimental forms, and urgent reinterpretations.

      Submission Guidelines

      1. Content: Your submission must be an original one-minute play or monologue that rewrites, reinterprets, or responds to a specific scene, character, soliloquy, or moment from any of Shakespeare’s plays. 

      2. Length: Keep performance time under 60 seconds. The exact word count is at your discretion, but brevity and impact are key.

      3. Inspiration Note: Clearly indicate the source Shakespearean work (e.g., Hamlet, Act 3, Scene 1; A Midsummer Night’s Dream, Act 2, Scene 2, etc.).

      4. Originality & Ethics: Submissions must not promote or glorify violence, sexual abuse, racism, hatred, or any political ideology.

      5. Limit: Maximum 5 submissions per playwright.

      6. Rights: If selected, you retain full intellectual property and performance rights. FRESH WORDS requests only one-time publication rights for inclusion in the anthology. Copyright reverts to you immediately upon publication.

      How to Submit

      - Send all submissions to: dramaanthologyfreshwords@gmail.com 

      - Subject Line:

      `[Your Full Name] – SUBMISSION FOR Rewriting Shakespeare ANTHOLOGY (Volume 2)`

      - Attachments:

      - Manuscript in MS Word (.doc/.docx) or PDF

      - High-resolution author photo (JPEG format)

      - Include in the body of your email:

      - Legal Name

      - Pen Name (if applicable)

      - Snail Mail Address

      - A cover letter

      - A 70-word literary bio written in the third person

      - Notification of Selection: On or before November 10, 2025 (via email)

      - Simultaneous submissions are accepted—please notify us immediately if your work is accepted elsewhere.

      - There is NO submission or participation fee.

      Connect With Us

      - YouTube: https://www.youtube.com/channel/UCQmmN1p8jcbIa6rUxzCzL2Q

      - Support Our Work: https://www.buymeacoffee.com/freshwordsmag

      ---

      Dare to reinterpret the Bard. Rewrite. Reclaim. Resonate.

      We can’t wait to read your vision of Shakespeare—reborn for today’s world.

      Thursday, October 23, 2025

      SheNYC Arts seeks full-length plays

      Website

      Deadline: November 5, 2025 at 11:59 PM

      SUBMISSION FORM

      We accept full-length plays and musicals during our open submissions period for our Summer Theater Festivals. In order to apply, you must be a playwright or composer of a gender marginalized group (including cis women, trans people, and non-binary people), or a writing team that is made up of at least 50% people from a gender-marginalized group.

      Script Submissions for our 2026 SheNYC, SheATL, SheLA, and SheDFW Festivals will open September 30, and be due on November 5th at 11:59pm PST.

      Note that we only accept script submissions during our submission window. If you would like to be considered for our summer festivals, you must submit your work during that time period. Read on below for more details on what you’ll need to submit and for the application link.

      What You Will Need To Submit

      1. The full script to your show, in PDF form. It must be at least 75% finished. If the rest is not finished, you need to provide a “treatment” (a detailed outline of the scenes that remain to be written, in order) along with the script. Bear in mind that you will have to send us completed script if you’re selected as a finalist.

      IMPORTANT: Your script PDF must not have your name on it!

      Why do we ask this? 

      Our model is based on giving writers an opportunity based on the quality of their writing, free from the types of bias that the entertainment industry normally considers, such as connections, having an agent, etc. Having your script anonymized to our readers ensures we can fulfill our mission of evaluating scripts without bias.

      2. A completed application form with some basic information (see below for FAQs).

      3. If your show is a musical, recordings of at least 3 full songs from the show, in mp3 or m4a form. The more you have, the better! A simple recording with just you and your piano is fine, though obviously you want to make your music sound the best it can. Please do not submit Finale or Sibelius files (or any other automated vocals).

      4. If your show is a solo show, a video of at least 5 minutes of your solo performer performing a cut from the show. This can be a video from a prior production or staged reading, or it can be a self-tape of your actor recording themselves at home.

      Why do we ask this?

      We’ve found that it’s incredibly hard to evaluate the quality of a solo show without knowing the performer who will be carrying it. 


      Before You Submit Your Script

      It’s important to make sure your show is ready for a festival production. Our Festivals differ from city to city, so please read the pages for whichever Festival you plan to apply to — this page outlines exactly what it means to be a part of the Festival!

      All Festivals use the same application – on that application, you’ll be able to select which cities you’d like to be considered for and indicate your first choice preference.

      WHICH CITY SHOULD I APPLY FOR?

      First and foremost, we always like our festivals to feel like local events that engage the local community & artists. Therefore, we prioritize matching shows with the city their writer is based in (or whichever city is closest to the writer’s location). However, some other considerations you might have:
      • If you’re submitting a musical and are looking for extra developmental support, you may want to apply to SheDFW. Through our partnership with MusicalWriters.com, they provide a director, music director, and local cast for your show, as well as a more intensive dramaturgy/development process.
      • The SheATL Festival has a partnership with Atlanta-based new play incubator Working Title Playwrights to provide an intensive dramaturgy process in the leadup to the Festival. If you’re interested in having a dramaturg to work with, consider SheATL! 
      • We also like shows that reflect the community in terms of subject matter: so, if you’re based in NYC right now, but your show is about a community in Georgia, consider checking SheATL as one of your cities you’d like to be considered for.
      The NYC Festival has the most intensive process, highest expectations in terms of production value, and widest reach in terms of audience & industry visibility. So if your show is at an earlier stage in development, you might consider selecting one of the other cities as an option.

      If any of the above reasons impacts your decision, let us know in the “Anything else we should know?” section of the application.

      Smith & Kraus Seeking Male & Female Monologue submissions for Publication

      Website

      Deadline: November 1, 2025 at 12 Midnight EST

      To submit for Men's Monologues, CLICK HERE.

      To submit for Women's Monologues, CLICK HERE.

      Submissions will be sent to Debbie Lamedman, editor. Please read the following guidelines before submitting:

      For The Best Men & Women’s Stage Monologue 2026

      *Monologues MUST BE FROM PLAYS. They cannot be stand-alone pieces.

      *They must be from plays produced between August 2024 through September 2025

      *Monologues from plays that only had Virtual Productions are NOT eligible.

      *Monologues should be from 1-3 minutes long.

      *Monologues should be pieces that have onstage action and work well for auditions.

      *You may submit to both the Women's and Men's Anthology, but only ONE submission per book.

      *Do not submit any monologue that has been submitted previously in the past year.

      *IF YOU SUBMIT MORE THAN ONE MONOLOGUE PER ANTHOLOGY, THEY WILL NOT BE READ!

      Wednesday, October 22, 2025

      Queens Theatre's New American Voices accepting full-length plays by Japanese American writers

      Website

      Deadline: October 31, 2025

      Please email your play to roburbinati@gmail.com with "NAV Submission" in the subject line.

      Queens Theatre's New American Voices play development program (NAV) is now accepting submissions for full-length plays by Japanese American writers for future reading and/or production consideration in partnership with BIRD Theatre in Tottori, Japan as part of our ongoing collaboration. Deadline is October 31, 2025.

      We are looking for small cast plays (2-5), under two hours running time. Compensation will be offered for the selected play.

      With New American Voices, Queens Theatre seeks to continue its mission to reflect perspectives on immigration, race, ethnicity, culture, nationality, religion, sexuality, and diversity in genre.

      Monday, October 20, 2025

      Prologue Theatre seeks full-length plays

      Website

      Deadline: October 31, 2025

      SUBMISSION FORM

      Prologue Theatre will be selecting up to three (3) new plays to be workshopped in person, at our Arlington, VA rehearsal space, in February and March 2026. 

      Scripts will be reviewed by a team of readers and the playwrights selected for the workshop will be contacted in December 2025.

      We employ a blind initial review process to avoid unintentional bias on the part of our team of readers. 

      Scripts that move into the semi-final round will be reviewed by the team who will have access to all information regarding the submitted play.

      WORKSHOP DETAILS:
      • Each selected play will be workshopped for two weeks in February/March of 2026 (pursuant to team availability).
      • The workshop team will consist of a Director and Performers who will also be paid for their participation.
      • Selected playwrights will receive a stipend of $2000 for the entire workshop process.
      • Non-local playwrights are encouraged to apply. Housing and travel not provided.
      • At the end of the workshop period, selected works will have two (2) public readings and may be considered for a full production with Prologue Theatre.
      PLAY SUBMISSION REQUIREMENTS:
      • Playwright must be 18+ years of age and be currently authorized to work in the United States.
      • The play must be the playwright’s original work.
      • Must be a previously unproduced work. (Workshops or readings do not count as productions. However, any staging by a theatre [including non-Equity, regional, or community theatre] where actors are off-book and admission is charged does count as a production.)
      • Must fit one of the following thematic categories: Geography; Entertainment; History; Arts & Literature; Science & Nature; Sports & Leisure.
      • Must be a full length play and should have a complete running time of between 1 hour 25 minutes (85 minutes) to 2 hours 15 minutes (135 minutes) - No musicals.
      • Must be able to be read with a maximum of 6 performers. (Doubling is permitted, provided performer tracks are submitted with the script’s cast list.)
      • Only one (1) script per playwright may be submitted for consideration.
      To submit your play for consideration, you will be prompted to enter:
      • Your contact information
      • Play title and a brief synopsis (max 100 words)
      • Any workshop or reading history of your piece 
      • Number of performers required & number of roles in your play
      • If there are more roles than performers, you will need to enter the roles played by each track (e.g. Nancy/Clerk; David/Barista/Trainer)
      • A short bio/something about yourself (max 150 words)
      • An artist statement reflecting on your goals for the workshop and how your play reflects one of the prescribed themes (max 150 words)
      You will upload a PDF version of your script in the submission formPlease do not indicate the name of the playwright on any page - including the title page.
      Please make sure the PDF includes page numbers.

      The Fine Print
      Submissions are limited to one script per playwright. Once a script has been submitted and enters the review process, we are not able to accept revisions. Revisions to the final scripts are welcome as part of the development process. Please note that Prologue Theatre does not provide feedback on unselected scripts.

      If you have any other questions, please contact Daniel Niewoehner (He/They) at DanielNie@prologuetheatre.org.

      Sunday, October 19, 2025

      Discount tickets: NYC'S SECRETS & LIES ~ GHOST STORIES!



      NYC's Secrets & Lies - Ghost Stories!
      Tuesday, October 28th
      Door open at 7:30pm
      Show starts at 8:00pm
      Ticket at: https://lies.eventbrite.com/

      Use discount code SECRETS for $5 off!

      Can you tell the difference between a secret and a lie? Four entertaining storytellers spin incredible tales about NYC's secret past. All the stories are true except for one. If you can guess who's the liar, you’ll go into the raffle to win a fantastic prize for you and your friends. Whether you love history, all things NYC, learning new stories to dazzle the people in your life, being part of a game show, or all of the above, this show is for you!

      All the stories in October's show will be around the theme of NYC ghost stories to celebrate the spooky season! Join us for tricks, treats for all, and delightful scares. NYC's Secrets & Lies is created and hosted by Christa Avampato. Ashley Semrick, Erin Hunkemoeller, Marie Carter, and special guest Amy B. Scher will be featured in this show.

      Premiere Stages seeks full-length plays

      Website

      Deadline: November 1, 2025 11:59 PM
      Submissions sent early in the submission window are strongly encouraged.

      All plays must be submitted as a PDF via Submittable at premierestagesatkean.submittable.com/submit. Hard copies will not be accepted.

      Premiere Stages will accept submissions of unproduced plays written by playwrights affiliated with the greater metropolitan area from September 1, 2025, through November 1, 2025. 

      All plays submitted to the festival are evaluated by a panel of professional theatre producers, directors, dramaturgs, playwrights, and publishers. Four finalists are subsequently selected for public Equity readings in Spring of 2026.

      Following the Spring readings, one play is selected for an Equity production in the Premiere Stages 2027 season and receives an award of $4000. Another finalist receives a 29-hour staged reading and $1500. The other finalists will each be awarded $1000.

      Submission guidelines can be found at https://premierestagesatkean.com/play-festival/guidelines/
      • Plays must be full-length and have a cast size of no more than eight.
      • Plays must be unpublished and unproduced (readings and workshops are okay), with no productions and/or publication currently scheduled through September 2027.
      • Playwrights must have strong affiliations with the greater metropolitan area (New York, New Jersey, Connecticut, Pennsylvania, and Delaware). 
      • Musicals, adaptations (of existing plays or other sources), and solo shows are not eligible.
      • Submissions are limited to one script per playwright.
      • Please contact Premiere Stages to inquire about submitting a script that has been previously submitted. Generally we only accept re-submissions if the play has undergone significant revisions. 
      • Playwrights must be available for the development of their script (see the 2026 schedule table on our website).
      • Names and contact information are welcome on cover pages of scripts

      NO AGENT? NO PROBLEM! Premiere Stages now accepts full manuscripts from all submitters. 

      Submissions must include:
      • Brief synopsis of the play (no more than half a page)
      • History of the play’s development (or statement that it has none)
      • The playwright’s bio or resume
      • Members of the Premiere Stages literary team will read at least 10 pages of every play submitted and will decide if the play should be further considered by the Play Festival Panel.
      All playwrights will be notified by e-mail OR Submittable message of their status by June of 2026.

      Saturday, October 18, 2025

      Eclectic Full Contact Theater Company 5th Annual Patchwork Play Festival

      Website

      Deadline: October 31, 2025

      Email submissions to: Patchworkplayfest@gmail.com

      The 5th Annual Patchwork Play Festival
      A One-Act New Play Festival

      To be presented at The Edge Theater, 5451 N Broadway, Chicago, IL.
      Feb. 20, 2026 - March 1, 2026

      We are currently accepting submissions of New One-Act Plays that embody this years theme of: Hope

      Nine finalists will have their play produced in our festival. 

      A $250 Award will be presented for best production as adjudicated by a panel of Chicago Theater professionals. 

      ​A $250 Audience Award will also be presented to the festival favorite as determined by our audiences.

      Submission Requirements:​
      • Play must be previously unproduced. (Staged Reading are fine)
      • Play length not to exceed 30 minutes.
      • Play must reflect the yearly theme. This years theme is: Hope
      • Play must be received by October 31, 2025
      • Playwrights cannot submit more than 2 scripts per year for Patchwork. If more than 2 scripts are submitted by the same playwright, we’ll pick 2 at random. Only one play per playwright may be featured per Patchwork Festival per season.
      • Scripts cannot contain copyrighted music unless the playwright owns the music’s copyright, or has written permission from the music’s copyright owner.
      • We are not accepting musicals at this time.

      Friday, October 17, 2025

      Players Theatre Improv Residency 2026 season

      Website

      Deadline: November 15, 2025 11:59 PM

      SUBMIT VIA SUBMITTABLE

      The Players Theatre is dedicated to creating space for those to create. Improv and Sketch Comedy is an art form like no other which sparks ideas and generates a unique unity between audience and performer. We want you here! Submit your proposal for The Players Theatre Improv and Sketch Residency.

      Tuesday, October 14, 2025

      JAW New Play Festival

      Website

      Deadline: October 15, 2025 at 10:00 a.m. (Pacific time)

      SUBMISSION FORM

      Since launching in 1999, the JAW New Play Festival has created a space for 100 playwrights to develop their work. Of these new plays, more than 90% of them have gone on to receive professional productions across the country, with many having their world premieres at Portland Center Stage.

      As part of creating greater opportunities for access, one JAW play each year will be selected from our new open submission program. 

      The selected writer will be provided with a week of rehearsal and workshop time, and a public reading to address self-defined developmental goals for their play.

      While we would love to read as many plays as possible, the submission window will remain open for 24 hours, after which it will be closed. Each playwright's application will be read and reviewed by the Literary Office. 

      Of those submissions, 50 will be sent to readers for evaluation.

      Submission Guidelines:
      • Submit ONE completed application and ONE full-length play.
      • No more than ONE play per playwright/playwright team will be considered.
      • List only the play title on the cover page. No personal information.
      • Submit only PDF files as attachments.
      Submitted plays must be unproduced scripts, having received no prior professional productions.
      JAW 2026 will take place July 24-26th, 2026. 

      Each applicant should expect a confirmation of application receipt in October 2025 and a final response by April 2025.

      While there is no official minimum number of pages for submitted full-length plays, we do not accept 10-minute plays.

      Musicals and plays written by teams ARE accepted.

      Due to the volume of submissions to this program, we will be unable to accept revised scripts during the selection process.

      Housing and travel will be provided for all out-of-town writers.

      The Richard Rogers Award for 2026

      Website

      Deadline: October 31, 2025

      The Richard Rodgers Awards were created and endowed in 1978 by composer and member Richard Rodgers (1902–1979) for the development of new works of musical theater. These awards support readings and productions of musicals by emerging composers and writers at nonprofit theaters in New York City. 

      Application requirements and procedures are explained in the form below. Please download, read, and sign the form before beginning the online application.

      These awards, created and endowed by Richard Rodgers in 1978 for the development of the musical theater, subsidize full productions, studio productions, and staged readings by nonprofit theaters in New York City of works by composers and writers who are not already established in this field. The winners are selected by a jury of the American Academy of Arts and Letters.

      A. REQUIREMENTS AND ELIGIBILITY

      1. The term musical theater is understood to include musicals, plays with songs, thematic revues, or any comparable work. The submission of innovative and experimental work is encouraged. The work submitted must be of significant length to fill an evening; it may consist of a group of smaller, related pieces.

      2. The jury will consider only completed works. Care should be taken to submit the work in its best possible form as it may not be submitted again, in another year, even if substantially revised.

      3. Only one submission by a collaborative group or a sole creator will be accepted per year. A work is not eligible if one of the collaborators is deceased. No exceptions will be granted.

      4. All applicants must be citizens or permanent residents of the United States.

      5. Works by members of Arts and Letters and previous winners of the full production awards are not eligible for consideration. Former winners of Richard Rodgers awards for staged readings or studio productions may submit new works.

      6. An applicant whose works in the musical theater have received professional or amateur productions in New York City or out of town is eligible unless, in the judgment of the jury, the applicant has already achieved significant recognition in the field of musical theater through the work submitted or through any previous work. Under special circumstances and at the discretion of the jury, applicants who have achieved recognition in fields outside the musical theater may be eligible. Works which have been produced by professional theater companies before a paying audience are eligible only if such productions received no more than 21 performances by a for-profit company or 50 performances by a nonprofit company.

      B. SUBMISSION OF MATERIAL

      1. The name(s) of the author(s) must not appear on any of the items submitted, with the exception of the application form. Include only the title of the work on the script and plot summary. Please be sure no identifying information, including author, agent, or performer names are included in music file metadata, on the track sheet and synopsis, or on the script. The Richard Rodgers awards are adjudicated anonymously and your application must adhere to this guideline in order to be reviewed.

      2. Entry must include:

      a) Script with lyrics, in PDF format.

      b) Half-page synopsis of the action and a list of characters, in PDF format.

      c) A separate track sheet (PDF) of recorded songs with page numbers indicating where they appear in the script and specifying the total number of minutes recorded.

      d) At least 45 minutes of music, including a minimum of eight songs. Orchestrations are not necessary; piano and vocals are sufficient. Songs must be numbered in sequence (e.g., “01 Song Title.mp3”) and each song’s lyrics clearly typed into the script where the song appears. Tracks must be uploaded in the order they appear in the script.

      e) Application form signed by all collaborators (see below). Applicants submitting work that has already been produced must give full information concerning these productions, including programs. A work is not eligible if one of the collaborators is deceased.

      f) If applicable, a statement of intent declaring how the applicants would use the award if their musical is a winner. If the piece is already attached to producers, directors, or a theater, even if tentative, these associations must be declared here. However, no such associations are required in order to apply.

      3. If the submitted work (or a portion thereof) is an adaptation of material which is not in the public domain, candidates must submit licenses, permissions, and authorizations necessary to permit the work to be produced in conformity with applicable copyright laws. The music must be original.

      Works consisting only of public domain music will not be accepted.

      4. Applicants will be notified of the jury’s decision by March 2026.

      C. ADDITIONAL INFORMATION

      1. All rights to the material submitted shall remain the property of the author(s); Arts and Letters will not retain any control over, or rights in, the work after the award production.

      2. The decisions of the jury will be final as to eligibility and all other matters.


      Click here to download the form (required).

      Click here to begin the 2026 Richard Rodgers application.

      Monday, October 13, 2025

      There’s something for everyone at TPG!




      Script Consultations

      If have a script you want feedback on — just send a PDF of your script and you’ll get a critique via email and/or video conference. See website for rates.

      Richard Caliban has worked with individuals on their scripts from all over the world — Indonesia, China, Greece, Australia, Serbia, as well as right here in New York. A script consultation will provide you with feedback on the structural soundness of your story, the dramatic arc of your protagonist, thematic unity and much more.


      Online One-on-One Courses

      If you’re looking for more, check out our One on One Online Playwriting Courses:
      • The Art of Playwriting
      • Write a Play in 10 Weeks
      • 3 Hour Short Course
      All are with instructor Richard Caliban, and since it’s One on One, the courses can be adjusted to fit your level of experience. 



      The Weekly Workshop
       
      Join our nationwide community of playwrights on Zoom. It’s a great way to stay connected and motivated.

      Participating in a weekly workshop can give you the kick you need to see your script through from beginning to end. You can bring in anything you’re working on — a full length script, a musical, a TV pilot, whatever. And when your script is ready — we’ll present it in a Public Reading. We also bring in Guest Speakers, like Pulitzer Prize winner Margaret Edson (Wit).

      Sit in on a session and see for yourself!
      Thursdays 7 - 9:30pm EST
      Please visit our website for further Info and Rates: 

      Go Try Playwrite - October 2025

      Website

      Deadline: October 31, 2025

      SUBMISSION FORM

      We're proud to announce a new monthly playwriting contest in collaboration with Bamboo Ridge Press. Every month, Kumu Kahua's artistic director Harry Wong III will select a writing prompt on the first day of that month. We're looking for 5-page monologues or 10-page scenes based on that prompt; the due date for submissions are always the last day of the month. All entries must be written in traditional play format; instructions on this format can be found here (https://www.dramatistsguild.com/script-formats), courtesy of the Dramatists Guild.

      There will be one winner each month. Scripts will be submitted to the judges anonymously. Winners will receive $100 and a subscription to Bamboo Ridge Press. Woo!

      The prompt for October 2025 is:

      An elven rebellion prompt. Write a 10-page maximum scene or an 8-page maximum monologue of a revolt at Santa’s workshop. Elves, reindeer, Mrs. Claus, whoever could be part of the revolt. The scene can be at the beginning, middle, or end of the rebellion, or all three. Or just two. It could also be the effects of the revolt in the world outside the North Pole. Have fun!

      Sunday, October 12, 2025

      11.23 Liminal Space Productions One-Act Play Show Submissions

       Instagram

      Deadline: October 24, 2025

      SUBMISSION FORM

      We encourage contributions from creators of all identities, cultures, and backgrounds. 

      Playwrights are expected to cast their own work.

      Due to space limitation, we ask that your cast be limited to no more than 8 people. 

      We can provide some chairs & small tables, however, playwrights are otherwise expected to bring all of their own stage props 

      Venue will be in the East Village.

      Flying Solo monologue event

      Website

      Deadline: October 31, 2025

      SUBMISSION FORM

      A collection of original monologues celebrating the unique challenge of writing for a solo performer and performing solo! This showcase originated as FLYING SOLO with producers Susan Frank and Rob Zonefrelli, directed by Betsy Kruse Craig. The Invisible Theatre has been a longtime proponent of original work and the name GOING IT ALONE was used decades ago for another monologue showcase with Susan Claassen. Managing Artistic Director, Betsy Kruse Craig brought the showcase back to IT in May of 2024. IT plans to make this an annual event, showcasing local and international playwrights. GRETCHEN WIRGES, IT Artistic Associate, will coordinate submissions.

      Guidelines:
      • Must be original pieces by the playwright submitting
      • Performance length – 5-7 minutes (anything longer will be disqualified).
      • Monologues only. Must only require one actor on stage.
      • Diversity and inclusivity highly encouraged!
      • Compensation and Performance:
        • Small honorarium paid to chosen playwrights
        • Chosen monologues will be cast with local actors and performed at Invisible Theatre
        • in Tucson Arizona in May of 2026.

      Process:
      • All submissions will be read blind (without playwright info) by reading committee.
      • Script curator will collect all numerical data and narrow the submissions down to 50
      • and notify playwrights of making it to round 2.
      • Script curator will read 2nd round plays and narrow it down to 25 based on committee
      • scores, timing, and overall quality, and notify playwrights of making it to final round.
      • Script curator and IT Executive Director will read final round monologues and
      • determine which will be part of the 2026 show.
      • All playwrights will be notified whether or not they have been selected.
      • Chosen monologues will be cast and directed with local actors/directors.

      Recommendations:
      • Monologues should not be one side of a conversation, pausing for the character to listen to a character we never see or hear.
      • Sometimes monologues based on real people from history read like TED Talks, or rote history lessons. Instead of just listing dates and book titles, etc, let us hear what that person thinks, feels, believes, etc. How they’re affected by what’s going on around them.
      • Some monologues included a full page preface with information/exposition on the character, what they look like, how old they are, and explicitly what the actor should look like, sound like, etc. If we need to know all of that in order to appreciate your piece you haven’t done the work to show us who this character is through their words/actions.

      QUESTIONS? Send an email to goingitalonesubmissions@gmail.com

      Saturday, October 11, 2025

      CALL FOR SUBMISSIONS: LITERATURE TODAY’S DECEMBER 2025 ISSUE

      Website

      Deadline: December 15, 2025

      Email subject: “December 2025 Submission – [Your Name]”
      Send to: editorliteraturetoday@gmail.com

      Seeking One-Minute Plays / Monologues: Up to 2 pieces (max 2 pages each)

      All work must be original and unpublished.

      Simultaneous submissions accepted—please notify if accepted elsewhere.

      Include a cover letter, third-person bio (≤50 words), and high-resolution photo.

      Theme: “Offline: Reclaiming Presence in a Hyperconnected World”

      We are more connected than ever—yet so many of us feel unseen, unheard, or strangely alone.

      In an era of endless scrolling, algorithmic curation, performative identity, and digital ghosts, what does it mean to be truly present? To listen without recording? To remember without archiving? To feel without posting?

      For our December 2025 issue, Literature Today invites submissions that explore the quiet rebellion of going offline—not just as disconnection, but as reconnection: to self, to others, to the physical world, to silence, to slowness, to the unmediated moment.

      This theme is not anti-technology, but pro-humanity. We seek work that examines the tension between digital life and embodied existence—and celebrates the fragile, necessary acts of attention, intimacy, and stillness that resist erasure.

      Possible Angles (not prescriptive):

      1. The Last Unrecorded Moment
      Moments lived fully without documentation—births, farewells, sunsets—experienced only through memory. What is gained (or lost) when we choose not to capture?
      Examples: A child’s first step unseen by a camera; a private grief never posted.

      2. Digital Ghosts
      The spectral traces we leave online—abandoned accounts, unread messages, AI-generated “memories.” Who mourns a deleted profile?
      Examples: Logging into a dead friend’s social media; receiving an automated birthday wish from a defunct app.

      3. Attention as Sanctuary
      The radical act of sustained focus in an age of distraction—reading a book cover to cover, listening without interrupting, watching clouds without checking the time.
      Examples: A student turning off notifications to study; a couple dining without phones.

      4. The Myth of “Always On”
      The exhaustion of perpetual availability—work emails at midnight, instant replies expected, the guilt of silence. When does disconnection become self-preservation?
      Examples: A therapist’s burnout; a teen deleting all apps for a week.

      5. Analog Rituals
      Everyday practices that resist digitization: handwriting letters, using paper maps, brewing tea without a timer, lighting a candle instead of flipping a switch.
      Examples: A grandmother teaching knitting; a writer using a typewriter.

      6. Memory Before the Cloud
      Trusting the mind over external storage—recalling phone numbers, birthdays, recipes, or poems by heart. What happens when memory becomes muscle, not metadata?
      Examples: An elder reciting family history; a poet memorizing their own work.

      7. The Body Remembers
      Sensations that cannot be digitized: the weight of a hand, the smell of rain on soil, the ache of hunger, the rhythm of breath during silence.
      Examples: A dancer’s muscle memory; a refugee remembering the taste of home.

      8. Curated Selves vs. Lived Selves
      The gap between online personas and inner reality—highlight reels vs. hidden struggles, filtered faces vs. unmade beds.
      Examples: A influencer’s breakdown off-camera; a teen comparing real life to TikTok fantasy.

      9. Generational Disconnect
      Elders who’ve never used smartphones; children who’ve never dialed a rotary phone. How do we bridge worlds when our tools of connection differ so radically?
      Examples: A grandfather confused by video calls; a child asking, “What’s a library card?”

      10. Offline Communities
      Spaces where connection happens without Wi-Fi: neighborhood gardens, protest marches, choir rehearsals, AA meetings, subway commutes.
      Examples: Strangers sharing umbrellas in rain; a book club meeting in a café.

      11. The Silence Between Notifications
      The rare, precious intervals of true quiet—when the phone is off, the screen is dark, and thought can unfold without interruption.
      Examples: Waking before dawn; sitting alone in a park at dusk.

      12. Digital Detox as Rebellion
      Choosing to unplug not for wellness, but as political or existential resistance—to surveillance capitalism, algorithmic control, or the commodification of attention.
      Examples: A writer deleting social media; a family banning screens on Sundays.

      13. Lost in the Feed
      The erosion of linear narrative—how endless scrolling fragments memory, identity, and time. Can we still tell our own stories when life feels like a highlight reel?
      Examples: A memoirist struggling to recall sequence; a teen whose diary is a Notes app.

      14. The Future of Presence
      Speculative visions: Will future humans know solitude? Will AI companions replace human touch? What rituals might emerge to protect attention?

      Examples: A poem from 2125 about “the last person who read paper books”; a play set in a world without silence.

      15. Tending the Inner Signal

      Reconnecting with intuition, gut feelings, dreams—the internal “signal” drowned out by digital noise. How do we hear ourselves again?

      Examples: A woman quitting her job after a dream; a man meditating to “mute” his anxiety.

      These subthemes are designed to be literary, emotionally resonant, and culturally relevant, offering writers rich entry points into the central tension between digital saturation and embodied presence. They avoid technophobia while honoring the irreplaceable value of human-scale experience.

      Use them as inspiration—not constraints. We welcome work that interprets “Offline” in unexpected, poetic, or even paradoxical ways.

      Let your words be the flame that flickers—not the screen that glows.


      Why This Theme?

      As AI generates poetry, influencers monetize vulnerability, and virtual spaces replace public squares, literature remains one of the last sanctuaries for unfiltered human presence. This issue is a quiet manifesto: a space to unplug, reflect, and reclaim what cannot be streamed, liked, or saved—but only lived.

      Publication: Early January 2026 (Print & Digital)

      Friday, October 10, 2025

      The Emerging Artists Theatre (EAT) Spark Theatre Festival NYC 2023

      Website

      Deadline: December 1, 2025 at 11:59pm

      SUBMISSION FORM

      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.

      Submissions are ONLY open for applicants in the Tri-State Area: New York, New Jersey, and Connecticut.


      The festival will 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 on the next page carefully. 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 Spark Theatre Festival NYC are now OPEN through Dec. 1, 2025 at 11:59pm. Click below to continue to the FAQs and Application link.

      Wednesday, October 8, 2025

      TASN Short Play Festival: Call for Submissions

       Website

      Deadline:  November 15, 2025

      or until 300 plays are received

      THEY HAVE REACHED THEIR MAXIMUM SUBMISSIONS - DO NOT SEND

      Email a PDF of your script, with Title page and contact information,  to: tasnshortplayfest@gmail.com Important: PDF’s only 

      You will receive an acknowledgement email and be updated during our selection process. 

      The Actors Studio of Newburyport, MA  (TASN) is a 501c3 non-profit, dedicated to New Play Development. We will be holding our 6th National Short Play Festival for two weekends (six performances) during October, 2026. The submission window opens on October 8, 2025 and closes November 15, 2025, or until 300 plays are received, whichever occurs first.  

      Our judges will engage in multiple rounds of reading, with every play being read at least twice. After 16 semi-finalists are chosen, we will hold an All-Day Selection Sunday, putting the semi-finalists on their feet. The seven winners will be announced in August 2026, with the top-scoring play receiving the coveted Clopton Prize. 

      Length: 5-15 minutes. Send us your best. There is no theme and no restrictions on content. Workshops, readings, and a couple of previous productions are okay. 

      Limit: One play per playwright. There is no fee to submit 

      This event is a fund raiser for The Actors Studio and, unfortunately, we will not be able to pay a stipend to our winning Playwrights.

      TASN is an award-winning 60 seat black box in historic Salisbury, Massachusetts. This Festival will be sponsored by The Playwrights’ Collaborative (TPC) who collectively have been produced at more than 350 venues worldwide. In addition to creating new work, TPC’s Traveling Troupe brings turn-key, benefit shows to great venues around New England, including The Barker Playhouse, Providence, RI, The Chelmsford Center for the Arts, Chelmsford, MA, The Chocolate Church Arts Center, Bath, ME, The Custom House Maritime Museum, Newburyport, MA, and The Exeter Public Library, Exeter, New Hampshire. If you are interested in learning more about our benefit program, please email Jack Rushton at jackrushton56@yahoo.com

      This Short Play Festival is produced by playwrights for playwrights, and will be directed and performed by our amazing TASN and TPC talent.

      Go to www.newburyportacting.org for more information.

      Good luck and see you at the shows!

      Going It Alone seeks monologues

      Website

      Deadline: October 31, 2025

      SUBMISSION FORM

      A collection of original monologues celebrating the unique challenge of writing for a solo performer and performing solo! 

      Guidelines:

      ● Must be original pieces by the playwright submitting

      ● Performance length – 5-7 minutes (anything longer will be disqualified).

      ● Monologues only. Must only require one actor on stage.

      ● Diversity and inclusivity highly encouraged!

      Compensation and Performance:

      ● Small honorarium paid to chosen playwrights

      ● Chosen monologues will be cast with local actors and performed at Invisible Theatre
      in Tucson Arizona in May of 2026.

      Process:

      ● Submissions will be accepted from September 1st, 2025 to October 31st, 2025.

      ● All submissions will be read blind (without playwright info) by reading committee.

      ● Script curator will collect all numerical data and narrow the submissions down to 50
      and notify playwrights of making it to round 2.

      ● Script curator will read 2nd round plays and narrow it down to 25 based on committee
      scores, timing, and overall quality, and notify playwrights of making it to final round.

      ● Script curator and IT Executive Director will read final round monologues and
      determine which will be part of the 2026 show.

      ● All playwrights will be notified whether or not they have been selected.

      ● Chosen monologues will be cast and directed with local actors/directors.

      Recommendations:

      ● Monologues should not be one side of a conversation..pausing for the character to
      listen to a character we never see or hear.

      ● Sometimes monologues based on real people from history read like TED Talks, or rote
      history lessons. Instead of just listing dates and book titles, etc, let us hear what that
      person thinks, feels, believes, etc. How they’re affected by what’s going on around
      them.

      ● Some monologues included a full page preface with information/exposition on the
      character, what they look like, how old they are, and explicitly what the actor should
      look like, sound like, etc. If we need to know all of that in order to appreciate your
      piece you haven’t done the work to show us who this character is through their
      words/actions.

      QUESTIONS? Send an email to goingitalonesubmissions@gmail.com

      Monday, October 6, 2025

      Discount tickets: CONNECTING DOT: A KINDRED REVUE

      The Green Room 42 presents CONNECTING DOT: A KINDRED REVUE on OCTOBER 23, 2025. 

      CONNECTING DOT is an absurdist cabaret musical about the timeless existential crisis known as Jewish womanhood. Amy “Dot” Iaccarino is a starving actress moonlighting as a bartender in Hell’s Kitchen. On the eve of Rosh Hashanah, she is visited by a divine presence, and the encounter flourishes into a miraculous vaudeville revue starring her ancestors. Among them: a grandiose narcissist, a jazz-singing mafiosa, and a rebellious immigrant from the Old World. Dot begins to see herself in their stories and mannerisms, and comes to terms with the centuries-long conflicts that live on through her.

      Starring Dara Naomi Gallagher as Dot, with Alyssa “Alyx” Cassese, Kat Siciliano, Ruthy Froch, and Brooke Shapiro. Also featuring Yasmin Ranz-Lind, Claudia Cromley, Madhu Murali, Leah Raquel Petraglia, Zoë Parrish, and Courtney Martin-Cox.

      Produced by: Nancy Pop

      Music and Lyrics by: Victoria R. Romano Orchestrations by: Margaret Barbour Music Director: Christina Cinnamo

      CONNECTING DOT: A KINDRED REVUE plays at The Green Room 42 on OCTOBER 23, 2025. Tickets are available starting at $29, with no food or beverage minimum. The show will also be livestreamed. 

      Tickets and more information are available at www.thegreenroom42.com.

      10% discount  - use code "NYC10" for in-person ticket purchases

      In Person & Livestream Tickets
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      Call for Submissions: Spartan Theatre One Page Play Festival – “Haunting Holidays”

      Website

      Deadline: October 26, 2025, 11:00 PM PDT

      SUBMISSION FORM

       The Spartan Theatre at Spokane Falls Community College
      Facebook Page: Spokane Falls Theatre – https://www.facebook.com/SpokaneFallsTheatre
      Festival Date: Friday, December 5, 2025 at 7:30 PM

      The Spartan Theatre at Spokane Falls Community College proudly announces our Second Annual Festival One Page Plays: Haunting Holidays!

      We are seeking submissions from playwrights across the globe to be presented in a reader’s theatre format. Selected plays will be performed live at SFCC’s Spartan Theatre on Friday, December 5, 2025, at 7:30 PM.

      Last year’s festival received over 100 submissions from playwrights all over the world, making it a truly global celebration of creativity. We are excited to build on that momentum and see how playwrights will haunt the holidays this year!

      What We’re Looking For

      We want one-page plays that creatively explore the theme Haunting Holidays. Whether it’s a ghostly gathering at a festive dinner, a spooky twist on a traditional celebration, or a chilling winter tale, we encourage all kinds of imaginative interpretations.

      All holidays are welcome: New Year’s Day, Independence Day, Thanksgiving, Arbor Day, Talk Like a Pirate Day, Valentine’s Day, Halloween, Mother’s Day, Father’s Day, St. Patrick’s Day, April Fools, Cinco de Mayo, or any other day of cultural or personal significance you’d like to haunt with your imagination.

      Here’s a fun challenge: bonus points for including Bigfoot! Why Bigfoot? Because Bigfoot is the mascot of Spokane Falls Community College, and we’d love to see this legendary cryptid make an appearance in our festive and eerie festival.

      How to Submit

      Submit your one-page play in MS Word or PDF format through the following link:

      What to Expect
      • Selected plays will receive a staged reading in a reader’s theatre format, focusing on the script and storytelling.
      • Playwrights will be notified of their selection by November 24, 2025.
      • There is no submission fee, and no participation fee if selected.

      Length of Plays

      Plays should be one page only (roughly 1–2 minutes of performance time).

      Restrictions
      • Open to all playwrights worldwide. There are no restrictions on age, nationality, or gender. All are welcome!
      • Only ONE submission allowed per playwright. Send us your best work!
      • Previously produced or published works are welcome, however scripts submitted to last year’s festival is ineligible.
      • No Self-Production Required
      If your play is chosen, SFCC will handle all aspects of the production. You do not need to self-produce or cover any costs.

      Submission Guidelines Recap

      Submit in MS Word or PDF format through the provided link.
      Deadline: October 26, 2025, 11:00 PM PDT.
      For questions, please contact our Festival Director, Rebecca Cook: Email: racook321@gmail.com
      We can’t wait to see your creative take on Haunting Holidays, and we’re especially excited to see how you might work in Bigfoot! Please share this opportunity with fellow playwrights and theatre lovers.

      Sunday, October 5, 2025

      Albee Foundation Residency

      Website

      Deadline: October 13, 2025

      SUBMIT VIA SUBMITTABLE

      Plays/Screenplays: A full manuscript (one act plays count as a full script)

      Please note: writers who write in a foreign language should apply with English translations of their work.

      You must be able to take full credit for the creation of your work sample.

      ALL APPLICANTS must also include:

      • An up to date resumé

      • Email addresses of 2 professionals familiar with you and your work (your recommenders will be contacted for letters by us)

      • An artist’s statement explaining your current need for a residency, as well as the details of the proposed project while in residence

      The Edward F. Albee Foundation maintains the William Flanagan Memorial Creative Persons Center (better known as "The Barn") in Montauk, Long Island, New York, as a residence for writers and visual artists of all media.  We are proud to be ADA-accessible and open our doors to all creative people.

      The Center is open year-round (with the exception of December, when it is closed for general maintenance and holidays), and can accommodate four creative persons at a time. Residencies are for calendar months only.  The standards for admission are, simply, talent and need.

      Located approximately two miles from the center of  Montauk and the Atlantic Ocean, "The Barn" rests in a secluded knoll  which offers privacy and a peaceful atmosphere.  The Foundation expects all those accepted for residence to work seriously and to conduct themselves in such a manner as to aid fellow residents in their  endeavors.  Writers and visual artists are offered individual en-suite bedrooms and separate working studios.  Domestic residents are provided with a $2500 stipend; Foreign residents are reimbursed for verified expenses up to $2500.  The environment is simple and communal.   Residents are expected to do their share in maintaining the condition of  "The Barn" as well as its peaceful environment.

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