We never post opportunities that require a submission fee. LEARN MORE.
Showing posts with label Dramatists Guild. Show all posts
Showing posts with label Dramatists Guild. Show all posts

Monday, June 29, 2020

Dramatists Guild Survey on New Media

Interested in Live Streaming Theatre? 
So Are We.

In response to the seismic shift in our industry, the Dramatists Guild leapt into action by creating the New Media Committee. This committee is at the forefront of investigating and researching live streaming practices from at-home DIYs to large non-profit theaters streaming archival performances and you can help. We've created a survey for our members because you are on the front lines and we need your voice.

If you have either put your own work online or have been approached by a theatre to put your work online, we want to hear from you. What did you learn? What do you wish had gone differently? The New Media Committee will collect this information and use it to create a map of industry practices of live streaming theatre. Please answer this survey and pass it along to other dramatists to get their input. It is important that we have all voices represented.

Thank you for taking the time to voice your experience. Your answers will help shape our industry.

Access the New Media Survey

Wednesday, August 28, 2019

Free space for Dramatists Guild members

Rehearsal Space

Members selected via lottery will be able to enjoy complimentary rehearsal space in five hour blocks this fall.

Please submit by Friday, August 30. 

Lottery selections for the free rehearsal space in September 2019 will be announced on August 31.

Dates/times available
  • FRIDAY, SEPTEMBER 6 from 5:00pm to 10:00pm
  • FRIDAY, SEPTEMBER 13 from 5:00pm to 10:00pm
  • SATURDAY, SEPTEMBER 21 from 2:00pm to 7:00pm
  • FRIDAY, SEPTEMBER 27 from from 5:00pm to 10:00pm

Performance Space - Friday Night Footlights

Round One: October & November 2019
Members selected via lottery will be able to showcase new work in front of an audience, free of charge.

Please submit by Friday, September 13.
Lottery selections for Round One (October and November 2019) will be announced on September 16.

Tuesday, June 18, 2019

Amphibian Stage Productions seeks submissions for 2020 season

web site

Ends on June 30, 2019  

We look forward to reading your script. Please include the following items:
1. Cover letter with playwright biography and production/development history, if applicable.
2. Proof of membership in the Dramatists Guild. (Only Dramatist Guild members are eligible to submit scripts to Amphibian Stage Productions.) 
Due to the high volume of submissions, we can only accept one submission per playwright per calendar year. 

We're looking for full-length plays that...
1.  require 1 to 6 actors
2. allow for diverse casting
3. reflect our mission (https://www.amphibianstage.com/about-us)
4. are imaginative and permit imaginative staging

(You have to create an account to submit)

Friday, May 11, 2018

The Monologue Project at the Dramatists Guild 2018 National Conference

web site

The Monologue Project aims to increase the number of audition-length monologues available to women and girls of the African Diaspora. All current public high school students are invited to submit an original 250 word fictional, historical, or autobiographical monologue depicting a woman or girl belonging to the African diaspora.

$300 First Prize
$200 Second Prize
$100 Third Prize

10 finalists will have their monologues performed at the Dramatists Guild of America in June 2018.
50 participants will be invited to attend the Dramatists Guild of America National Conference in New York in July 2018.

The Monologue Project at the Dramatists Guild 2018 National Conference
Hilton Midtown, New York, NY 10019
Friday, July 27, 2018 – 7pm


Thursday, April 26, 2018

Dramatists Guild Foundation

web site

DGF Fellows is open to playwrights and musical theater writers who have participated in an organized theatrical workshop within the last ten years, have participated in a graduate program in theatrical writing within the last five years, or have comparable experience, such as one or more professional productions. Musical theater writers may apply as individuals or in teams of up to three collaborators. Playwrights may only apply as individuals.

Admitted playwrights and musical theater writers will receive a stipend, and meet twice a month in NYC to share progress on their pieces and receive feedback from Program Chairs, guest artists, and the Fellows class.

Application Timeline

April 27: Applications close



Early fall 2018: Selected Fellows announced

Application materials can only be submitted online.

The full application will consist of:

• Excerpts from a play or musical in development. Please note that you must apply with excerpts from the show you would like to develop in the program.

• A cover letter responding to the following prompt: “Describe a time when you felt part of a community.”

• A letter of recommendation from a theater educator, mentor, collaborator or colleague. This is optional, however, DGF will require this of some applicants based on experience.

DGF encourages writers of all backgrounds to apply.

For questions, please email applications@dgf.org or call 212-391-8384.
You can also Tweet your questions to @dgfound.


Sunday, December 10, 2017

The Dramatists Bill of Rights


Long before playwrights or musical theatre writers join the Dramatists Guild, they often struggle professionally in small-to-medium-sized theatres throughout the country.

It is essential, therefore, that dramatists know their rights, which the Dramatists Guild has defended for nearly 100 years. In order to protect the dramatist’s unique vision, which has always been the strength of the theatre, s/he needs to understand this fundamental principle: dramatists own and control their work.

The Guild recommends that any production involving a dramatist incorporate a written agreement in which both theatres/producers and writers acknowledge certain key rights with each other.


No one (e.g., directors, actors, dramaturgs) can make changes, alterations, and/or omissions to your script – including the text, title, and stage directions – without your consent. This is called “script approval.”

You have the right to approve the cast, director, and designers (and, for a musical, the choreographer, orchestrator, arranger, and musical director, as well), including their replacements. This is called “artistic approval.”

You always have the right to attend casting, rehearsals, previews and performances. The Guild recommends that any production involving a dramatist incorporate a written agreement in which both theatres/producers and writers acknowledge certain key rights with each other.


You are generally entitled to receive a royalty. While it is possible that the amount an author receives may be minimal for a small- to medium-sized production, some compensation should always be paid if any other artistic collaborator in the production is being paid, or if any admission is being charged. If you are a member of the Guild, you can always call our business office to discuss the standard industry royalties for various levels of production.

You should receive billing (typographical credit) on all publicity, programs, and advertising distributed or authorized by the theatre. Billing is part of your compensation and the failure to provide it properly is a breach of your rights.


You own the copyright of your dramatic work. Authors in the theatre business do not assign (i.e., give away or sell in entirety) their copyrights, nor do they ever engage in “work-for-hire.” When a university, producer or theatre wants to mount a production of your play, you actually license (or lease) the public performance rights to your dramatic property to that entity for a finite period of time.

You own all approved revisions, suggestions, and contributions to the script made by other collaborators in the production, including actors, directors, and dramaturgs. You do not owe anyone any money for these contributions. If a theatre uses dramaturgs, you are not obligated to make use of any ideas the dramaturg might have. Even when the input of a dramaturg or director is helpful to the playwright, dramaturgs and directors are still employees of the theatre, not the author, and they are paid for their work by the theatre/producer. It has been well-established in case law, beginning with “the Rent Case” (Thompson v. Larson) that neither dramaturgs nor directors (nor any other contributors) may be considered a co-author of a play, unless (i) they’ve collaborated with you from the play’s inception, (ii) they’ve made a copyrightable contribution to the play, and (iii) you have agreed in writing that they are a co-author.

After the small or medium-sized production, you not only own your script, but also the rights to market and sell it to all different media (e.g., television, radio, film, internet) in any commercial market in the world. You are not obligated to sign over any portion of your project’s future revenues to any third party (fellow artist, advisor, director, producer) as a result of a production, unless that production is a professional (i.e., Actor’s Equity) premiere production (including sets, costumes and lighting), of no less than 21 consecutive paid public performances for which the author has received appropriate billing, compensation, and artistic approvals.

Rather than granting the theatre the right to share in future proceeds, you may choose to grant a non-exclusive option to present another production of your work within six months or one year of the close of the initial production. No option should be assignable without your prior written consent.

The only way to ensure that you get the benefit of the rights listed above is through a written contract with the producer, no matter how large or small the entity. The Guild’s Department of Business Affairs offers a model “production contract” and is available to review any contracts offered to you, and advise as to how those contracts compare to industry standards.

We realize that making demands of a small theatre is a difficult task. However, you should feel confident in presenting this Bill of Rights to the Artistic Director, Producer, Literary Manager, or university administrator as a starting point for discussion. At the very least, any professional in the dramatic arts should realize that it is important for writers to understand the nature of their work – not just the artistic aspects, but the business side, as well – and that they stand together as a community, for their mutual benefit and survival, and for the survival of theatre as a viable art form in the 21st century.

Saturday, April 16, 2016

Dramatists Guild Fellows Program

web site


Applications for the Fellows Program commencing in Fall, 2016 must be received by DGF no later than 5:30pm on April 29, 2016. Please read all of the instructions carefully.

IMPORTANT CHANGES: We have expanded eligibility to include writers who have had one or more professional productions.


Applicants will be eligible for the program with any of the following qualifications: 1.Participation in a graduate program in theatrical writing within the last five years; or 2. Participation in an organized theatrical workshop within the last ten years; or 3. Comparable experience, such as one or more professional productions, and a recommendation by a theater professional or theater educator; or 4. Pertinent, documented practical experience.

All applicants must be residents of New York or the surrounding metropolitan area for the time of their fellowship. Applicants must also be prepared to meet on alternate Monday evenings of every month, and to make themselves available, if possible, to participate in observerships, assistantships, etc. when those opportunities arise.

For questions about applying to the Fellows Program, email applications@dgfund.org.


Please submit a cover letter answering the following: “Describe an experience in which somebody’s input on your work as a writer affected you”; a resume containing pertinent contact information for you; 20 pages of a script you have written. Please name submission as follows: PlayTitle (for example: Ruined.pdf. The document(s) must be uploaded as a PDF.


If you are applying as a Musical Theater Fellow and you write both music and lyrics, you may apply alone as a “self-contained” writer. Members of collaborative teams must apply together. Collaborative teams with composer and lyricist should also consider applying with their librettist partner, or, at the very least, make their librettist partner available whenever that project is being discussed. Unfortunately, we cannot accept people who write only lyrics or only music or only libretti without a writing partner, as we cannot pair collaborators. The cover letter and materials submitted should make it clear whether you and your collaborator(s) are applying as a team or whether you are applying as a self-contained writer.

Please submit a cover letter; a resume containing pertinent contact information for you; mp3 files of four (4) songs with lyric sheets; a brief description of each song as to its plot placement, a brief synopsis of the musical, and the complete libretto, if one exists. Musical submissions need not be elaborately produced; piano and voice is sufficient. Please note that we can only accept music in the mp3 format. Please label individual songs as follows: MusicalTitleSong# (for example: Ragtime#1.mp3) The other documents must be uploaded as a PDF.

Monday, June 23, 2014

Statement from the Dramatists Guild

DG BizBlip: Theatre Under the Stars

In light of the recent activities of Bruce Lumpkin, Artistic Director of Theatre Under the Stars in Houston, TX, with regard to the many reports of his unauthorized changes to the musical “Hands On A Hardbody” he presented at his theater, the Dramatists Guild has written a letter to Mr. Lumpkin objecting to his conduct and offers this general statement about the practice of making unauthorized revisions:
DG Statement:

Playwrights in America own their work. They have sacrificed much for this privilege, including the important right that directors enjoy, to unionize and collectively bargain for the terms of their employment. Dramatists have chosen, instead, to own their words and their music and to have approval over productions of their work. It is a right the Guild has maintained for theater writers since 1926. And it is a right that authors have incorporated into their contracts with publishers. As a consequence, all publishers license shows with a standard contractual prohibition that prevents producers and their employees (like directors) from changing the show without the author’s permission.

Fortunately, most professional theaters respect authorship and the standards of the theater industry (and their own contractual obligations) by either asking for permission to make changes upfront or staging the work as written. They don’t want to run afoul of the licensing agents, nor do they want to bear the extra financial burden of having to stop performances and restage a production, or to endure the costs of litigation. Nor, we imagine, do they want to earn the enmity of playwrights everywhere, who have made ownership and control of their work the core value of their professional lives.

But there are some theaters that take a different tack in this regard. Those theaters engage in the practice of rewriting shows they present without authorial approval, in direct violation of the theater’s contractual obligations and industry standards. The Dramatists Guild of America, a national association representing the interests of over 7000 playwrights, composers and lyricists worldwide, vehemently and unequivocally objects to such illegal practices.

When we become aware of such a theater, we keep apprised of the theater’s ongoing activities and report on it to our membership and their representatives. We hope that writers, agents and publishers will consider this information when deciding whether or not to issue licenses for any works they represent.

Saturday, March 1, 2014

Dramatists Guild interview with Wendy Wasserstein from 1993

In an interview with Buzz McLaughlin, Wendy Wasserstein, the Pulitzer Prize-winning playwright of The Heidi Chronicles, talks about developing an initial idea into something ‘stage worthy.’

Originally Recorded in 1993.

Audio-only interview with Wendy Wasserstein can be heard at the Dramatists Guild web site here.

Blog Archive