Friday, June 30, 2017


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"Radical Hope and The New Resistance"

LEZWRITES! is a project of 3Girls Theatre Company that produces readings and performances of short works by lesbian, bi and trans playwrights of all races, ethnicities, and ages. This year's selections will be curated by a literary panel including 3GT Resident Playwright and Producer, Margery Kreitman, and playwright and Associate Producer, Mercilee Jenkins, published in The Best American Short Plays 2014-2015, and two special guest curators: Tina D’Elia, an award-winning casting director and solo performer whose shows include The Rita Hayworth of this Generation; and Thao P. Nguyen, author/performer of Fortunate Daughter, named one of the Top 10 Bay Area Plays of 2013.

Calling for short works for the stage by Lez, Bi, and Trans writers. Seeking submissions from women of ALL AGES, RACES, ETHNICITIES, and RELIGIONS. WOMEN OF COLOR STRONGLY ENCOURAGED TO APPLY! We welcome submissions from across the country and around the world. We love it if you are a writer who is comfortable performing her own work. If not, please send us your piece anyway, and we will find a qualified actor(s).

"Radical Hope and The New Resistance"

We are seeking 5-8 minute HUMOROUS pieces, related to the Festival Theme as it relates to your Lez, Bi, or Trans experience. You may want to focus on the Festival Theme and one or more of the following topics: work, dating, sex, intimacy, marriage, divorce, family, parenting, gender, race, health, aging, community, generational differences, and/or body image.

Immigration/deportation; climate change; activist burnout; bathroom politics; Planned Parenthood; the future of free education, sexual harassment and sexual abuse; electoral politics; queer feminism today; equal political representation for women, and any others you may feel inspired to write on.

Your submission can be a personal essay, flash memoir, monologue, slam poetry, two or three character short play or scene, creative non-fiction, or a song.

$50 for writers or writer/performers and $25 for scene actors.

We will be doing a reading/performance on Sunday, August 20th at 7:15pm at Potrero Stage (formerly Thick House, 1695 18th Street, San Francisco 94107). It is a great venue with lots of street parking. Please make sure you are available on the day of the reading to attend a run-through rehearsal in the afternoon.

Submission by email only to:
with “LezWrites! 2017” in the email subject line.

Please attach your scripts to your email in MS Word or PDF. Please number the pages. Please include all contact information on the cover page only: name, email address, phone number(s), and whether or not you accept texts.

Midnight, July 15, 2017
Questions? Email Associate Producer:
Mercilee Jenkins,

LezWrites! is a project of 3Girls Theatre Company whose mission is to develop, produce and promote new plays written by women playwrights. For more info visit

Lakes Area Radio Theatre submission guidelines

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Lakes Area Radio Theatre accepts script submissions from writers. Your original radio plays can be in any genre. To submit a script, review the following guidelines. Scripts that don’t comply with the guidelines may be returned. Upon clicking accept, you will be able to upload your file.

Script Submission Guidelines

Format – Your script must be in a radio play format which differs from stage plays and screenplays. There are no stage directions, visual cues or lighting directions. The scripts should include easily discernible audio cues such as dialogue, sound effects (sfx), and music cues. Number the pages and number the lines starting over with 1 on each page for the lines.

Content – We ask that content be suitable for all ages and family friendly. If you include innuendo and/or adult humor, please keep in mind some “children’s shows” which appealed to adults as well: Rocky and Bullwinkle, Fractured Fairytales, and the like. We broadcast our shows on a growing network of radio stations.

Length – Lakes Area Radio Theatre has a 30 minute broadcast space to fill every other week. Plays can be 29-31 minutes in length. Script lengths are in the range of 5000 +/- words.
We will accept scripts for single shows
We will accept scripts that would run for 2 installments
We will accept a series of shorter plays which fill 30 minutes

Fame Not Fortune – We pay a royalty fee of $30 per half hour of entertainment. This is based on input from radio script playwrights from around the USA as well as a BBC radio script writer.

Royalty Agreement – If we accept and use your script, we will send you a writer’s agreement. This agreement will grant us the right to produce the script; it will grant us the right to reproduce as many copies of the script as needed to produce the script; it will grant us the broadcasting and rebroadcasting rights to the taped production (radio and podcasts); the writer retains all rights to their original and/or adapted work.

Return Policy – We may not take the opportunity to use your script. There could be a number of reasons for this such as its length, content not deemed suitable for our audience, or just that we believe it needs more work. We will try to give feedback so that writers can edit and resubmit their work.

Please send script submission questions to:
Kent Garlinghouse, Script Director
Lakes Area Radio Theatre
2214 Geneva Road NE
Alexandria, MN 56308

Därkhorse Drämatists “Tales from the Script”

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HALLOWEEN THEMED PLAY FESTIVAL] Please consider the following guidelines for Därkhorse Drämatists “Tales from the Script”! It’s important to note, that while we favor newer plays, this festival is not limited to original work. Your submissions may have been produced at other venues, so long as it is unpublished and wasn’t featured in last year’s festival. Besides one-act plays, we are also looking for 1-person shorts & monologues. Please refer to the guidelines below.

One-acts: 25 page maximum / 10 page minimum. (No minimum page count for 1 person shorts or monologues). No exceedingly violent or pornographic material. Adult language allowed within reason.

Plays may have a maximum of 3-4 characters and should take place in a limited setting and minimal props.

Due for submission by September 1st. 2 submissions allowed per playwright.

Playwright must provide contact information including their location and previous production history of the play where applicable. Regional playwrights are given first consideration.

Submissions preferred in stageplay format. E-mailed no later than September 1st to:

Plays can be any genre; comedy, satirical, farce, drama, horror or gothic as long as they fall into a loose ‘Halloween theme’. No musicals or murder mysteries please.

Plays will be mediated in a forum comprised of local playwrights, directors and actors to determine which will be produced.

Thursday, June 29, 2017

Public Theater Emerging Writers Group

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DEADLINE: AUGUST 31st, 2017. Materials must be postmarked August 31st or received at the theater or emailed by midnight EST of August 31st.

The Public Theater will select the strongest candidates based on the overall strength of the applicant’s play submission, artistic statement, and interview.

The Public will look for candidates from diverse backgrounds who show tremendous artistic promise and talent, as well as responsible and dedicated individuals who are serious about a career in the theater. 

The selection committee will be comprised of Oskar Eustis, Artistic Director; Jeanie O'Hare, Director of New Work Development; Jesse Cameron Alick, Company Dramaturg; Jack Moore, Associate Dramaturg (New Writing).

- Cannot have professional representation for playwriting including, but not limited to, agent, manager or lawyer.
- Cannot be a full-time student at any point during the duration of the program.
- Cannot be enrolled in any academic playwriting course during the duration of the program.
- Must not have had productions in New York other than those using the showcase code or in an off-off Broadway theater with 99 or fewer seats. (If your New York show used a higher contract tier than the showcase code, you are not eligible to apply. If your New York show received a festival production in a theater with more than 99 seats and did not use an Equity contract, you are eligible to apply.)
- Must live within 90 minutes to The Public Theater via car or rail.
- Must be able to attend evening meetings at The Public Theater every other week in 2018 and 2019 as well as other events throughout the year, such as master classes, retreats, observerships and other special events at The Public.
- Regular attendance is mandatory and therefore applicants should view the program as a two-year-long commitment.
- Must be available for an in-person interview in early December 2017.
If you are unavailable for an in-person interview or have a limited conflict in regards to attending biweekly meetings, please make note of such conflicts on the Application Form. We will try to accommodate such situations on a case-by-case basis.

Wednesday, June 28, 2017

Classic Theater Harlem Reading Series submission guidelines

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Selected playwrights submit 10-12 pages of a new work in the early stages of development. Actors are cast on the spot and perform a cold reading, followed by a moderated audience feedback session. In addition to serving the development of new work, these readings give audiences a sneak peek into how new plays are created.

Submit your work to Ms. Shawn René Graham, Literary Director at No phone calls please.
Plays/Excerpts may not have been previously produced.
Playwrights may submit up to fifteen (15) pages only.
Plays must be submitted as a PDF or as a Word document.
Playwrights will not receive comments on plays once submitted.


CTH asserts that a “Future Classic” is a play of social significance that has the potential to stand the test of time. It tackles large-scale economic, political, or cultural issues. A Future Classic promotes courageous and open-minded examination of controversial and critical topics that are at the heart of society.

Submit your work to Ms. Shawn René Graham, Literary Director at No phone calls please.

Plays may not have been previously produced.
Playwrights may submit only one full-length play.
Plays must be submitted as a PDF or as a Word document.
Playwrights will not receive comments on plays once submitted.
Playwrights should also include a brief author’s bio and/or resume.
Playwrights may also submit a play synopsis (250 words).

Tuesday, June 27, 2017

Lucky Penny 8 x 10 Festival of 10 Minute Plays

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Here are the SUBMISSION GUIDELINES. Please read and follow:

1. Submissions must be 10-minute plays. Authors should write for an adult audience. Comedy and drama, both musical and non-musical will be considered. Musical submissions must include sheet music/score as needed. Legal clearance of materials not in the public domain is the full responsibility of the submitting playwright.

2. Scripts and related materials must be postmarked by June 30, 2017.

3. Sets, lighting needs and other technical requirements must be minimal. Since the winning plays will be produced, no play considered technically un-produceable will be considered.

4. Maximum number of characters per play is four.

5. Running time is to be 10 minutes or less, which may mean 6-10 pages depending upon the density of dialogue. Authors are responsible for submitting work that is within the 10 minute running time limit. Cuts will be requested of the playwright for any selected play which runs over the limit regardless of the number of pages in the script.

6. Plays must be typed/word-processed, numbered, and stapled. Do not use binders or covers.

7. Plays must be presented in proper script format.

8. No electronic submissions will be allowed. (And please don't tell us "Hey, it's the 21st century! Other people accept email submissions!" We know that. We don't.)

9. All submissions are judged blind and this requires two types of cover pages. One, a separate cover letter, will include your name, address, phone number, e-mail and the play title. The other will be on each copy, but only showing the title. There can be no identifying information on the script other than the title. Do not include the author’s name on every page.

10. There is no limit to number of plays that an individual may submit, but each play must be accompanied by the proper cover pages as described. Only one play per author may be chosen.

11. Scripts cannot be returned. Lucky Penny Productions assumes no responsibility for lost or damaged scripts.

12. The eight best plays will be selected from all entries by the reading committee. Notification to authors will be made by Sept 1, 2017. The eight selected plays will be staged in Feb-Mar 2018.

13. The author of the play chosen as the "People's Choice" will receive a $100 honorarium from Lucky Penny.

To submit your play:

Mail 3 copies of each script along with the two types of cover pages to:

8 x 10: A Festival of 10 Minute Plays
Lucky Penny Productions
1357 Foster Road
Napa CA 94558

The selection of directors, actors and designers for the selected plays is at the sole discretion of Lucky Penny Productions. An author may participate in the process if participation is requested by the producing company or the director selected for the project.
Entry of a script into this festival grants to Lucky Penny Productions the right to produce the entered play only for this specific event in Jan-Feb 2018 and authors retain all rights to their work for future production or publication.
The producing company reserves the right to remove and/or replace any play selected by the reading committee if, once in rehearsal, the play is found to be unproduceable as determined by the festival coordinator. Selection of a replacement play is at the sole discretion of the producing companies.
The producing companies reserve the right to reschedule or cancel the festival at their discretion if conditions beyond their control require it.
Authors, if their play is selected for production, grant to Lucky Penny Productions the right to use their name, biographical information and photo for purposes of publicity and marketing during the period Sept 1, 2017 through the performances dates in Feb 2018.
Submission of a script to this competition signifies the acceptance of these waivers and conditions if the play is selected for production.

Questions can be directed to Lucky Penny Managing Director Barry Martin at or you may call or text to 707-738-2920.

Monday, June 26, 2017

Ivoryton Playhouse Women Playwrights’ Initiative

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The Ivoryton Playhouse is delighted to announce our second annual Women Playwrights’ Initiative.

Thanks to all participants, our inaugural Initiative was a resounding success. We once again seek submissions of one-act plays by women playwrights.

The Women Playwrights’ Initiative develops new one-act plays by and about women, and the issues that shape their lives. Friendship, political and economic advocacy, sexual satisfaction, aging, gender equality, racial issues, marriage, singlehood, motherhood, careers, and power. The Initiative provides a safe, nurturing environment for play development, including a week of intensive rehearsal with the playwrights, directors, and actors. It will culminate in a staged reading festival in February/March 2018, Passion, Power, Prose: Women Playwrights’ Initiative featuring interactive talkbacks with the playwrights, directors, actors, and audience.

Ten minute plays are acceptable, and all plays must run no more than one hour.

We will be accepting completed manuscripts by email only until June 30, 2017. The week of rehearsal culminating in staged readings on Friday and Saturday nights will be in February/March 2018. Writers whose works are chosen will be invited to Ivoryton for a week to work with directors and actors on their play. They will also receive a small stipend.

Interested playwrights should email a completed manuscript, (for musicals include a script and CD), bio, and resume, including your telephone number and email address.

The Women Playwrights’ Initiative also seeks resumes from directors, and those interested in being readers, both men and women.

Play submissions, and resumes from directors and readers should be emailed to Laura Copland, Director of Play Development at Ivoryton Playhouse,

Sunday, June 25, 2017

Best of Bolton seeks short plays

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We are seeking writers to submit poetry, stories and short plays to be performed across two Best of Bolton showcases on Sat 11 November 2017.

Writers can be of any age and live anywhere; professional or beginner. There are no rules on content, themes or the language in which submissions are written – we are eager to hear new voices and welcome diversity.

How To Apply

1. This is an international competition open to anyone residing in the UKorabroad.

2. Entrants must be sixteen or over. There is no upper age limit.

3. We can only accept a maximum of 3 entriesper person

4. The competition opens on Tue 18 April with the deadline for entry being Sat 8 July. Any entries received after this time will not be read.

5. All entries must be accompanied by a completed copy of the submissionentry form which includes full contact details and agreement to abide by the terms and conditions,which can be downloaded at  Best of Bolton - Terms Conditions 2017.pdf

6. Entries must be submitted either:

* by (signed for) post to the following address: Best of Bolton, Octagon Theatre, Howell Croft South, Bolton BL1 3SP
* or by email to the following email address:

7. Scripts must be submitted by the writer(s) themselvesand not by an agent or any other third party.

8. Please do not submit any supporting materials including CDs, photographs,reviews or any audio-visual material.

9. Entrants retain the copyright in their entries but, in the event of being judged a winning entry, grant to the Octagon Theatre a non-exclusive licence to perform their work, as well as use it on any online platforms. Entrants also grant a licence to publish extracts of their work, along with their name(s), on The Octagon Theatre’s website.

Script Guidance

1. Work submittedmust be original, unperformed and unproduced.

2. Length:For drama, monologue and prose (extract of novel/short story) the submission must be no more than700 words. For poetry, the submission must be no longer than 30 lines.

3. Copyright:The entrant must exclusively own and control all copyright and all other related rights to the submitted script.

4. The submitted work must be available for production and unattached to any other theatre or company. Any work that have been professionally optioned, produced or published will be disqualified.

5. We do accept work co-authored by more than one writer. Please ensure that only one entry is submitted with one set of contact details.

Judging and Prizes

1. All winning entries are automatically under option to The Octagon Theatre for a period of eighteen months after the announcement of the awards.

2. If the Octagon Theatre chooses your work(s) as a winning entry/entries, then it/theywill be performed by a professional actor(s)in the Best of Bolton showcase on Sat 11 November in the theatre.

3. No payments will be made, including travel or subsistence expenses in the event of the writer(s) visiting the theatre throughout the production and performance periods.

4. We regret that no correspondence can be entered into regarding any part of the judging process.

Saturday, June 24, 2017

Fred Ebb Award

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Each applicant must be a composer/lyricist or composer/lyricist team wishing to create work for the musical theatre, and must not yet have achieved significant commercial success.

Application Materials:
A CD of up to four songs from one or more musical theatre pieces, with typewritten lyrics and a description of the dramatic context for each song; and
A completed application form.

We will code the applications as they arrive. Because all submissions will be reviewed blind, please do not place name(s) of writer(s) on the CD, lyric sheets, or description of dramatic context. Only musical theatre work will be considered. Please do not submit live recordings. The applicant(s) must have written all the songs included in the submission. For example, a composer cannot submit one song with her own lyrics, and a second song with lyrics by another writer. No individual may appear on more than one application. You cannot apply as an individual and again as part of a team, or as part of more than one songwriting team.

Submission Deadline and Award: Applications will be accepted from June 1st – June 30th.

Please mail or deliver applications to:

Fred Ebb Award, Roundabout Theatre
231 West 39th Street, Suite 1200
New York, New York 10018

Mailed submissions must be postmarked not later than June 30.

The winner will be selected in November, and will receive $60,000. The Foundation will also produce a one-night showcase of the winner’s work.

Download the Ebb Foundation Application 2017

The Lanesboro Jerome Artist Residency Program

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The Lanesboro Jerome Artist Residency Program, located in Lanesboro, MN (pop. 754), aims to provide an immersive, meaningful experience for emerging artists from Minnesota and the five boroughs of New York City. The program is unique in that it provides an entire rural community and its myriad assets as a catalytic vehicle for engagement and artistic experimentation, with staff working with each resident to create a fully-customized residency experience. Lanesboro Arts’ goal is to be flexible and accommodating to the artists, allowing them access to local resources needed for conceptualizing and realizing their place-based work. Lanesboro Arts recognizes “place-based work” as work that is specifically inspired by and designed for the place in which the work takes place; it can be a new project, or an interpretation of the artist’s current work tailored to engage the community of Lanesboro. The emerging artist residency program was designed to align with and amplify Lanesboro Arts’ vision for communities–especially rural communities–to embrace artists as economic drivers, culture bearers, community builders, and problem solvers.

The application deadline for residencies taking place in 2018 is July 31st, 2017 at noon. 

Jury review will take place in August and applicants will be notified by September 15, 2017 at the latest as to the status of their application. Selected artists residents and runners-up for 2018 will be notified by September 29, 2017.

Artists must be residents of Minnesota or the five boroughs of New York City to be eligible to apply. To be considered, eligible artists must submit their application through an online webform on Lanesboro Arts website. Complete program details are below.

 Please contact Adam Wiltgen at 507-467-2446 or with any questions.

Submissions for 2017-2018 Scratchpad Series due July 16th

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The Scratchpad Series, our newest program, jumpstarts The Realm’s relationship with early-career playwrights by doing one of the things we do best: listening to what playwrights need and then giving it to them. Whether it’s a place to hear a rough draft aloud for the first time, space to fine tune a more mature work or time to focus in on a particular aspect of a piece, we want to give playwrights what they need to thrive. Scratchpad is a chance for us to engage with a whole new group of playwrights each year, erasing limitations of geography or access by working to identify early career playwrights from all across the country to participate.

Scratchpad participants will spend a week in New York City for a developmental reading of their play with top-notch professional collaborators—director, cast, and The Realm’s artistic staff. If the playwright is based outside of New York, The Realm will also facilitate travel and housing for the workshop.

Playwrights Receive
  • One week developmental reading of their play 
  • Professional collaborators, such as a director, cast, and The Realm’s artistic staff.
  • Facilitated travel and housing (if the playwright is based outside of New York City).
Program Criteria
  • Playwright must consider themselves early-career.
  • Play to be considered should be a complete draft.
  • Submitted script has not been produced in NYC.
Submitted script is not under commission from, or slated for production by, another institution.

What We’re Looking For
We love plays with evocative language, plays that contemplate big, unanswerable questions, that are intellectually curious and embrace the complexity of life, and demonstrate an understanding of the possibilities of dramatic storytelling. And of course, plays that are inherently theatrical—that could never be anything other than a play!

As a playwright-centric company hoping to help create the next generation of successful playwrights, we believe it is our responsibility to ensure that the playwrights and the stories we support fully reflect the diversity of the society we live in. As such, we encourage writers and stories with unique cultural perspectives, experiences and backgrounds. With Scratchpad in particular, we aim to help artists break through any barriers that may exist—geographical, economic or otherwise—bringing voices and stories as diverse as our country to work with us and hopefully one day be seen on stages all across the United States.

All applications must be submitted electronically by July 16th, 11:59PM EST.

Thursday, June 22, 2017

Rewrite Your Play this Summer Online with Primary Stages

As soon as you finish your last line of dialogue, the need for rewrites begins. Over the course of four weekends, this class will be run just like real-life writing room, interacting with Josh and your classmates live via the Citrix platform. Open to writers located anywhere in the world, this class will begin and end with two marathon weekends of reading pages and in-class discussion, with two single-session weekends in between to check in on the status of everyone's play. You will leave this class with a stronger version of your play, and with the tools you need to transform any first draft into a polished, compelling work that's ready to submit.
Instructor: Josh Hecht (Artistic Director, Profile Theatre; Director, Christine Jorgensen Reveals at New World Stages)
Lectures via Citrix:
Weekend 1: Saturday, July 22 and Sunday, July 23 from 1:00pm – 6:00pm EST
Weekend 2: Saturday, August 5 from 3:00pm – 6:00pm EST
Weekend 3: Saturday, August 12 from 3:00pm – 6:00pm EST
Weekend 4: Saturday, August 26 and Sunday, August 27 from 1:00pm – 6:00pm EST

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x211 or email

Stella Adler Academy of Acting & Theatre seeks plays for National Suicide Prevention Week

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Stella Adler Academy of Acting & Theatre - Los Angeles... Invites you to submit a short-form play to be included in A Light in Dark Places in accordance with National Suicide Prevention Week

Selected plays will have a six performance run and $50 prize
Performances will be the weekends of Sept. 8th-10th & Sept. 15th-17th at the Stella Adler Academy of Acting & Theatre - Los Angeles in Hollywood

Three to six plays will be selected from the submissions.
The plays are to explore the themes of Suicide Awareness and Suicide Prevention.
Selections will be announced on or about July 15, directors will then be assigned and casting will commence in August. A four week rehearsal period is anticipated.

To apply, playwrights must submit an original 5 to 15-page double-spaced script (previously produced scripts are not eligible) via email to: as Portable Document Format (.pdf) attachment.

Applications must be received by 11:59pm, PST Saturday, JULY 1, 2017. 

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

Please see the accompanying pdf produced by the American Foundation for Suicide Prevention, which will provide some guidance on how these issues may best be addressed.
For further information on the subject of Suicide Awareness and Prevention, please visit these

websites: (American Foundation for Suicide Prevention)
( ) (To Write Love on Her Arms)

For further information about Stella Adler Academy of Acting & Theatre - Los Angeles, please visit:
Stella Adler Academy of Acting and Theatre - Los Angeles, 6773 Hollywood Blvd., Hollywood, CA 90028 (323) 465-4446

Wednesday, June 21, 2017

One Company Writers Residency Retreat

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The Writer's Residency Retreat
with Nick Demos

September 5 to 11, 2017

The Lake House at DoLittle Farm, Long Valley, NJ

A four day residency at DoLittle farm in Long Valley, NJ (1 hour, 15 min outside of NYC). Transportation to and from NYC is provided. The stay is in an 8 bedroom, 4 bath home on a private lake. There are NO FEES to the artist. Meals are not provided. However, there is a grocery store nearby and a full kitchen for the participants use. No more than five participants will be in residence at one time.

Application deadline is 11:59pm on July 1, 2017.
Applicants will be notified of acceptance by August 15, 2017 via email.

Emerging and current writers are eligible to apply for the Farm.

Artist residency at the farm is for applicants who are:
  • Generating new or original work
  • Seeking to foster a rigor of practice by dedicating time and focus to the creative process
  • In need of a space in which to create and develop work
  • Seeking to make connections with a community of peers to engage in creative and professional dialogue
The Farm accepts applications from:
  • Writers working solo
  • Writers who work as a collaborative pair (no more than 2)
  • Writers of a musical (no more than 3)
Please note: only 1 application per individual or group.


All applicants must be at least 18 years of age.

One Co. does not accept applications from currently enrolled students.

One Co. does not accept applications from those who have already been awarded a residency in 2016.


Applications are reviewed by One Co. board members, alumni and industry professionals.

Applicants are selected based on the following criteria:

Merit of past work based on submitted work samples
Career record according to narrative biography and resume
Proposed projects and ideas as expressed in the proposal and artist statement
Artist will present a summary of the work completed at the Farm.

Artist will write a thank you note to the owner of the Farm.


THERE IS NO FEE TO APPLY. Only complete applications will be considered.

Please submit the following information below. Submissions should be one document with work samples attached and include:

Contact information

Two professional references (contact information only)
One page artist resume
Proposal (max 200 words)
Work samples

Tuesday, June 20, 2017

MadLab seeks full-length plays

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Submissions are now open for full-length plays! Long one-acts, two-acts, three-acts if you think you have what it takes. Full-length submissions will be considered for our 2018-2019 regular theatre season (not for THEATRE ROULETTE. Information on THEATRE ROULETTE submissions can be found by clicking here). Bring it on, playwrights. We want you!

To maximize your chance of selection, please read all the guidelines carefully before submitting.
At MadLab, we love reading new full length plays and we desperately want to read yours!
“But what are you looking for?” “How do I submit?” Love that enthusiasm! Read on:
What makes a play a “MadLab” play? Like obscenity, it’s hard to define, but we know it when we see it. Here’s a few tips as to what we like to produce and what our audiences have come to expect:
  1. Plays with a strong Point of View. Our audiences expect to not only be entertained for an evening, but to leave the theatre with something to think about and remember. We want to read plays from and for the marginalized and forgotten. We love new takes on old problems. We adore speaking Truth to Power.
  2. Good Stories with Vibrant Characters. Now, any play can have that strong POV, but the special ones show us that through strong storytelling and equally strong characters. So, mesmerize us with your craft and enchant us with your characters. Bonus points for well written female characters and casts that give an accurate representation of our multiracial society, as well as those that challenge the concept of binary sexuality. We’re not saying we won’t produce your play about 10 white suburban dads and their annual golf outing, but…
  3. Plays that are Visual. Ok, we’ll be completely honest – we are on a shoestring budget as far as sets/costumes go, but we’ve been doing this for 20+ years and we love an artistic challenge. MadLab is a 75 seat converted garage black box theatre, so plan accordingly. But challenge us. You’d probably be surprised what we’re capable of.
  4. Make us Laugh. We’ve been told we have an “offbeat” sense of humor. We’ve also been told we may require psychological counseling. Be bold in your Comedy writing, don’t worry about offending us (or our audiences), and never be afraid of being silly.
  5. Make us Cry. See above.
  6. Heck, do both with the same play. Always the best option to our way of thinking☺
  7. Be open to collaboration. Even if you live far away, we want you to be involved in every step of the process in producing your play. We may have ideas for rewrites/revisions, we may not want you to change a thing, but we do want your voice to be heard and for you to feel like we’ve done your little fever-dream justice.

Now that we’ve surely created more questions than we’ve answered about what we’re looking for, here’s the nitty gritty about submitting your brilliant baby to the Lab.

​For our Full Length Season (3 new plays presented Aug – Dec) we’re looking for plays that evoke a certain feeling, an overarching theme if you will. Now, we’re wide open to different interpretations, so don’t let it scare you, but let’s see what happens when we focus a little.

The 2018 “theme” is Evolution and Change. If we’ve learned anything in life, it’s that the world is in a constant state of Evolution. Everything Changes, sometimes glacially and sometimes in the blink of an eye. Like Death and Taxes, change is unavoidable and predictable. What isn’t as easy to predict is how change affects the humans involved.
All submissions should be sent to Please use “MadLab 2018 Season” as your subject. Ohio playwrights, please use “MadLab 2018 Season – Ohio”. We accept submissions from every US State and every foreign Country, but we would like to devote one show a season to an Ohio Playwright. Please Note: We receive TONS of submissions. If you do not use this as your email title line, your play will not be read.
We’re not picky about what format your script is in (though the standard Dramatist’s Modern Stage Play format is most welcome), so send us what you got as a Word or PDF attachment.
Please be sure to include your name, address and contact information on your title page.

The submission window is April 1 – July 1, 2017. 

 Season decisions will be made by the end of 2017 and you will receive notice one way or another. If your play is not chosen and you’d like some sort of critical feedback from our Artistic Director, please email and arrangements can be made.
We are only accepting 500 submissions with a Maximum of 2 plays per playwright. If you plan on submitting 2, send them in separate emails.
Plays should have a run time no shorter than 75 minutes and no longer than 2 hours 15 minutes. Please do not send us 45 page 1-acts or that 200 page beast you’ve been tinkering on for the last five years. They will not be read.
We are currently not accepting Children’s Theatre pieces, One Act Collections or Musicals. Not that we don’t appreciate them, they’re just not up our alley.
Please Proofread your Script before sending it to us. We hate to be “those people”, but nothing will get your script put down faster than a your/you’re or a to/too typo.
You will be Paid! MadLab currently pays playwrights $200 up front and 10% of ticket sales payble after close of show.
Thanks for your interest. Good luck with your submission, and regardless of the outcome here, be sure to keep writing and producing new works.

Sunday, June 18, 2017

Women Playwrights International commission opportunity

web site

Deadline: June 20
For this call we have implemented commissions by geographical regions. This aims to give each country the possibility of forming a selection that is representative of their culture.

The commissions are:1. Latin America and the Caribbean, 2. North America (E.E.UU and Canada), 3. Africa, 4 .Asia, 5. Oceania, 6. Europe.

The juries of each committee can not send their own plays to any of the open calls.

The criteria for nomination, evaluation and selection will be the same for all commissions.

A) General Criteria
- Women playwrights from around the world can apply if they have, at least, one staged play.

- Only one text per applicant will be received. In the same way, texts that are sent to different commissions will not be accepted.

- Texts must be sent in English (*), except for those that apply to the Latin-American commission, for they will be evaluated in Spanish and Portuguese.


- Women playwrights are free to decide to what region apply, according to their place of birth or residence.

- Women playwrights chosen will receive an invitation letter through email, that will indicate the format in which their play would be presented in the conference.

WPI is a non-profit association and has no stable funding to support its activities. In the case of receiving international funding, these resources are allocated to participants from countries where the status of women is in a state of insecurity. It is for this reason that those who have been selected must contemplate personal payment of the following:

- Translation of 15 pages to Spanish or English (in the case of latin americans). Given the fact that all activities related to WPIC 2018 in Santiago, Chile, will take place in Spanish (with consecutive, simultaneous translation or subtitles to english).

- Travel costs to Chile (airplane ticket, accreditation fee, residency, etc).

B) Participation Modalities

Having in mind the main theme proposed for this conference, the theme lines are the following:

• Territory: Texts that offer a perspective about the social, political, economic and cultural landscapes that define the reality of individuals. Plays that deal with tension in cultural, political and geographic frontiers. It can also be about the rupture of frontiers, the cultural crossing as well as the clash phenomena, such as being forced to exile or political exile and being faced to possible or impossible return, migrations, post conflicts displacements, refugees crisis, economic crisis, famine, the reality of living outside the country or place of origin.

• Bodies: Texts that think about female body issues. The strategies of domination and violence that control women’s daily activities. The intersection between women’s bodies and public politics, decisions about our own bodies (contraception, abortion law). Publicity, religious or governmental commands, medicine. Also desire and pleasure poetics as well as aesthetics. Gender transition, homosexuality, bisexuality, all possible forms of sexuality.

• Memories: Writings that propose different forms of fighting against oblivion, of installing themes and problems related to knowledge and traditions transmission. Biographies, autobiographies or construction of individual, social or collective stories.

• Wars and armed conflicts: Writings that assume war experiences and its consequences. Annulation practices of all possibility of personal development, situations in which basic human rights are systematically violated, especially for women and children.

• Natural resources: Texts that reflect about the excessive exploitation of natural resources, troubles regarding hunger and access to potable water that is taking place since decades ago, and the several consequences in the life of human beings, living creatures and environment.

• Ancestral voices: Writing that rescue ancestral voices of each culture. Texts that recompose the stories and originary knowledge of each ethnicity, that reflect their predicaments, their cosmogonies and that try to give a place in present times.

Excluded of this open call are performances or installation art, due to the inherent difficulty to be fairly evaluated in relation to written texts. But, texts that incorporate the use of technology as a constituent part of aesthetic or poetic chosen by each playwright are accepted.

C) Application Formalities:

Postulants must send their application to an email in one file, PDF format. Pages should be formatted for A4, with 1,5 spacing, and text set in 12 point Times New Roman type.

With the following information:

Geographical region to which apply

Professional bio presentation (one page long max.).

Presentation of the play and its relation to one of the selection themes (one page long maximum).

Argument summary of the play (one page long max), indicating the structure.

Complete text of the play. Texts must not exceed 50 pages.

Playwrights who would like to send plays longer than 50 pages, can send an extract of their best 50 pages.

Type of public to which the play is directed to (all audiences, familiar theatre, etc.)


Cimientos 2017

Now in its 17th year, IATI Theater’s play development program continues the tradition of expanding the possibilities of playwriting. Cimientos 2017 is composed of a lineup of playwrights that carry on the sacred task of pushing the envelope and exploring the boundless potential of contemporary dramaturgy. From historical fantasy to arcane magical realism, this year’s play readings will showcase how the world can be transformed and enhanced through what today's drama can achieve.

There is no submission fee for Cimientos.
Submissions lacking any of the following guidelines will not be considered.
Submission will only be accepted through the online form. See link above (only visible in month of June.)
Submissions must be the author's own work. The piece shall be free from copyright restrictions and the author agrees to hold IATI Theater and directors free and harmless from all copyright claims.

The playwright must commit to be present on the staged reading performance of his/her work.
The playwright must commit to be present on the PPP (Pal Playwrights Panel) assigned to his/her work.
This program is open to authors from anywhere in the world with original works in English or Spanish who are interested in a New York audience feedback. However, because of the PPP (Pal Playwrights Panel), every playwright must be present to take part in the monthly meetings or commit to presenting feedback electronically or in written form on the dates of the PPP's and with no delay.

Only one play may be submitted per playwright, per season.
Submissions must not exceed 90 minutes in length.
The play must require 5 actors or less. Plays that have more than 5 actors and do not provide a clear and stageable doubling explanation will not be reviewed. If doubling is possible, it must be expressed clearly on the online form.

The submission must be a completed full-length play that has not previously been produced in any setting. If the play has undergone a workshop, staged reading or development of any kind, the playwright must inform IATI Theater of the specifics on the online form.
The author’s name(s) should be nowhere within the script, any authorship information must not be visible in the play document. Scripts will be read ‘blind’.
Submissions for the 2018 Season will only be accepted from June 1 to June 30, 2017.

Please use a standard playwriting format.
*The 2018 Cimientos will consists of two main components:
*PPP (Pal Playwrights Panel): Playwrights accepted to the program, IATI Theater’s artistic staff and other specially invited theater professionals will converge in workshop meetings to discuss the new works that make up the particular season. Every meeting will be dedicated to a single playwright in the program, the focus being in further advancing the text before it is presented in front of a live audience.

*SRP (Staged Reading Presentation): Each playwright in the program will be given the opportunity to present his/her play in a directed, professionally acted staged reading. Thus, the piece will be exposed to a receptive audience that further develops the featured script through a post-reading talkback.

Saturday, June 17, 2017

DVRF Playwrights Program seeks full-length plays

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The Playwrights Program is an annual opportunity intended to help new and compelling full-length plays come to the attention of the greater public.

Each year the Dennis and Victoria Ross Foundation (DVRF) selects one previously unproduced play to receive an intensive development in New York City. This period is structured in dialogue with the playwright to best accommodate their needs and artistic goals for the piece. The program culminates in presentations to invited audiences featuring producers, directors, and other industry professionals.

Program finalists will be recognized and invited to participate in one of our Round Table workshops.

Previous plays selected for the Playwrights Program:
2016 - "Thirst" by C.A. Johnson | Directed by Danya Taymor
2015 - "The Third Rail" by Jacob Perkins | Directed by Mark Schneider

Rules and Guidelines for Submission
  1. We are seeking full-length plays only. While there is no strict minimum for length we suggest all submissions be at least 30 pages long.
  2. Submissions must be in English.
  3. No play that is currently under option, or has previously had a full, public production is eligible for selection. Submissions that have been developed previously or were under option must be accompanied by a brief summary of their developmental history.
  4. Please only one submission per playwright/playwriting team.
  5. The play must be original or based on material which the author previously was afforded the rights to.
  6. Playwrights must be residents of the United States and at least 18 years of age.
  7. This program is intended only for playwrights who will be able to attend at least a 1-2 week-long workshop and presentation in New York City in 2017/2018. DVRF will do its best to schedule this according to the selected playwright's availability. The selected playwright must be prepared to bear any lodging and travel expenses incurred while participating in the program. Please note we cannot compensate for time taken off from work. 
How to Submit

Submissions for 2017 are now open. Please use the form below to apply- we no longer accept email submissions. Submissions will close June 19th, 2017. There is no fee to send your play for consideration.

Scratch Night at TNC

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Crystal Field and Theater for the New City (TNC) will present a varied schedule "Scratch Night” performance program, which offers the opportunity for artists to present work in progress to an audience for one night. Scratch Night started in the United Kingdom in 2000 to show work in progress in an evolution of performances. At TNC, we will put our own spin on the idea to best serve our own theatre community and New York area audiences.

Our hope is that participating artists will learn something that will feed their work. And the best thing that can happen is that a piece of work will go forward into… either at TNC or elsewhere.

Scratch Night is looking for a variety of the most daring artists to try out their most cool thoughts on stage and the audience will help in the development by way of TNC’s scratch ballot. Scratch Nights will take place throughout the year on a varied schedule. All theatrical forms are welcome. All stages of development are welcome.

What are we looking for?

Original theatre, puppetry, performance art, music, dance, and mixed media collaborations. No set running time.

Please forward all materials to Michael Scott-Price,

Must include the following:
  • Biography with contact information of the artist’s name, address, telephone number and email address 
  • Synopsis of the work 
  • Sample or concept of the work, no more than 10 pages 
  • Biographies of collaborators, if available 
  • Description of stage set (if any) and production needs (i.e. sound and lighting)
If you would like your work to be considered, please send a ten-page sample of the script, brief synopsis, bio and subject line: “Scratch Night submission” to us via email at

North Park Playwright Festival 2017

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Our goal in building the North Park Vaudeville and Candy Shoppe was to provide a small theater to produce new, untested plays.  In support of this goal we have produced the North Park Playwright Festival each October.  The festival provides a platform for brand new, short (ten minute), plays written by playwrights from around the world.  Over the past twelve years more than 440 new plays have been produced.  We encourage new directors and actors to become involved in theater through the festival as well.  Through the North Park Playwright Festival over ninety playwrights, directors, and actors each year are able to showcase their talents.  We invite interested playwrights to submit work to the festival.  Please follow the guidelines below.

1. Short new plays (no more than 12 pages, less is fine) that are easily staged and have casts with no more than four people. Our theater is very small and we normally use a minimal set concept in this festival. We have to be able to change sets in just a few minutes as we do six to seven plays each evening of the festival. We don't have space for large casts.

2. We request new work. A play that has had workshops or one or two previous productions is OK, but we are not interested in work that has been produced in numerous other places. Our goal in building the theater was to have a place to produce brand new work and let playwrights have a chance to see their work done for the first time.

3. We seek complete plays rather than excerpts from a larger work.

4. Work will be chosen by the directors we have in the festival. It is not a "contest" and we are not really judging plays in the formal sense. The directors choose the plays we will produce, within the production budget guidelines we give them.

5. Most subject matter is OK. We don't do nudity or off color humor.

6. We ask that all submissions be sent to us via snail mail at the theater. Address is: North Park Vaudeville and Candy Shoppe, 2031 El Cajon Blvd., San Diego, CA 92104, Attn Summer Golden, Artistic Director. We have too much trouble with differing email, word processing, and computer platform issues to take them via email. Additionally, our selection process requires the directors read the plays submitted and the cost of printing all the plays we receive each year is prohibitive. Please insure submissions have a title page with complete contact information (including email), a character summary, and are in proper script form. There is no charge to enter.

7. Submissions must be postmarked by June 30, 2017. Please do not send plays by any method that requires a signature from us. We are not often at the theater when delivery occurs. We will email notice of receipt to all playwrights submitting plays.

8. Send only one script. Multiple submissions do not increase chances of production.

General information:

We are trying to support new work and involve actors, playwrights, and directors of all experience levels. We have had a wide variety of artists involved from very experienced to first time directors and actors, to an 8 year old playwright (very short, well received play). We feel having a wide range of experience involved helps the new people learn from the more experienced.

We really appreciate your interest in our theater.

Jeff Bushnell and Summer Golden
North Park Vaudeville and Candy Shoppe
2031 El Cajon Blvd.
San Diego, CA 92104

Friday, June 16, 2017

Ismena Collective seeks playwright

web site

Ismena Collective is looking to expand their semi-staged musical exploration into the life and work of diarist Anais Nin into a fully theatrical event.

They are looking for a young, enthusiastic and talented dramaturg/playwright to take our existing script, The Lie Box, which is a collage of Nin’s writing and create an engaging evocation of Nin’s colourful and dangerous life, work and relationship to music. The members of the cast are an actress, a soprano, cellist and pianist. There is an electronic score as well as live music. Initially, remuneration would be as part of a profit share from performances

What to submit/How to apply:
Send a short excerpt of your writing as a PDF, along with a short bio and a quick blurb about the piece to:
Please limit submissions to one per playwright

Deadline: 30th June 2017

Thursday, June 15, 2017

Next Gen musicals for young audiences submission guide

web site

Next Gen are always interested in new, exciting material for the schools and youth theatre market.

Please note, however, that we have submissions guidelines for those interested in being considered for publication. We require as follows -
Show Synopsis and brief CV of the individual (s) submitting their work.
If we do request material from you, please submit typed scripts and computer generated (i.e. not hand-written) scores for musicals, along with a CD.
Any supporting material (Reviews, videos, photos etc.) will be considered when making a final assessment of your work.

Due to the large amount of submissions we receive, we regret that we cannot at this time return submitted materials - therefore please always submit copies of your work, not originals.

In the first instance, please e-mail Matt Wright at with a Show Synopsis and CV.

Wednesday, June 14, 2017


Don’t wait for the perfect opportunity to come along; make it happen!

Instructor: Sasha Eden (Actor, Producer, and Co-Founder of WET Productions)
July 16, 12:00pm – 5:00pm

Countless artists from Lisa Kron to Lin Manuel Miranda to Anna Deveare Smith have at some point in their careers fulfilled their own artistic journeys by producing their own work, allowing them to create life changing, socially impactful artistic productions that challenged the status quo and changed the way we live in the world.

In this 5-hour intensive, producer and actor Sasha Eden will demystify the "how" of producing your own work, including discovering your voice and source material, engaging in successful collaborations, creating a healthy budget, designing mutually beneficial partnerships, building achievable production calendars, and identifying effective and creative fundraising techniques. The class will provide an overview of artistic producing that reinforces good instincts, prepares for inevitable challenges, and supports artists to produce from a place of joy, creativity, strength, and possibility. With twenty years of experience acting in and producing innovative, mission-driven original content in all mediums, Sasha will provide you with the insight, inspiration, tools, and techniques that have been tested in her own processes.

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x211 or email


There is a nominal fee, payable monthly in advance. This fee includes the space, the casting, the actors and the feedback for all the readings.
Playwrights are admitted into the group based upon their writing skills and enthusiasm for the process.

Our Playwrights Lab. consists of an exciting group of playwrights who meet for 3 hours a week, Mondays, 7- 10 p.m., to listen to professional actors read their plays. After the readings, there is constructive discussion about how well the play is working, and serving the objective of the playwright.

These are not cold readings; Pulse provides the actors for the scenes, and gets scripts to the actors, so that they can read the scripts before the workshop meets.

The group is currently under the leadership of nationally and internationally produced director and playwright Alexa Kelly, with additional input from guest dramaturgs, directors and producers. It is supervised by Brian Richardson. All playwrights involved are expected to participate in discussion about all the works being read, not only their own plays.

The group is small.

One of the distinguishing features of our Lab, is that the playwrights receive FULL READINGS OF THEIR WORK, as needed in the workshops environment, until it is deemed ready for a full public audience. They are thus able to re-write and hear their changes as often as they wish! A unique and most valuable opportunity and learning experience for the development of the plays!

The Playwrights, under the leadership of Ms. Kelly continue working on the script until they feel it is ready for a public viewing. When the play is deemed ready, it is presented in a full public staged reading. Pulse casts the play, provides the director, and provides the presentation venue.

We select certain scripts from the Lab. for further development, ie, workshop productions, and then to full production, e.g. CHAOS THEORY, by Anuvab Pal.

PLEASE NOTE: This is not a beginning level class.

The Playwright must have a work in progress, and be willing to continue working on the script; this is not a workshop for people who consider that their work is already completed.

"Of course, you never forget your first New York production, and that was in a small off-off-Broadway Theatre, then and now helmed by this exceptional theatre artist, Alexa Kelly. ... Those kind of theatres are the heartbeat for young writers, and I'll never forget the love that theatre gave me."--Gary Garrison, Executive Director of Creative Affairs for the Dramatists Guild of America, New York.

It is the playwright’s responsibility to meet the deadlines as set up by Pulse.

TO APPLY, PLEASE SUBMIT A SCENE FROM YOUR WORK IN PROGRESS. PLEASE SEND A 20 - 30 PAGE SAMPLE “, including the title page, the cast breakdown and your bio to:

ATT. PLAYWRIGHTS’ LAB.” Also please complete an application form, and please SUBMIT it with your scene Attn.:

PLAYWRIGHTS’ LAB., Pulse Ensemble Theatre, P.O.BOX 2281, NEW YORK, NY 10108


More history on the Lab.

Monday, June 12, 2017

Script Submissions: 21st Century Voices

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American Stage is committed to producing powerful and relevant professional live theatre. Our 21st Century Voices is an initiative dedicated to developing and presenting new works for the stage that speak to a contemporary audience in a fresh and compelling way. 21st Century Voices programming includes an annual staged reading festival, workshopping of new scripts, playwriting residencies and fully produced new plays receiving one of their first three professional productions at American Stage.

Submission guidelines for American Stage’s 2018 21st Century Voices New Play Festival are as follows:
  • Plays must be full-length in any genre: comedy, drama, musical, etc.
  • Translations, collections of one-acts, children’s plays and any play that has received a full-scale, professional production prior to submission are not eligible. 
  • Plays that have had a workshop, reading or non-professional production are still eligible. 
  • Only one submission per playwright is allowed each year. 

The Selection Process
American Stage’s competitive selection process consists of two rounds of selection. All play excerpts submitted during the first round are reviewed by a committee of theatre artists and patrons. Then, selected playwrights are asked to provide a full manuscript of their play. Finally, American Stage invites four to five playwrights to have their work included in 21st Century Voices New Works Festival in January 2018.

Email your complete submission package to between April 1-June 15, 2017.

Complete submission packages must include:
  • Your contact information; 
  • Your playwriting resume;
  • A concise paragraph describing the development history of the play you are submitting; 
  • A paragraph describing why your play is a good fit for American Stage’s 21st Century Voices’ mission to develop and present powerful plays that speak to a contemporary audience in a fresh and compelling way;
  • Title of the play; 
  • Character breakdown and description; 
  • Time and place of the play; 
  • Synopsis; and 
  • A ten page sample of the play. 

2017 Deadlines

For consideration in our January 2018 21st Century Voices Staged Reading Festival, American Stage is accepting submissions from April 1 – June 15, 2017. Requests for full manuscripts will be made by August, 2017.

Only completed submission packages emailed to by June 15, 2017 will be considered.

Sunday, June 11, 2017

My Irish Love Song seeks monologues

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My Irish Love Song is a celebration of love, in the broadest understanding of the word. Based on real stories, it will capture the ups and downs and the ins and outs of what love means to Irish people (loosely defined*) from all walks of life. Whether you love your dog, your colleague, your granny, your boyfriend, your wife, your children, or if you have never been in love at all—we want to hear from you.

Feel free to tell your love story (and the love song you are recommending) with whomever, whenever, and however it happened—or continues to happen. Be as honest, reckless, detailed, long or short as you wish. Don’t worry about spellings, but do keep it legible.

You can be any age, gender, race, faith, sexual orientation, star sign, and any profession. But the story you send must be a story about love. The result; My Irish Love Song will be patchwork quilt of stories inspired by you, and developed by us.

An award-winning creative team will shape this trove of stories into a theatre show. Some stories may appear in their entirety, some might be abridged, altered, reversed, or not appear at all. All names are removed from entries and names and details will automatically be changed should stories be selected.

Theatre is a process, so although we are working with a framework, we are also very open to hearing your questions and thoughts, and you can learn more about submitting, what’s involved, and the planned outcome, in Submit Your Story or Song.

Submission window open until July 2017.

Saturday, June 10, 2017




Welcome to the best and most supportive festival in US Play and Musicals between 5 and 90 minutes accepted






Submissions Accepted from Everywhere in the US Shows from outside NY and NJ can only run if the entire cast and crew are from New York City.

Friday, June 9, 2017

UCB Training Center Scholarships/Fellowships

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The UCB Training Center believes a diverse student body is fundamental to developing rich comedic scenes in improvisation, sketch, and character work.

Through outreach, scholarships, and community events, the UCB Training Center aims to develop a student body that reflects the society in which it exists.

As the curriculum promotes being truthful and drawing from real life when possible, classes are more rewarding when students bring a variety of experiences to the work they do in class and on the stage.

We are looking to increase our diversity of
  • race and ethnicity
  • sexual orientation and gender identification
  • people over 40
  • individuals with disabilities
  • U.S. military service members or veterans
In addition to efforts at the UCB Training Center, we support a broad range of community organizations that foster inclusion, encourage diversity and are committed to advancing comedic opportunities for under-served communities.


Twice a year, we offer 190 new and returning students scholarship credits to study for free at the Training Center. We are looking for students with diverse backgrounds in the NYC metropolitan area whose financial situation would make studying at the UCB Training Center difficult or impossible otherwise.

As of December 2015, we are also offering a fellowship for applicants interested in the non-financial benefits of the scholarship. For more information on the difference between fellowships and scholarships, click here. Apply for either the scholarship or fellowship, not both.

The winter 2017 scholarship/fellowship application window has closed. The next application window will open in June 2017.

Join the mailing list below or follow the @UCBClassesNYC twitter to get updates about the scholarship/fellowship.

The application window is open in June/July and December/January.

Note: You do not need to apply for or receive a scholarship or fellowship to participate in other elements of the Diversity Program, such as the jams and meet-ups.


We host a variety of events to discuss issues of diversity in comedy. Join the mailing list for updates on meeting times and dates.


We host a monthly free improv jam at the UCB Theatre for performers of all experience levels, hosted by Astronomy Club. Join the mailing list to receive updates about each month's improv jam.


Our email newsletter is a great way to find out about different aspects of the program and upcoming events. We proactively share our job openings and employment opportunities with this list first.

To join the mailing list, click here.

We only send out emails once or twice a month, so we won't be clogging up your inbox.


For the past three years, we have teamed up with the All Stars Project to offer free improv workshops and Improv 101 classes to youth from across New York City.

Throughout the year, we offer teen improv classes for 15-18 year-olds, which are free to students who receive free or discounted lunches at NYC schools. To see if any teen classes are coming up, visit our open courses page.

Since 2013, we have also run a Teen Improv Fest in conjunction with the NYC Department of Education, where we send teachers to 20 schools to help coach improv teams there and prepare them for an end-of-year show hosted at the UCB Theatre.


Our director of student affairs, Marissa Tunis, a licensed psychologist, is available for counseling and feedback regarding a variety of issues. She has held teacher training sessions and scheduled student forums regarding diversity in response to feedback from students, so please reach out to her if you are a student who would like to discuss your experiences about diversity. She can be reached at


Since its inception in 2009, the Upright Citizens Brigade Training Center has awarded over $700,000 in scholarships via our program.

Though a partnership with the NYC Department of Education, we have worked with 14 High Schools throughout the five boroughs.

Thursday, June 8, 2017

Calling New Playwrights! Fundamentals of Playwriting at Primary Stages ESPA

If you're just stepping into the world of playwriting, welcome! Whether you're a theater artist boldly crossing the line from one discipline to another, a novelist or poet searching for a new form, or a budding playwright who wants to get down to basics, this class was made for you. Kara Lee Corthron will help you build a toolbox of the fundamentals, including discussions of structure, character, and dialogue, so your first play (and each play you write after that!) can be built on a strong foundation. You will complete writing exercises to gain an understanding of the form and generate ideas for material. With those tools in your back pocket, you will start to write your own play by mid-semester. You will leave this class with a strong grasp on writing for the stage, armed with the confidence you need to declare yourself a playwright and get to work on your script.

After completing this course, we invite you to join us for The First Draft

Instructor: Kara Lee Corthron (Writer, AliceGraceAnon at New Georges, "Kings" on NBC)
Thursdays from 6:30pm – 9:30pm
Starts July 13

Our award-winning faculty, comprised of working professionals in the field, provides practical skills and expert guidance in a collaborative community atmosphere.

Primary Stages ESPA provides students easy and convenient payment plans to break up tuition. For more information, call 212.840.9705 x211 or email

Apothetae at Lark Playwriting Fellowship

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The Lark is accepting applications for the pilot round of its Apothetae at Lark Playwriting Fellowship program, supported by the Time Warner Foundation.

The Apothetae at Lark Playwriting Fellowship includes a two-year residency for a Disabled Writer. The selected Fellow will work on multiple artistic projects through an individually-tailored program of Lark play development programs, and develop relationships with other theatermakers at various career stages from all parts of the world. The Fellowship includesa cash award of $40,000, plus a $5,000 Opportunity Fund for project-related expenses, and control over a $10,000 Production Enhancement Fund, to be allocated to a producing theater in support of a full production of one of the Fellow’s plays. The Fellowship also includes access to a wide range of Lark and Apothetae resources, including artistic program participation, office and rehearsal space, and staff support.

Up to 3 Finalists for the award will each receive a $5,000 honorarium.

Applications will be accepted from March 1 to June 15, 2017. All applicants will be notified in early September 2017.

The 2017 Fellowship period begins September 15, 2017 and ends September 14, 2019.


Fellows will:
Work with Lark and Apothetae staff to identify individual artistic goals for the fellowship year, toward generating and developing new plays through a series of Lark programs;
Meet, collaborate, engage and work with a community of other professionals in the field, including playwrights, directors, actors, agents, producers and other industry leaders as appropriate;
Participate in and/or observe a variety of Lark’s play development processes, whether on or offsite, including retreats, workshops, readings, etc.;
Receive support for the advancement of work generated during the Fellowship year, including control over a $10,000 Production Enhancement Fund to be allocated to a producing theater partner in support of a full production of one of Fellow’s plays;
Take an active role in broader aspects of the Apothetae at Lark Initiative, including participation in ongoing Convenings of Disabled Artists and leaders, designed to provide a field-wide, community-based forum for issues of access, awareness and representation;
Receive continued access to Lark development programs beyond the fellowship period.


Fellows will receive:
$40,000 fellowship stipend paid in monthly increments for two years
$5,000 Opportunity Fund
Control over $10,000 Production Enhancement Fund to be allocated as Fellow chooses for the purposes of supporting a full production of a particular play

Please note that the fellows will receive a Form 1099 for the 2017, 2018 and 2019 calendar years and be responsible for their own taxes.

Fellowship applicants must:
Identify as a playwright with a disability;
Be a U.S. Citizen, Permanent Resident, or Non-Citizen who possesses valid work authorization (permanent resident status/green card, refugee or asylum status, or temporary protected status);
Make a case for how their work can engage the cultural conversation surrounding Disability;
Make a case for how the Fellowship and participation in The Lark and The Apothetae’s community would promote transformative artistic and professional growth.


Please submit:
A cover sheet, including your name, address, phone number, and email address.
A current artistic bio or resume;
An Artistic Statement that describes (1) where you feel you are in your creative and professional life; (2) career goals and a proposed strategy for using the Fellowship’s resources towards those goals; and (3) a statement describing how your work might engage this program’s goal of advancing the cultural conversation surrounding Disability;
A Work Sample that best represents you as a playwright. A full-length play script for the stage is preferred, but samples in other genres and of any length will be accepted. Please include a brief description of the work sample if you feel it would be useful in the committee’s review of your application; and
(Optional) One personal or professional reference (listing the referrer’s title or institutional affiliation, along with their phone number and email address). Referrer may be an artistic collaborator, colleague or educator familiar with you and your work.

Applications may be emailed in MS Word or PDF to

The selection committee may request additional information, support material or work samples as part of their adjudication process.

Electronic submissions are encouraged. Mailed submissions can be sent to: The Lark, Attention: Apothetae at Lark Playwriting Fellowship, 311 W. 43rd Street, Suite 406, New York, NY 10036. Applications are due June 15, 2017.

Please visit our Frequently Asked Questions (FAQ) page and/or for questions about submissions, please email If you have accessibility questions about the application process please contact Director of Community Relationships Anna Kull at or (212) 246-2676 x242.