Submission Opportunities for Playwrights

This is a Title Graphic. Along the left side of the graphic it says Submission Opportunities for Playwrights. Followed by a list of competitions: Sir Peter Ustinov Scriptwirting Award, Yale Drama Series Playwriting Competition, American Blues Theatre - Blue Ink Playwriting Award, Ashland New Plays Festival, PlayFest Santa Barbara. On the right side of the graphic is the comic and tragic mask.

I’ve listed several submission opportunities and conferences for playwrights and provided a short description as well as a link to each opportunity’s website for further information. Please check out the submission guidelines for each festival or playwriting development opportunity before deciding whether or not you want to submit your work. Listing these opportunities is in no way an endorsement. If the deadline has passed then take note for the following year.

This list is no longer being updated. Several of the contests are still active so please feel free to follow up on your own.


The Great Canadian Playwright Showcase

Two-thirds of Canadian playwrights agree that greater compensation and access to programming opportunities would provide the highest impact in satisfying their current needs as a playwright.*

*Source: Casemore, L. (2021). Surveying the Landscape: The New Play Ecology in Canada Alberta Playwrights’ Network. 

TGCPS is a networking event to foster production possibilities by uniting creatives, coordinators, and crew with theatre industry decision-makers for a few spring days in Grande Prairie, Alberta.

This first edition of TGCPS invites delegates to meet with each other and experience new frontiers on an epic journey of discovery.  TGCPS No. 1 kicks off in  Alberta’s hidden treasure of the north, Grande Prairie. The expedition takes place May 10 -13, 2024, when a hardy group of intrepid souls from across Canada and abroad meet to exchange perspectives, languages, cultures, and ideas. Join us at the Trading Post where the future of Canadian theatre takes shape.

Conference Details: The Great Canadian Playwright Showcase


When Words Collide – Writers Conference

Where: Calgary, Alberta, Canada

When: August 16 – 18, 2024

When Words Collide is a festival for readers, writers, artists and publishers of commercial and literary fiction, including genre, YA, children’s books, poetry, and much more. WWC is a festival that welcomes all lovers of the written word regardless of age, background, citizenship, disabilities, sex, educational level, ethnicity, family status, gender, gender identity, experiences, race, religion, or sexual orientation.

Festival Information: When Words Collide


The Relentless Award

Applications are limited to shows by writers with United States citizenship, those who possess or are in the process of obtaining a green card, those with student, immigrant, or work visas for the United States, or anyone who currently resides in the United States and has lived here for at least four years.

The Relentless Award was founded in honour of Philip Seymour Hoffman and places special emphasis on works that are fearless in their choice of subject matter, featuring passionate voices that are relentlessly truthful. The winner along with finalists and semifinalists will also receive development opportunities through a series of staged readings at Theatre Row as well as at some of the top regional theatres in the country.

Submission details: The Relentless Award


The Alpine Fellowship 2024

The Alpine Fellowship is a charitable foundation that supports, commissions and showcases artists, writers, academics and playwrights. They are committed to discovering emerging talent, to disseminating new ideas and to sharing thoughts about art, literature and philosophy.

If you’re a writer, poet, academic, playwright or visual artist, then consider entering one of their prizes based on this year’s theme – Flourishing. There are cash prizes and you’ll be invited to attend their 2023 symposium.

The winner of the Theatre Prize will receive a cash prize to support the writing of their proposed play, and the runners-up will receive travel expense support that must be used to attend the 2023 symposium which will be held from August 10th-13th, 2023 in Fjällnäs, Sweden

Submission details: The Alpine Fellowship 2024


Vancouver Asian Canadian Theatre MSG Lab

vAct’s MSG Lab facilitates the creation and development of new theatrical work by emerging and mid-career Asian Canadian artists. The MSG Lab showcases stories from Asian Canadian perspectives and develops new works for future production opportunities. This year’s MSG Lab runs from May to December, with a series of 6 writers’ seminars and two 5-day writing/creation residencies (non-live-in).

During the MSG Lab, each writer will have a personally designed process that will propel the current script/proposal to a more fully realized version for an informal public presentation. Selected applicants will receive development support including:

  • A $4000 stipend per project;
  • 16 hours of in-studio workshop time with actors and collaborators
  • Approximately 60 hours of dramaturgical support (inclusive of workshops and a public presentation);
  • In consultation with the dramaturg, each writer will have the opportunity to design a personalized writing/creation process that best serves their creative needs.

The application deadline for the 2023 MSG Lab is Monday, February 27th, 2023.

Submission details: vAct’s MSG Lab


KHN Center for the Arts – Artist Residency

Application deadlines are March 1st and September 1st annually.

The Kimmel Harding Nelson Center for the Arts awards up to seventy juried residencies per year to established and emerging visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. Residencies are available for 2 to 8 weeks stays. Each resident receives a $100 stipend per week, free housing, and a private studio.

The mission of the KHN Centre for the Arts is to support established and emerging writers, visual artists and composers by providing working and living environments that allow uninterrupted time for work, reflection and creative growth and to present and support arts-related programming that expands public awareness and appreciation of the arts. 

Since 2001, KHN has hosted more than 50 working artists each year which include a combination of visual artists, writers, composers, and interdisciplinary artists. Each has found privacy in which to create along with ample opportunities to interact with fellow artists in the vibrant and friendly community of Nebraska City located an hour’s drive south of Omaha.

Application details: KHN Centre for the Arts – Artist Residency


Drama Notebook Submission Guidelines Summer/Fall 2023

Drama Notebook is accepting play script submissions from playwrights, teachers, and actors who have written scripts or scenes for children and teens. Currently looking for plays based on popular works in the public domain, such as Peter Pan, Beauty and the Beast, Pinocchio, The Jungle Book, The Legend of Sleepy Hollow, Anne of Green Gables, The Scarlet Letter, The Sword in the Stone, The Velveteen Rabbit, Swiss Family Robinson, and others. Plays that are of a timely or educational nature, such as Christmas plays, Cinco de Mayo or Day of the Dead plays, plays that explain nature, geography, math, history or science. Also, looking for plays by BIPOC writers and plays that celebrate cultural diversity and equity. Complete information about Drama Notebook and how the company works with authors can be found on their website.

Submission details: Drama Notebook Play Submission Opportunities


National Alliance for Musical Theatre Annual Festival of New Musicals

Musicals that are complete and ready for readings, workshops and/or productions.

The NAMT’s Festival of New Musicals is the cornerstone of NAMT’s mission to be a catalyst for nurturing musical theatre development and production. Every year, we feature eight musicals in short presentations for an audience of over 700 industry professionals. We look for new musicals at all stages of development from the broadest possible range of voices.

Submission details: National Alliance for Musical Theatre Festival of New Musicals


Dramatist Guild of America – End of Play

End of Play is open to both members and non-members of the Dramatists Guild. Writers of all backgrounds are encouraged to participate, and prior writing experience is not necessary.

Starting April 1, 2024, participating playwrights, composers, lyricists, and librettists will be challenged to write a brand new play or musical, or revise an old draft. Through a combination of community-building events, motivation, and that all-important deadline, DG hopes to inspire countless new works.

End of Play is an annual initiative, created by the Dramatists Guild, to incentivize the completion of new plays, scores, or songs over the period of one month. Since the launch of End of Play in 2020, hundreds of participants from all over the world have connected with one another, uniting to overcome the obstacles that stand in the way of creating new theatrical work.

Each year, writers set goals for themselves at the beginning of End of Play month and share their weekly progress with the community. Goals may include writing a new full-length play/musical, two one-act plays/musicals, or completing a second draft of any of the above. Ultimately, the aim of End of Play is to get writers to the finish line with inspirational prompts, motivational events, and the support of their End of Play community.

Participation details: Dramatist Guild of America – End of Play


Theatre 503 – International Playwriting Award

Theatre503 is the home of new writers and a launchpad for the artists who bring their words to life. Theatre 503 supports new writers and champions their role in the theatre ecology. Their goal is to find exceptional playwrights who will define the canon for the next generation. Learning and career development are at the core of what they do.

Theatre 503 is a 63-seat theatre based in Battersea, London. They stage the work of more first-time writers than any other theatre in the country and programme over 100 new pieces of writing every year ranging from short plays to full runs of superb drama. They believe the most important element in a writer’s development is to see their work developed through to a full production on stage, performed to the highest professional standard in front of an audience.

Submission details: Theatre 503 – International Playwriting Award


The Magnetic Theatre 5th Annual One Act Play Festival

Plays 5-15 minutes in length.

The Magnetic Theatre produces plays that have not been previously produced. Playwrights accepted into the One Act Play Festival will be notified by May 30, 2023. Playwrights, actors, and production team members participating in the Festival receive a small stipend. The festival will be held in November 2024.

Submission details: The Magnetic Theatre – 5th Annual One Act Play Festival


The Helene Wurlitzer Foundation Artist Residency Program

The Foundation accepts applications from painters, poets, sculptors, writers, playwrights, screenwriters, composers, photographers, and filmmakers of national and international origin.

The Helene Wurlitzer Foundation of New Mexico (HWF) is a private, 501(c)(3) non-profit, educational and charitable organization committed to supporting the arts. The Foundation offers three months of rent-free and utility-paid housing to people who specialize in the creative arts. Our eleven artist casitas, or guest houses, are fully furnished and provide residents with a peaceful setting in which to pursue their creative endeavours. Applications are reviewed by a selection committee consisting of professionals who specialize in the artistic discipline of the applicant. Numerous jurors serve on committees for each: visual arts, music composers, writers, poets, playwrights, and filmmakers. Jurors, who know nothing about the artist’s demographics, score in five categories based purely on the merit of the applicant’s creative work samples. The Foundation provides residency grants to creative artists from all over the world, regardless of age, experience, nationality, ethnicity, gender, or sexual preference.

Submission details: The Helene Wurlitzer Foundation Artist Residency Program


National Theatre Playwriting Masterclasses

The National Theatre London offers a series of Masterclasses that provide different techniques and insights into the process of play development. Each session uses discussions, exercises, and a Q&A with a different playwright each month. Playwrights leading the sessions will be associated with the National Theatre and will have work currently on at the National Theatre or coming up or recently staged by the National Theatre. Sessions are £25, run 2 hours and are provided through ZOOM. This is an ongoing series.

Information: National Theatre Playwriting Masterclasses


Jewish Plays Project Annual National Jewish Playwriting Contest

Full Length Plays a minimum of 65 minutes in length

The Jewish Plays Project identifies, develops, and presents new works of theatre through one-of-a-kind explorations of contemporary Jewish identity between audiences, artists, and patrons. Submit unproduced full-length (65+minutes) plays and musicals that are written primarily in English and focus on aspects of 21st Century Jewish identity, culture, ideas, and the complex and intersectional nature of contemporary Jewish life.

Submission details: Jewish Plays Project Annual National Jewish Playwriting Contest


Quannapowitt Players – Suburban Holidays XII!

Plays 10 to 20 minutes in length

QP is seeking new plays for Suburban Holidays XI for 2022, our popular annual holiday-themed play festival and fundraiser. We are proud to be presenting our eleventh year of holiday shows! Play submissions should be between ten and twenty minutes in length and focus on a holiday. All holidays are welcome! In the past we have produced plays centered on Arbor Day, Valentine’s Day, New Year’s Day, Halloween, Mother’s Day, Kwanza, Hanukkah, and Christmas, just to list a few! We appreciate large casts (within reason), and also welcome smaller shows. Plays featuring children are also welcome. Also, please keep in mind that we do try to keep the festival family-friendly, so plays with excessive profanity are discouraged.

Submission details: Quannapowitt Players – Suburban Holidays XI!


Theatre Rocks National Playwriting Competition

Full-Length Plays
US Residents

Full-length plays that have not been published or produced professionally. Previous non-equity productions are accepted. Submissions open on November 1, 2023, and close on April 19, 2024.

Submission details: Theatre Rocks National Playwriting Competition


Drip Action Theatre Trail 2022 One-Act Plays

Short plays 30 to 40 minutes in length.

Plays should be between 30 and 40 minutes long, with practicable casting, props and effects and a maximum of five performers.

Submission details: Drip Action Theatre Trail 2022


Golden Thread Productions ReOrient Festival of Short Plays

Plays that are 10 – 30 Minutes in Length
Playwrights of Middle Eastern Heritage

Produced once every two years, ReOrient Festival showcases the diversity of voices and aesthetics from the Middle East and its worldwide diaspora in a curated festival of short plays produced biennially in San Francisco. Playwrights should be of Middle Eastern heritage. The submission deadline for consideration in ReOrient Festival 2023 is July 30, 2022.

Submission details: Golden Thread Productions – ReOrient Festival of Short Plays Submission Opportunities


Gallery Players Black Box New Play Festival

Plays that are 10 to 30 Minutes in Length

Gallery Players is seeking plays for its 26th Annual Black Box New Play Festival to be held in January 25 – February 4th. Each play selected will be given a black box production with non-Equity actors. Playwrights must be available via Zoom or some other virtual venue for rehearsals and use this as an opportunity to continue work on their play.

Submission details: Gallery Players Black Box New Play Festival


VetRep 10 Minute and Full-Length Play Submissions

Full-length and 10-minute Plays
US Veterans – Military, Law Enforcement, Fire Service, EMS, Foreign Service, Intelligence Service, DoD employee, DoD Contractor or Immediate Family of the Service Member.

VetRep provides opportunities for veterans interested in writing. Until July 3, 2024, VetRep is accepting both 10-minute and full-length plays. Full-length competition winners will receive a $10,000 grant, second place finalists will receive a $7,500 grant, and the third-place finalist will receive a $5,000 grant. The winner of the 10-minute play competition will receive a $1,000 grant, the second-place finalist will receive a $750 grant and the third-place finalist will receive a $500 grant.

Submission details: VetRep 10 Minute and Full-Length Play Submissions


Vivid Stage Seeking Full-Length Plays

Full-Length comedies and dramas

Submissions are accepted from November 1 to December 31. Scripts should not be submitted from April to November. One script per writer with a maximum cast of 9 and must include realistic and substantial roles for women. No musicals.

Submission details: Vivid Stage Seeking Full-Length Plays


Screen Craft Stage Play Writing Competition

Some of the greatest films ever written were adapted from stage plays. ScreenCraft’s Stage Play Competition is a great opportunity to have your work considered by influential writers and industry professionals. Drawing on a long history of playwrights transitioning to screenwriting, this competition seeks to celebrate excellent plays that have great film or TV adaptation potential.

Submission details: Screen Craft Stage Play Writing Competition


OFF OFF BROADWAY SHORT PLAY FESTIVAL

Plays no longer than 15-minutes in length.

The OOB Festival is one of Samuel French/Concord Theatricals’ primary initiatives to work with the next wave of emerging playwrights. Come summer 2022, we will present 30 short plays selected through an open submissions process and evaluated by a distinguished panel of judges. The 30 plays are narrowed down to 10-12 finalists, 6 of which are selected by the Concord Theatricals staff to be licensed for future productions and published in an anthology of short plays that will become the 47th edition of our Off Off Broadway Festival Plays series.

Submission details: OOB Short Play Festival


Native Voices: Annual Call for Scripts 2021-2022

Native Voices is seeking short plays and full-length plays written for the stage by American Indian, Alaska Native, Native Hawaiian, and First Nation Artists

Short Plays – Many Native stories involve a Trickster, a cunning, crafty, clever, mischief-making being who often teaches humankind how to be while embodying what not to be. For our 2022 Short Play Festival, we invite you to tell a story inspired by a Trickster. These plays can be funny, sad, triumphant, or anything in between. The only rule: they must be 10 minutes long and must incorporate the “Trickster” theme.

Full-Length Plays – Native Voices is currently accepting submissions of full-length plays (60+ pages) by American Indian, Alaska Native, Native Hawaiian, and First Nations playwrights addressing all themes and topics. The 2023 Playwrights Retreat and 29th Festival of New Plays brings artists to Los Angeles to work on a selected number of plays through a rigorous directorial and dramaturgical commitment for 8–10 days in June. The Retreat culminates in public staged readings of the plays at the Autry Museum of the American West in Los Angeles. Selected playwrights receive artistic support as well as an honorarium; out-of-town artists receive roundtrip airfare plus lodging in Southern California.

2023 OPEN Submission for Production Consideration – Native Voices accept scripts all year long.

Submission details: Native Voices: Annual Call for Scripts


PWC – Many Voices Fellowships

Full-Length plays
Black Playwrights, Playwrights of Colour, and Indigenous Playwrights residing in the U.S. with the legal right to work.

The Many Voices Fellowship is intended to support early-career Black playwrights, playwrights of colour, and/or Indigenous playwrights who demonstrate extraordinary potential, artistic vision, and a commitment to spending a year in residence in Minnesota developing their work with the Playwrights’ Center in community with other fellows. The fellowship is additionally supported by a professional theatre artist mentor. Many Voices Fellows will receive a $20,000 stipend and $3,000 in development support. Full length plays by Black Playwrights, Playwrights of Colour, Indigenous Playwrights residing in the U.S. with the legal right to work

Submission details: PWC Many Voices Fellowship


University of Calgary – Canadian Writer-in-Residence

We encourage applications from writers of all genres who have one to four published and/or professionally performed works to their credit. This residency is a full-time term position, dates are non-negotiable.

The Canadian Writer-in-Residence is expected to spend 50% of their time working on their own writing, and 50% of their time on community outreach, including one-on-one consultations with the public and public lectures or readings. We encourage candidates to propose their own initiatives for community engagement. A background or demonstrated interest in community engagement — such as experience teaching or mentoring writers — is an asset.

Submission details: University of Calgary – Canadian Writer-in-Residence


The Neukom Institute Literary Arts Awards for Playwriting

Full-length plays and other full-length works for theatre that address the question, “What does it mean to be human in a computerized world?”

Submission details: The Neukom Institute Literary Arts Award for Playwriting


Lake Tahoe WordWave One-Act Play Competition

One-Act Plays up to 60 minutes

Each year three one-act plays no longer than 60 minutes are selected and playwrights receive a $500 cash prize and are invited to a 2-night stay in South Lake Tahoe in order to see their work directed and produced as a staged reading at the historic Valhalla Boathouse Theatre.

Submission details: Lake Tahoe WordWave One-Act Play Competition


Lanford Willson New American Play Festival

Full-Length and Short-Plays

The Lanford Wilson New American Play Festival honours new American plays that provide dynamic performance opportunities for college-aged actors. Submitted plays should not have had a previous full production. Workshops and readings are fine.

Submission details: Lanford Wilson New American Play Festival


Premiere Stages – The Premiere Play Festival

Full-Length Plays
Playwrights from New York, New Jersey, Connecticut, Pennsylvania, and Deleware

Premiere Stages accepts submissions of unproduced unpublished full-length plays written by playwrights affiliated with the greater metropolitan area. (New York, New Jersey, Connecticut, Pennsylvania, and Deleware) All plays submitted to the festival are evaluated by a panel of professional theatre producers, directors, dramaturgs, playwrights, and publishers. Four to five finalists are selected for a public Equity. Premiere Stages is committed to supporting a diverse group of writers, and playwrights of all backgrounds, ages, and experience levels are encouraged to apply.

Submission details: The Premiere Play Festival


Titchfield Festival Theatre Playwriting Competition

Full-Length Plays no longer than 120 minutes
UK Writers

All plays are read anonymously by a panel of readers appointed by TFT.(made up of a diverse mix of patrons, volunteers, language and literature professionals, all from a wide age range and geographical area). This panel creates a shortlist for a final expert panel. This final panel of readers includes Artistic Directors, Professional Actors, Directors and Playwrights. Plays must be full length a maximum of two hours in length submitted by UK writers 16 years of age or older.

The winner is awarded a £1000 cash prize and a one-week production in the ACORN Theatre with a TFT Director and actors in a package worth £10,000.

Submission details: Titchfield Festival Theatre Playwriting Competition


The Blank Theatre & Ucross Foundation of Wyoming – Future of Playwrighting Prize

Must reside in the United States

This award represents a unique collaboration between the prestigious Ucross Foundation in Wyoming, where artists from all disciplines have been supported by residencies since 1983, and The Blank Theatre in Hollywood, which has been developing new plays and new artists since 1990.

The Future of Playwriting Prize will be given annually to an early-career playwright who personifies the future of theatre — someone whose voice will shape theatre for decades to come, and who will bring new thoughts and views to the American theatrical conversation.

The winner will be awarded a $5,000 cash prize and an all-expenses-paid, two-week residency at Ucross’s ranch at the foothills of the Bighorn Mountains. The residency includes transportation, accommodations, meals, and the opportunity to commune with other visiting artists. The winner will also receive a professionally produced staged reading in The Blank Theatre’s Living Room Series new play development program.

Submission details: The Blank Theatre & Ucross Foundation of Wyoming – Future of Playwriting Prize


Diversionary Theatre Submission Guidelines

Full-Length Plays

Part of Diversionary’s mission is to tell the story of the LGBTQIA+ community, which we accomplish by considering works that have queer characters, themes, or are by queer playwrights. If at least one of these three applies to your work, submit away!

Submission details: Diversionary Theatre Submission Guidelines


Theatre in the Raw – One-Act Contest

One-Act Plays no longer than 30 minutes

Theatre in the Raw is looking for the best, new and fresh One-Act plays no longer than 30 minutes never before performed or published. In particular, they are looking for plays dealing with the themes of culture/social diversity.

Submission details: Theatre in the Raw – One-Act Contest


Scripts on Fire – New Play Competition

Full-Lenth plays with a minimum length of 80 minutes.
Canadian Playwrights

Scripts on Fire is open to all residents of Canada and scripts entered in other competitions that have received workshops or been given public readings are eligible, but scripts that have a planned production at the time of submission are NOT eligible. First Prize: $500, a workshop and staged reading. (Fire Exit Theatre will have the option for inaugural production as a part of their 2022-2021 season).
Honourable Mentions: A prize of $200 may be awarded for Honourable Mention (up to 2 per competition).

Submission details: Scripts on Fire – New Play Competition


Dayton Playhouse FutureFest

Full-Length Plays with a minimum length of 75 minutes

Entry must be an original work that has not been published or produced where admission was charged. Staged readings/workshop productions are not necessarily disqualifying factors. No musicals or plays for children.

Should your script be selected and produced as one of the six finalists, playwrights must be available to attend the festival in person and participate in all events. Finalists must acknowledge the Dayton Playhouse when their script is published. The winning playwright awards the Dayton Playhouse the option to produce the winning play as part of its main stage season royalty-free.

Submission details: Dayton Playhouse FutureFest


Long Wharf Theatre – Submit a Play for Consideration

Full-length, One-act, 10-minute scripts, musicals, adaptations, translations, virtual/Zoom plays.

Long Wharf Theatre has a proud and rich history of forming meaningful relationships with artists, supporting the development of their work, and moving their projects towards production. We are also eager to support projects that originate with artists other than playwrights, such as designers, directors, dramaturgs, and activists. Many of these works have become part of the modern American canon with more than thirty Long Wharf Theatre productions transferred to Broadway or Off-Broadway runs. Particularly interested in plays by BIPOC writers, plays centering on cultural narratives, stories of joy and resilience, multi-disciplinary work, and theatrical innovation.

Submission details: Long Wharf Theatre – Submit a Play for Consideration


The Cape Cod Theatre Project

Playwrights may send one play per season for consideration. The proposed play must still be in development and cannot have received a professional production, or a production that has been reviewed, prior to August 2022. If your play is selected, your play will have a 20-25 hour developmental rehearsal process followed by 2 or 3 public readings with talkbacks.

Submission details: The Cape Cod Theatre Project


Goodman Theatre – Playwrights Unit

The Goodman Playwrights Unit is a season-long residency program for Chicago-area playwrights.

The program invites up to four playwrights each year to meet bi-monthly with the Goodman’s literary staff and other cohort writers to develop their new Goodman commissions. Playwrights must be available to meet at the theatre at least twice a month during business hours and have had at least one fully-produced play.

Submission details: Goodman Theatre – Playwrights Unit


Studio 180 Theatre

Studio 180 Theatre is interested in material that engages audiences intellectually and emotionally and encourages dialogue and action even after the curtain falls. They are interested in works that tackle politically and ideologically challenging issues using a non-prescriptive approach. Interested artists are asked to make a maximum two-page submission that includes an outline of their play, as well as a description of its production history and/or stage of development.

Submission details: Studio 180 Theatre


Theatre One Emerging Voices

Plays that have not received a professional production
Playwrights that reside in Canada

Theatre One’s Emerging Voices is a series of workshops and staged readings of three new, original plays by local and regional Canadian playwrights. Participating playwrights benefit from dramaturgical support before, during and after the workshops, have the opportunity to engage with professional artists during a CAEA workshop and see their plays read before live audiences that evening, receiving valuable feedback from actors and patrons.

Submission details: Theatre One Emerging Voices


The Henley Rose Playwright Competition for Women

Full-Length or Two-Act plays.
Female-identifying playwrights.

The Henley Rose Playwright Competition for Women was founded by Yellow Rose Productions, with the permission of Beth Henley, to encourage and recognize the new works of female playwrights. The competition aims to give voice to the stories of this generation and to bring into the spotlight important works that have been crafted. Submissions are welcome from July 1st until August 31st and will be read by a committee of writers, theatre artists, and producers. The first 250 submissions to be received between July 1st until August 31st will be considered.

Submission details: The Henley Rose Playwright Competition for Women


Enough! Plays to End Gun Violence

10 Minute Plays that address the issue of gun violence.
Unpublished and unproduced plays by writers aged 13-19. Plays must be the original work of a single writer.

ENOUGH! Plays to End Gun Violence creates space for teens to confront gun violence by creating new works of theatre that will spark critical conversations and inspire meaningful action in communities across the country. Their mission is to promote playwriting as a tool for self-expression and social change, harnessing this generation’s spirit of activism and providing a platform for America’s playwrights of tomorrow to discover and develop their voices today.

Submission details: Enough! Plays to End Gun Violence


Newmarket International Festival of One Act Plays

One-Act Plays between 15 to 45 minutes in length
International Submissions

The Newmarket International Festival of One Act Plays is an annual festival with a focus on one-act plays. Plays are performed for a single performance over a three-day festival in September. The submission window for the 2023 festival ends on February 28th, 2023.

Submission details: Newmarket International Festival of One Act Plays


Constellation Stage + Screen: Woodward/Newman Award

Full-length Plays between 75 and 135 minutes. TYA shows should have a complete running time of over 40 minutes.

The Woodward/Newman Award is an exclusive honour offered by Bloomington Playwrights Project, started through the support of Joanne Woodward, Newman’s Own Foundation, and the Newman family, celebrating Paul Newman & Joanne Woodward’s tremendous history of work on stage and screen. The Woodward/Newman Award presents the best-unpublished play of the year with a cash prize of $3,000 and a full production as part of BPP’s Mainstage season, along with travel reimbursement.

Submission details: Constellation Stage + Screen: Woodward/Newman Award


The Kennedy Center VSA Playwright Discovery Program Competition

10-Minute Plays

Young writers with disabilities are invited to submit a ‘ten-minute script’ of any genre. Scripts may be for plays, musicals, multimedia, video, film, TV, podcasts, or other writing for performance. Entries may be the work of an individual student or a collaboration of two students that includes at least one student with a disability. A panel of theater professionals selects division winners.

We welcome international applications. International applicants must be ages 15-18, have a disability, and submit all materials in English or ASL.

Submission details: The Kennedy Center VSA Playwright Discovery Program Competition


MadLab Theatre Roulette

Plays 5 to 15 minutes in length

Theatre Roulette is Ohio’s longest-running shorts festival. The festival receives over 1,000 scripts annually from every corner of the world. Playwrights will be notified when their script is received, but only contacted further if the show is selected for production.

Submission details: MadLab Theatre Roulette


Theatre Oxford 10-Minute Play Contest

10-Minute Plays

Theatre Oxford’s annual 10-Minute Play Festival draws new works from all over the world. The grand prize is $1,000 plus production in arts-loving Oxford Mississippi, a town beloved for its literary history. Through this festival, Theatre Oxford encourages creativity and advances its mission to make the theatre accessible and enjoyable for all.

Submission details: Theatre Oxford 10-Minute Play Contest


The Valley Players Playwright Award

Full-Length Plays
Vermont, New Hampshire or Maine Playwrights 

The Valley Players Playwright Award was established in 1982. The intent of the award is to promote the theater arts and to encourage and support the creation of original plays by residents of Vermont, New Hampshire and Maine. Any Vermont, New Hampshire or Maine resident is eligible to submit one or more original, full length, non-musical plays for consideration, providing the play has not been produced on stage before and has not been previously published. Plays which have had workshop readings are eligible. Plays which have won an award or prize in any other playwriting contest are not eligible.

Submission details: The Valley Players Playwright Award


The Road Theatre Company 15th Annual Summer Playwrights Festival

Plays of any length and any genre are accepted but plays must be unproduced on the West Coast and remain unpublished until after the festival.

Now in its 31st season THE ROAD THEATRE COMPANY and Taylor Gilbert, Founder/Artistic Director together with Sam Anderson, Artistic Director, remain committed to our meaningful mission to produce and develop new work for the stage. We are thrilled to announce that the play submission process is now open for new and diverse plays to be considered for our Summer Playwrights Festival. One of the largest staged reading festivals in the United States, SPF hosts a diverse gathering of playwrights from across the country and around the world. Submissions from established/published authors or first time playwrights are welcome.

Submission details: The Road Theatre Company – 15th Annual Summer Playwrights Festival


Green Man Theatre Troupe – 10 Minute Play Festival for Midwestern Playwrights

10-Minute plays maximum of 8 pages long
Playwrights must be currently residing in Illinois, Indiana, Iowa, Wisconsin, Missouri or Michigan. Scripts with previous performances are permitted but must be unpublished.

GreenMan will be presenting Eight to the Bar/ista, an evening of eight 10 minute plays. The prompt is “Happy Anniversary!” The show will be performed in July, 2023 at Brewpoint Coffee in Elmhurst, Illinois.

Submission details: Green Man Theatre Troupe 10 Minute Play Festival for Midwestern Playwrights


Little Fish Theatre – Pick of the Vine

Plays a Maximum of 15 minutes

Little Fish Theatre in San Pedro CA accepts scripts for their annual PICK OF THE VINE short play festival.

Submission details: Little Fish Theatre – Pick of the Vine


Eugene O’Neill Theater Center – National Playwrights Conference

All genres and styles of drama, including one-acts and solo pieces
Playwrights must be 18 years of age and have the right to work within the United States.

Founded in 1964, the National Playwrights Conference at the Eugene O’Neill Theater Center is the country’s premier institution for new play development. Every summer, a select number of unproduced works are selected from a pool of 1,000+ submissions for a playwright-driven workshop on the O’Neill’s campus in beautiful Waterford, CT. The O’Neill strives to foster an inclusive, collaborative environment in which artistic exploration and experimentation are encouraged at every step in the process.

The National Playwrights Conference is delighted to accept script submissions from playwrights of all stripes. We hold our mission of discovering and amplifying the voices of new plays and playwrights in high esteem, and remain committed to maintaining the open, blind submissions policy that has been place since the inception of the National Playwriting Conference itself.

Submission details: Eugene O’Neill Theater Center – National Playwrights Conference


Eugene O’Neill Theater Center – Young Playwrights Festival

Original Plays 10-15 Pages in Length
Playwrights 12 to 18 years of age living in the United States

oung Playwrights will spend a weekend at the O’Neill with a dedicated creative team – director, dramaturg, and actors – comprised of National Theater Institute alumni helping them stage their plays. The development process draws on principles and techniques used during the O’Neill’s renowned National Playwrights Conference. With these methods, the young playwrights hone their work, furthering it from the initial isolation of writing to the collaborative process involved in making their script into a living, breathing play. Students receive a rigorous exploration of their work guided by professional artists as well as a script-in-hand public reading of their new play.

Submission details: Eugene O’Neill Theater Center – Young Playwrights Festival


Hampstead Theatre – Open Script Submissions

Full-Length Plays

All submissions should be unperformed, original full-length plays written in English by UK based playwrights.

Submission details: Hampstead Theatre – Open Script Submission Opportunities


Gloucester Stage – Play Submissions

Gloucester Stage Co. is looking for new plays that reflect a cultural competency with cunning, intelligence, and passion. Because of their intimate performance space they are looking for shows with no more than 6 characters. Gloucester Stage is committed to upholding the work of local authors and stories from under-represented communities. Playwrights in the United States, Canada, and the UK may submit.

Submission details: Gloucester Stage – Play Submissions


The Bread & Roses Playwriting Award

Full-Length Plays
Playwrights based in Europe

The Bread & Roses Playwriting Award is a competition for full-length theatre plays by European-based writers that have not previously been produced or published and feature at least half female, non-binary or gender neutral roles.

Submission details: The Bread & Roses Theatre Playwriting Award


Stage It! 10-Minute Plays Competition – Center for Performing Arts – Bonita Springs Florida

10-Minute Plays
International Submissions

The STAGE IT! Ten-Minute Play Festival is an annual short play festival that culminates with the production of at least 10 ten-minute plays, along with the release of a volume of collected short plays selected by an international panel of judges. The Center’s intention with the Festival is to promote playwrights and their work. Playwrights maintain full rights over their plays beyond publication and are not held back from further publishing or future productions. Direct contact information is included in the book and the book states clearly that any and all production rights are solely the playwrights’. The book encourages readers and possible producers to make contact with the authors.

Submission details: Stage It! 10 Minute Plays Competition


Atlanta Shakespeare Co. – MUSE OF FIRE BIPOC PLAYWRITING FESTIVAL

Full-length plays between 90 minutes to 2 hours and 30 minutes
New Works no previously published or produced plays will be accepted.

The Atlanta Shakespeare Company is launching a new playwriting initiative for historically marginalized artists. The “Muse Of Fire Playwriting Festival” invites playwrights of the global majority to create a full-length play that reimagines Shakespeare’s themes and plots through the lens of BIPOC America. Script submissions will be accepted through spring 2023, and three finalists will be invited to Atlanta to see their scripts receive staged readings in summer 2023. The winning script will also receive a $5000 cash prize and a staged reading at the January 2024 Shakespeare Theatre Association Conference, hosted by the Atlanta Shakespeare Company.

Submission details: Atlanta Shakespeare Co. – MUSE OF FIRE BIPOC PLAYWRITING FESTIVAL


The Seymour J. and Ethel S. Frank Festival of New Plays: JETFest

Full-Length Plays with a maximum of 85 minutes
Playwrights 18 years of age and older.

JET’s main stage programming is wide-ranging, including comedies, dramas, and plays that often reflect issues of family, community, and humanity. Entry must be a full-length original work or adaptation with a minimum running time of 85 minutes that has not been produced prior to the festival. Maximum cast size of 10. Staged readings/workshop productions are not disqualifying factors.

Submission details: The Seymour J. and Ethel S. Frank Festival of New Plays: JETFest


Windsor Fringe – The Kenneth Branagh Award for New Drama Writing

Plays 25 to 35 minutes in length.

Amateur playwrights worldwide are invited to submit unpublished one-act plays. Three winning scripts will be selected for fully staged performances during the Windsor Fringe Festival.

Submission details: Windsor Fringe – The Kenneth Branagh Award for New Drama Writing


Pioneer Drama Service – Shubert Fendrich Memorial Playwriting Contest

Family Friendly Submissions between 15 minutes and two hours.

In order to encourage the development of quality theatrical materials for the educational, community and children’s theatre markets, Pioneer Drama Service sponsors the annual Shubert Fendrich Memorial Playwriting Contest. Shubert Fendrich founded Pioneer Drama Service in 1963 and was the heart and soul of the business for more than twenty-five years. The Shubert Fendrich Memorial Playwriting Contest is an ongoing contest, with a winner selected by June 1 each year from all eligible submissions received during the previous year. All eligible plays accepted for publication will be considered contest finalists, from which the winner will be selected. The contest winner will receive a $1,000 royalty advance in addition to publication.

Submission details: Pioneer Drama Service: Shubert Fendrich Memorial Playwriting Contest


Alleyway Theatre:  Maxim Mazumdar New Play Competition

One Act and Full Length Plays

The annual international competition was founded in 1989 by Alleyway Theatre in memory of Canadian actor/playwright Maxim Mazumdar (1953-1988). Playwrights around the world (with or without representation) are encouraged to submit their plays and musicals each season to the Maxim Mazumdar New Play Competition. Each category of the Mazumdar Competition is for plays that are ready for production. The winning script in each category will receive a full production, along with a cash prize.

Submission details: Alleyway Theatre – Maxim Mazumdar New Play Competition


The International Academy of Television Arts & Sciences Foundation: Sir Peter Ustinov Television Scriptwriting Award

One-hour television script.

Created in 1989, The International Academy of Television Arts & Sciences Foundation has its own Constitution, Officers and independent Board of Trustees. Each year, The Foundation administers the Sir Peter Ustinov Television Scriptwriting Award. The competition is designed to motivate non-American novice writers under the age of 30, and offer them the recognition and encouragement that might lead to a successful career in television scriptwriting. Entrants are asked to create a completed half-hour to one-hour English-language television drama script. The award winner receives $2,500.

Submission Details: Sir Peter Ustinov Television Scriptwriting Award


Know Theatre – Playwrights and Artist Festival

Plays 15 to 20 minutes in length.

When we look at a piece of art, each person has a different interpretation. That is the beauty of art and the challenge to our playwrights. Each year, we offer three works of art and ask writers for plays from 15 to 20 minutes in length based on how they are moved or inspired by the artwork. We blind-read the submissions, select two for each artwork and produce them. The art is exhibited, we perform the play and ask the audience for feedback. Musical pieces inspired by the artwork are also shared. After each performance, there is a talkback that includes the playwright, the composer, the director and actors. We also like to include our artists, if possible. This mixed-media event draws inquisitive art and theatre lovers to the festival and it makes for an exciting night of theatre.

Submission details: Know Theatre Playwrights and Artists Festival


Playwrights Guild of Canada Tom Hendry Awards

Full Length plays multiple categories.

The Playwrights Guild of Canada hosts an annual awards competition honouring Canadian playwrights in a wide range of categories, including the RBC Emerging Playwright Award, Carol Bolt Award, TYA Award, Playwrights Guild Comedy and Musical Awards, Lifetime and Honorary Membership Awards, and the Bra D’Or Award. The awards are named after Tom Hendry, a founding member of PGC who passed away in 2012. The winners are recognized in a ceremony that takes place in the fall each year at The Arts & Letters Club of Toronto. Playwrights must be a member of the Playwrights Guild of Canada.

Submission details: Playwrights Guild of Canada Tom Hendry Awards


The Ten-Minute Musical Project

Musicals between seven to twenty minutes.

Since the inception of The Ten-Minute Musicals Project, over sixteen hundred submissions have been received, from librettists, lyricists and composers in seventeen nations: Australia, New Zealand, Canada, the United States, Uruguay, Ireland, England, Scotland, France, Denmark, Germany, Italy, South Africa, Egypt, Israel, Saudi Arabia, and Ukraine. Submissions should be completely original stage musicals that play between seven and twenty minutes. Works which have been previously produced are acceptable, as are excerpts from full-length shows if they can stand up on their own.

Submission details: The Ten-Minute Musical Project.


Three Rivers Theatre Company seeks Faith-Based and/or Family Friendly Plays

Full-length Plays

Three Rivers Theatre Company, a non-profit community theatre, based in East Tennessee, has launched a playwrighting contest looking for faith-based or family-friendly plays. Each playwright may only submit one play for consideration. All entries should be original, unpublished and previously unproduced material. Submissions should be full-length plays with an approximate running time of no more than two hours.

Submission details: Three Rivers Theatre Company Faith-Based Family Friendly Play Competition.


Stage Door Productions One-Act Festivals

One-Act plays 15 pages or less

The Stage Door Productions One-Act Festival is an opportunity for new playwrights to showcase their work. Each spring, six original one-act plays 15 pages or less are selected from submissions and then performed. Prizes are awarded to top judges’ choice as well as the audience’s favourite.

Submission Details: Stage Door Productions One-Act Festivals


Annual Alberta Playwriting Competition presented by Alberta Playwrights Network and Theatre Alberta

The Alberta Playwriting Competition is presented by the Alberta Playwrights Network in association with Theatre Alberta. It was recently announced that with the blessing of the Pollock family, APN is renaming the “Grand Prize” to now be know as “The Sharon Pollock Award” – in recognition of the Most Outstanding Un-produced Play written by an Alberta Playwright. Sharon Pollock was an untiring champion of the Alberta Playwrights’ Network and anyone that devoted themselves to the craft of playmaking.

Submission details: Alberta Playwrights Network/Theatre Alberta – Alberta Playwriting Competition


New England Theatre Conference – Aurand Harris Memorial Playwriting Award

This award for full-length plays for young audiences was created in 1997 to honour the late Aurand Harris (1915-1996) for his lifetime dedication to all aspects of professional theatre for young audiences. A panel of judges named by the NETC Executive Board will administer the award. A staged reading of the prize-winning scripts will be held along with the Annual Excellence in Theatre Awards ceremony.

Submission details: Aurand Harris Memorial Playwriting Award


Echo Theatre’s BIG SHOUT OUT 3 – International Play Contest for Women+ Playwrights

Playwrights who self-identify as a woman are invited to enter one play or play-with-music (45-minute one-acts to full-length scripts) to Echo Theatre’s 3rd BIG SHOUT OUT International New Play Contest.

Submission details: Echo Theatre’s International New Play Contest for Women+ Playwrights


Yale Drama Series Playwriting Competition

Plays a minimum of 65 pages in length.

The Yale Drama Series is seeking submissions of full-length plays a minimum of 65 pages in length for its 2022 playwriting competition. The winning play will be selected by the series’ current judge, Paula Vogel. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of their manuscript by Yale University Press, and a staged reading or virtual performance. The prize and publication are contingent on the playwright’s agreeing to the terms of the publishing agreement.

Submission details: Yale Drama Series Rules and Submission Guidelines.


Austin Film Festival Playwriting Competition

Full-Length Plays

The Austin Film Festival Playwriting Competition gives playwrights a chance to explore the film and television conference which providing film professionals a chance to discover storytellers who have mastered the art and craft of stage drama. Austin Film Festival furthers the art and craft of storytelling by inspiring and championing the work of writers, filmmakers, and all artists who use written and visual language to tell a story.

Submission details: Austin Film Festival Playwriting Competition


American Blues Theatre: Blue Ink Playwriting Award

 Unpublished Original Full-Length Plays

The nationally-renowned Blue Ink Playwriting Award was created in 2010 to support new work. Each year American Blues Theater accepts worldwide submissions of original, unpublished full-length plays. The winning play will be selected by Artistic Director Gwendolyn Whiteside and the theatre’s Ensemble. The winning playwright receives a monetary prize of $2,000. Cash prizes are awarded to finalists and semi-finalists too.

Submission details: American Blues Theater Blue Ink Playwriting Award.


The Sauk Hillsdale County Community Theatre Call for Plays in Development

Plays of Any Style or Length

The Sauk, Hillsdale County’s Community Theatre, located in Jonesville, Michigan is seeking unproduced plays to consider for their eighth annual Plays-In-Development. Plays can be of any style and of any length. The goal of Plays-in-Development is to help playwrights improve plays that have yet to be produced by working with a director and actors and a talkback with the audience after the reading.

Submission details: The Saulk Hillsdale County Community Theatre Call for Plays in Development


Fred Ebb Foundation – Fred Ebb Award

Musical Theatre

As a writer, lyricist, composer and director, Fred Ebb made incalculable contributions to the New York theatrical community. Mr. Ebb is a Tony®, Grammy®, Emmy®, Olivier® and Kennedy Center Honors Lifetime Achievement Award winning recipient. Fred Ebb and John Kander collaborated for over 35 years and produced such classics as CABARET, ZORBA, CHICAGO, WOMAN OF THE YEAR, KISS OF THE SPIDER WOMAN, CURTAINS and THE VISIT.

Each applicant for the Fred Ebb Award 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. Only musical theatre work will be considered. Applications will be accepted from June 1st – June 30th. The winner will be selected in November and will receive $60,000.

Submission details: Fred Ebb Foundation – Fred Ebb Award


New Works of Merit Playwriting Contest

Full-length Plays

New Works of Merit seeks full-length plays that are powerful and not only entertain but also educate and enlighten. The contest assists winning and honourable mentioned playwrights to have their play presented in a public forum and to bring these scripts to the attention of producers and artistic directors. New Works of Merit seeks full-length plays that are powerful, heartfelt new works that not only entertain, but also educate, enlighten, and uplift humanity.

Submission details: New Works of Merit Playwriting Contest


Ashland New Plays Festival

Full-length drama or comedy, intermission preferred. If no intermission, then 75 minutes minimum running time.

Founded in 1992 and managed by a volunteer board of directors, Ashland New Plays Festival is a nonprofit theatre that encourages playwrights in the creation of new works through public readings. ANPF’s flagship Fall Festival is an international playwright competition that culminates in the reading of four new plays chosen by a team of volunteer readers from hundreds of submissions. This unique and much-loved event features professional actors from Oregon Shakespeare Festival, Southern Oregon University’s Theatre Department, the local community, and regional theatre hot spots. The reading performances, and the talkbacks that follow, are a rich theatrical experience for audiences.

Submission details: Ashland New Plays Festival


Theatre BC – Canadian Playwriting Competition

Full-length and one-act plays
Canadian Playwrights

Since 1989, Theatre BC had sponsored the Canadian National Playwriting Competition and its subsequent New Play Festival. The competition is open to all permanent residents of Canada who have been permanent residents of the country for the past 12 months.

Submission details: Theatre BC – Canadian Playwriting Competition


Seven Devils Playwrights Conference

Full-Length Plays

Seven Devils will not be accepting submissions for the 2022 Conference. The Conference expects to return to the open submission model in 2023. All submissions must come directly from playwrights – no agent submissions.

Submission details: Seven Devils Playwrights Conference


The New American Theatre Full Length Play Competition

Unproduced and unpublished full-length plays.

The New American Full-Length Play Competition has been created to support new plays. The competition is in line with The New American Theatre’s ongoing commitment to inspire, educate and nurture artists and our community toward a thoughtful and humane worldview through the art of storytelling. We help theatre artists find their voices, cultivate social consciousness and prepare for a lasting career. We support new and established playwrights and incubate new plays. We seek to make a lasting, life-long impression on our community – inspiring the audience to continue provocative conversations long after the curtain closes. (Note there is also a New American Theatre One Act Play Competition)

The New American Theatre is a critically-acclaimed actor-driven theatre company best known for exploring and supporting new and challenging work in the American theatre and for producing classic plays with modern, cultural relevance. The New American Theatre is dedicated to the support and growth of all artists who participate in the collective imagination that is theatre.

Submission details: The New American Theatre Full Length Play Competition


The New American Theatre One Act Play Competition

One-Act Plays a maximum of 15 minutes in length not produced in Los Angeles.
International Submissions

The New American One-Act Play Competition was created to support new plays. The competitions are in line with The New American Theatre’s ongoing commitment to inspire, educate and nurture artists and our community toward a thoughtful and humane worldview through the art of storytelling. The New American Theatre helps theatre artists find their voices, cultivate social consciousness and prepare for a lasting career. They support new and established playwrights and incubate new plays. They seek to make a lasting, life-long impression on their community – inspiring the audience to continue provocative conversations long after the curtain closes. (Note there is also a New American Theatre Full Length Competition)

Submission details: The New American Theatre One-Act Play Competition. 


Eden Prairie Players – Women’s One Acts

One-Act Plays

Women’s One Acts is an annual selection of short plays that are written and directed by women.

Submission details: Eden Prairie Players – Women’s One Acts


PlayFest Santa Barbara

Full-length Plays

PlayFest Santa Barbara accepts submissions for full-length plays, musicals, translations and adaptations, and works for young audiences. Any works submitted must not have had a prior professional production. Playwrights, librettists and composers with professional representation may have their agents send manuscripts at any time. Playwrights, composers and librettists without representation are welcome.

Submission details: PlayFest Santa Barbara


Edwin Wong Presents: The Risk Theatre Modern Tragedy Competition

Plays 90 to 120 minutes in length.

Edwin Wong calls on playwrights worldwide to submit full-length plays from 90 to 120 minutes in length to the 4th annual 2024 Risk Theatre Modern Tragedy Competition, juried by an international panel of professionals, anonymous to each other and the public until the winners are announced. Cash prizes of $10,200 for the winner and five $600 prizes for the runners-up.

Submission details: Edwin Wong Presents: The Risk Theatre Modern Tragedy Competition


Alfred Fagon Award

New Full-Length Plays In English
Playwright of Caribbean or African descent, resident in the UK.

Alfred Fagon lived in Clarendon Jamaica, Nottingham, Bristol and London. He was a boxing champion, a welder, an actor, a poet, and a playwright. After his untimely death in 1986, his friends held a memorial evening at Tricycle Theatre to commemorate his life and work. The donations collected at the memorial formed the basis of the Alfred Fagon Award to recognize Black British playwrights from the Caribbean. The first award was supported by Arts Council England and The Peggy Ramsay Foundation was presented to Roy Williams. The Peggy Ramsay Foundation continues to support the Award and the prize this year for the winning writer is £6,000.

Submissions are now open for the 25th Alfred Fagon Award! The award is the leading award for Black British playwrights. The competition is open to any playwright of Caribbean or African descent, resident in the UK, for the best original, new full-length stage play in English.

Submission details: Alfred Fagon Award Supported by the Peggy Ramsay Foundation


Screencraft – Stage Play Writing Competition

Some of the greatest films ever written were adapted from stage plays. ScreenCraft’s Stage Play Competition is a great opportunity to have your work considered by influential writers and industry professionals. Drawing on a long history of playwrights transitioning to screenwriting, this competition seeks to celebrate excellent plays that have great film or TV adaptation potential. 

Submission details: Screencraft – Stage Play Writing Competition


FADE TO BLACK: Play Festival

Plays 8 to 10 minutes in length.

Play must be unpublished and unproduced and have a running time between 8-10 – minutes. Fade To Black is Houston’s 1st and only national play festival to showcase the new works of African American playwrights.

Submission details: Fade to Black: Play Festival


The Road Theatre Company: Annual Summer Playwrights Festival

The Summer Playwrights Festival is the largest staged reading festival in the nation, with playwrights from across the country and around the world participating. Each reading is followed by a talkback with the playwright and director. New and established playwrights are encouraged to submit.

Submission details: The Road Theatre Company Annual Summer Playwrights Festival


American Stage’s 21st Century Voices: Emerging Plays

Full-Length Plays

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 full-length works for the stage that speak to a contemporary audience in fresh and compelling ways. 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 details: American Stage’s 21st Century Voices: Emerging Plays


Southeastern Louisiana University – Inkslinger Playwriting Contest

Full-Length Plays

Southeastern Theatre is committed to developing emerging voices in theatre by providing full productions of yet-to-be-published winning full-length plays as part of its Mainstage Season. All submissions must be original unpublished plays intended for a college-aged cast and audience. Plays that have been produced still qualify but they must be unpublished.

Submission details: Southeastern Louisiana University – Inkslinger Playwriting Contest


THEATRE THREE – Annual Festival of One-Act Plays

30 minutes maximum no minimum length.

Since its inception in 1998, The Festival has received over 10,000 submissions from across the world and produced 132 world premieres by 102 different playwrights. The Festival presents between five and seven plays each season. Playwrights may only submit one play per Festival. Only unproduced works will be accepted. Plays that have had staged readings or online productions are eligible. Selected plays will be presented for ten performances (dates to be determined in winter-spring 2024), at the Ronald F. Peierls Theatre, on THEATRE THREE’s Second Stage.

Submission details: THEATRE THREE – 25th Annual Festival of One-Act Plays


Playwrights Horizons Submissions Opportunity

Full-Length Plays

Playwrights Horizons is in pursuit of storytelling that is rich in self-expression and theatrical imagination that explores the multiplicity and complexity of American culture and experience and it is their aim to support artists who have a demonstrated commitment to the craft, art, and profession of playwriting. NOTE: Playwrights Horizons does not consider: new drafts of previously submitted work, autobiographical solo shows, one-acts, and straightforward adaptations or dramatizations of historical events.

Submission details: Playwrights Horizons Submission Opportunities


Adirondack Theatre Festival

Full-Length plays and musicals submitted by literary agents.

The Adirondack Theatre Festival produces new high-calibre scripts throughout each season. ATF welcomes the opportunity to read submissions of full-length plays and musicals from skilled playwrights who feel their work would be a good fit at the Adirondack Theatre Festival.

Submission details: Adirondack Theatre Festival


The Bruntwood Prize for Playwriting

Full-Length Plays 60 minutes or longer.
UK, Republic of Ireland, British Overseas Territory Playwrights

The Bruntwood Prize for Playwriting – which seeks scripts from established, emerging and debut writers to develop for the stage – will return in 2022. Submissions will open in late January 2022 along with the announcement of the judging panel, before closing on 6th June. Playwrights residing in the UK or Republic of Ireland or British Overseas Territory or with a British Forces Post Office address. Plays must be a minimum of one hour or longer in running time.

Winning plays are selected across four categories, with each winner entering into a development process with the Royal Exchange Theatre in an endeavour to bring their work to production.

Submission details: The Bruntwood Prize for Playwriting


National Arts Centre – National Creation Fund

The Fund is a catalyst for Canadian artists to take their projects to a new level. Investments provide the additional time and resources that bold, ambitious projects need to be successful on the national and international stage.

To be considered for an investment the project must:

  • be led by Canadian creators in theatre, dance, music and inter-disciplinary performing arts;
  • have a strong artistic team and be artistically ambitious and compelling;
  • have committed Canadian and/or international producing and presenting partners;
  • have long-term national or international impact, including through touring; and
  • have a significant amount of confirmed funding and a clear plan for how our investment would enhance your development process and elevate the project to a new level.

The National Arts Centre does not invest small amounts of money in a large number of projects; instead, they invest $2,000,000 to $3,000,000 a year in 10 to 20 projects.  To date, their investments have ranged from $80,000 to $240,000. In addition to their investments, they offer access to other NAC resources, such as production expertise and connections to national and international networks.

The National Arts Centre supports bold and ambitious work representing a diversity of disciplines, abilities, genders, ethnicities, languages, cultures, and regions. They find compelling and ambitious projects for investment in two ways: by actively seeking great projects across the country; and by accepting proposals from artists and arts organizations.

There is no deadline. Proposals are accepted throughout the year, and the curatorial team reviews them on an on-going basis.

The Fund is open to professional artists, producing companies and organizations. To be eligible, an artist must be a resident or citizen of Canada, although you may be pursuing your work outside the country. While the lead producing company must be based in Canada, the project can include international partners and co-producers.

Program and submission details: National Arts Centre – National Creation Fund


Banff Centre for Arts and Creativity – Playwrights Lab

Canadian Playwrights

Each year the Lab welcomes Canadian playwrights and their collaborators, providing each writer with a residency tailored to their specific needs with the goal of nurturing, challenging, and inspiring the next phase of their work. Each Lab features international writer/dramaturg teams, an acting company, and partnerships with organizations from across Canada and beyond.

Playwrights will experience an inspiring, interdisciplinary, and inclusive environment to work on their plays while surrounded by performing artists from across the country and around the world. The Lab supports challenging, multi-disciplinary, provocative approaches to telling stories and is proud to gather on Treaty 7 territory to create, share, and explore theatrical storytelling.

Submission details: Banff Centre for the Arts and Creativity – Playwrights Lab


Synecdoche Works – The Frank Mosier Fellowship for Works in Heightened Language

Plays 40 minutes or longer.

Synecdoche Works accepts English-language plays from anywhere in the world. Submitted works can not be currently attached to a theatre or production company. Submissions must be in a heightened version of the English language. This includes but is not limited to works using meter, verse, rhyming schemes, pidgins, creoles, and code-switching. Plays must contain at least 60% heightened language and be longer than 40 minutes. Authors awarded a grant must be willing to participate in a brief rehearsal process culminating in an online video reading of their submitted work. The winning playwright receives $3,000 U.S.

Submission details: Synecdoche Works – The Frank Mosier Fellowship for Works in Heightened Language


The Siminovitch Prize

Mid-career Canadian Playwright or Director or Designer (Prize rotates)
For 2023 – Call for Nominations of Canadian Playwrights

Over a three-year cycle, the Siminovitch Prize celebrates a professional mid-career director, playwright, or designer whose work is transformative and influential. The Prize also recognizes the importance of mentorship to support emerging talent: the Laureate receives $75,000 and selects a Protégé who receives $25,000. In 2021, the Siminovitch Protégé Prize is presented by the RBC Foundation.

Do you know an outstanding playwright who deserves national recognition, $75,000, and the opportunity to support an emerging artist with mentorship, and $25,000?

Peers are invited to nominate an exceptional artist who has made a remarkable contribution to enriching theatre in Canada.

Nomination deadline – midnight on June 18, 2023.

Nomination details: Siminovitch Prize



Matt Dy: Director of Script Competitions Austin Film Festival

If you have ambitions of pursuing a career as a screenwriter or television showrunner then I’d highly recommend you attend the Austin Film Festival. I attended the 2018 Austin Film Festival Writer’s Conference and found it to be a very rewarding and exciting opportunity to connect with industry professionals as well as up-and-coming writers. This interview with Matt Dy, the Director of Competitions about the Austin Film Festival will give you a comprehensive overview of what the festival is about and why you should enter the competition.

Executive Director and Co-Founder of the Austin Film Festival Barbara Morgan talks with the 2017 AFF Awardees: Walter Hill, Keenen Ivory Wayans, and Kenneth Lonergan.

We all have favourite stories – favourite films – favourite television shows and books and plays – because these stories somehow reach us. They make us laugh, or cry, or reflect more deeply about life, or simply give us a momentary escape from our troubles.

That’s why I’m really excited to announce that my play Masquerade is a finalist in the stage play competition at this years Austin Film Festival – which is a festival that’s dedicated to story. Masquerade is about an empty nest couple, Sarah and Glenn, that have drifted apart. They were talking divorce and selling the house until they discovered a book called: A Good Marriage is Just a Fantasy by Dr. Ravi Shasta. Basically, it’s a book about exploring your sexual fantasies with your partner. Unfortunately, sometimes what is real and what is fantasy can become blurred and what was intended to bring a couple closer together can sometimes drive them apart. 

The Austin Film Festival is a celebration of film and television that focuses on story and the people who write the screenplays and teleplays. The festival features industry professionals as well as up and coming writers. I’ll be flying down to Austin to participate in the festival as well the staged reading of my play. I gave Matt Dy, the Director of Competitions for The Austin Film Festival, a call to talk to him about how the festival began and what participants can expect.

Gabbi Lindgren, Script Competitions Coordinator & Matt Dy, Director of Script Competitions – Austin Film Festival

JAMES HUTCHISON

The Austin Film Festival was founded in 1993 by Barbara Morgan, who still serves as Festival Director, for the purpose of furthering the art and craft and business of screenwriting and filmmaking. So, I’m curious over the last twenty-five-year history of the festival how have those founding goals been developed?

MATT DY

The Festival was also co-founded by Marsha Milam who is still involved in a limited capacity, but Barbara Morgan is sole Executive Director for the Festival now. The two of them started the festival because they felt there was a need for a community like this. There really wasn’t a writer’s festival let alone very many screenplay competitions at the time. There were maybe a handful and now there are hundreds of them in existence, but we’re one of the original ones which is a really nice thing to be able to say.

The thing that still remains intact over the twenty-five-year history of the festival is our goal and mission to champion the screenwriter. We’re now open to playwrights and eventually we may become more of a hub for all forms of story because we’re also expanding into fiction podcasting and we have a digital series component as well – content for the web – so there’s a lot of different formats that we’ve embraced over the years but the mission to champion the writer is still the same.

First Day of the Austin Film Festival in 2017 – a room full of storytellers.

JAMES

You know when I think of successful screenwriters they might have different success stories but I’m wondering if there might be a couple of qualities that sets the successful screenwriter apart and I’m thinking one of those qualities is having a dedication to the craft. In what way do you think a dedication to the craft benefits a writer’s career and development?

MATT

That is absolutely essential and it’s easier said than done. I’m a writer as well and I tend not to take my own advice – to write every day you know – you hear of people who have nine to five jobs and they’re married, and they have kids, and maybe they have a second job, and they still make time to write. So my thing is to not make excuses anymore and just do it. It is about dedication. It is about finding time to write because, as a writer, you want to treat the writing as if it’s going to be your job. You need to set deadlines and goals and that’s why competitions are a great thing for writers because you work towards a deadline to get your script in for the competition.

It’s also teaching you about persistence. You’re a finalist in our Stage Play Competition. You’re in the top three out of 655 plays that were submitted but a lot of people that didn’t make it as far as you have may actually have a really good play and we may have overlooked it because – it’s a little bit of the luck of the draw – trying to find a good match for the reader that might respond to it. It’s a human process, and it’s incredibly subjective, so you’re going to get different results from different competitions, and so it’s also about being persistent and moving on and entering the next competition 

JAMES

Enter other ones or give it a rewrite and enter again.

MATT

Yeah, and you’ll find that exists in every creative field. And if you pick any popular film or stage play that has gotten produced – if you talk to those writers they will tell you consistently that they had so many doors closed on them – so many people told them this would never get produced or shouldn’t be produced and yet they still got it produced.  And so the writer’s process is to write every day and stay persistent, stay focused, and write the story you want to tell.

Writer, director, actor Dennis Hopper at the Austin Film Festival in 1997.

JAMES

You said you’re a writer yourself so I’m just wondering from your own perspective – because you’re surrounded by writers – what does keep someone going? I mean those rejection letters are piling up and you work for years for little money…what is that keeps writers going? Why do they keep writing stories?

MATT

Passion. Love. A lot of playwrights are incredibly passionate – they love their work – they do it for the love of the art – and I think a lot of screenwriters feel the same way. It’s a dream and if you don’t have a dream it’s hard to find the motivation to get up each day and work on that passion project

JAMES

I wonder if part of it might be realizing that when you sit down at your desk to begin the research, the writing, the outlining or just diving into writing your script you might be starting a ten or fifteen or twenty-year journey in order to realize that project.

MATT

Absolutely. Everybody has their own process. There are some writers who end up having one project that they spend their entire lives working on, but there are other writers who work on many different projects all at the same time because they know their one pet project may not be the one that gets them discovered.

JAMES

The festival has a number of writing competitions. You’ve got the feature-length drama. You’ve got the comedy feature. Horror. Sci-fi. So you’ve got lots of different categories, but I’m wondering, regardless of the genre, do you notice anything that the winning scripts seem to possess? Something in them that makes this writing stand out.

MATT

I think if I had to pin it on one thing it would be stories that have that unique voice – that unique perspective. Those stories end up winning or advancing in the competition. It’s always their unique spin on a familiar story. A different perspective so that when you’re reading it you go, “Oh that’s brilliant. I wasn’t expecting that.”

Each writer is going to have their own perspective on the world and so their version of a story is going to be different than someone else’s version of the story, and you can tell when they’re writing something for themselves for the passion and for the love of their story rather than when they’re trying to write something for the masses that they think would sell.

Writer/Director Robert Altman – M.A.S.H., McCabe & Mrs. Miller, Nashville, and The Player talks with screenwriter and actor Buck Henry – The Graduate, Get Smart, and Catch 22 at the Austin Film Festival.

JAMES

You bring up an interesting point because I just watched Get Out which was a huge hit last year and so I’m wondering when you have a hit like that – a film that, you know, is well made, does well at the box office, gets awards – does the success of that film, in the marketplace, influence the types of scripts you see being entered into the festival?

MATT

Oh yeah, not just the marketplace but also the climate – and what’s happening politically and what’s been happening in the industry with movements for diversity. All these different ancillary things that are happening in the world obviously effect what people are writing and submitting to the competition. You can definitely feel that when you’re reading scripts, and you’ll find that there are many people who are commenting on the current President and many of the other things that are happening in the Zeitgeist because we write to talk about and make sense of the world we live in.

Of course, there are going to be people who are going to try and anticipate what is marketable and usually if they try to emulate what’s popular right now they’re too late because those projects were long in gestation and they’re striking a cord now. As a writer, you should just continue to write what you’re passionate about and then something might happen to make your script a timely subject. There was a playwright here from last year in the playwriting competition who happened to write a play about immigration on a border town in Texas. It was a play she had written a long time ago that never got produced but she pulled that back out of her drawer because she knew this is the time for it.

JAMES

Well, let’s talk a little bit about the festival. There are two components. There’s the film festival and there’s the conference and the conference is filled with industry professionals and established as well as up and coming writers. What’s the conference part of the festival about?

MATT

I like to call it summer camp for screenwriters except it’s only four days. It sort of has that Kumbaya feel when you first arrive. It’s palatable – at least for me. You know you can stereotype writers and say they’re all an isolated bunch who are very introverted who don’t like to converse or be communal, but I find that even the most introverted screenwriter, deep down, really wants to connect, and I think when they realize that wow, I’m not the only one who feels that way, and they come to a conference where it’s a bunch of introverts and a lot of thinkers and creative types who are just like them then the walls start to come down. And we try to make it easy for them to get to know each other and just converse and make friends. Usually without fail that’s what happens.

Samuel Weller, Allison Norlian, Sean Collins-Smith, and Emily McGregor at one of the many mix and mingle functions at the 2017 Austin Film Festival

MATT

I also think a lot of people come to the conference with the goal of getting their script sold and produced or getting an agent or manager but that rarely ever happens at the festival. I like to think of the festival as an incubator where things just take time to develop. Like you’re planting the seeds. You’re making connections with people you wouldn’t normally be able to meet. If you place in the competition you’re going through a special track of panels with people who are just like you – quality writers, talented people with great ideas, so you’re in a very talented room with people that you’re going to several events with and you never know you might find your next collaborator or somebody who would love to read your work and would introduce you to somebody that they know in the industry and so usually those are where most of the success stories come from.

JAMES

As a participant in the conference there are panels there are readings what kind of things are happening?

MATT

Everything that happens at the conference is about the creative and business sides of story, so if you want to learn about other people’s writing process and how you can apply that to your own writing you can do that, or if you’re really wanting to understand how it works in the TV writers room we usually have that covered. We have pitching opportunities, we have script reading workshops, we have an indie filmmaker track as well if you’re a filmmaker and want to learn more about microbudget filmmaking. We have a playwriting track. We have a panel that covers writing for webisodes. We have a script to screen series where writers will show a few clips from their film or show and show the process of what they wrote and how that translated to the screen. We have a conversation series with people who just talk about their career in general and usually, those are the bigger people and in particular our awardees like Tony Gilroy

Barbara Morgan co-founder and Executive Director of The Austin Film Festival hosts In Conversation with Kenneth Lonergan the writer/director of Manchester by the Sea.

JAMES

Why don’t we talk a little bit about that since you brought it up? As part of the festival, you honour screenwriters and filmmakers, and the very first person that was honoured at the festival was Horton Foote who wrote Tender Mercies and adapted To Kill a Mockingbird for the screen, and then last year you had Kenneth Lonergan at the festival who wrote and directed Manchester by the Sea. Who are you honouring this year and why?

MATT

I mentioned Tony Gilroy who is a screenwriter and filmmaker. He’s somebody that we’ve tried to get for a very long time. We try and find people that have a rich history of contributing to storytelling and also have an ability to be accessible to our audience because that’s something we also pride ourselves in is that you have an opportunity to meet Tony Gilroy and talk with him or meet somebody like Vince Gilligan the creator and showrunner for Breaking Bad who took the time to meet everybody when he was here for the festival.

Tony Gilroy is the writer/director of the Oscar Nominated thriller Michael Clayton starring George Clooney. He also wrote the first three Bourne films and co-wrote and directed the fourth film in the franchise. More recently he is the co-writer of Rogue One: A Star Wars Story and the writer/producer of the political thriller Beirut starring Jon Hamm and Rosamund Pike.

MATT

Another awardee we have this year is Daniel Petrie, Jr. who we’re giving our Heart of Film Award and we invited him because he’s been involved with the festival for such a long time and he really loves our festival and he’s very giving and he comes almost every year and we even gave his production company a category the Enderby Entertainment award because his company produced a finalist script from I think 2008 or 9 from our competition and it premiered here at the festival, and they’ve worked with many writers that they’ve met here at the festival. And so usually we try to find in an awardee who has left a mark on the industry and is somebody who can share words of wisdom for the next generation of creators. 

Daniel Petrie, Jr. will receive the Heart of Film Award for his many contributions to the film and television industry and his service to the screenwriting community. Dan’s screenwriting credits include the Oscar-nominated Beverly Hills Cop as well as The Big Easy, Shoot to Kill, and Turner and Hooch. Dan is also a two-term past president of the Writers Guild of America West and a long time panelist and supporter of the Austin Film Festival.

JAMES

And you’re also honouring Roger Corman. How many careers has he helped launch?

MATT

Yes, I know that’s another reason it was very clear why we chose him because when you find out all the careers he’s started you wonder why he hasn’t received more credit. It was clear for us that he needed to be an awardee.

Roger Corman has been credited with discovering such talent as Jack Nicholson, Francis Ford Coppola, Diane Ladd, Peter Bogdanovich, Martin Scorsese, and James Cameron. He is the director of over 500 films including Little Shop of Horrors, Death Race 2000, and The Pit and the Pendulum. Corman’s company New World Pictures was also a distributor of foreign cinema including the work of Francois Truffaut, Akira Kurosawa, and Federico Fellini.

JAMES

And then you’ve got Larry Wilmore.

MATT

Yes, and he’s somebody else who has been so great as well. Somebody who has been great talking with our attendees and very giving and very accessible as well. 

Emmy Award winning Larry Wilmore has been a television producer, actor, comedian and writer for more than 25 years. Wilmore created the Bernie Mac Show which ran for five seasons on FOX and recently helped launch ABC’s Black-ish. On camera, Wilmore was the “Senior Black Correspondent” on The Daily Show with Jon Stewart and was the host of his own show The Nightly Show with Larry Wilmore for two years on Comedy Central.

JAMES

So, my play Masquerade is a finalist in this year’s Stage Play Competition and I’m really excited to be attending the festival, but I was curious about why you decided to add a stage play category to the film festival?

MATT

It was our Executive Director who had the idea to do it because we work with many playwrights, and we find that many screenwriters and tv writers aren’t just screenwriters and tv writers they also have plays and a lot of these people have been asking us to start a playwriting competition. A lot of playwrights living in New York City, for example, find it hard to make any money as a playwright so a lot of them make their money in TV. The Americans, House of Cards, Orange is the New Black those writer’s rooms took place in New York and a lot of them consisted of playwrights. We started the screenplay competition in 1994 because there was a need for something like that and so we thought this would be a great way for playwrights who want to make that transition into film and television to utilize the resources that we already have in place. And also to give recognition to your own play because the placement and the exposure your play gets from the festival could help get it produced because every playwright still wants to have their play produced.   

JAMES

Let’s talk about the other aspect of the festival – so you’ve got the conference part but it’s also a film festival and the film festival runs for an additional four or five days after the conference ends. What are some of the highlights coming up this year as far as films go?

Closing Night Film at the 2018 Austin Film Festival is The Front Runner starring Hugh Jackman. Based on the real-life story of politician Gary Hart whose 1988 run for the Democratic Presidential Nomination was sidelined by reports of an extramarital affair with Donna Rice.

MATT

What I love about our film festival is that our mission to honour the writer still exists. All the awards that are handed out for the different categories in the film competition are handed out to the writers of the film. Not the director or the producer. You know when you watch award shows or you’re at a film festival and they announce the best picture they usually hand out the awards to the director and the producing team.  Unless it’s a writer/director but usually the writer isn’t involved with directing or producing they just wrote the script. But at our festival, the writer is the one who actually receives the award. We put a stronger emphasis on the quality of the writing than the marketability or the production values of the films that are chosen to be in the festival. So story really is the thing that we look for the most.

Greta Gerwig the writer and director of the Oscar-nominated film Lady Bird attends the 2017 Austin Film Festival screening of her film.

MATT

The thing that’s nice about our festival is that we’re after Toronto after Venice – after all the bigger film festivals that have those Oscar contenders – and so we have a lot of those big films that end up getting nominated for Oscars. Last year, I think, we might have had nine or ten of them. We had Lady Bird, Three Billboards, I Tonya, Mudbound, and Call Me By Your Name.

JAMES

That was quite the lineup.

MATT

And while a lot of people are going to be gravitating towards the bigger marquee films that we have this year like The Favourite or Boy Erased or Widows you don’t want to miss out on all the other films that are playing within the film festival competition because those are films that you might not be able to see anywhere else anytime soon.

JAMES

So, as I mentioned this is my first time going to the conference. What basic tips or advice can you tell me about coming to the festival that I should know and would help prep me or anybody else who is going?

MATT

Well, get familiar with our list of panelists that are attending the festival and the conference. Find out if your screenwriting heroes are going to be here because they’re going to be out during the festival. They’re going to be at the Driskill bar and they’re going to be at the partner parties and their badge is just going to say their name. It won’t tell you any of their credits or if they’re a panelist. So you never know who you’re going to be standing next to and if you recognize them you can respectfully introduce yourself like, “Hi I’m a finalist in the playwriting competition.” And there aren’t very many finalists. There’s about fifty of you and that’s a huge difference from the ten thousand five hundred scripts that were submitted this year. And your badge will say finalist and you should wear that badge proudly and introduce yourself, “I’m James, I’m a finalist in the playwriting competition.”  And that is something that will hopefully open doors. “Oh, you’re a finalist. Okay, tell me about your play.” And of course what’s also going to happen next is, “Well what else are you working on?” And so be prepared to talk about other work that you’ve written and of course be ready to talk about your play.

2017 Panelists Amy Berg, Eric Heisserer, Megan Amram, and Raamla Mohamed attend the Writers Guild of America West Welcome Party

MATT

You’d be surprised how many writers come here and they have a fantastic piece of work but they don’t know how to talk about it to people. So, just be prepared for that elevator pitch but I wouldn’t necessarily call it pitching at the festival because nobody really likes to be pitched to. A lot of these agents and managers and producers who are here are here to have a good time and to meet writers and contribute to the festival. They don’t want to be treated as if the only reason you’re talking to them is so you can send them your script – there’s so many people that are after them that they just want to be treated like a human being.

JAMES

Well, treat them like you would want to be treated if you were in their position.

MATT

Yeah, exactly and as a manager, it’s all about the relationship and so if that’s how you’re going into it they’re probably going to think I’m not sure I want a relationship with this person. And don’t forget about your fellow writers that are sitting right next to you because you know everybody comes here wanting to try and meet the panelist or agents and managers but it’s a chance for you to meet other writers like yourself and develop your network and friendships and your professional relationships.

JAMES

I was thinking about the legacy of the festival. And I have to say I really like what you guys are doing with the Austin Film Festival – On Story. Tell me a little bit about how that started and what you guys are doing with that part of the festival.

MATT

So, Barb our Executive Director had always envisioned that we would have a TV show and so she had the foresight to record all of our panels during the festival and to keep a record of it so that we could utilize it in some way one day. And we also had a lot of people who attended our festival asking if we had any recordings so there was a demand for it. And so we went through our archives and created a quality product that PBS loved and picked up and our marketing team has gotten us in almost all the markets for PBS and now On Story has expanded into a book and a radio show on PRI and we have a podcast as well. So On Story has really become its own brand and people really love it. 

JAMES

I watched a couple of them on YouTube and shared them through Facebook, and Twitter and Instagram. I watched Carl Reiner talking about the early days of working on the Dick Van Dyck Show and it was really interesting, and I watched Kenneth Lonergan who you had here last year and I thought it’s nice to have those things available.

Vince Gilligan creator of Breaking Bad & Better Call Saul at the 2013 Austin Film Festival

MATT

And we’re proud to say we’re an Emmy award winner as well. We won an Emmy for our episode featuring Vince Gilligan whom I had mentioned earlier and actually, we’re nominated this year for an Emmy for our episode featuring Eric Heisserer the writer for Arrival

JAMES

I’ll have to hunt those down and watch them. Are there any legendary stories from the festival that you can share?

MATT

Oh God. Legendary stories. Well from the first year the winning script in our competition actually got optioned and produced rather quickly. It was called Excess Baggage and it was written by Max D. Adams. It had Alicia Silverstone and Benicio Del Toro in it.

I believe the first screenwriters’ conference for AFF happened at Willie Nelson’s old opera house, but it was run down, and it was rainy but somehow it brought people together, and you know we said magic happened there. I wasn’t around for it but this is what our director Barbara Morgan has said repeatedly over and over again – that magic happened there despite all the chaos because everybody was there because they believed in story and telling their stories. And a lot of big influential people from Columbia Pictures were there as well and they felt the magic too, and I think that helped encourage them to become more involved with us and to see us as a legitimate resource for writers, and they optioned that first script and produced it and that’s really what put us on the map.

Austin Film Festival 2017 Awards Lunch (L to R) Walter Hill, Extraordinary Contribution to Film, Keenen Ivory Wayans – Extraordinary Contribution to Television, Kenneth Lonergan, Distinguished Screenwriter

MATT

And you know what feels legendary for me each year is the Awards Luncheon and hopefully you’ll see that and feel that too when you’re here because the awards luncheon is where we celebrate the winners in the competition and win or lose it’s still a really great event because on that stage we are awarding up and coming writers from our competition and we’re also honouring the established writers like the Tony Gilroys, the Larry Wilmores, Roger Corman, Dan Petrie and so they’re all on the same stage together. And what’s so beautiful is that one of those awardees, almost without fail, will comment on what they’ve seen from the up and coming writers. They’re deeply moved by the time they get up on stage because they’re also not sure what to expect at our festival.  So, when they see we’re really championing the writer and they’re hearing all the winner’s stories and we even have a young filmmakers award so they end up seeing young kids going up there and accepting awards too it makes an impact.  And these kids are in awe of what they are seeing – you know these teenagers are seeing people from different backgrounds and ages winning our script competition and our film competition and then they’re seeing highly established people as well and so that’s really inspiring for the next generation of young people who are going to continue to create and write and tell stories. And for me, that feels legendary because everybody always comes away feeling so invigorated and inspired.

***

The Austin Film Festival and Writers Conference runs from October 25th to November 1st. You can check out all the details regarding the Festival at their website online.

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AFF is pleased to announce the 2018 Script Competition Finalists and Winners. 51 scripts were chosen for the Final Round with one winner to be determined in each of the 13 categories. The winners were announced during this year’s Conference at the Awards Luncheon held on Saturday, October 27 at the Austin Club. (Winners in Bold.)


COMEDY FEATURE SCREENPLAY
Presented by Sony Pictures Animation

Sex APPeal by Tate Elizabeth Hanyok
Darryn the Bold and the Sword of Boldness by Justin Best
Meet Cute by Noga Pnueli
My Date Is Kate by Carlin Adelson
Orientation by Eve Symington

 ***

 DRAMA FEATURE SCREENPLAY
Presented by Writers Guild of America, East

Horsehead Girls by Wenonah Wilms
The Death of Colm Canter by Revati Dhomse & Hector Lowe
Dig Two Graves by Jared Schincariol
The Huntress by Abdullah Alhendyani
The Innocent and the Vicious by Dominique Genest & Nick Kreiss

 ***

SCI-FI FEATURE SCREENPLAY
Open to science fiction, fantasy, horror, surrealism, myth/legend and fantastical storytelling.

Our Own Devices by Paul Vance
Darryn the Bold and the Sword of Boldness by Justin Best
No Man’s Land by Jeffrey R. Field & Michelle Davidson

 ***

HORROR FEATURE SCREENPLAY
Open to thrillers, dark suspense, sci-fi, and macabre themes.

The Patience of Vultures by Greg Sisco
Blood of Israel by Davey Morrison
Shaky Shivers by Andrew McAllister & Aaron Strongoni

***

ENDERBY ENTERTAINMENT AWARD
For feature scripts in all genres with an original concept and distinctive voice that can be produced for under $10 million. The production company was founded by Rick Dugdale and Daniel Petrie, Jr.

Project Horizon by Charles Morris
Grit N’ Glitter by Seth Michael Donsky
 The Patience of Vultures by Greg Sisco
Put Your Hands In by Warner James Wood
 Surfmen by Christopher Rhoads

***

AMC DRAMA TELEPLAY PILOT
All Semifinalists will be reviewed exclusively by AMC who will determine the Finalists and eventual Winner.

Worth by Stuti Malhotra
Double Time Dames by Davia Carter
Liberty Falls by Robert Attenweiler
Lifers Anonymous by Sean Collins-Smith
Mindset by Ethan Solli & Ziba Sadeghinejad
Ticker by Connie O’Donahue & Jeremy Nielsen

 ***

COMEDY TELEPLAY PILOT

What Will Jessie Do? by Kevin Luperchio
Band of Mothers by Sabrina Brennan
Bastards by Erin Muroski
The Last Abortion Clinic in Kansas by Tammy Caplan
Rice, Fish, and La Croix by Naomi Iwamoto

***

DRAMA TELEPLAY SPEC

The Handmaid’s Tale: Rebels by Angela Jorgensen
Billions: Trust by Amanda Parham
The Handmaid’s Tale: The Abduction by Todd Goodlett

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COMEDY TELEPLAY SPEC

 Unbreakable Kimmy Schmidt: Kimmy Volunteers! by Maggie Gottlieb
Better Things: Goy Vey by Robert Axelrod
 Master of None: Headspace by Honora Talbott

 ***

SHORT SCREENPLAY

Ruby Throat by Sarah Polhaus
Seat 23B by Eliott Behar
 A War on Terror by Peter Haig

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SCRIPTED DIGITAL SERIES
Presented by Stage 13

Epizootic by Daniel Young
Halcyon by Jonathan Marx
hello, world\ by Michelle Sarkany

***

STAGE PLAY

Particular Disposition by Benjamin Fulk
 Masquerade by James Hutchison
Disposable Necessities by Neil McGowan

***

FICTION PODCAST

The Rest Stop at the End of the Universe by Samuel Suksiri
Alethea by Katrina Day & Phillip R. Polefrone
Forces by Len Sousa
Welles D-11 by Simon Nicholas

***

JOSEPHSON ENTERTAINMENT SCREENWRITING FELLOWSHIP FINALISTS
In addition to this year’s Script Competition Finalists, we are proud to announce the Finalists for the inaugural Josephson Entertainment Screenwriting Fellowship. This new opportunity will provide a one-on-one mentorship with producer Barry Josephson and his team in Los Angeles for the writers of one feature screenplay and one teleplay pilot. 

***

Feature Screenplays

The Death of Colm Canter by Revati Dhomse & Hector Lowe
Darryn the Bold and the Sword of Boldness by Justin Best
Meet Cute by Noga Pnueli
The Patience of Vultures by Greg Sisco
Sex APPeal by Tate Elizabeth Hanyok

***

Teleplay Pilots

Lifers Anonymous by Sean Collins-Smith
Band of Mothers by Sabrina Brennan
Mindset by Ethan Solli & Ziba Sadeghinejad
Ticker by Connie O’Donahue & Jeremy Nielsen
Worth by Stuti Malhotra

***

This interview has been edited for length and clarity. Revised on November 26, 2018.



QUOTA Gets a London Production in the British Theatre Challenge

Quota gets a London production and wins the Audience Choice Award as part of the British Theatre Challenge.

“All societies are based on codes of behaviour and when someone deviates from that code there has to be a way to handle the situation otherwise chaos would reign supreme, and we don’t want that now do we. We want everything nice and tidy. All the socks in the sock drawer and all the undies in the undie drawer.”

That’s a line from my play QUOTA. It’s what Dave Dixon gets told by Kathie, the Civic Census taker, after he gets flagged for corrective action.

I wrote QUOTA while I was doing a little research for another play about the internment camps that the Canadian government ran during World War One and World War Two.* It’s always bothered me that we were fighting dictatorships that put people in camps while we were doing the same thing. Of course our camps weren’t concentration camps but once you have a different set of laws and rules applied to one group in your society – how do you keep it from going to the extreme?

Maybe you keep it from going to the extreme by making sure the rule of law applies to everyone equally regardless of race, gender, religion, sexual orientation, or ethnicity.

Of course that’s only if you believe that everyone is equal. Not everyone believes this. And if you’ve seen Avenue Q you know that we’re all a little bit racist. We’re all human and we make assumptions and have distorted beliefs about people and sometimes we’re not even aware of our own prejudice. But that’s a lot different than laws being enforced by a government that are intended to limit the rights and freedoms of a particular group simply because of of that group’s differences.

But governments are not composed of robots. Governments and Prime Ministers and Presidents and Kings and Dictators are all people. And so I have to wonder what kind of people are they? Are they good leaders? I think not if they allow such laws to be passed and enforced.

But what makes a good leader? I think good leaders don’t seek power for themselves but instead seek to empower others. Bad leaders are afraid of diversity. They’re afraid of others having power. They see the cup as half full and they want what’s in the cup all for themselves. And while I know there are lots of different definitions of leadership I think great leaders enlarge the world they don’t limit it. They share.

You know one of the purposes of theatre and story is to provoke discussion. Discussion about politics, morality, relationships, love, religion, and power. And comedy allows us to shine a light on attitudes and behaviours in a way that drama doesn’t. That’s why I wrote QUOTA. I wanted to take a look at how individuals go from being a member of society to becoming an identified minority and having their rights violated.

So, I’m excited to announce that QUOTA gets a London production and is being produced by Sky Blue Theatre as part of The British Theatre Challenge – Act II.  The British Theatre Challenge is an annual international playwriting contest run by the Sky Blue Theatre Company and this year, in addition to the ten winning plays produced in December 2016, an additional six plays will be produced on Friday April 7, 2017 at the Lost Theatre in London, England.  If you happen to be in London check it out.

Quota by James Hutchison

QUOTA is the story of Dave Dixon who – while looking for a job on-line – is interrupted by the Metro City Census Taker. This is unlike any census Dixon has ever taken and when he’s asked whether or not he was spanked as a child he refuses to answer. That causes the Census taker to call for police back up and Dixon finds himself being targeted for corrective action because of his unemployment and the fact that he’s left handed. When a 2 kilo bag of white sugar is found on the premises and Dixon is facing jail time for trafficking he has to make a moral choice between naming names and protecting himself.

QUOTA gets a London Production

Guilty by Pete Barrett: Guilty takes Alice Golding one step through the looking glass into a bizarre courtroom scene, peopled by men, where she is tried for her many failures: her failure to get on with her own mother, her neglect of her children, her failure to find a job and contribute to the family budget, her failure to maintain her looks and figure and the consumption of an entire cheesecake in one go, thereby robbing her family of a Sunday treat and leaving them bereft. Of course, there can only be one sentence: life.

About Michael by Peter Anthony Fields: A first-year high school English teacher meets with the school’s administrators for what he believes is his mid-term job evaluation. However, as the meeting progresses, he soon discovers that the evaluation is actually an interrogation…

Threatened Panda Fights Back by Rex McGregor : As the World Wildlife Fund’s poster boy for endangered animals, Ling enjoys a comfortable life full of adulation and all the bamboo he can eat. But when a rival species challenges him for the role, he risks losing everything.

Mother’s Ruin by Michelle McCormick: As new parents, life for Esther and Tom has become a continuous cycle of miscommunication and long waits for invitations that never arrive. Then one simple question threatens to change everything. ‘Where’s the baby?’

The Waiting Room by Steve Shapiro: This is the place where you wait between lives. Barbara and Helmut arrive separately and must be assessed to see if they have fulfilled their pre-incarnation pledges, and while The Girl and Dinesh negotiate a better life next time. One of them is destined to make a mark in history.

Sky Blue Theatre strives to produce diverse and relevant works as well as being a hub of creativity and professional development for emerging artists. Lost Theatre is dedicated to promoting and developing young and emerging talent through regular productions, festivals, training, workshops and showcases in addition to year-round education and outreach activities.

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* Internment in Canada – World War I & World War II

At the beginning of World War I, the Government of Canada enacted the War Measures Act which gave it the power to suspend and limit civil liberties as well as the right to incarcerate “enemy aliens”. Enemy Aliens were citizens of states at war with Canada and who were living in Canada during the war. The camps were operated from 1914 to 1920. Twenty-four camps housed 8,579 men which included 5,000 Ukrainians and 2009 Germans. The camps provided forced labour which was used to build infrastructure as well as some of Canada’s best-known landmarks such as Banff National Park.

During the Second World War 40 camps held an estimated 30,000 to 35,000 prisoners. This included Germans and Italians and after Pearl Harbor approximately 20,000 Japanese Canadians were taken from their homes on Canada’s West Coast without any charge or due process and placed in remote areas of eastern British Columbia. The Canadian Government stripped them of their property and pressured them to accept mass deportation after the war ended. Most of the Japanese Canadians that were placed in camps were Canadian Citizens.

Links & Sources:



Interview Playwright Meredith Taylor-Parry – Part One: Survival Skills

Survival Skills by Meredith Taylor-Parry won the New Works of Merit Playwriting Contest in 2013 and was produced Off Off Broadway by the 13 Street Repertory Company, in New York City in April 2014.

“You want to write the kind of play where people are going to go home and talk about it, and think about it, and talk about themselves a little bit. You know, my God, if it got people to think about their own mortality a little bit, how could that be a bad thing? We all run around scared to talk about it, but we’re fascinated by it at the same time. The idea that we’re mortal. Just to have that discussion opened up wouldn’t hurt.”

Playwright Meredith Taylor-Parry Survival Skills
Playwright Meredith Taylor-Parry – Photograph by James Hutchison

Her most recent work, Book Club was developed as part of the Suncor Stage One Festival at Lunchbox Theatre and will receive a world premiere at Lunchbox in February.

I sat down with Meredith, while her four-month-old Beagle Tucker, lay happily nearby chewing puppy toys, to talk with her about Survival Skills and Book Club, as well as her writing process.

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JAMES HUTCHISON

When you go to a play what is it you go for? What is it you hope to get out of it?

MEREDITH TAYLOR-PARRY

I guess I want to be moved emotionally, always. I like Opera. I always write while I listen to Opera. I want to be moved. I like the tragic. I like stories where you watch people getting put through the wringer. Watching characters go through hell and then some. And I like stories and plays with some expression of hope at the end. That’s very important. It doesn’t need to be wrapped up perfectly, but just something.

JAMES

Tell me about the reason you wrote Survival Skills.

MEREDITH

Well, my Dad committed suicide in two thousand and two after being diagnosed with terminal cancer, and I always knew that I wanted to write about it. I never thought about writing a novel – I always thought it would be a play.

JAMES

How difficult was it to put that out into the world? Because that’s a very personal thing.

MEREDITH

It was difficult, but when an experience like that happens to you – or at least my experience is – you’re compelled to tell that story over and over and over again.

And I’ve heard some people say, yeah but some people never want to talk about it again – but that wasn’t me. I was compelled to tell that story to friends – to grief groups –I’m just compelled to share it. I don’t know how many times my mom and I would get on the phone after it happened and we’d end up retelling that day – the actual event – when we found the suicide note – when we called the police – when my brother went out to look at the body that afternoon.

And I originally thought the play was going to open with that scene, but then I went to a Playworks Ink Conference in 2011 and I signed up early and got into Daniel MacIvor’s workshop. And he started the workshop by reading the scene you’d submitted. And he’s a pretty fantastic actor and he did all the different parts. I had my sister there, my brother there, my mother in the scene, and the character that represented me. We were all there and he just read through that first scene from beginning to end and when he finished – it was silent and he said, “That’s a hell of a way to start a play. People discovering a suicide note.”

And I went, “Yeah, yeah I guess it is.  I wasn’t really thinking about that.”

He said, “We’re going to end the scene right here where your brother hangs up the phone and I want you to write the next scene.”

And I wrote the next scene and that became the first scene of the play because I took his advice – that is a hell of a way to start a play. But I think I needed to write the suicide scene first because that was the hardest scene to write – bar none – and to go back and remember those moments in specific detail.

JAMES

How much do you credit that workshop with moving forward on the play?

MEREDITH

Huge. He looked at me and said, because I had some humour in there, “Meredith, any play that can bring levity to the topic of death needs to be written.” He said, “I myself am terrified of the medical system. I’m not afraid of dying – I’m terrified about becoming a patient of the medical system.”

And here’s this man who has written all these beautiful plays with all this fabulous experience and wisdom but at the same time he’s a really good teacher too. He really has the right touch. And I think he just knew the right thing to say to help keep me going. He also made us promise, before we left the workshop, to send him the first draft by a certain date. And I did, because it’s Daniel MacIvor, right. I wasn’t not going to do it. I was two weeks late, but it made me finish it.

JAMES

You worked on the play for a couple more years and then entered it into the New Plays of Merit Contest in 2013 and won. What was it like getting the phone call that the play had won?

MEREDITH

That’s what my dream was up to that point. That someone was going to phone me up and tell me that I was good enough to win a contest. And I felt really good about it because it was New York. Because to me that was the place where all the good playwrights go. So, that was a real shot in the arm – no question. I felt pretty good about that – but I was stunned.

JAMES

What was it like to go see your play on stage?

MEREDITH

I vowed that I wasn’t going to be critical of my work because I don’t know if this is ever going to happen to me again. The idea of going to New York to see your play – Off Off Broadway in a little old theatre with a little old 92 year old Broadway performer running it. I mean this theatre had a lot of history. Tennessee Williams’ plays were performed there. And I thought, don’t ruin it by sitting there thinking about all the things that are wrong with your play. It wasn’t perfect, and I still think there are things that can be improved about the play, but I just vowed I was going to go and enjoy it.

JAMES

It’s interesting to me because there’s a certain completion to the journey. From the experience of your father having committed suicide, to writing the script, to winning the contest, to getting it produced. How you would sum up the whole experience as you were watching the production with your family?

MEREDITH

Well the first word that popped into my mind was surreal, and the second thing was how much I enjoyed the performances, and how much the actors brought to it. I just vowed I was going to go and enjoy it and I wasn’t going to worry about my family as far as taking care of them or worry about their reactions to it either. But you know, I also worked through a lot of stuff with that play.

When dad was suspecting a bad diagnosis – this was three days before he completed suicide – I phoned his room at the Moncton Hospital from Calgary. And he said, “Oh they’re going to do some tests and things.” Because at first they thought it might be a bowel infection and a reaction to antibiotics. But there was a moment where he hesitated on the phone and in my mind I wondered what was he was going to say next. To me there was something that he meant to say and tell me. Like he opened his mouth to say it and it didn’t come out and I wondered if it was, “Listen if it’s a bad diagnoses this is what I’m going to do.” But he didn’t say anything, and I heard this kind of breath, or hesitation, and I wondered, and wondered, and wondered about that afterwards.

And then I thought, well what would you have done if he had said, you know, this is not going to go well…would I have suspected…because we knew his philosophical stance on end of life.  He always said, “If I ever got a bad diagnosis that would be it.” But it’s a leap in your mind to hear those words and really imagine your father actually doing that.

So I thought, in my state of mind, what would I have done? I probably would have called mom and told her not to leave him for a minute. And then there’s a part of you that would have said, “Okay – whatever you need – I’ll do it – I’ll help you.”

And I did end up inadvertently helping him complete the act by flying to the Maritimes, because when my mother came to pick me up at the airport that’s when he completed. So I felt complicit in that, and that bothered me for a long time, even though it was inadvertent. It was a window of opportunity, and he took it, and I provided that. So, in a way I helped whether I wanted to or not.

I changed the play so that the character who plays me actually does make the decision to fly home to get her mother out of the house so that her father will have the window of opportunity very knowingly not inadvertently.

JAMES

Dramatically that’s a good choice.

MEREDITH

Dramatically it was a hell of a lot better choice than what really happened.

JAMES

Because then the character is active.

MEREDITH

Yes.

JAMES

What do you think your dad would think of this play?

MEREDITH

Wow. I just think he’d be horrified, because he was such a private person. I had to struggle past that a little bit because he’d be so horrified that I laid it all out. But you know what? Whatever form – and I do believe there is some kind of spiritual form that he takes now – I don’t think he has those same opinions any more.

And after he was gone, I pretty quickly said this is more about me than it is about him. This is more about us. And that’s how I was able to write it. I was lucky, because my family wasn’t upset. But dad would have been. I think for sure. But I wouldn’t have had to write it – you know what I mean – unless it had happened.

JAMES

Was it cathartic for your family in some ways?

MEREDITH

Maybe in some ways. I sat right beside my mom and my aunt and I could feel the seat shaking because they cried and cried and they laughed too, but there was a lot of tears you know. I know that my aunt and mom told me they sat up all night in the hotel room talking about it. My brother said, “Man it’s weird to see your life up on stage like that.” But it was probably not as cathartic for them as it was for me

JAMES

What are your hopes for the story?

MEREDITH

I would love to see it produced again, of course. Published and produced. Those are the things that I’m looking for with all my plays. I don’t really want them to just sit stagnant. You want to write the kind of play where people are going to go home and talk about it, and think about it, and talk about themselves a little bit. You know, my God, if it got people to think about their own mortality a little bit, how could that be a bad thing? We all run around scared to talk about it, but we’re fascinated by it at the same time. The idea that we’re mortal. Just to have that discussion opened up wouldn’t hurt.

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Next week, in Part Two, I talk with Meredith about her play Book Club, and its upcoming production at Lunchbox Theatre.

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Meredith Taylor-Parry Survival Skills - Survival Skills Poster

Survival Skills by Meredith Taylor-Parry

A father takes his life.  The family gathers to mourn.  Only one saw the body.  Only one knows what really happened.

Winner: 2013 New Works of Merit Playwriting Contest

Premiered at 13th Street Repertory – NYC April 3 – May 1, 2014, with the following cast and crew.

  • Directed by Leanora Lange

Cast

  • Kathleen – Aimee Thrasher
  • Annalise – Kristen Busalacchi
  • Eliza – Mary Ruth Baggott
  • Oscar – Jason Kirk
  • Len – Danny Sauls

Crew

  • Stage Manager – Alex Bishop
  • Properties Assistant – Aimee Thrasher
  • Dramatrug – Kurt Hollender
  • Producer – Sandra Nordgren

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Playwright Meredith Taylor-Parry

Meredith Taylor-Parry is a playwright based in Calgary, Alberta. Her play Survival Skills won the New Works of Merit Playwriting Contest in 2013 and was produced Off Off Broadway by the 13th Street Repertory Company, NYC in April 2014. Her play Devices received a production in Week One of the New Ideas Festival at Alumnae Theatre in Toronto in March of 2015. Her most recent work, Book Club, was developed as part of the Suncor Energy Stage One Festival of New Canadian Work at Lunchbox Theatre in Calgary in 2014 and will receive a world premiere at Lunchbox in February 2016. Meredith is Co-Artistic Director of Bigs and Littles Theatre Society and also enjoys writing and performing for young audiences.

You can contact Meredith at LinkedIn by clicking the link above or by email at: mtaylorparry@gmail.com

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Survival Skills by Meredith Tyalor-Parry – Synopsis

“He saw a window of opportunity.”

A man diagnosed with terminal cancer commits suicide, leaving his family behind to struggle with the aftermath. Our journey begins 20 years later as Annalise and her sister sit at their dying mother’s bedside. The daughters are compelled to relive with the audience the horrible days following their father’s death when those closest to him came together to mourn and try to understand his choice. The play moves between past and present.

Their father’s decision is a controversial one. It was terribly painful for his wife and children to experience such a sudden, violent loss. But as we watch the sisters sit with their mother we begin to understand the motives behind his action. Is the choice to let death come in its prolonged and often agonizing way any less traumatic for those involved? Should we have the right to choose?

As in any time of family crises, personalities clash and sibling rivalries are revisited. Annalise’s frustration grows as her father is both accused of being a coward and applauded as hero. Finally she reveals an awful secret; her father needed her help. It is only by sifting through the memories that haunt her, that she will find forgiveness.

New Works of Merit Playwriting Contest

New Works of Merit is an international playwriting contest developed in 2003 to bring works of social significance to the general public.

13th Street Repertory Company

The 13th Street Repertory Company, founded in 1972 by Artistic Director Edith O’Hara, provides a place for actors, directors, playwrights, and technicians to develop their craft in a caring, nurturing, professional environment.


Link to Interview with Juliet Liraz
Link to The Hemingway Solution Parts Unknown, and Anthony Bourdain