Welcome to Playwrights Theatre!

NEW PLAY DEVELOPMENT

Script Submission Guidelines

PLEASE NOTE: Playwrights Theatre no longer accepts any unsolicited manuscripts or ten page submissions. This decision is permanent and 2005 was the last year in which we accepted submissions during the months of May and June. While we regret having to make such a decision, we have come to believe it is not the best way to allocate resources to the development of new plays. In the past 20 years, we have put no plays into the development process either from open submissions or ten page submissions. We have spent tens of thousands of dollars processing and reading these plays, and this money would have allowed us to do more readings, work with the writers who were in the process and attend other productions/readings of new work.

Hence, we will only consider submissions from playwrights with established agents. We will also consider submissions from playwrights who are alumni of (or currently enrolled in) a recognized graduate dramatic writing program such as Brown, Carnegie Mellon, Columbia, NYU, Yale, etc. Finally, we will consider submissions from playwrights who come recommended to us via the National New Play Network (www.nnpn) or through playwrights who have worked at our theatre. Along with our attendance at other theatres and new play development programs, these are the ways we have received most of the works we have put into the process.

Any unsolicited submissions sent to us from writers who do not fall within the above mentioned categories will most likely be returned unread, providing a SASE was included. However, no promise of timely response will be made.

Any agent who submits a client's play can, of course, send the full script. However, we prefer a synopsis first so as to better understand the play's story topic and its theatrical style.

To those playwrights in the above mentioned categories who are sending us work on their own, we ask that you please send the first ten pages, a one page synopsis, a brief personal biography, development history of the play, and a listing of other works.

If you do not fit any of the above categories, but are having your work performed or read, feel free to send a postcard or e-mail. Including a brief, one page synopsis is strongly recommended. We can't promise we'll show up, but sometimes we do get out and we hope to do more of that in the future as the burden of processing unsolicited scripts has been lifted.

Important: PLEASE DO NOT SEND ATTACHMENTS via e-mail. Most likely, they will be deleted unread as such submissions cost us time and money to print. Also, there is always the risk of viruses. A SASE (business size #10 for a letter; larger if you desire your 10 page sample returned) is required, otherwise you will not hear back from us unless we request to read your full manuscript. Please allow 8-12 months for a reply.

If we request your full script, an appropriate sized SASE is required for its return. If you wish that we recycle your work, please tell us and include a SASE (business size #10) to receive a letter. Include a filled out, self-addressed stamped postcard (SASP) if you want us to confirm receipt of your submission. All material is logged in and our computers are set up to generate letters, so please do not send a blank SASP for a final reply.

Important: before submitting, please make your best effort to confirm if U.S. Postal rates will increase within 6-12 months of your submission (see www.usps.gov for current updates).

Reading Process

The Director of New Play Development will look at all submissions. Due to the volume of scripts received, it is not possible to return scripts with personal comments. Please allow at least 8-12 months for a final reply; it may take longer depending on the workload, but he hopes to shorten the response time in the future.

Development Goals and Process

We are devoted to developing new plays in a safe environment; one which serves the creative integrity of playwrights and their work. Every step of the process involves experienced professionals and a sophisticated, supportive audience. There are five possible "stages" of development--Roundtable Readings, Concert Readings, Staged Readings, Workshops and Productions--from which the artistic staff will determine a "starting point" for each script's individual needs. Every stage culminates in a discussion of the play.

Roundtable Readings

These are held informally around a table with the playwright, professional actors and an invited audience of theatre professionals and close friends of the theatre. Every attempt is made to match actors with appropriate roles, though no casting session is held. The objective here is to have the author hear the play come alive with professionals reading and listening.

Concert Readings

This reading consists of actors sitting and reading the play on stage to an invited public audience. Casting process is the same as above, with more rehearsal time (10-20 hours inclusive of the performance). The objective is to connect the play with a larger audience, and to keep the movement of the play to an absolute minimum, according to the Artistic Director's determination of a script's staging needs. This is a chance for authors to continue to focus on the words.

Staged Readings

These are blocked rehearsed readings (16-20 hours, inclusive of performance) using a minimum of technical elements and performed for two public audiences. PTNJ rarely uses this phase as rehearsal time constraints do not allow for much work on the text of the play.

Workshop

Our workshops are semi-realized productions: 2 to 2.5 weeks of rehearsal (includes dress & tech.) with a 1-2 weekend run; actors off-book; minimal sets, lights and costumes; feature coverage by local papers. This is presented for the playwright and theatre to better see a play's potential for future productions and to give the author a chance to see his or her work on its feet without the pressure of a full production. The writer is always encouraged to make changes either during or afterward, if needed. A director is hired and the casting for most of the roles is done in New York City.

Productions

Our productions are 3 weeks of rehearsal (includes dress & tech.) with a 3 week run; actors off-book; sets, lights and costumes; reviews by local and statewide papers. This is presented for the playwright and theatre to better see a play's potential for future productions and to give the author a chance to see his or her work on its feet. The writer is always encouraged to make changes either during or afterward, if needed. A director is hired and the casting for most of the roles is done in New York City.

We invite other theatre companies and producing organizations to attend all phases in order to encourage other production opportunities. We also help with ongoing efforts to find interested theatres.