All posts by Samia Djilli

Self-Producing: Tips for putting on a new writing night

Writer Samia Djilli shares her experiences of self-producing her own work, and looks into what it takes to create a night of new writing. 

Working in the arts is not an easy feat, especially for emerging artists. As an writer, you often have high expectations of yourself to wake up one day and create that one play that every theatre in town will be waiting to get their hands on. But something you quickly learn from working in the industry is that it isn’t always that simple.

When myself and my production company, Kine Productions, decided to put on a night of new writing, we were conscious that there would be a few variables to overcome. However with enough drive and dedication, self-producing can be one of the most rewarding ways to get your work on a stage. Here’s a few tips on how to do it and a few things to avoid along the way:

1. Work with others

Self-producing work by yourself is quite a daunting prospect, and in terms of budget, not always that plausible. Working with others is the most efficient way to go about putting your work on a stage.

One of the major pluses of working with others is that you’ll get to build a network of people around you and get their perspective on your work. As we all know, tunnel vision is a common side effect of being a writer but working with other creatives is a pretty good antidote.

Although it can be scary to put yourself out there, don’t be afraid to connect within your local community. Fear is one of the biggest things to hold us back but you’ll quickly find that there are plenty of people in the exact same situation as you. Not only that but you’ll get to learn new skills from those you work with and learn more about what you do and don’t enjoy as part of the process of self-producing.

2. Connect online

For a lot of people, the whole creative process of producing can seem alien. When I first started I felt way out of my depth. One thing that helped me was connecting online with theatre communities.

If you don’t know the first thing about putting on a night of new writing, contact your local theatre and ask them if you could come in and have a chat or even tweet them asking a few questions. It may sound simple but you’d be surprised how much clarity you can get simply through outreach alone.Don’t forget to use online resources. There are plenty of blogs, Twitter pages, webinars and Youtube videos all dedicated to educating you in the process of self-producing. With a bit of hunting around you’ll find the right avenue for you and start to build up your knowledge in no time.

3. Don’t be afraid to fail

This one is a hard one and I’ve definitely felt the backlash of when things go wrong. The thing about theatre is that it’s not a solid structure; pieces are always falling off and you’ll find yourself in a constant state of rebuilding. But that is simply the nature of how it works.

The trick is to try and be ready for when things go wrong. It may be that an actor drops out last minute or a director gets sick, these things are all common and they get easier the bigger your network becomes.

It takes practice and I’m still trying to master it myself, but don’t be afraid to get back up if it all falls to the ground.

4. Utilize your resources

One of the biggest struggles in self-producing is, and will always be budget. Having to empty your pockets to get something on a stage is not the biggest highlight of the experience and is something I’ve learnt not to do.

It may seem a little implausible but putting a play on for next to nothing is somewhat doable if you have a good team of people around you. In my experience a good team means people that will come together to use their resources so no one goes home with their pockets hurting.

One of the key things is to know what you want from a production. If you want the show on for a week, crowd fund a year in advance. Or if you want it on for one night, contact a bunch of theatres and see if any of them have a space you can use for a discounted price. With enough get-go you can find a way to make it work. It just takes time and a lot of patience.

There are plenty of things you can do to self-produce but as cliché as it sounds you really have to love what you do in order for it to work. If you enjoy what you’re doing you’ll be more willing to put the work in and in my experience that’s the best way to succeed.

Kine Productions show Remote will debut at Theatre503 Monday 20 August 2018 

You can find tickets here.

How to react when your relatives judge your creative writing degree…

In this guest post, Samia Djilli arms us with the tools we need when faced with friends and relatives questioning your creative degree (or even job!). Good luck everyone!

Hopefully over Bank Holiday weekend, you got the chance to get together family and friends. Some maybe you’d not seen in a while, which is why you can forgive them when they ask a million questions, wanting to know every little thing about you – including the whole purpose of your degree and what exactly you plan to do with it…

This can lead to some quite silly questions, and in all honesty, we ALL tend to ask stupid questions (pity the doctor in the family who spends their holiday meal hearing about people’s ingrown toenails, or the person whose job is dubbed ‘boring’ and gets ignored entirely).

Hopefully your family dinners look more like this!

That said, writers do tend to encounter some pretty outrageous misconceptions, especially when it comes to studying creative writing – here’s the ones I’ve come across and how I’ve dealt with them, without making it so that Aunt Sarah refuses to speak to me at the next family meal.

1- “It’s just writing about sunshine and flowers then?”

I remember when I started my degree, about twenty people must have asked me if I loved writing about sunshine and flowers. And coupled that with a pandering look and sarcastic tone.

Perhaps this is a female-oriented thing as my male peers would only ever get asked if they wanted to write science-fiction or War stories, but the questionmakes no sense.

Sure, if you felt so inclined, you could write about sunshine and flowers while studying a Creative Writing degree, but I’m afraid that’s not all you’re going to have to do.

Like any degree, you’ll have a million things to do at once, and they won’t simply consist of writing stories about pretty things. Depending on what you choose to focus on, you’re time will most likely be spent on theory and how to perfect your narrative form.

Even if you do choose to write about sunshine and flowers, you’ll spend a vast amount of time on a 3,000 word critical commentary detailing the cultural, social and literary concepts behind your writing.

My response? Well if Aunt Sarah really wants, I’m happy to read out my critical commentary at the dinner table…. What was that? No? You’re not too bothered anymore?

2. “So, you just…write stories all day?”

Picture me sitting at the dinner tale, having just explained about the critical commentary, and then I get asked this (*insert eye roll here*).

A Creative Writing degree does exactly what it says on the tin: it teaches you how to write creatively. This consists of journalism, playwriting, screenwriting, copywriting, non-fiction, poetry and more.

You’re pushed to write in every way possible, and to perfect that writing at a professional level. It’s also important to note that for every piece of creative work you have to submit, an accompanying theoretical essay is mandatory!

But, I can’t fault the relatives on this one – we do, of course, also write stories, so I’m happy just to nod politely at this question! And, instead, I’ll just save my breathe for what’s coming next…

3. “You don’t actually do anything…”

One of the greatest myths that comes along with any creative degree is that it’s a degree for those who don’t really want to do any work. In my opinion it’s the opposite way round.

It sounds all a bit cheesy but you’ll actually find the most dedicated people studying a creative degree as everyone there is trying to perfect what they’re creating. I know, it can sound very pretentious, but really, people aren’t sitting around all day, wearing berets, drinking overpriced coffee, and discussing Brecht.

Instead, they’re working on original ideas and using their degree as a way to deliver those ideas in the best way possible. If I had wanted  to do a Creative Writing degree because you think it’s easy, I’d have been better off buying a beret and a pumpkin spice latte. (Hold on a second… is that why everyone always buys me berets for Christmas??)

Regardless, I believe a proactive defence is best with this one: wear as many berets as possible and if time, grow out a moustache to really fit that ‘hipster artist’ image.

4. “Do you even learn anything?”

This is of a similar vein, but often people, no matter how much work you tell them you’re doing, seem to think that you don’t actually learn anything on a Creative Writing degree.

Of course this is dependent on where you study and how many independent work hours you put in, but if those things are all well and good, you’ll come out of it with a breadth of knowledge that you didn’t previously have.

Before I started my degree I didn’t know what a screenplay was or how you structured one but, at the end of it, I felt confident enough to send my work to industry professionals.

I also now have faith that even if they don’t like my ideas, they will be able to tell from my writing that I know what I’m doing.

Of course, if you already know how to structure a screenplay, write a novel, and put together a decent piece of editorial, then maybe my relatives are right, a Creative Writing degree isn’t the route to go down.

It’s definitely not a one-size-fits-all option but, for me, doing a Creative Writing degree was the best thing to do, and ironically I think my relatives would actually find it really fascinating too!

Maybe I should’ve asked my lecturer for a ‘Bring Your Parents to Uni’ day…

5. “You’ll never find a job!”

We all have seen this look before…

So hands up who’s got this one before? And I’d be lying if I said this wasn’t a fear I also had before starting my course. It’s also something that echoed throughout the entirety of my degree. The main worry is that no matter how many skills you gain, none of them will equip you to get a job that can pay the bills.

Depending on how much like Scrooge you’re feeling, you can point out that this doesn’t really differ from degree to degree, and there are plenty of people who study Maths, Science, Law (essentially what you’re relatives wanted you to study), and are in the same predicament of not finding a job post-graduating.

There are also so many extraneous variables that come into play here like social-class, disposable income, health, location and more. In my opinion, if you put yourself out there, you’ll find something – it just (like anything) takes a healthy amount of persistence.

So it’s probably best just to tell your family that you’re working hard and you’ll find something you love soon enough (even if you have to say it through gritted teeth…).

6. “Do you think you’ll become an overnight success then?”

It’s actually pretty lovely relatives think I could become the next J.K Rowling, but even the people that seem like an overnight success, have actually spent years working on their stories and scripts before they see the light.

And J.K Rowling is a perfect example of this and is definitely someone to bring up if/when you get asked this.

Of course, I am in no way saying that you can’t become an overnight success and it’s better to go into your degree as you would go into anything: with hope. But hard work is what will pay off in the end (if you can stomach the cliche!)

One thing you’ll find out in a Creative Writing degree is what part of the industry your writing connects with most strongly. When I started my degree, I was convinced I wanted to write novels, yet I came out of it realising that playwriting and screenwriting are my strong points.

Once you’ve realised what you should focus your attention on, you’ll start to figure out an action-plan that can lead you to be satisfied within your creative career. You may not necessarily be an overnight success, but you’ll have the skills and the mind-set to get you where you need to go, and that’s the most important thing.

In fact, it’s much more important than any blank stares or patronising questions you’ll have to face at your next family reunion. Yes, I want to be a playwright, and yes, I chose to study Creative Writing.

Just like any other degree, a lot of time, effort and money goes into it. And, as much as we chastise our relatives for asking the wrong questions, at least we get asked about J.K Rowling rather than ingrown toenails, so maybe us writers don’t have it so bad after all!

Six top tips for aspiring female playwrights

Curated by Jennifer Tuckett, director of University Women in the Arts (UWA), the recent UWA event series included a talk with film producer Caroline Cooper Charles, who is also the former Head of Film at Creative England and CEO of Universal Spirits.

She shared her experiences working in film and offered advice to women aspiring to work within the film industry. I left not only reminded of why it’s so vital to push back against these gender inequality boundaries, but also feeling more confident of how to approach being in the arts when you’re a woman.

So if you’re a female playwright looking to try a different media, or just after some general (and brilliant) creative writing advice, here’s the best advice I learnt from Caroline:

1- Don’t panic – it all works out in the end

From getting a media job, to working in arts admin, Caroline explained how her career has not been one straight path. One of the most interesting things she noted was after she got her first commission writing a T.V series, she gave up her job to peruse this full-time and ended up not gaining much work for 18 months.

The inevitable reactions that come with working in a  creative industry can fill you will self-doubt, but Caroline’s experience proves that everyone has their fair share of twists and turns. Not everything may always go to plan, but it can very often work out just fine in the end.

2- Build creative communities

Being a writer can often be rather isolating, and Caroline noted how working in a creative industry, such as the film industry, can often mean being self-employed or possibly working on a freelance basis.

I definitely find the idea of not having colleagues, or the routine of an office 9-5, intimidating. Caroline suggested the answer to this could be building a creative community around you. This could be done through attending workshops or simply reaching out online to someone you admire who works in the same industry.

Working alone doesn’t mean you have to be isolated. Find your network, people you can share your scripts and your concerns with, or even people you can just grab a coffee with when the blank page seems a bit too intimating.

At a time where female work inequality is being taken as a serious issue, and with so many online communities, it’s the perfect time to reach out and create your own working environment. (An added bonus to this is you get to have a Christmas Party! Something those who are self-employed often miss out on.)

3- Spend less time thinking about what’s to come

Women often feel more inclined to turn down an opportunity if they do not feel they can competently take on every element of the task. Yet men are more inclined to take opportunities regardless of whether they’re the perfect fit for the job.

For women to progress within creative industries, Caroline reminded me that we must believe in our skillsets and not be afraid to grow through learning and making mistakes.

She suggested that we spend less time thinking about what else is around the corner and embrace the opportunities that come our way.

Working in such an inconsistent field, this may not be the easiest thing to do, but as women, it is important that we believe in ourselves in order to progress in our work (as cheesy as it sounds!).

Don’t let your doubts stop you from entering opportunities or promoting your work – you’re taking yourself out of the running before you’ve even got started.

But this doesn’t mean you have to suddenly become competitive with other women, willing them not to succeed so you get the opportunity.

Caroline summed this up nicely,  saying: “I don’t want to be a woman that fights like a man in order to dominate in a man’s world.”

4- Have an active routine

Whether it’s making sure you have time to go for you morning run, or time to cook yourself a good meal in the evening, having a routine that works for you, and allows you to motivate yourself, is so important.

This doesn’t mean you have to be weighed down by a certain structure, rather you bring in a healthy routine that ensures you’re not spending all your time on Buzzfeed quizzes and cat videos…

5- Transparency

One of the best attributes you can carry is transparency. To be honest with those around you, to admit when you need help, and to work openly with your team, means people will be more open with you, and this is always a positive thing.

6- It’s okay to not have a plan

When asked what advice she would have given to her younger self, Caroline stated: “That it’s okay to not have a plan. I’ve never had a plan, and when I was younger I thought that was a problem.”

I think for so many women, we feel a pressure to consistently prove ourselves, and not having plan can sometimes feel like failing, so it was brilliant to hear a successful women say that it’s okay to not know.

The takeaway…

After hearing Caroline talk, I felt as though being a young woman wanting to build a creative career wasn’t impossible, it was just means working hard – and we wouldn’t be a part of this industry if that wasn’t something we were prepared to do.

Conversations like this keep that fight alive for so many of us trying to push past the boundaries of gender inequality. Listening to Caroline reminded me how vital it is for women to support other women and to build the creative community she spoke so passionately about.

To find out more about the University Women of Arts programme, you can visit their website here.



Underexposed Writing Festival seeking submissions

Following a sellout run at the Old Red Lion Theatre in Spring 2016, UnderExposed is making its second outing.

This production will run for four nights at The Old Red Lion Theatre in London in April, followed by one night at The Southwark Playhouse in July, and will be a series of short plays that challenge under-exposed stereotypes. These could be stereotypes that exist on quite a large scale but tend to fall in to the periphery of what is topical or commonly explored. Or, they could be more marginal, and even absurd, as long as it resonates with you and you can make a case for it being relatable to audiences.

Pieces can be anything from 10 to 15 minutes, should have simple set requirements and include 1 to 4 characters.

The pieces may be extracts from a full length play, provided they make sense as stand-alone pieces.

How to apply: Please send submissions to

Deadline: 10 February 2018 


Opportunities – Pick of the Week: Brave New World seeking shorts on theme of Utopia//Dystopia

Each week we look through our pile of writing opportunities to pick out one we think is particularly worth your time. It could be an innovative brief, great prize money, a high-profile company, or just plain fun.

This week’s pick: Brave New World seeking shorts on theme of Utopia//Dystopia

Description:  Brave New Word are looking for new writing on the theme of UTOPIA//DYSTOPIA: visions of a not so distant future. They would love to see this interpreted and reimagined in as many ways as possible, but please be aware that they will not be accepting entries for this event on any other theme.

What’s so great about it? This is a great opportunity to experiment with a particular theme or look to writing something out of your comfort zone.

A range of artists can apply as pieces can be of any form, including drama, poetry and prose. (They will accept mp3 files as submissions.)

They are looking to pick a small number of submissions to produce, so if this sounds like to opportunity for you, you have until 14 January 2018 to apply.

Read full details here.

Please note, we’ve posted this for your convenience and we’re not affiliated with the organisers of the opportunity.

Image Credit: Brave New World

Theatre Centre open call-out to playwrights: The Brian Way Award

Theatre Centre have launched their first open call to playwrights for their annual commission: The Brian Way Award.

Named in memory of their founder Brian Way who established Theatre Centre in 1953, The Brian Way Award welcomes expressions of interest on the theme of ‘Treaty’ from professional UK-based playwrights.

One winner will be selected for a full commission, consisting of a 16 month script writing and development process and culminating in a national tour of secondary schools and arts venues in 2019.

What they’re looking for: 

  • An ambitious, visionary and diverse playwright
  • Writers who can demonstrate interest in creating work for young people (no experience of writing theatre for young audiences is required)
  • Proven track record of professional experience
  • Ability to deliver a full length script within 16 months (commissioned in April 2018, show to tour Sept – Nov 2019)
  • Inventive interpretations on the theme of ‘Treaty’
  • Local stories set against a global landscape
  • Plays that make meaning of the contemporary world and interrogate the future of our country
  • 60 minute plays with casts no bigger than 4 actors
  • Plays suitable for a secondary school audience (ages 13 – 18)
  • Plays that can be toured to both venues and educational settings

How to apply:  To apply, send the following to

  • An expression of interest exploring why your writing would excite and benefit the TYA sector (no more than 300 words)
  • A Writer’s CV
  • A Treatment on the theme of Treaty (no more than 2 pages long)
  • 10 pages of an existing script that best showcases your talent (does not need to be a play for young people)
  • An Equal Opportunities Monitoring Form (which can be found here)

Deadline: 16 February 2018 

Source: Direct Contact

Young Harts Writing Festival 2018

Harts Theatre Company in partnership with Lyric Hammersmith presents the Young Harts Writing Festival 2018.

Young Harts Writing Festival is an inter-borough new writing festival, which merges the gap between emerging young artists and professionals. Through an online competition, six plays from emerging young writers will be chosen. They receive a £100 commission and a free writing master class with Inua Ellams, as well as another month to complete their plays. Each young writer will be partnered with a professional writer as a mentor.

The theme is Home, and they are particularly interested in ethnically diverse writers. The opportunity is open to those between 11-25 year-olds.

What they’re looking for:

  • Your play must be NO MORE than 10 minutes in length.
  • They will be choosing 6 (including one special commendation piece) original plays from outstanding writers aged 11-25 who have a story that relates to the theme.
  • They are looking for writers with a unique and distinctive voice. There is no skills remit, or level of experience you need to have. They want to hear from everyone who has a story to tell.
  • If selected, your piece will be performed as part of the festival on 6th or 7th April 2018 at Lyric Hammersmith.
  • Your play should only feature between 2 and 5 characters. They will not accept monologues
  • The festival is aimed at mixed age audiences. Therefore they ask that pieces do not contain excessive use of swear words or depictions of sex and violence.

How to apply: To apply, you must download an application form which can be found here, and email this along with your play to with the subject line ‘Young Harts Fest 2018’ and your name.

Deadline: 16 February 2018 at 5pm 

Source: Word of mouth


University Women in the Arts, the one off mentoring scheme to help improve the transition from women studying the arts to working in the arts, has announced its next event.

The event, the tenth in the series of fifteen events, will take place on January 9 at 6pm with Caroline Cooper Charles, former Head of Film at Creative England and film producer.

Caroline Cooper Charles will talk about her own experience in film and offer advice for women wanting to work in film.

Caroline’s experience includes as a film producer, mentor to screenwriters, CEO of Universal Spirits, Head of Creative Development at Warp X and Head of Film of Creative England, the major film body which accelerates talent and ideas across tech, games, film and TV.

Jennifer Tuckett, Director of University Women in the Arts, said: “We are delighted to be working with Caroline on our next event. Recent figures show more women study film but less women work in film as directors, writers and in other roles. We hope Caroline will share her own experience and advice from her career as well as offering advice for women wanting to work in film as producers, writers, directors, actors and other roles.”

Recent studies include the BFI Filmography project, which showed the percentage of women in film in some roles has remained unchanged since the birth of the film industry.

Event dates/Location: Tue 9 January 2018 – 18:00 – 19:00 GMT

Jerwood Space

171 Union Street



How to book: To book free tickets to the event please go to:

Source: Direct Contact

Opportunities Weekly Round-up: 5 January 2018

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Our weekly Friday round-up of opportunities listed on the blog that haven’t yet reached their closing date (listed in order of closing date).  Opportunities are grouped into four sections: 1) Pick of the Week & featured posts; 2) Opportunities with Deadlines; 3) Workshops and Events; 4) Ongoing opportunities (No deadline).

Want to be sure you never miss an opportunity?  Sign up for our email list to get the weekly roundup direct to your inbox!

Featured posts:

Introducing My WrAP Diary!

Six Playwrights On What Theatre Should Look Like in 2018

Write A Play with us this January with #WrAP initiative!

How to reinvent a classic play while telling your own story

Our latest opportunities Pick of the Week: Arundel Festival Theatre Trail/Drip Action Theatre Company seek short plays

Pursued By A Bear: “I’m trying to write my biog and it sucks”

Opportunities with deadlines: 

Eurodram seeking full-length plays to promote to translators across Europe – Deadline: 5 January 2018

Actor Awareness seeking submissions on theme of ‘class’ (paid) – Deadline; 7 January 2018

Anima Theatre accepting submissions for Place to Be at the Rosemary Branch – Deadline: 7 January 2018

Get It Write: Script development workshop with actors – Deadline: 7 January 2018

The Female Gaze seeking monologues about women in film – Deadline: 8 January 2018

London Irish Green Curtain Theatre Company seeking short plays and monologues – Deadline: 8 January 2018

Steyning Festival Theatre Trails – Deadline: 12 January 2018

National Theatre Wales seek emerging artists for new initiative: ‘Creative Development’ – Deadline: 12 January 2018

King’s Shorts accepting submissions of short plays – 12 January 2018

Mark Savage Theatre Company seeking an unproduced play for fringe theatre production – 14 January 2018

Brave New World seeking shorts on theme of UTOPIA//DYSTOPIA – 14 January 2018

Flux Theatre seeking writers for EMERGE 3 – Deadline: 14 January 2018

BBC Writersroom DRAMA Script Room 2018 – Deadline: 15 January 2018

Blindspot Theatre seeking submssions for Coventry Theatre Festival – Deadline: 15 January 2018

London Irish Green Curtain Theatre Company seeking short plays and monologues – Deadline: 8 January 2018 18 January 2018

BBC Cymru Wales seeking comedy writers for new writing initiative: Find Me Funny – Deadline: 18 January 2018

The Space Theatre Open Call for Submissions – 19 January 2018

Chippy Lane Productions seek Welsh Writers for Chippy & Scratch Shorts Night 2018 – Deadline: 19 January 2018

Deadman New Writing seeking shorts for Birmingham production – Deadline: 19 January 2018

BBC World Service and British Council launch International Radio Playwriting Competition 2018 – Deadline: 31 January 2018

Arundel Festival Theatre Trail/Drip Action Theatre Company seek short play– Deadline: 31 January 2018

The Script Room Seeking Submissions for March 2018 Showcase – Deadline: 31 January 2018

The Papatango New Writing Prize 2018 – Deadline: 28 February 2018

One Eyed Dog Films open submission window – 28 February 2018

Events and workshops:

University Women in the Arts: Free Event for Women Wanting to Work in Film – 9 January 2018

Write A Play (#WrAP2018) Online Writing Workshop – 1-31 January 2018

Writers’ Mutual writing group -currently taking place Wednesdays 11am- 1pm

Tell Yours 2018 – A Development Programme for Emerging Storytellers from Migrant Communities – 14 January – 20 May 2018

‘How To Write a Play, Screenplay or Radio play’ workshop at the Hampstead – 17 February 2018

Ongoing submissions:

Manhattan Repertory Theatre’s Play Production Programme – Deadline: Ongoing

Aurora Metro Books seeks British East Asian plays for publication – Deadline: Ongoing

TheatreLab seeking scripts for rehearsed reading – Deadline: None Posted

Target Theatre Company seeking new plays for development – Deadline: None posted

Middle Child Theatre seeking scripts to commission – Deadline: None posted

Ugly Duck offering cheap rehearsal space in Docklands – next few months for Edinburgh Fringe– Deadline: None posted

Three opportunities with Alphabetti Theatre and rolling deadlines– Deadline: None posted

Newsthump looking for spoof news writers – Deadline: ongoing

Arvon Grants available for writing courses – Deadline: none posted/ various

London Poet seeking film makers to collaborate with – Deadline: none

Edgemar Center for the Arts (Santa Monica) seeking new work for 2017 season – Deadline: none

Batty Mama seeking writers/ artists – Deadline: none posted

Rich Gifts Theatre seeking writers – Deadline: rolling

Paines Plough accepting ongoing submissions – Deadline: rolling

BBC Comedy Classroom – Comedy writing resources for young people –  Deadline: various

Online Masterclass with Aaron Sorkin on Screenwriting ($90) – Deadline: none posted

JW3 seeking submissions of pieces about Jewish culture – Deadline: rolling

BFI Postroom open to submissions of films and scripts from emerging filmmakers – Deadline: rolling

Opportunities to hear your play with Player Playwrights – Deadline: rolling

Online Playwriting Course with Live Theatre (£95-£495) – Deadline: rolling

Playwrights Circle at the Bread & Roses – Deadline: ongoing (monthly event)

The Institute of Other seeking creative practitioners – Deadline: none posted

White Hart Trust Studios seeking international and foreign language theatre – Deadline: none posted

Pokfulam Rd Productions looking for playwrights and creatives – Deadline: none posted

55 Kings Contemporary Theatre Productions looking for writers – Deadline: none posted

Plane Paper Theatre call out for plays – Deadline: none posted

Theatrelab seeking scripts to perform at ‘WordPlay’ at Bath Spa University – Deadline: none posted

Londonville Lit offering reading slots – Deadline: none posted

Orange Tea Theatre accepting submissions – Deadline: rolling

Funding available for students at Glasgow University MLitt Playwriting & Dramaturgy – Deadline: none posted

Everything Theatre accepting plays for podcast readings – Deadline: none posted

The Cockpit Theatre seeking work for scratch nights – Deadline: none  posted but performances take place on the first Monday of the month.

Shred Productions open to submissions – Deadline: none (open submissions)

Manhattan Repertory Theatre’s Play Production Programme

Manhattan Repertory Theatre has a Theatre play production programme in which they are seeking to help self-producing showcase work in New York City.

In their words: “Last March, we started our Play Production Program, where self – producing Playwright/Producers come to us with plays that they would like to self-produce in New York City, and would prefer not to do the work. So for a Production fee, we bring 10 minute plays, short plays and full-length plays to life at our theatre for 2 to 12 performances. Since March we have produced over 25 plays from playwrights across the United States and one play from a playwright in Moscow.

We are making it possible for anyone with a good play, and for a nominal production fee, to have their play produced at Manhattan Rep. We will supply the director, the cast, the rehearsal space, set and props, and we will bring your play to life in Midtown Manhattan where one can invite friends, family, and more to come and see it. And it won’t cost an arm and a leg!”

For a 10 minute play with 2 to 3 characters:
For Manhattan Rep to put up your production in one of our short play events the fee will be $695.00  (Aprox. £515)
For a 11 – 20 minute short play with 1 to 3 characters:
For Manhattan Rep to put up your production in one of our short play events the fee will be $895.00  (Aprox. £663)
For a 20 – 35 minute 1 act play with 1 to 4 characters:
For Manhattan Rep to put up your production in one of our short play events the fee will be $1195.00   (Aprox. £885)
For a Full – Length play with up to 6 characters:
Fee based on the play and production requirements.  Your show will go up alone in its own time slot for anywhere from 3 to 12 performances depending upon what you want.
Production Fee for full-length plays range about $4000.00 and up (£2960 and up) depending upon the play length, and the requirements for your production, (set, costumes, etc,) and how many performances you wish to have. 

How to apply/What to submit: 

If you are interested in this program, please email your submission to:
Please include the complete play as a .pdf,
a synopsis of the play,
the aprox. running time,
set and lighting requirements,
your contact email address,
your mailing address,
and your contact phone number.
Please put “Play Production Program” in the subject heading.

Deadline: Open 

Source: Direct Contact