Imagine this: the lights dim, the air hums with anticipation, and then, your words fill a theater. That’s the dream, isn’t it? But before your play can light up a stage, it first needs to be found. For those of us just starting out, getting that initial read from a professional theater can feel like wandering through a maze blindfolded. The truth is, it’s not about some magical secret; it’s about being incredibly prepared, targeting smart, and being relentlessly professional. I’m not promising overnight success here, but I can give you a solid plan to lay the groundwork, build connections, and ultimately, get your script into the right hands.
The Hidden Battle: Why Landing a Read Feels So Hard
Let’s be real about the landscape. Theaters, especially the well-known ones, are absolutely buried in submissions. Their literary departments are usually tiny, juggling everything from grants and current productions to a mountain of unsolicited scripts. Their main goal isn’t to find every new play, but to discover work that perfectly fits their mission, fills a specific programming need, or comes recommended through trusted folks. This isn’t meant to discourage you; it’s a huge nudge to step up your game, to get your work out of the “slush pile,” and to present it with undeniable polish and precision.
First Things First: Your Must-Have Pre-Submission List
You wouldn’t send a messy, incomplete architectural blueprint, right? Treat your play with the same intense care. Before you even think about sending it out, make sure your script isn’t just good, but professionally formatted and strategically positioned.
1. The Manuscript: Beyond Just “Done”
“Done” is… well, it’s subjective. “Professionally ready” is what we’re aiming for.
- Proofread Until Your Eyes Cross: Typos, grammar mistakes, inconsistent formatting – these all scream “amateur.” Read it out loud. Use text-to-speech software. Get fresh sets of eyes on it. If you’re serious, consider paying a professional proofreader.
- Standard Formatting? Absolutely Essential: Playwriting is very technical. You have to stick to the industry standards: proper character names, clear stage directions, consistent margins, page numbers. This isn’t about being creative; it’s about making it easy to read. A poorly formatted script is an instant turn-off. Don’t try to invent your own style here.
- Development Is an Ongoing Journey: Has your play had readings? Workshops? Even just an informal table read with actors? Getting feedback from others, especially actors and directors, is priceless. A script that’s been through a development process shows you’re serious about your craft and open to collaboration. Your “finished” draft should be the result of a lot of creative and critical refinement, not just your first go.
- The Synopsis & Logline: Your Moment to Shine: Write a concise, compelling paragraph that captures your play’s essence, themes, and central conflict without giving away the whole story. Then, nail it with a sharp, one-sentence logline. Think of it like a movie trailer – it needs to intrigue, not spoil. This is often the very first thing a literary manager reads, and it decides whether they bother to look further. For example: (Synopsis) “In a small Appalachian town grappling with opioid addiction, a former coal miner discovers an abandoned mine shaft pulsating with an otherworldly light, forcing him to choose between a fantastical escape and the crumbling reality of his family’s legacy. (Logline) A supernatural discovery in a dying coal town tests a man’s loyalty to his family against the lure of transcendence.”
2. Your Professional Persona: The Playwright’s Toolbox
The play is only part of what you’re presenting. You, the playwright, are the brand.
- Your Playwright Bio: Keep it short, professional, and relevant. Highlight your playwriting experience, any awards or readings, and relevant education. Skip the personal anecdotes unless they directly connect to your artistic journey. For example: “Jane Doe is an emerging playwright whose work often explores themes of environmental justice and rural displacement. Her short play, ‘Dust Echoes,’ was a finalist for the [Competition Name] in 2022. She holds an MFA in Playwriting from [University Name].”
- The Cover Letter: Your Strategic Intro: This is not a generic template. Every single cover letter needs to be customized for that specific theater.
- Address it to a Person: Find the Literary Manager, Artistic Director, or whoever handles new play submissions. A generic “To Whom It May Concern” screams “mass email.”
- State Your Purpose Clearly: “I am writing to submit my full-length play, ‘[Play Title],’ for your consideration.”
- Show You’ve Done Your Homework: Mention a specific production of theirs you admired, their mission statement, or a particular program that genuinely resonates with your play. For example: “I’ve long admired [Theater Name]’s commitment to developing new American voices, specifically productions like ‘The Other Side of the Mountain,’ which explored similar themes of community and resilience found in my play, ‘[Play Title].'”
- Briefly Connect Your Play to Their Mission: Explain why your play is a good fit for this specific theater. Do they champion diverse voices? Stories about social justice? Experimental forms? Make sure your play aligns.
- Professional Closing: Thank them for their time and consideration.
Smart Submitting: It’s More Than Just Hitting “Send”
Just sending your play to every theater out there is like throwing darts in the dark. It’s a waste of time and rarely works.
1. Research, Research, Research: Understanding Theaters
This is the part that takes the most time, but it’s absolutely crucial.
- Understand Theater Sizes & Missions:
- Small/Mid-Size Theaters (Regional Theaters, Black Box Theaters, Community Theaters with Professional Staff): These are often your best starting points. They’re more likely to take a chance on new writers, have smaller submission piles, and genuinely try to cultivate new voices. Dive into their artistic mission statements, past productions, and the playwrights they’ve supported. Look for theaters that produce work similar in theme or style to yours.
- Large Theaters (LORT Theaters): While it’s great to aim high, direct unsolicited submissions here are usually less effective unless you have a ton of credits or come through an agent. Many big theaters have extremely strict submission policies, often requiring agent representation or participation in specific development programs.
- Open Submission Periods & Guidelines: Every theater has its own rules. Many only accept plays during clearly defined windows. Some have rolling submissions. Some only accept via online portals. Some don’t accept unsolicited scripts at all. Follow their guidelines to the letter. Ignoring them is an immediate disqualifier. Find their “Literary” or “New Play Submissions” page on their website.
- The “No Unsolicited Scripts” Rule: If a theater explicitly says they don’t accept unsolicited scripts, please, don’t send one. It shows a lack of respect for their process and a basic inability to follow instructions. This is where smart networking and relationships become incredibly important.
2. Targeted Submissions: Quality Over Quantity
Instead of a hundred generic applications, send ten highly customized, impeccably researched ones.
- Create a Target List: Based on your research, build a spreadsheet. Include:
- Theater Name
- Literary Contact Name
- Submission Window
- Specific Submission Guidelines (e.g., online form, email, postal mail)
- Notes on their mission/past productions (why your play fits!)
- Date Submitted
- Follow-up Notes
- Tier Your Targets: Prioritize theaters that are the best thematic/stylistic match for your play and those with clear, accessible submission processes for new writers.
3. Navigating Submission Platforms:
- Online Forms: Many theaters use platforms like Submittable or create their own forms. Fill out every single field accurately and completely.
- Email Submissions: Create a professional email with a clear subject line (e.g., “Play Submission: [Your Play Title] – [Your Name]”). Attach your script as a PDF (this is standard) and your cover letter (often as a PDF or directly in the email body).
- Postal Mail: Less common now, but if it’s required, package everything neatly in a professional envelope. Include a self-addressed, stamped envelope (SASE) if you want physical materials returned, though most feedback is now electronic.
Building Connections: The Power of Relationships
While your script can open doors, professional relationships are what keep them open. This isn’t about schmoozing; it’s about genuinely engaging with the theater community.
1. Attend Play Readings & Workshops:
- Local & Regional Theaters: Go to new play festivals, staged readings, and workshops. You’ll hear new work, understand the local scene, and might even meet literary managers, directors, and other playwrights.
- Engage Thoughtfully: If you meet someone, focus on a genuine conversation about theater, not immediately pitching your play. Ask about their work. Learn about their theater.
2. Participate in Playwright Groups & Development Programs:
- Local Playwrights’ Collectives: Many cities have groups where writers share work, give feedback, and build a community. This is incredibly valuable for development and for finding collaborators.
- National Programs: Look into emerging playwrights’ programs, residencies, and festivals offered by organizations. These often have competitive application processes, but getting a spot provides a direct path to literary managers and artistic directors. Examples include O’Neill National Playwrights Conference, Eugene O’Neill Theater Center, National New Play Network. Even though they’re highly competitive, just applying will sharpen your submission skills.
- University Programs: Some universities offer playwriting contests or festivals open to the public. These can be great opportunities for first reads and exposure.
3. Strategic Networking (Post-Pandemic Considerations):
- Virtual Events: Many theaters and organizations now host virtual readings, panels, and networking events. These are fantastic because they remove geographical barriers.
- Social Media (Professional Use): Follow theaters, literary managers, and artistic directors on platforms like X (formerly Twitter) or LinkedIn. Engage thoughtfully with their content. This is not for pitching, but for staying informed and being a visible, professional part of the community.
4. The “Inside Track”: When Someone You Know Knows Someone
This isn’t about unfair advantage; it’s about legitimate introductions. If you’ve been working with a director, an actor, or a dramaturg who has a connection to a specific theater, and they truly believe in your play, an introduction from them can be incredibly powerful. A recommendation from a trusted colleague moves your script from the unsolicited pile to the “priority consideration” pile. Most importantly, never pressure anyone for an introduction they don’t feel comfortable making or that they don’t believe your work warrants. This could damage both their reputation and yours.
The Waiting Game: Professionalism While You Wait
The theater world moves at a snail’s pace. Waiting months, even a year or more, for a response is totally normal.
1. Follow-Up (Very Carefully):
- Check Guidelines First: Some theaters explicitly state “no follow-up calls or emails.” Respect that rule.
- A Gentle Nudge: If no timeframe is given and several months have passed (say, 4-6 months minimum for a full-length play), a polite, brief email asking about the status of your submission is fine. For example: “Dear [Literary Manager Name], I hope this email finds you well. I submitted my play, ‘[Play Title],’ on [Date] for your consideration. I’m simply checking in on the status and remain excited about the possibility of it finding a home with [Theater Name]. Thank you again for your time. Sincerely, [Your Name].”
- Do Not Harass: Repeated emails or calls will only work against you and are unprofessional.
2. Learn to Accept Rejection (and Silence):
- It’s Not Personal: A rejection is very rarely about you or your talent. It’s often about programming fit, an existing backlog, or simply not being the right time.
- Seek Feedback (if offered, which is rare): Most rejections are generic form letters. If a theater genuinely offers specific feedback, hold onto it. It’s a rare and valuable gift. Don’t demand it.
- Keep Writing: The best way to deal with a rejection is to be deep into writing your next play.
3. Leverage Successes, No Matter How Small:
- Short Play Readings/Contests: Getting a short play read or winning a small contest is a credit. Put it in your bio. It shows you’re actively engaged with the craft and community.
- Local Productions: If your play gets a local production, invite literary managers from other theaters. They might not come, but it shows initiative and gives them a chance to see your work in action.
- Development Builds Credibility: Every reading, workshop, or award for your play builds a resume that makes future submissions more compelling.
The Long Game: Building a Playwriting Career
Getting that first play read is a huge milestone, but it’s not the end.
1. Diversify Your Portfolio: Don’t put all your eggs in one basket with one play. Be working on multiple projects. A theater that likes your style but doesn’t feel your currently submitted play is a fit might be interested in reading something else you have.
2. Understand the Business: Read industry publications, attend conferences, and join organizations like the Dramatists Guild. Understanding the ecosystem, contracts, and rights will empower you.
3. Persistence is Key: Playwriting is a marathon, not a sprint. Success rarely happens overnight. The most successful playwrights are the ones who keep writing, refining, and submitting, even when they face tons of rejections. Your tenacity is just as important as your talent.
4. Be a Good Collaborator: Theater is all about working together. Be open to feedback, respect others’ expertise, and be a positive presence in any room you enter. Reputations follow you. Good work ethics and a positive attitude are always remembered.
5. Reflect and Refine Continually: After sending out your play, take a moment to think about your process. What did you learn about the theaters you targeted? What feedback did you incorporate into the script? How can you make your next submission even more targeted and professional? Getting your play read is a journey of constant improvement, both in your writing and in how you approach the industry.
Getting your first play read by a professional theater takes hard work, smart decisions, and incredible dedication. It demands not just artistic talent, but also the meticulousness of an administrator, the savvy of a researcher, and the resilience of a marathon runner. By mastering these strategies, you dramatically increase your chances of moving your play from your desk to the development pipeline, setting the stage for a long and vibrant career in the exciting world of theater.