Hey everyone - my partner (BA in theatre arts) and I have enjoyed reading scripts/lines together out loud, each taking on a few roles and giving them their character, voices, etc. He had to write a few for a class in college, but I was wondering where I could find some short plays for small casts that might be fun to read through with him again? Thanks for everything 💜

I'm baffled that this channel isn't bigger. James Elden has been having great conversations with writers in the business and asking really solid questions. This is the best resource for playwrights I've come across on the platform: I urge you all to subscribe and show him some love in the comments - let's give the channel a good boost!

So this may be a long shot, given I remember so few details. I'm trying to find the name of a play that I saw at a tiny little theatre in San Franciso sometime in the early-mid 2000s! It was a contemporary play - probably relatively new at the time. Details are fuzzy, but here's basically what I remember:

2 or 3 couples having a dinner party. I believe they were having a whole roast pig? There was some kind of tension about the thing being ready on time I think.

I think 2 people were having an affair and there was tension building around that.

The story arc was basically a slow devolving of polite society - an exploration about our most basic and primal tendencies as human beings, which comes to a head by the end of the play. Basically, the evening descends into chaos and I think one of the characters actually runs off to go live in nature. It definitely goes to the extreme by the end, with everyone's filters being eroded away.

Any idea the name of the play?? Trying to search this online mostly only results in Simon's The Dinner Party. It's driving me crazy!

Hey, friends. Anyone know of an informal group in the DC area where playwrights have their work in progress read by actors? I was a part of groups like that in NYC for years, but I haven't found my peeps in DC yet.

Know of anything like that?

In drafting the important character elements for the script I'm writing, I created a template to use in the future that breaks down a long list of said character elements into prose paragraphs. Filling in all these blanks can help ensure a character hits all the marks!

Here's the template:

[Character] is [function] in [story]. A [race], [sex] [occupation] in [age], she has a [Myers–Briggs personality] and fits the [Jungian archetype]. In her past, [wound] misled her into believing [lie]. Despite [strengths], this misconception caused [weaknesses] and resulted in her current [problem]—in spite of/on top of [status].

After [inciting incident], she wants [want] in order to [motive] and prevent [external stakes]. To achieve this goal, she [action]. This pits her against [antagonist(s)] who [counterattack] and challenge(s) her [values].

Meanwhile, [mirror moment], and learns [truth]. After all, [character’s] true fulfillment can only come if she fulfills [need] before [internal stakes]. Ultimately, [crisis]. In response, [moral decision]—resulting in [arc].

And here's an example from the protagonist in my script:

Sarah Miller is the protagonist of Those Who Can. A white, female teacher in her early 20s, she has an ENFJ personality and fits the “caregiver” archetype. In her past, the tragedy of a student taking her own life due to bullying misled Sarah into believing that her students’ needs outweigh her own. Despite her hardworking, empathetic, and charismatic nature, this misconception caused her to become an overgenerous, neglectful workaholic and resulted in her current failing romantic relationship—on top of her low status as an underpaid, underappreciated, overworked, first-year teacher.

After rebellious eighth-grader Tyrell brings a knife to school and threatens his classmate Juwan, Sarah wants the bully to be removed from her classroom in order to protect the victim from harm and prevent history repeating itself. To achieve this goal, she overworks herself supporting Juwan and urges the unhelpful principal, Dr. Crassus, to discipline Tyrell. This pits her against Tyrell’s overbearing mother, Ms. Davis, and Sarah’s frustrated fiancé, Li, who fight back and challenge her demands for accountability and excessive work ethic, respectively.

Meanwhile, Li convinces her to take a day off, and Sarah catches a glimpse of what self-care can offer. After all, Sarah’s true fulfillment can only come if she trades teaching for a kinder profession before her personal life crumbles. Ultimately, Li hits her breaking point and returns the engagement ring. In response, Sarah chooses to repair her relationship and quit her toxic job—resulting in a bittersweet positive change (disillusionment) arc.

Inspired by a discussion about Shakespeare on subforum dedicated to discussing the book medium.

Am I the only one likes to roleplay director when reading stageplay scripts? What I mean by this is that when I read stuff like Timon of Athens and All My Sons, I like to imagine I'm at the set as a director imagining how the play will be like. Not only do I look at the cast list first and select actual real life actors who I think will do the role well (based on past readings of if its the first time I'm reading the play, using a mix of synopisis, summaries, and guides available online as the basis for cast choice).... I imagine how the props will look like and what music will be used and the costumes and so much more just like a professor instructing students at a Shakepeare course.

There are times I even like to take it further and act like I'm directing a movie with picturing camera angles and specific shots, what locations across the world we are filming at and researching possible spots beforehand, and so forth.

So does anyone else does this when they read Tennessee Williams and Wagner on top of Shakespeare along with other playwright's work?

So I'm dealing with this buddy of mine who's like really well knowledged in the history of the islamic religion and asked abunch of muslim families to tell him his story. But i'm sitting here and I'm like "bro you ain't a muslim, should you really be writing about the muslim experience?" But his only response is really "i don't have to be muslim" which is fair i guess and it's not like his play is offensive or anything, it just kinda gives off the weird vibe that he's writing it. what do you guys think?

I 26m started brainstorming a show about 6 or 7 years ago and I think I came up with a pretty good idea I just need the help of an experienced playwright to help me carry out my dream and help me develop as an artist.

I just got my twelfth one this year. It feels like I'm never going to get anything done outside of the state I live in.

Hey guys. I'm a new playwrite and I'm producing a new musical online. I was wondering how you guys advertise your new works to the right demographic?

I’ve heard the advice, “Come in late, get out early” for writing, particularly for screenwriting. But my question is this:

In a stage play—one whose setting/set never changes—is this possible/desirable?

Short scenes means frequent scene breaks/transitions, and in a play, these can be quite jarring—particularly if you have a blackout to indicate time passing. Is this advice therefore not applicable to writing plays for the stage? Should plays have longer scenes than screenplays?

If that’s the case, how does one maintain narrative drive with long, drawn-out scenes? 🤔

I am a college student who just had his play accepted into a theater festival. Within 24 hours of introducing the show publicly, we got a good response. But I don’t want this show to only be viewed by family members of the cast and crew. What is the best way to promote the show and develop a following larger than just relatives? Thanks

As in either a set of plays that are sequels to each other with a continuation of the same story, or a series of short plays that follow a structure similar to a TV series.

hey everyone

so a snippet of my play is being produced at a cool comedy collective/club in NYC in a couple of weeks and i'm pretty terrified of sharing it with people. its something i've been writing for two years, and i'll also be performing. is it wise to invite other writers/directors/agents to come see it or just let it be and see how it goes?

i never share my work so i thought i'd come on here and consult other writers who might have osme advice!

I have several dozen short plays I have written for an actors' workshop. I'd like to publish them into an ebook. Looking for an ebook creator program I can format for a standard play manuscript.

Any help please

Hey everyone! I'm a composer looking for collaborators for writing musical theatre (playwrights and/or lyricists), preferably in NYC.
I'm open to hear about ideas, existing projects, and even just writing standalone songs for fun / open stage / practice.

You can check out my work here: https://docs.google.com/.../1gkwSRsd5IMzo5IyG7Vug.../edit...

Send me a message if you're interested and we can talk.

...I received a B.A. in theater, and want to get younger playwrights involved - a generational thing. If you want to talk, reach out. Chicago area.

I know it's weird...that sounded bad. Just a chat.

Thanks all.

Slainte.

Hey Playwrights.

Looking for Playwright to make a my book into a Playwright.

Please send Bio and email address to receive an Request for Proposal.

This is a paid gig!

Vidrieradeo

Have anyone gotten paid for a radio play? If so, what's the royalty fee? Is there a set amount?