Okay, playwrights, let's talk about the what we'd rather not talk about. You've poured your guts onto the page, crafted characters you love, and wrestled with plot twists until your brain felt like scrambled eggs. So, now what? You send it off to a dozen theaters, a hundred, maybe more, and then... crickets. Or, if you're lucky, a politely worded rejection that still feels like a gut punch. Been there, done that, got the t-shirt, the hat, and the coffee mug. My hard drive is littered with those rejections.
Here's a secret that took me way too long to learn: the absolute best way to get your work produced is to find local theatre people who actually like it.
Sounds simple, right? It is. And it isn't. Because the next question is, how the heck do you find those magical humans?
This isn't rocket science, but it requires getting off your comfy writing chair and, well, being a human. The cold submission process feels like throwing your lovingly crafted baby into a black hole. It's impersonal, and honestly, the odds are stacked against you. You're a name on a pile, hoping to stand out from thousands.
But when you get to know the folks running and acting in your local community theaters? That's when the game changes. You shift from being an anonymous submission to being a real person with a real play. And here's why that matters:
They're Your Audience (and Your Network): These are the very people who will either produce your play, act in it, or cheer for it from the audience. They're also the ones talking to other directors, actors, and theater boards. Their recommendations carry weight.
They Know the Local Landscape: They know what kind of plays their theater typically does, what their audiences respond to, and what their resources (and challenges) are. This insider info is gold for you as a playwright.
They're Passionate (Just Like You): Community theater folks are there because they love theater. They're volunteering countless hours for the art. They want to find great scripts. They want to connect.
It's simpler than you think, but it requires consistent effort and a genuine interest in the local scene.
Go See Local Shows: This is rule number one. Buy a ticket (or better yet, a season pass!). Go see performances at every community theater within an hour's drive. Don't just watch the show; pay attention to the directors' notes, the actors, the set design.
Hang Out After the Show: This is where the magic happens. Don't just rush out. Stick around for five or ten minutes. Congratulate the actors, compliment the director if they're visible. Be genuine.
Volunteer (The Golden Ticket): This, my friends, is the absolute best way to get to know local theatre people. Offer to usher a show, help build a set, paint flats, or even stage manage if you're feeling ambitious (and maybe a little crazy). You can't just walk into Steppenwolf or the Guthrie and expect to do these things, but rare is the local community theater who will turn down a helping hand! You'll meet everyone, see the inner workings, and become a familiar, helpful face who understands their world.
Offer an Informal Reading: Once they know you a bit – maybe you've volunteered on a show or struck up a few conversations – ask if you can get some of their people together for an informal read. Maybe you can do it at the theater if they have a free night, or just at your house with some snacks (always bring snacks). This is a fantastic way to actually hear your script read aloud, and you'll automatically see if they connect with your play and your work in general. Plus, they get free entertainment, which is always a win.
Let Them Inspire You: Here's a cool side effect: once you start really knowing the theater people and the actors in your area, you may even be inspired to write shows and characters specifically for them. Maybe your friend Sam plays the ukulele like a fiend, and you realize you just have to write a character who needs that exact skill. You start seeing the local talent as a resource, not a limitation.
When a director or literary manager receives a script from "David Bareford," and they remember seeing you at their last show, or that you volunteered to help strike a set, or that you left a thoughtful comment on their Facebook post—that's a game-changer. They're no longer looking at an anonymous submission; they're looking at a script from a colleague, someone already part of their theatre community.
And here's the kicker: once you find your people, they're going to be much more willing to take the financial risk to stage your work. Because every show is a risk, plain and simple. But if they know you, if they've seen your dedication, if they've enjoyed a reading of your script, that risk feels a whole lot smaller. You've built trust.
Ideally, your community will also fall in love with your work, and you'll find your people there, too – the loyal audience members who eagerly anticipate your next play. It’s how my scripts, like Don Quixote de La Center and Live in 3,2,1…, have found homes and built audiences. It's not because I magically write flawless first drafts (trust me, if you saw my first drafts, you'd run screaming). It's because I put in the time to find my people, and they, in turn, found value in my work.
So, ditch the lonely submission pile for a bit. Go find your people. Your plays will thank you.