Beginning July 15 through September 30 each year, New Plays for Young Audiences seeks new unpublished and unproduced TYA full-length play scripts for young audiences for our next season. As a reminder, our scripts are performed by adult actors during the developmental process. Also, our focus is on stories that center and amplify youth voices and experiences so we want scripts that speak to the youth experience and focus on youth characters . See the FAQ below for more details about the series and expectations.

Submission Guidelines:

• Please utilize this form for your submission.  (if you run into problems with the form contact Teresa Fisher; taf263@nyu.edu). You will fill out the form there, then email your script to us at taf263@nyu.edu. You'll need to complete both parts of the process to be considered. 

• In addition to your script, as part of the submission process, you will be asked to include your goals for the week of development. This might include questions about the script you hope to answer, characters you want to further develop, story areas you want to look closer at, etc. Scripts received without goals are automatically disqualified, as this is an important part of our process.

• You will also be asked to include how you see your script fitting into the TYA field as we are dedicated to nurturing and encouraging the continued development of TYA. If your script is not specifically intended for a young audience (any range that falls between ages 5 and 18 such as 5-9, 11-15, etc.) or otherwise appropriate for youth and family audiences, we encourage you to seek out a more appropriate venue. As a reminder, our series focuses on scripts in which the story centers on the youth characters’ experiences, looking at the world through their lens.

• If you are submitting an adaptation, we will ask that you include proof that the original author has agreed to you adapting their work or reasons why it’s not applicable.

• If your script needs more than 10 actors (including stage directions), let us know how you envision double/treble casting as our stage is small and really doesn't accommodate more than 10 actors on it.

Please note that we only accept previously unpublished and unproduced full-length play scripts. If your script has had a fully produced production, we cannot accept it. If you are uncertain if your script meets this requirement or believe there is cause for an exemption, feel free to contact us (David Montgomery, dm635@nyu.edu or Teresa Fisher, taf263@nyu.edu). 

When is the series? The first week of the 2026 series is anticipated to be 6/1-6/7. The second week is 6/8-6/14. The third week is 6/15-6/21. Each week a different script is developed. Each week begins on a Monday and ends on Sunday.

What do you mean by TYA? Well, we are developing scripts in which the roles will be played by adult actors. So we are looking for scripts not designed for children's theatre or youth theatre because all of the actors we will case must be aged 18+ (for both NYU regulations and in keeping with our long-standing TYA focus). That being said, if you have a youth theatre script that you want to work on with adult actors, we're certainly open to that, but be clear in your submission form that you are wanting to do that.

Do you accept musicals? Yes, we do. Because of financial constraints and time factors, we don’t develop more than one a series and sometimes only once every other year. 

Do you accept adaptations? Yes, as long as you have proof that the original author has agreed to you adapting their work or reasons why it’s not applicable.

Do you accept submissions from international playwrights? We do, although sometimes financial constraints can make it harder for us to accept those submissions. For example, we definitely will take no more than one international playwright a year and generally only one every other year or less. Some locations are also easier for us to fund travel from/to than others. It really is the travel costs that end up being the deciding factor.  

How many scripts may I submit? You can submit as many as you like, but we recommend focusing on sending no more than one or two. 

If my script has been produced or published may I submit it? Please note that we only accept previously unpublished and unproduced full-length play scripts. If your script has had a fully produced production, we cannot accept it. If you are uncertain if your script meets this requirement or believe there is cause for an exemption, feel free to contact us (David Montgomery, dm635@nyu.edu or Teresa Fisher, taf263@nyu.edu). 

Why do you ask for playwright goals and how my play fits into the TYA field? The goals help us figure out if we’re going to be able to provide what the playwright needs. It’s also useful for seeing if we’re on the same page as the playwright or not — do the readers, for example, notice the same areas that the playwright does. As to fitting into the TYA field, our remit at NPYA is on amplifying youth voices and youth stories so we want scripts that speak to the youth experience and focus on youth characters. Some of the scripts we receive don’t fit neatly into that category and it can be hard to tell if the playwright is someone who is writing for TYA or simply believes their script would be enjoyable to and/or educational for youth. So that question on the form helps us better understand the playwright’s positionality and where they see the script fitting within our remit and the larger TYA field. 

If I click on multiple technical elements on the submission form, will that essentially disqualify me for the series? No, not at all. We’ve had times in the past where something was needed or desired and we didn’t realize until the playwright was on site. So the submission form helps us make sure we have the conversation with the playwrights of the selected scripts prior to the start of the series about what they need and how we can best provide it. It also helps us manage expectations as sometimes we can’t quite provide what is needed but can figure out a suitable or acceptable substitute. If we have a concern, we’ll reach out to the playwright prior to selecting the series to make sure we’re clear on what it is they need so we’ll know if we can provide it or not. 

What happens after I submit my script? You should receive a confirmation email from the producer 7-10 business days after your submission. That email will go to the email address provided on the submission form or that you used in emailing your script.

How are the scripts selected? Once the readers have finished reviewing the scripts (they have from October 1-November 30 to review them) and offer their thoughts on them, a core team meets (generally in early December) to discuss the season. They first take into account the feedback from the readers then look at other factors including themes, diversity of stories, scheduling conflicts, what will be engaging for the accompanying graduate class, etc. Often this will narrow down the pool from dozens to 10-15 scripts until finally three are selected. For some background on how the season is chosen, HowlRound has published “From Soup to Nuts: Choosing a TYA Play Development Season” written by our producer.

What happens after a script is selected? The producer reaches out to those playwrights whose scripts were selected with an invitation and next steps. Those next steps include confirming dates, selecting a director, and setting up the first of two Zoom meeting that will happen prior to the series to ensure the week of development provides the best experience for the playwright and runs smoothly for all involved. Those whose scripts were not selected receive a thank you with regrets email. 

If my script is selected, do I need to participate in all 3 weeks? No, you just need to attend the week your script is developed. Of course, you are welcome to come to the readings for the other scripts but our housing and travel for out-of-the NYC metro area guests only cover the week of development.

Is there compensation? Yes, playwrights receive a modest honorarium. 

Do I need to be on site in NYC to participate? Yes, the playwright is a vital part of the developmental week attending the weekday evening rehearsals and the Saturday afternoon rehearsal, making changes to the script during the day based on what is learned during rehearsals, meeting with the director and dramaturg as needed, having a 30-minute discussion with the accompanying graduate class during a break in one evening rehearsal, attending the weekend readings (Saturday, 7pm; Sunday, 2pm), etc. during those 7 days. It's a very intense process that will require you being able to devote your time solely to the project. This isn't to say you won't find time to enjoy a bit of what NYC has to offer, but in much smaller doses and in more creative ways than if you were here visiting as a tourist.

What about housing and transportation? For those coming outside of NYC, we arrange for reasonable travel and no frills accommodations. For those outside of NYC but within the NYC metro area, we don't provide housing unless the commute is such that traveling back/forth each day is too onerous. For those outside of NYC who will stay in their own housing or find their own free housing, we'll reimburse for train/PATH fare from/to that housing. If you have more specific questions or a more nuanced situation, we can discuss that and what we can offer.

What’s the time commitment? The time commitment is approximately 30 scheduled hours over the course of 7 days (24 hours of rehearsals, 3 hours of readings) plus the time needed during the day (Tuesday through Friday) to make revisions on the script based on what is learned during the development rehearsals and any ad hoc meetings with the director and dramaturg, which adds approximately another 20+ hours to your week. The development sessions (rehearsals) are in the evenings, Monday through Friday, 6pm-10 p.m. ET. There is a Saturday rehearsal from 1-5pm. Then there are two rehearsed readings – one on Saturday at 7 p.m. and one on Sunday at 2pm. Additionally there are two Zoom meetings prior to the series. One in February and one in April or May, each about an hour long. Please note there will be no rehearsal on Juneteenth so the other rehearsals that week will start at 5pm when that holiday falls on a weekday; when it falls on a weekend, we have a plan for how best to accommodate.

Where is the series held? All development sessions (rehearsals) and rehearsed readings currently take place in the Provincetown Playhouse (133 MacDougal Street) near Washington Square Park in Greenwich Village, NYC. 

What should I expect in terms of the developmental process? Well, each creative team develops its own style so each week ends up looking different. As previously noted, it's an intense week between the evening rehearsals during the week, the full Saturday with a rehearsal in the afternoon and then a rehearsed reading in the evening, and ending with an afternoon rehearsed reading on Sunday. Playwrights either work late into the night if that's their preference or they have a regular night's sleep, then write during the morning and afternoon. Any script changes that need to be printed out for the cast are generally due to the stage manager two hours prior to rehearsal so she has time to copy and sort them before the evening rehearsal. Friday is the last rehearsal for which script changes will be printed. Sometimes, the creative team (playwright, director, and dramaturg) will have a debrief session in a relaxed location after the evening rehearsal. Other times, they might meet in the morning or afternoon to check in/discuss. Other days, they might simply check-in briefly in the hour before the evening rehearsal. During the rehearsals themselves, there might be table work followed by getting the script up on its feet a bit (actors will have scripts in hand throughout the entire developmental process). It all depends on what the script needs and the playwright prefers as well as the director's approach/style. Because our focus is on process rather than product, the rehearsed readings on the weekends are very informal with minimal staging and only the basics of lighting (up/down), projections and sound as needed and as minimal as possible (given that our tech crew is primarily our stage manager and our producer), and our dramaturg facilitating any post-reading discussion/event. We tend to have very small audiences for those with as little as two or three audiences to up to 40 or more, depending on how widely the creative team and actors recruit audience members. This is NYC -- there are lots of options available for people to attend on the weekends so it's hard to get audiences in to see a rehearsed reading even though the tickets are free. 

Will there be youth participating? Sadly, no. Only if they come to the rehearsed readings and, despite various efforts to accomplish that over the years, we've not been successful in getting them to come. In terms of during the rehearsals, NYU has strict policies about participation by people younger than 18 years old, which makes their participation challenging. Plus, NYC schools are still in session during the series, which further complicates participation. We have tried several times to pair scripts with classrooms, but that engagement then happens during the school day at the school, which some playwrights have not found helpful and thus have not asked us to facilitate in recent years. In an ideal world, the target audience would fill the audiences at the rehearsed readings and/or participate in multiple rehearsals, but we've just not found a way to make that happen.

How are the directors selected? We ask the playwright to select their director. Whenever possible, hiring someone local is great as it is helpful for our budget, but is not a requirement. We’re also happy to provide suggestions if the playwright doesn’t have a director in mind. If the director is international that may not be doable unless they are taking care of their own travel costs. 

Where is your pool of actors coming from? Most of our actors are college students (undergraduate and graduate, NYU as well as from other area colleges/universities), NYU Steinhardt alumni, and early career NYC-based actors. Whether we can cast AEA actors depends on AEA rules/guidelines. Actors receive a very modest honorarium for their participation. All actors must be 18+ both for NYU requirements and because this is TYA, not children's theatre or youth theatre.

How are auditions done? Auditions are held online with the submission form opening on April 1 and closing on April 15. The director and, if desired, playwright have access to all the audition submissions (submission form, headshot, resume, online audition tape) and make their selections from those submissions. They are able to hold online callbacks, if desired.

What’s the graduate class? In conjunction with the series, the Program in Educational Theatre runs a graduate course, Theatre Practices: Problems in Play Production, the Development of New Plays, which studies theories and methods of play development utilizing the series as a laboratory. Students in the class both observe rehearsals and interact with the playwrights, directors, and dramaturgs over the course of the series. Please note that the class no longer runs every summer so it's possible it won't run during your time with us.

Other questions? For questions, contact Teresa (Producer) at taf263@nyu.edu.