How To Get Your Play Produced

There are thousands and thousands of unsolicited scripts circulating the UK at any one time, with nowhere near enough production slots in venues, or budgets at their disposal, to offer them each a space. 

So – what is at the heart of your play that’s going to make it leap head and shoulders above the thousands of other scripts that land on the desks of literary managers, producers and artistic directors? What will make it stand out from the rest? 

Your. Writing. Voice.

Your unique experience, vision, and dramatic and theatrical expression of what it means to be human in the world today. 

This is where your writing voice has the opportunity to sing out loud from the page. 

This doesn’t mean only write what you know. It does mean know what you write, connect deeply and authentically with the experiences of your characters – and then the likelihood is, whoever’s reading it will connect with them too.

How is your play communicating an emotional truth that comes from within you, that will engage or move or entertain an audience and keep them hooked into the story and situation for an hour or more? 

How do you get your play produced? Start by writing your truth of the world, as you understand it to be – your unique emotional experience of what it means to be human, that pull a total stranger into the journey. 

Take risks, be bold, be brave, and don’t try and second guess the market. 

Be true to yourself, and to your art. 

And unique circumstance number 1: art is subjective. You might do all of this, and still not secure a production. Keep the faith – your play may not have met its champion just yet.

I used to read hundreds of plays yearly for competitions, theatres, and as a dramaturg. I was surprised how many submissions were essentially first drafts that needed more refinement before seeking production.

Before sending your play, ensure it’s in the best possible shape with these four steps:

Reading – Have friends, writers, or actors read it aloud. Use them as your first audience. Get feedback on how the writing sounds. Does it communicate your intentions? Is it overwritten or underwritten? Are the roles clear? Does the story make sense? Welcome honest feedback.

Self-Dramaturgy – Read your play multiple times with different focuses: time usage, character journeys, locations, how information unfolds, sound and theatrical space. Each reading with a singular focus will help you re-see your play and strengthen its craft.

Watch And Read Like Writer – See plays with a craftsperson’s eye. Think critically. Plays are wrought, not just written. What works and why? What touches you or loses your interest? Compare scripts with performances to understand the page-to-stage relationship. Where does your play create opportunities for a creative team?

Time – Allow yourself breaks from writing. Let ideas settle. Theatres programme a year or more ahead—there’s no rush. Even a week away from your script provides clarity. Writing a play is like building a house from the roof down—only upon completion do the foundations become clear.

How do you get your play produced? Collaborate, welcome feedback, be rigorous with yourself, study plays in performance, and reflect.

In summary: your play will catch attention among hundreds if it’s strong in both its art (unique vision and emotional centre) and its dramaturgy (craft and expression).

And unique circumstance number 2: What catches my attention differs from what might interest the Royal Court, Soho Theatre, or Paines Plough. Send your script widely—you never know whose eye it will catch.

Which brings us to business.

Producing theatres often have submission windows for new plays. Follow their mailing lists and social media to stay informed.

Watch for competitions—these can help your plays get noticed and lead to development conversations, even without winning.

Theatres employ script readers (actors, directors, dramaturgs, producers) eager to identify new work. They might provide the home your script needs.

Although “development” can have a negative reputation, most theatres want a creative relationship with writers. Even competition-winning scripts often undergo substantial rewrites.

If direct submission options aren’t available, join artistic communities or development schemes. Attend scratch nights, workshops, and networking events. Theatres want to know you and your work—production decisions take time.

A regional producing theatre spends at least £60,000 on a new play—marketing, casting, creative team, etc. This investment responds to your talent and their belief in your vision.

The business reality: a new play must justify financial investment through both art and craft, while convincing programmers it can attract audiences.

Unique circumstance number 3: Timing is crucial. The right slot, artistic director, and context matter beyond the play’s quality.

Self-producing is another option—cheaper, more controlled, and faster. It’s empowering and educational.

However, it can be financially risky and often relies on unpaid work. Consider how to proceed equitably with artistic integrity. Build your team carefully.

For production team guidance, check theatre programmes or consult your local theatre. The Independent Theatre Council (ITC) offers advice on staffing shows appropriately.

Consider crowdfunding, profit-sharing, fringe festivals, participatory work, or Arts Council England funding.

How do you get your play produced? Make yourself and your work visible. Visit theatres where you’d like to be produced. Research self-production benefits and risks.

Unique ingredient number 4: Define your success. Does it require a full production at a recognised theatre, or would a community hall performance satisfy you? What will best advance your development as a writer?

Don’t get stuck—success and rewarding production experiences come in many forms.

Good luck with your play!