2020 Longlist Catalogue

The full listing for 2020

Longlist (alphabetically)

Scripts marked with a * were shortlisted

A RAT, A RAT by Chloe Yates*

Synopsis Charlie has just turned 18. Whilst most would be out enjoying their newly-found adult liberties, Charlie is stuck in a white room with a bed without sheets, a window that doesn’t open, and a rat. She has to adapt fast to this new, sterile world of the adult psychiatric unit if she is to convince anyone that she is well enough to go home. Under the care of her over-worked and under-trained key worker Jenny, she learns quickly that she is pretty much on her own. Until Vicky turns up.


With personal experience of the mental health system, young writer Chloe Yates shines a piercing light into the gaping structural holes of our mental health system in this electric new play, questioning how we as individuals care for one another when our institutions fail us.

Cast Cast size: 5

4 female/non-binary

1 any

Production details: The character of the Rat should be human-sized.
Contact: Email: chloe.y@hotmail.co.uk


A NEW PHILOSOPHY by Francis Grin

Synopsis A New Philosophy is about the emergence of an app which questions the uniqueness of personal identity, exploring the potential liberties that come with a new understanding of individuality. We switch between two ‘worlds’: PARTY and DATE. An endless date where two people try to uphold each other’s fantasy identities – and a party where four people grapple with the restrictions of their set personalities. When one of the characters creates an ‘app’ which introduces the possibility of a fluid identity, personalities begin to crumble in both worlds and chaos unfolds. But with this chaos comes the possibility of a new type of freedom. Is this freedom worth it, even if it means letting go of our old selves?
Cast Cast Size: 4

2 Female

Susan – 30-40s

Kayla – 20-30s

2 Male

Joel – 30s-40s

Tom – 30s-40s

Production details: /
Contact: Email: francisgrin@gmail.com


BIRTH by Holly McKinlay

Synopsis Nell and Jack can’t wait for Rosie to arrive. They have bought the cot, the pram, done the antenatal course. But with the birth of their daughter comes something completely unexpected, leaving two people who know each other better than anyone feeling like total strangers. ‘Birth’ tells the story of Nell and Jack, from the moment they meet to the years following Nell’s diagnosis with Post Natal Psychosis after the birth of their daughter. Little is known about the cause of post-natal psychosis. It is termed a ‘psychiatric emergency’ and the symptoms are terrifying for both the woman experiencing them but also for those around her. The play plunges us into Nell’s world during her illness. Time is distorted, identities confused, reality is lost. We, along with the couple piece together fragments from their lives together and watch them attempt to navigate their way through the traumatic reality of the illness and rediscover each other during what was meant to be a time of such joy and hopefulness.
Cast Cast size: 4

Nell – Female

Jack – Male


Multi-role characters:

Sonographer – Male or Female

Kemal – Male

Lucy – Female

Dr Fowler – Male or Female

Dr Mays – Male or Female

Sam – Female

Nurse – Male or Female

Estate Agent – Male or Female


All male characters (apart from Jack) in the script should be played by one male actor and should be differentiated through costume.

All female characters (apart from Nell) in the script should be played by one female actor and should be differentiated through costume

Production details: The play is in non-linear form, reflecting a common observation of sufferers of Postnatal Psychosis (PP) that time seems disjointed and often confused in the midst of the illness.

The use of multi-role in the piece serves to depict confusion with identity that can also be a trait of PP. Nell’s hallucinations could be created for audiences by using projections or other stagecraft techniques and would show her altered reality.


Holly contacted one of the leading Postnatal Psychosis charities in the UK, who were incredibly generous with their time and put her in touch with some women who had suffered with the illness following the births of their babies. They kindly and very bravely spoke to Holly about their experiences and their journeys to recovery. This formed a huge part of the creation and process of writing the play and the story she wanted to tell.

Contact: Personal email: hollymckinlay@hotmail.co.uk

Agent email: Nick Quinn at The Agency – nquinn@theagency.co.uk


BLEAK LAW by Amy Rhianne Milton

Synopsis Brother, Sister, and Kid are going up a mountain, to the place where they think the Gods first touched the land. Below, an endless war rages on, and when the city from which they’ve been forced out is destroyed, it’s not just the mountain that is shaken to its core. The siblings must learn to survive the mountain and trust each other when their past threatens to push them off perilous ridges. And always, it seems, they have fewer choices left to make.


But they are resilient little bastards, survivors at the sharp end of the universe, and they will take the fate they choose.


Bleak Law is written in a County Durham accent but is not set in a recognisable version of the North East. The story is told over two timeframes, with one moving chronologically up the mountain, while another follows the journey down the mountain in reverse linear narrative. In the finale, these timelines meet at the mountain’s summit. Here, there is one last choice left to make. Here, it ends where it begins.

Cast Cast Size: 3

2 Female identifying / non-binary

1 Male identifying / non binary

Production details: While Bleak Law is written with a North Eastern dialect and features colloquialisms usually heard in a Geordie or County Durham accent, not all performances necessarily need to ascribe to this. (Though it would be excellent if possible.) Any British regional accent will suffice (and never RP). The important thing is a thick, melodic, British regional accent, it works particularly well with a Glaswegian accent for example. Any colloquialisms could be altered to reflect this.
Contact: Email: amyrhiannemilton@yahoo.co.uk



Synopsis Three generations of African Caribbean women navigate their lives over 70 years in Birmingham and the West Midlands.

Loyalties and family bonds clash when the reality of the Windrush Scandal hits Esther. It threatens to rip the family apart and destroy the sense of who they really are.

Cast Cast size: 4

4 Female

Production details: /
Contact: Agent:

Matt Connell at Berlin Associates.

Email: mattc@berlinassociates.com

Tel: 020 7632 5283


CIDER MAGUIRE by Janine McEwan

Synopsis Cider Maguire is a coming-of-age story about a teenage boy with Cerebral Palsy. Cider, like many teenagers has very distinct ideas about his future. Cider’s ambitions are in direct  contrast with his parents’ ambitions for him.

Cider wants to be a journalist. Therefore, Cider wants to go to college and study journalism. Cider believes this to be the steady and logical choice. However, his father wants him to be a future Paralympian.

Cider has no interest in sport. Cider feels that as a journalist he could use his words to help the disabled community but his dad thinks he knows best.

Though his parents love him dearly they struggle to accept Cider is growing up. This is the main cause of conflict in the play.

Production details:
Contact: Email: deludedjanine@yahoo.com

Tel: 0141 249 7908


CONTACT CENTRE by Victoria Barclay*

Synopsis Kerry has been working for the Department of Work and Pensions Contact Centre since she left high school. As a Crisis Loan Officer, she spends her days helping people over the phone. In May, Labour lost the General Election and a Conservative-Lib Dem coalition government is forming. Change is coming, the Crisis Loans might be disappearing, and a new Team Leader arrived today, a small rabbit named Kim. Now Kerry is facing an extraordinary day that will require more than her DWP mandatory script dictates.


Contact Centre is a full-length play made for a cast of four womxn and a chorus of 2-4 women, men, or transgender actors.

Cast Cast size: 6-8
Production details: Contact Centre takes place in Dundee, Scotland. The casting and other creative roles for this production must be reflective of the diverse, multi-national, multi-gendered city in which it was written and set.
Contact: Email: victorialynnebarclay@gmail.com


CORE by Jennifer Lunn*

Synopsis A queer, climate change love story in English and BSL.

Clem, a deaf polar scientist, returns from the Antarctic to discover that her wife Jules, a black politician who she left three years earlier, played a part in the government cuts which pulled her team out of the Antarctic. She also discovers that since she left, Jules has adopted a teenage daughter, Libby who is involved in the climate protest movement.

Clem’s fight to get back to Antarctica leads to an investigation against Jules and this is further exacerbated by a government petition set up by Libby. Clem and Libby connect, despite Jules’ attempts to keep them apart but when Jules collapses at work, Clem has to step in to look after Libby and the three women begin to form what feels like family.

Having overturned the cuts Clem is preparing to return to Antarctica, when Jules reveals her terminal cancer diagnosis and asks her to stay and parent Libby full time. Clem must decide what is important now and how best she can save the world.


An exploration of our responses to the threat of extinction and a call to arms to listen to and support the next generation. Looking at whether, in a moment of crisis, we make selfish or selfless decisions– and whether we can actually tell the difference.

Cast Cast size: 3

3 Female identifying

Production details: The play requires one deaf actor who is a fluent BSL speaker, and one hearing actor who is a fluent BSL speaker.
The play requires projection for captioning but also text and image content.
Contact: Agent:

Ikenna Obiekwe
Independent Talent Group
020 7636 6565


DEEPA THE SAINT by Sonali Bhattacharyya*

Synopsis When teenage Deepa stops eating and drinking and claims to gain energy from a higher power, her desperate neighbours turn to her for salvation.


Deepa hasn’t eaten or drunk for days. Sabs, her widowed father is mad with worry but Deepa appears to be thriving, pushing her hand into the flame of her mother’s old diya lamp and dancing for Agni, the sun god. Sabs senses something bad has happened with Zane, a boy from school, but when Deepa tries to confide in Sabs he buckles.


Deepa dances for an old friend in bad health and heals him. She pronounces herself a saint and beleaguered neighbours turn to her for help, enabling Sabs to pay off their debts.  Deepa dances for bigger crowds, showered with adoration, but uses her powers for ill against Zane. Instead of admitting defeat, he slanders her online.


Deepa posts internet videos, dancing for international followers, but is scared her powers are fading.


Deepa challenges Zane to push his hand into the flame, live streamed to the internet, from the car park where he forced himself on her. Deepa now feels the heat of the fire but outlasts him. Sabs manages to stop Deepa before she hurts Zane. Deepa may no longer be a saint, but she is finally seen and heard.

Cast Cast size: 5

2 Female

2 Male

Production details:
Contact: Email: sonalidb@gmail.com
Website: www.sonaliwrites.com

DOGFACE by Natalie Mackinnon

Synopsis It’s New Year’s Eve on the estate and it seems like everyone is down at the water’s edge, getting drunk, burning bonfires and fingering each other. Seventeen-year-old Abi has never felt like she belonged on the estate and her best friend Jay hasn’t been the same since his favourite uncle died. Luckily, Abi thinks she knows just the person who can help. Dogface is about young people struggling to manage strong emotions and looking for help in all the wrong places.
Cast Cast Size: 4

2 female identifying characters

2 male identifying characters

Production details: /
Contact: Email: nataliejanemackinnon@gmail.com

DOGWALKER by Alison Carr

Synopsis “When we get home the first thing Rachel does is pour me a glass of wine. A big one. Then she runs me a bath. I should find rotting corpses more often, she wasn’t this nice to me on my birthday.”


On the telly, in books and films, it’s always a dog walker who finds the dead body. But what are the effects of making such a grisly discovery? When Helen stumbles across a decaying corpse in her local park it sends her down a dark path of worries about mortality, legacy and if anyone (apart from her dog) will actually miss her when she dies.

Cast Cast size: 1

Female – 35+

Production details: /
Contact: Email: alisoncarr@hotmail.co.uk



Synopsis At the office of recruitment agency RightPlace, Steph and Frankie attempt to muffle their discontent by buying clothes online. Across the city at Zenith, a digital fashion magazine, Kate struggles to manage her workload alongside dealing with her intern, Bella, the niece of the editor who would rather be anywhere else.

Steph finds a note stitched into the lining of a t-shirt she buys from the high street and now, everyone knows too much. Things have to change. Don’t they?

A play about activism, wilful ignorance and fast fashion.

Cast Cast Size: 5

ideally 4 of whom identify as female

Production details: /
Contact: Email: caitlin.mcewan@hotmail.com


EZRA by Stella Green*

Synopsis EZRA is a play set around Passover. A play about how we can remember something beyond recollection. A play about a Jewish family. EZRA is a play about how we begin to live with things that are incomprehensibly sad.


Ezra, his sister Noya, and his mother Ellen are three secular Jews gracelessly fucking up Seder dinner. Mangling Hebrew, glossing over god’s involvement in the night and using Haribo eggs instead of real ones, they fumble their way through a sacred religious tradition centred around remembering what we often forget. But a much darker memory lurking deep beneath the meal’s surface begins to nag at Ezra when he stumbles upon a missing photo of a haircut he can’t recall. As something much larger within Ezra begins to unravel, he realises that he has in fact forgotten the whole of 2004, until a fourth person joins the evening’s Seder. A boy whom Ezra can’t place but has a feeling he once was able to. Together, Ezra and Boy piece together what it is that he is beginning to realise and how in fact they know one another.


Written in response to hostile British attitudes towards Jewishness, EZRA is an exploration of secular British Jewishness, trauma, memory and what it means to protect someone from themselves.

Cast Cast size: 4

2 Female

2 Male

Production details: /
Contact: Email: stellacgreen@yahoo.co.uk


F.E.A.R. by Rosie MacPherson

Synopsis Her loves her job as a teacher, it’s everything to her and she’d do anything for the kids in her class. She struggles with her mental health but if she could just shut her Brain up then she’d probably be just fine. She’s an ‘inspirational’ role model for the next generation, secretly building a socialist army of the future in her Year 4 classroom in Sheffield.


But things are taking their toll: the pressure of the job, the endless cycle of self-doubt, the internal spiral of negativity, the impending doom of global warming and after ‘The Incident’ she’s confined to her studio flat googling how to make things right. Her has lost control. Brain is in charge now and the worst has happened, those thoughts that prey on her have driven her to commit the very worst crime – she has sexually assaulted her pupil, David.


As X-rated fantasy and PG reality collide, Her must find a way to crawl back from the edge and prove to herself she is more than her thoughts. As the truth rears its head, we begin to realise that Her is not the criminal she has convinced us and herself that she is, she’s just another member of the 62% of women (YouGov) and 59% of Black people (Pearn Kandola) living with the most dismissed, long-term psychological condition in our society.


Based on real experiences of Imposter Syndrome, F.E.A.R (False Evidence Appearing Real) is a brave, no-holds-barred exploration of internal struggle with mad beats and straight-talking sanity.

Cast Cast Size: 2

2 Female

Production details: Supported by Sheffield Theatres.
Contact: Email: rosiemacpherson@gmail.com


FEN WESTERN by Eve Leigh

Synopsis Brian lives with his brother and 14-year-old nephew, Cameron. Cameron has two really big secrets. The first is that he’s making a film set in the American West all the time, in his head. The second is what he and Brian do when they go out “hunting” into the Fens…

Fen Western is a contemporary story about masculinity, outlaws, and what happens when dreams don’t come true.

Cast Cast size: 3

3 Male

Production details: /
Contact: Agent email: jessicastewart@independenttalent.com



Synopsis Eighteen-year-old Dele and her single mother Laide are first generation Nigerian immigrants who, like many, travelled to the UK in search of greener grass. Ambitions flow fast through Dele’s veins, so Laide works multiple back-breaking jobs and pays in sweat and tears for her daughter’s education at a top independent school.


When Dele receives an offer to study Biological Sciences from the University of Oxford, immigration issues creep up immediately and threaten to stifle her ambitions. Fears arise and hard decisions have to be made. While Laide doesn’t want Dele to lose her education; the only ticket to freedom and respect in a country that is increasingly hostile to immigrants, Dele is most afraid of losing her mask, of having to uncover her buried origins, and of facing the otherness that she has been trying so hard to hide from.


Butterfly is the story of the broken back of a relationship between mother and daughter. The story of how two women face the traumatic consequences of migration, lose the homes they have in each other, and struggle to find new ones.

Cast Cast Size: 8

4 Female

4 Male

Production details: /
Contact: Personal Email: tifekusoro@hotmail.com

Agent’s Email: jessicastewart@independenttalent.com


FULL ENGLISH by Silva Semerciyan*

Synopsis Martin and Kirsty have been married for years. He’s a 55-year-old auto mechanic; she’s a 40-year-old part time English teacher with dreams of becoming a novelist. They share a one room flat in a converted Victorian house in Bristol, hemmed in by partying students. When a diagnosis threatens their future together, Martin persuades Kirsty to let him join her GCSE English class as a student. As he prepares for the final exams under her guidance, the demons of Martin’s childhood education crawl out of his past. Failing the 11+, failing English, leaving school without any qualifications, all conspire to keep him down. Kirsty’s promise to help him achieve his goal begins to unravel as her priority becomes convincing him to give up for his own good. Martin won’t be put off. Through his persistence, Kirsty is forced to confront her own disillusionment with teaching. Together, they question how far removed from true learning and true teaching the British education system has become, with its power to determine and destroy futures. Full English considers the impact of policy on individuals in a two-hander where passing an English exam is a matter of life and death.
Cast Cast size: 2

1 Female

1 Male

Production details: /
Contact:  Email: silva_semerciyan@hotmail.com


GIDDYUP’S WAY by Ciara Cassoni*

Synopsis Saoirse and Joe have checked into the Paradise Hotel, but this is no ordinary weekend away.  While there, they meet  Nuala, the formidable Front of House Manager who puts on a cold front and Daniel who everyone treads carefully around.  Joe and Saoirse are determined to find out what he is up to. This is a play about love and loss and the struggles in between and a reminder that things are not always as they seem.
Cast Cast Size: 4

2 Female

2 Male

Production details: /
Contact: Email: ciara.cassoni@gmail.com


GIVE A MAN A BIBLE by Afsaneh Gray

Synopsis Jay believes he knows how to help Kenya. But what if the Kenyans disagree? Set across two time periods and two countries, Give A Man A Bible explores the legacy of colonialism in the aid industry through the intersecting stories of a microfinance executive who is trying to run an ethical development agency in modern-day Kenya when he falls in love with an employee, and a missionary priest who arrives in South Africa ready to spread the word of God, only to find his faith shaken by a local. Based on the writer’s own experiences of the development industry, and on a real historical incident, Give A Man A Bible interrogates liberal ideals of philanthropy, and how they have been shaped by Britain’s capitalist and colonial past.
Cast Cast Size: 4

2 Female

2 Male

Production details: The cast requires one man and one woman of East African heritage
Contact: Agent email: gsmart@unitedagents.co.uk


HADRIAN’S WALL by Jessica Luxembourg

Synopsis We’re trapped on a ball of rock that’s burning up in space, and we can’t get off.


The play set in Peterborough and on the International Space Station (ISS), the actual space station that’s currently in low Earth orbit. It’s contemporary, not science fiction, and it works counter to ideas that a space setting means high-stakes life-threatening incidents. It’s a chamber piece about ennui, claustrophobia and small incidents being blown out of proportion due to the intensity of relationships in an isolated/lockdown environment.


The play deals with urgent concerns around climate change and environmental activism. It addresses these by challenging prevailing perceptions about how likely it is that we will ever be able to live in space or on other planets, moons or asteroids.


In the feedback that we’ve received from workshops and public readings of the play it’s been striking that most people’s perceptions of what is currently possible in space travel are inaccurate and unrealistic. Perceptions of what it’s like to live in space have been heavily influenced by sci-fi cinema and television, which in turn have been influenced by what it’s feasible to film. Hadrian’s Wall turns that all on its head.

Cast Cast Size: 5

2 Female (19, 50s)

3 Male (20s, 30s, 50s)

Production details: It lends itself to a socially distanced (for both actors and audience) performance in multiple locations linked by video.

This play was also shortlisted for the Mercury-Weinberger Playwriting Prize.

Contact: Agent email: howard@judydaish.com


HAPPY VIRGINIA! / SAD VIRGINIA by Deborah Acheampong*

Synopsis Simply existing isn’t possible for Virginia, who is constantly flitting about from one thing to the next, or not doing anything at all. She’s bored of her girlfriend, bored of her job and bored of the fact that she’s always bored. After an inevitable breakdown, Virginia is determined to put together a semblance of stability. So, when regular guy Jonathan piques on her radar, it becomes an opportunity to escape to the wonderfully dull, white, heteronormative world of suburbia, mortgages, Him & Her decorations, and Womanhood. Whatever that is. Though it gives her the appearance of having settled down, she must consider whether it’s worth sacrificing her own happiness and individuality. Will she stay with Jonathan, even if it’s not working out, or have the courage to forge her own path? A play for one  .
Cast Cast size: 4

2 Female

2 Male

Production details: /
Contact: Email: acheampong.debs@gmail.com


Synopsis How the Dodo Died and Other Stories is an urgent ecofeminist play which interrogates the absurdity of the capitalist, neoliberal society we have created and its incompatibility with the natural world. It seeks to expose the fragility of the artificial structures that govern our lives at the expense of the only tangible thing we have: our planet. Our intrinsically flawed systems are breaking and a new way of living is vital for our survival, but can we unlearn the stories we’ve been told about who we are and where we are going and embrace a new narrative?

A series of snapshots of a world dying, How the Dodo Died and Other Stories ricochets from a child’s powerplay fantasy to sinister office politics, from the macabre fallout of a murderous economic policy to the invasion of the natural world on a sleepy suburban home, culminating in a twisted game show in which only the House ever wins. Throughout the play the character of Showman attempts to hold the show together, selling us a destructive, yet seductive, way of life. While he adopts a number of different guises throughout the play, and throughout time, the Showman’s flawed message is consistent. But the world as we know it is beginning to crack – is it time for a better story?

How the Dodo Died and Other Stories was recently shortlisted for Stückemarkt at the Berlin Theatertreffen 2020.

Cast Cast size: 11 (with doubling), min 8, max 46

5 Female

2 Male

Rest – non gender specific

Production details: /
Contact: Twitter handle @jenny_knotts


Alexandra Cory at Berlin Associates: alexandrac@berlinassociates.com



Synopsis Icarus Drowning is set in a dead-end seaside town, the arsehole of England, the edge of the earth; Bognor Regis. An ancient old Man sifts through the useless offerings of the sea, collecting all that he finds in a crumpled plastic carrier bag while a disdainful pregnant teenager watches from afar. When the Girl eventually finds her voice, it is full of bile, but the Man has been around long enough to read the young and soon an unlikely friendship begins to grow from the seeds of their opposing attitudes towards the little town: the Girl finds herself stuck in Bognor, unable to escape the full stop of the sea, while the Man takes comfort in the limitless expanse of it. Together, they work towards building a set of wings for the Birdman Rally – an annual event they hope will see them fly off the end of the pier and away. A third character, an Old Woman, seemingly disconnected from the physical world around her, cuts between their interactions, growing younger with each new appearance. Chased into the safety of the man’s small flat by a storm and plagued by the ghosts haunting his thoughts, the old Man begins to deteriorate as the Girl’s animosity fades. As the Old Woman’s interjections reach an inevitable conclusion, and we learn who she really is, the two of them share secrets they’ve barely confessed to themselves. The Old Man is terrified of his own shadow. The Girl, despite herself, loves the town.
Cast Cast Size: 3

1 Old Man – 80s

1 Girl – 16

1 Old Woman – 80s

Production details: Longlisted for the Bruntwood Prize 2017

Longlisted for the Verity Bargate Award 2017

Second Reading stage at Bush Theatre 2017

Rehearsed Reading at the Stephen Josephs Theatre, Scarborough 2018

Longlisted for The Women’s Prize for Playwriting 2020

Contact: Email: sandyfoster@hotmail.co.uk



KELP by Gaia Sorcha Fenn*

Synopsis Rural West Coast, New Zealand. Bruce, a local fisherman discovers a new-born baby floating out at sea. Unable to identify the little Maori girl, Bruce and his family take her in as one of their own. But local gossip fuels suspicions about what Bruce was really doing the morning he saved little Atarangi. Now, 29 years later, Atarangi is a grown woman and has come back to the rural community with questions. As a storm hits the sea-side village the two are forced to fight out their demons. Kelp is a story about belonging and home. It is a story about finding your way out of being lost.
Cast Cast size: 3

1 Female

2 Male

Production details: /
Contact: Email: gaia.s.fenn@gmail.com


KRILL by Sorcha McCaffrey

Synopsis The infection is spreading and people are being wiped out. The country has gone into panic. In a small abandoned town in the north of England, Esther and Kay find themselves trying to survive. As they run out of food and time starts to lose meaning, they are pulled back into memories and longing, and Esther and Kay fall in love as the world ends. Krill is a queer love story about the end of the world. It’s about falling in love, losing people, and how to deal with toothache in an apocalypse.
Cast Cast Size: 6

4 Female

2 Male

Production details: /
Contact: Email: sorchaemccaffrey@gmail.com


LEAVING EDEN by Sophia Chetin-Leuner*

Synopsis A young woman tries to complete her PhD on John Milton’s Paradise Lost while dealing with an increasingly debilitating porn addiction. Forced to move into her childhood bedroom at her dad’s home after a bad breakup, will Josie be able to address her issues with intimacy with the people in her life? Or will her addiction destroy her body and her future? The isolating effects that a porn, masturbation and orgasm addiction have on both body and mind are explored with unflinching directness. This is not a road to recovery play, it is a play about the teetering journey to getting on that road.
Cast Cast size: 4

2 Female

Josie – 27

Jasmine – 27

2 Male

Paul(dad)/Professor – late 50s

Liam/Doctor/James/Sam – late 20s

Production details:
Contact: Agent: Jen Thomas at JThomas@unitedagents.co.uk



LAYLA & YOUSSEF by Tutku Barbaros

Synopsis Layla and Youssef – two Turkish Cypriots from South London – once inseparable haven’t seen each other in a decade. Today, at a funeral, they find themselves back at each other’s side. While honouring the mourning ceremonies of their heritage, they reckon with a past that tore them apart. A play about love, grief, lies and the possibility of starting all over again.
Cast Cast size: 7

4 Female

3 Male

Production details:
Contact: Email: tutkubarbaros@gmail.com


MAMI WATA by Bisola Elizabeth Alabi

Synopsis Mami Wata explores the supernatural and Nigerian mythology about women’s power and cultural traditions that can restrict women. These multi-layered themes are explored through the story of Remi who is now dealing with the recent passing of her mother, and the issues she has buried for years finally exploding to the surface. This story looks at the difficult relationships between mothers and daughters, death and superstition.
Cast Cast Size: 3 females
Production details: Staging would be filled with sand and the home as a deteriorating sandcastle.
Contact: Email: elizabeth_alabi@hotmail.com


MATERNITY by Jacqui Honess-Martin

Synopsis From the first pangs of labour, Ellie, Pria and Sam negotiate with their new bodies, minds and roles as mothers before returning to work. Despite working in three very different sectors, each finds themselves navigating a hostile environment. From brutally long hours to benevolent sexism, largely implemented and enforced by other women, everyone is trapped within the patriarchal structures that our work lives have been constructed to meet. Delivered as direct address, the women’s experiences are told with searing honesty, wit and wry humour.


Meanwhile, the actors building the performance navigate their own, complex responses to the material they are rehearsing and to each other.

Cast Cast Size: 3 females
Production details: Predominantly delivered as direct address, this play lends itself well to socially distanced performance conditions.
Contact: Agent email: jthomas@unitedagents.co.uk


MILES by Eilidh Nurse

Synopsis Ed has gotten a new job at a deserted caravan park in rural Scotland that’s struggling to stay afloat. Forming an unlikely bond with his brusque co-worker, Janie, they soon find their friendship tested to the brink when Ed’s wild half-brother turns up to stay at the park and Janie is forced to confront her past. A play about friendship, violence, loneliness and caravans.
Cast Cast Size: 4

1 Female

Janie – mid 20s

2 Male

Bobby – 40s/50s

Ed – 18

Elliot – late 20s

Ed and Elliot are brothers but Elliot is white and Ed is not.

Production details: The very first draft of Miles was shortlisted for the 2018 Theatre Royal Haymarket Masterclass Trust’s Pitch Your Play Competition. The play was then one of three winners of the Rose Theatre Kingston’s New Writing Festival and received a rehearsed reading at the Rose directed by Fay Lomas in September 2019.
Contact: Email: eilidh.n@hotmail.com



Synopsis My Brother’s Keeper is a tense family drama centred on an unexpected prison release.

In the kitchen of a working-class black British family, a mother waits patiently with her daughter Liz for son Pete to return home with his identical twin brother Ray, following his early release from prison. But when Pete returns alone and acts peculiarly, questions are immediately raised on Ray’s whereabouts and their mother’s role in everyone’s deteriorating mental health. With vengeful neighbours, a cryptic brother, a scarred sister and a mother hoping for the perfect homecoming, the atmosphere inside intensifies, mirroring the harassment faced outside. As pressure mounts, we witness the effects of child abuse in a family and a community and ask whether its survivors can truly recover, can ever heal.

Cast Cast size: 4 / 5

Four speaking characters plus one unseen


Mother – 55, black British, widow, retired.

Liz – 24, daughter, black British.

Pete – 28, son, black British.

Police Constable Foley – 30s, black British.

Raymond(Ray), 28, son and twin brother to Pete, UNSEEN.

Production details: Setting: Kitchen – can be abstract or naturalistic to represent the heart of the home and preparation of breakfast.

Crucial props: a table, four chairs, kitchen utensils, a brick and a set of knives.

Staging: The voices and actions of the community are only heard and never seen but the option is there to see some harassment occurring in the background, for example, painting walls with graffiti.

Contact: Email: ktaylor2write@gmail.com


PLAYFIGHT by Julia Grogan

Synopsis Keira, Zainab and Lucy are smart, hilarious and savvy. They’ve figured out that there are some things school sex-ed lessons don’t cover; now, away from prying eyes, they’re going to find the answers. By turns funny and poignant, their experiences as they grow from girls into women shine a light on sex and sexuality.

Playfight is informed by the rise in violence in mainstream porn. Also central to the narrative is a queer love story and how this is shaped in the face of religion and social pressure.

Cast Cast size: 3

All Female

Production details: Shortlisted for the Papatango Award 2020. All action happens at the base of a tree.
Contact: Email: juliagrogan1@gmail.com


PORTRAIT by Georgina Burns

Synopsis Feminist academic Laura returns to work following the death of her elderly father and sentimentally hangs a painting on her office wall, a portrait from her grandfather’s time in India. She is visited by Amber, a conservative chair of the Debating Society, who talks a grieving Laura into joining a campus debate on feminism, which alarms her African-American colleague and friend, Teresa, who senses that her boss is walking into a hothouse trap. Laura’s debating opponent is Jas, a passionate second-generation Indian student who spots the painting in Laura’s office and arranges a petition, accusing Laura of colonial arrogance and threatening to no-platform her from the debate if she doesn’t take the, ‘racist’ painting down.

Unwilling to agree that her family history or the painting is racist, Laura defies student demands and attends the debate, only to find hostile protests, Jas refusing to debate her and an absent Teresa. Intimidation and violence force her to leave the stage and she returns to her office to find the painting vandalised and misogynistic slurs daubed on her door. Against a backdrop of a polarised campus and super-charged racial and gender politics, Laura and Teresa’s friendship is fraying, with Laura decrying a lack of female solidarity and Teresa feeling torn in two as a black woman whose boss and friend is being vilified for racism. As Laura fights to save her reputation, both women struggle to find their place in a feminist movement being reinvented by a new generation.

Cast Cast size: 4

All Female

Production details: Portrait had a professional reading at the Stephen Joseph Theatre in September 2019.
Contact: Email: georginaburns@gmail.com


POSSESSION by Caroline Loncq

Synopsis Sadie, a junior athletics champion, is trying to piece together what went on last night. She knows her sister dolled her up and took her out for her birthday, and she knows she woke up in a hotel room on her own, but now she just wants to leave this interview room and go home.

Ben’s star is waning at his club, and the arrival of the new signing isn’t going to help, but his wedding is with the planners, and Hello! is footing the bill, plus he’s staying up in a town where he’s adored, so things could be worse.


Possession is a kaleidoscope play, seeing a ‘grey area’ event from before and after: following the lead up and fall out; set within a world of elite sport and families on the breadline, telling this story with compassion, humour and theatricality.

Cast Cast Size: 7

3 Female

Sadie – 15/16, white

Sandra/Jayne/F. Barrister – 40s white

Joanna/Beatrice/Kayla – early 20s, white

4 Male

Ben – 29, white

Karl – 17, dual heritage (English/Nigerian)

Nicholas/M. Barrister/Miles – late 20s/early 30s, Black (Caribbean heritage)

Dad/Solicitor/Copper Tom – 40s, white

Production details: Multiple scenes play onstage in parallel at times. Unmade bed hangs upstage.
Contact: Email: caroloncq@gmail.com


ROOTS by Lao Lee

Synopsis Roots tells the story of Nya, a young Chinese woman adjusting to motherhood with her white husband Chris. But pressured to follow traditional customs by her grandmother and matriarch Fen, Nya’s reality begins to fracture. Desperate to know more about the post-partum depression that killed her own mother Mei, Nya puts pressure on Fen to tell her exactly what happened. Secrets rise to the surface as Nya and Chris wrestle to uncover uncomfortable truths of the past, while Fen works desperately to keep them hidden from her family, and herself. Haunting and complex, Roots explores inherited mental health, culture clash and isolation.
Cast Cast Size: 3

1 Female

Nya – Mid 20s, Chinese

2 Male

Fen – 80s, Chinese

Chris – Mid 20s, White

Production details: /
Contact: Email: laolee31@gmail.com


SAVAGE by Jane Bodie*

Synopsis On a dark and stormy night, middle aged DON and PENNY meet on an internet date. This is the first date either of them has had for a very long time, and neither is what they seem. The date’s a disaster and PENNY attempts to leave, but DON begins to tell the story of a ‘wild’ boy who appeared at his work and Penny is drawn into to his mysterious tale. As somewhere nearby, ALICE, a woman in isolation, begins another story, of a child reared in the forest by beasts, becoming one of them. As PENNY and DON get closer to each other’s buried tales, what it is to be wild and Re-wilding is explored. And as they’re both drawn in to each other’s dark stories, painful memories and savage truths, begin to surface and roar, unable to now stay tamed.


As the wild storm rages outside and now within, PENNY will finally tell the tragedy of her lost son, and DON is forced reveal the truth of his wife, the loss of their own child, and her descent into madness. As ALICE’s fairytale story begins to imagine the wild child back home, to civilisation, PENNY and DON begin to find solace and relief in the telling, and in the humanity of each other, finally able to speak of their loss and pain, their need for touch and forgiveness. Inspired by The Tempest, Savage explores the brutal nature of loss, and what it is to be human.

Cast Cast size: 5

2 Female

3 Male

(the savage boy and Ed can be doubled)

Production details: /
Contact: Email: janebodie@hotmail.com


SHIT LIFE CRISIS by Olivia Hannah

Synopsis Grace is packing up her room. She’s getting ready to go… somewhere. The details haven’t been worked out yet. She’s also telling a story, about surviving cancer and getting her life back together after chemo took every bit of it apart. Her body, her career, her family, her friendships, her love life. Cancer took away a lot but it also brought back Abi, the best friend Grace could hope for. And with Abi’s help, Grace got better.


Or did she? As her story goes on, it becomes less clear whether Grace’s retelling is as honest as her frank delivery makes it seem. Instead, it’s the story Grace needs to tell herself so she can find the strength to keep going.


SHIT LIFE CRISIS is a funny, warm and frank play about rebuilding a life and an identity after cancer.

Cast Cast size: 2

2 Female – early 20s, 1 Black

Production details: /
Contact: Email: orhannah@gmail.com


Silva Lining’s Care Plan by Elspeth Penny

Synopsis Silva Lining’s Care Plan is an Arts Council Commissioned drama. Three brains, two bodies, one secret plan: an absurd journey into the invisible world of carers, dementia and organoids, based on original care diaries.


The play deals movingly and sensitively but in a playful, absurdist way with this highly charged subject. It’s about what it means to be human and to care, and is informed throughout by the personal experience of carers of people with dementia.


In very brief outline, the story centres on Silva, a retired surgeon who has dementia but has invented something extraordinary – a very special organoid. This is Brain, growing in a petri dish and fast developing a mind of its own. Karen is starting off her career in the deep end and having to make some hard decisions about what to care for, and what care is. When the script was performed in rehearsal to health professionals and carers, it was described by Alex Coulter, (Director, Arts and Health South-West and All-Party Parliamentary Group on Arts, Health and Wellbeing) as “A wonderful and moving exploration of the complex relationship between carer and cared for. Both heart-rending and laugh-out-loud.” Longlisted for The Women’s Prize 2020, one of the readers described the play as ‘an interesting interrogation into care and neglect, especially surrounding the moral dilemmas of dementia care. The Characters were funny and burst off the page – even Brain is full of charisma. I was a big fan of the play’s surreal elements.’


Now the play is being adapted into an audio drama and is in production.  Elspeth is open to the idea of the play being developed again in theatre or in other media.

Cast Cast Size: 4

3 / 2 Female

1 / 2 Male

Production details: Silva Lining’s Care Plan in its theatre draft has had three script in hand work in progress performances in the summer of 2018: at Nottingham Contemporary, Tandem conference (on the Arts and Dementia) and in an earlier draft at Puppet Place in Bristol.


In 2020, 2BU Productions was commissioned by Arts Council England to make a major podcast drama about dementia and the invisible world of those who care for people with dementia, an important subject that has become increasingly urgent and topical.


2BU Productions is a female-led company providing a bridge between creativity and health. The team is led by Elspeth Penny as writer and director (Director of 2BU Productions, Arts Council and Wellcome Trust funded, BBC Doctors) and includes ex BBC Producer Sara Davies as dramaturg;  and composer Sarah Moody (The Devil’s Violin).


Contact: Email: elspeth@2buproductions.co.uk


SMETHWICK by Yolanda Mercy*

Synopsis Smethwick is a coming of age drama told through text and music, about a friendship spanning 2 decades. It takes you on a journey of 2 young boys from the midlands trying to find their voice in a world that isn’t ready to hear them.
Cast Cast size: 2

2 Male (21-30),black, from the midlands

Production details: /
Contact: Email: Info@yolandamercy.com



Synopsis Doomsday preppers Kate and Isla are a couple deeply in love.

They are the centre of each other’s universe and are prepared for anything, especially the end of the world.

But when Isla rejects Kate’s marriage proposal does this mean the end of their world? How will they cope with the one earth shattering apocalypse they never prepared for? Can they make it through this catastrophe in the same way they expected to face doomsday, together?

Meanwhile, the creator looks down on them, bored, amused, irritated. They are making a decision of their own. Has the human race had its chance? Is it time? Perhaps the world deserves a fresh start. And if so, how best to light the fuse?

‘Stand By For Further Destruction’ is a play about love, grief and the end of the world. It is a play that places queer love centre stage whilst being about so much more. This is a queer play, it is not ‘A Queer Play’. It is a play unafraid to ask big questions on a small stage. It is claustrophobic, intimate, simmering whilst being vast, all-encompassing and explosive. It asks what’s right and wrong then questions if right and wrong even exist.

It is a love letter to everyone who has been through that break-up. The one where the world around you crumbles, the way forward disappears and all seems lost. It is a love letter to everyone who beat the end of their world.

Cast Cast Size: 3

2 Female

1 Gender non-specific

Production details: This play does not include an interval in its current form and is written to be performed in one act.
Contact: Email: lauramcgrady@hotmail.co.uk


STATIC by Saskia Livingstone

Synopsis 1988, on a small goat farm somewhere near Kansas, USA, out in the vast landscape…

Margo and Nate wait for signs of UFOs in the sky. Margo believes her partner, Ted, was abducted seven years earlier; Nate just wants to believe there’s something beyond his boring daily life.

When Diane, Ted’s sister, arrives unexpectedly back into their lives, looking for answers and closure, all three are confronted about their beliefs and where they are heading.

A slow-burn play laced with sci-fi moments, exploring grief, past nostalgia, promises of the future, and the unexplained mysteries of our lives.

STATIC is about why people want to feel there are other things out there, about loss, about who changes with the times – and who gets left behind.

Cast Cast size: 3 (+ 2 male voices, unseen – can be pre-recorded)

2 Female

1 Male

Production details: /
Contact: Email: saskiana@gmail.com


SUPER BLOOD WOLF MOON by Alice Allemano*

Synopsis Celia wakes up one day completely blind. An image-obsessed cityite, she quits her high-flying life and moves away to the middle of nowhere – she wants to be undisturbed in her decision to kill herself.


But Adam, a local builder battling an alcohol problem and a failing marriage, accidentally stumbles across her. They hang out and against all the odds, an unlikely relationship begins to develop. The strange situation they find themselves in, allows them each to feel truly seen for the first time – or at least seen as they want to be seen.


But the countryside is flooding, the outside keeps creeping in and the truth of who they are threatens the fantasy. Adam is stealing money from Celia to buy booze, thinking she can’t see him do it. He lost his job a while back but hasn’t told anyone.


And Celia can see.


At the height of their involvement she suddenly regains her sight. The doctors at home had suggested that her blindness was psychosomatic and that she was suffering a major breakdown.  She had refused to believe them, but it becomes very clear that they were right. However, she chooses not to tell Adam. She likes the way things are, feeling powerful and loved in her blindness.


But despite their best efforts, the truth has a way of making itself known, and when it does, can they survive it?


Was any of it real anyway? Or was it all for their own gain?

Cast Cast Size: 2

1 Female

1 Male

Production details: Run time is approximately 1hr, there are 2 settings and it rains a lot.
Contact: Personal email: alice.allemano@gmail.com
Agent email: hannahlinnen@42mp.com


THAT TIME WE GOT HIGH by Stefanie Reynolds

Synopsis “But Ivory has something else on her mind. She’s got an itch that needs scratching. She

swiped right.”

It’s the night of her mother’s funeral and Ivory has invited her tinder date. Back in

Manchester for one night, Ivory only has one thing on her mind and knows just how to get it,

but running into her selfish father and loopy sister soon cockblocks her, and leaves her

tinder date uncomfortable and troubled. So off Ivory goes, on the streets of Manchester,

alone, to try and fill the deep, dark void of her mother’s death.

Set over one night, a sweary, sex-driven Ivory stumbles through her hometown, clumsily

coming to terms with the death of her mother through self-sabotage and intoxicated delusion.

Ivory reunites with her dysfunctional, estranged family, drunkenly storms around nightclubs

in Manchester, while simultaneously shocked at the city’s noticeable gentrification “where

does one get pissed these days?” and has a profound exchange with a chicken and a fish.


A night out in Manchester, like no other!

Cast Cast Size: 5

2 Female

Ivory, mixed race, 28

Willow (Ivory’s sister) mixed race, Italian GirlGirl, Chicken 26

3 Male

Narrator, Relative, Bar Manager 30’s

Date, Guyguy, Leon, Guy 26-28

Dad, Black, Man, Chicken Shop Guy Late 40-50s

Production details: This play requires a minimal set. Would work in a round space. The audience should feel

immersed in the stage as though they are part of the night out and the family home.

Contact: Email: stefaniereyno@hotmail.com



Synopsis Dana believes that you have to be in something in order to make meaningful change. She interviews for a position at the Home Office and gets it. She’s going to make a difference. But there’s heightened pressure as a Black woman in this public post. And the longer she stays, she must wrestle with what’s more important – to prove herself to her team, or to stand firm in what she believes.
Cast Cast size:7

4 Female

3 Male

Production details:
Contact: Agent:

Imogen Sarre



THE ESTATE by Shaan Sahota*

Synopsis The Estate is a dramedy about a Sikh family in crisis over a disputed inheritance, unfolding over a political election. We follow Angad Singh’s rise to political power, paralleled by a descent into mental illness and delusion.


Angad is running an election campaign based on radical social justice when his father dies. He inherits much more than his sisters, as declared in his Punjabi father’s sexist will. This makes his manifesto commitment to fairness a little awkward, but his sisters wouldn’t jeopardise his career and go public over it – would they?


During the play Angad has fantastical experiences, which the audience shares. These are the early symptoms of a neurodegenerative disease: it turns out that along with his enormous property portfolio, Angad has also inherited Huntington’s. Through his disease, we see past the politician’s mask to what Angad is truly thinking, with humour and poignancy.


The Singh siblings are willing to destroy each other for a greater slice of their father’s property portfolio, an inheritance they are all certain they deserve. It raises themes of genetic and gender equality, while satirising the political pageantry around fairness and cultural relativism

Cast Cast size:8 (room for doubling of two roles)
Production details: The Estate features non-naturalist and fantastical experiences from inside Angad’s mind, which can be represented with lighting changes or other theatrical device.
Contact: Email: shaanksahota@gmail.com


THE FAMILY UNIT by Julie Tsang

Synopsis The Family Unit asks what it means for the future of young people living in a society with its own punitive laws. This play has themes mirroring the anti-abortion law and debate in Northern Ireland, with one woman unable to travel to the UK due to a lack of choice and set of circumstances she had no control over.

The Family Unit explores the impact this has on her life and the lives of the generations to follow. It takes a sharp look into social infrastructures – the lack of identity for the lowest income decile, invisibility of being in ‘the system’ and the damning effects blanket social structures have.

trigger warning – The Family Unit has a sensitive subject matter with violent themes that may cause distress or challenging emotions.

Cast Cast size: 4
Production details: The Family Unit was also longlisted for the Bruntwood Prize in 2019
Contact: Personal email: tsang.julie@gmail.com

Agent: Michael Elliot-Finch

Brennan Artists Associates


Telephone: 0141 553 5403



THE GOOD PEOPLE by Camilla Whitehill*

Synopsis A couple move into an old cottage in Ballyvadlea, Co. Tipperary, for fresh air and space to create. But things are never as they seem in the fairy cottage…
Cast Cast size: 4

2 Female

2 Male

Production details:
Contact: Agent:

Emily Wraith at Berlin Associates


+44 (0)20 7632 5281


The Ha-ha by Lucy Bell

Synopsis THE HA-HA is set under a bridge in rural Devon, where the writer lives (the rural Devon bit, not under a bridge, not yet).


It’s a land of mists and magic, where feral goats joyride the Victorian cliff train and steal ice creams from the hands of toddlers.The script takes preconceived ideas of the Billy Groats Gruff fairy tale, and flips them on their head to create a filthy, adult-rated comedy with two bloody-minded and bloody-faced heroines: the goat, and the troll.


Brace yourself for sociopathic delinquent mermaids (high on the phosphate run-off from modern farming), meerkats on the run from Crealy Theme Park, Devon soil so fertile it grows six packs of Stella, and child-stealing elves with council I.D. cards.


Written by this year’s Kevin Elyot Award-winner, THE HA-HA is a story about social mobility in regional Britain, and what it takes to trip trap trip trap to the other side…

Cast Cast Size: 2

1 Female – 16

1 Female – 40s

Production details: Can be performed in a theatre space or outside by a bridge
Contact: Email: lucindarosebell@yahoo.co.uk


THE MISANDRIST by Lisa Carroll

Synopsis Theresa May’s Brexit deal keeps failing. Christmas is around the corner. Two second generation immigrants meet at a seedy bar in Piccadilly and decide: why not send 2018 out with bang?


Over the next year, London-Irish Rachel and British-Nigerian Sule embark on a casual relationship but, unhappy with the male-female power dynamics at play, and with Brexit fucking everyone up down and sideways, Rachel tests Sule’s limits when she decides to ‘take back control’.

Cast Cast Size: 2

1 Female

1 Male

Production details: /
Contact: Personal Email: lisa_carroll46@hotmail.com

Agent Email: nquinn@theagency.co.uk


THE SUB-LET NEXT TO HEAVEN by Madeleine Accalia

Synopsis “Lara was statistically lucky to find a man who owned a dog. Because not all men own a dog. Only 10,302,120. Which is not that much really, when you think about the bigger picture.”


Lara meets John. He cooks lobster for a living. She likes to kickbox. B is watching. She can’t help but watch. She’s stuck. B’s always been stuck. But she’s not the only one.


The Sublet Next to Heaven tells the story of Lara and John (and their dogs), whose lives change forever when they meet in Preston Park and time starts running really really fast. It is a funny, tender and surreal exploration of consent, women’s bodies and public spaces.

Cast Cast size: 1

Preferably a cis man

Production details: There’s a theme of kickboxing throughout the play – and the possibility of using a punch bag as a prop.
Contact: Email: madeleineaccalia@gmail.com


THE SWELL by Isley Lynn

Synopsis Annie and Bel are getting married. It’s a queer fairy tale until Annie’s Maid of Honour Flo arrives for the ceremony and sweeps Bel off her feet… Decades later, an unplanned reunion threatens to dredge up new truths about what happened all those years ago.


The Swell is about the extraordinary lengths we’ll go to for the ones we love. It pits the head and the heart against each other, exploring the mad logic that only makes sense when you’re madly in love. It asks what you should do when the right thing to do is also the worst thing you could do.

Cast Cast size: 6

6 Female

3 younger, 3 older (roughly an 18 year gap)

Any ethnicity

Production details: Developed as part of HighTide’s First Commission programme
Contact: Agent:

Jonathan Kinnersley, The Agency



THE UNDERDOG by Sarah Gordon

Synopsis Looking behind the legend of the Brontë sisters, The Underdog tells the story of the sibling power dynamics that shaped their uneven rise to fame. Where individual ambition and differing levels of success increasingly collide with the desire for group empowerment. Which, let’s face it, is awkward. Especially when you’re the underdog – AKA Anne Brontë.
Cast /
Production details: /
Contact: Personal Email: sarahjane571@gmail.com

Agent email: Rebecca Watson  rebecca@vhassociates.co.uk


THIS MIGHT NOT BE IT by Sophia Chetin-Leuner

Synopsis Angela has been working as an NHS administrator at a children’s mental health clinic for over 25 years. She’s seen temps come and go – but when the idealistic 20-year-old Jay arrives, her routine is disrupted and she’s forced to reconsider her worldview. Jay’s own belief system is shaken by the return of one of the clinic’s regulars, the teenager Steph, who challenges both Jay and Angela to re-examine their own limits to the obligation of care.

A story of an unlikely intergenerational friendship set amidst the backdrop of one of the many disintegrating mental health departments of the NHS. The play ultimately asks the audience to examine their own relationship with the duty of care.

Cast Cast size: 3

1 Female

Angela – 56

1 Male

Jay – 20

1 Any

Steph – 17 and a half.

Production details:
Contact: Agent: Jen Thomas at JThomas@unitedagents.co.uk


VILE ACTS OF LOVE by Naomi Sheldon

Synopsis /
Cast Cast Size: 2

1 Female

1 Male

Production details: Vile Acts of Love had a work in progress run at VAULT festival 2020.
Contact: Personal email:naomirosasheldon@gmail.com

Agent email: NBarron@unitedagents.co.uk


WE’LL BE WHO WE ARE by Naomi Obeng*

Synopsis Ahead of a school reunion, Kit and Emery break into Kit’s grandmother’s old home. Emery has lost his shoe and Kit’s promised to find him a new pair. Then old friend Tracy turns up, unannounced.

Realising that they’d always felt like outsiders at school, Tracy decides to boycott the reunion. But from then on the friends’ grasp on reality starts to unravel, and their best intentions for each other turn into traps.

An absurdist play about labels, personality and three friends desperate to define, and to change, their identity.

Cast Cast size: 3
Production details: /
Contact: Email: naomiobeng@gmail.com



Synopsis What You Do With The Dead Is You Bury Them is a play about resilience and our attempts to keep on living when the unimaginable happens.
Cast Cast size: 6

2 characters of any gender

2 Female

2 Male

Production details: /
Contact: Agent:

Alexandra Cory, Berlin Associates

7 Tyers Gate

London SE1 3HX

Tel: +44 (0)20 7632 5283



Synopsis WHEN THE SEA SWALLOWS US WHOLE is a play about teenage friendship and first love glittering amid the debris of coastal erosion in a town on the East Coast of England. It tells the story of best friends Mila (a caustic-tongued, 14-year-old girl, full of bravado) and Doll (a gentle boy, obsessed with big cats) who both struggle to be themselves in their shrinking town.  When impressive city girl Posy comes to Eastover to help her grandma move out of her teetering cliff-top bungalow, Mila promptly falls in love – and Doll begins to see a soft-footed puma stalking his hometown…
Cast Cast Size: 3

2 Female

1 Male

Production details: Had a successful 3-night run at VAULT Festival 2020 (nominated for VAULT Festival Origins Award for Outstanding New Work)
Contact: Email: natasha.c.collie@gmail.com



Synopsis “Er…once upon a time there was a werewolf.

Well don’t laugh!”


Bianca and Jasmine are climate activists who’ve been arrested just before taking part in a major action. They’ve been left in this room to piss about, get bored, play truth or dare, and make faces at the CCTV cameras. Bianca loves Afrofuturist stories, so: maybe they’re not here. Maybe they’re in a spaceship. Or better: in space, the void against their bare skin. But as they get deeper into the story, inconvenient questions keep coming to the surface. Like: how long will they be here, exactly? How did the cops know to arrest them BEFORE the action started? And – who put them in here?


White Tuesday is a play about the stories we tell ourselves, the stories we’re told, and the stories that set us free. Based on real events, it’s a dispatch from the heart of the contemporary British far left.

Cast Cast size: 2

2 Female

Production details: /
Contact: Agent email: jessicastewart@independenttalent.com


WILDING by Jessica Norman

Synopsis When 15-year-old Max moves to the countryside with her mum Diana to open a B’n’B in a dilapidated and isolated old house, she thinks her life is over. That’s until she meets Cassie – a child of the wild – who opens Max’s eyes and senses to a world of natural wonder she has never experienced before. But Cassie is not all she appears and, as the weeds steadily creep in, Cassie starts to get between Max and Diana, digging up a past that they both want to keep buried.

Coming of age, loss and the wild collide in this story of a mother and daughter looking for healing in the natural world. But as destruction is never far away, can they heal before it’s too late?

Cast Cast Size: 3

3 Female

Production details: /
Contact: Email: jessicarosenorman@gmail.com / www.jessicarosenorman.com

Thank you and well done to all who entered