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Plays & Pastries

Plays and Pastries are designed to connect writers with directors, actors, with free dramaturgical support from professional and emerging dramaturgs.
 

Parties are held bi-monthly, at a private residence. We are currently accepting playwrights and actors into the next set of sessions starting September 2024 - May 2025.

To sign up, click the button below and introduce yourself.

Upcoming Parties

More Facts!

Here are some quick facts about the events:
 

  1. Events take place in a private residence, no invited guests are permitted, and it is not a public reading event.

  2. Playwrights are required to bring hard or soft copies of their script the day of the reading as well as a lunch item to share. Scripts are not shared ahead of the reading with actors.

  3. Actors are not invited based on the casting requirements of the plays being read that day. This is because all actors are welcome to read at any of the events. Since this is a community event that is all volunteer run, we do not un-invite people based on casting requirements (because that's uncool!)

  4.  Actors are given specific guidelines in how to give their feedback. Actors that do not follow the guidelines, are not invited back. This is to keep playwrights feeling safe in sharing their work, and keeps all the feedback predictable in form.

  5. Depending on the length of a script, only 1-2 plays are accepted per party, and then a wait-list is built for subsequent events.

  6. Parties are from 10-2 pm always on a Saturday or Sunday.

  7. Is this free? - YES (minus you bringing food) - the intention is to build community and network in a "low-stakes/ no-stakes" environment. Actors get to know playwrights, and vice versa. Invited guests often have many hats. Everyone in the room is someone that will most likely do casting in the future.

Vishesh Abeyratne

Plays n' Pastries has been, for me as a writer, an experience that proved to be both delightful and instructive. Chelsey has formed a grass-roots laboratory which serves to foment the creation of challenging new works of drama in an informal and nurturing environment that fosters astute dramaturgical critique. Any playwright with a script in its infancy would benefit from being a part of this network.

Guy Newsham

I am very lucky to have been linked up with Chelsey early in my playwriting career.  With her always constructive and generous dramaturgy, she provided me with key guidance and insights that I have since referred to in script after script.  When I first met Chelsey I had two productions to my name, five years later I have more than 90 productions and prizes, and I’m sure I could not have progressed without the confidence she gave me in my ability to write for the stage.
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