CAREERS AT DCPA
Working at the Denver Center for the Performing Arts is working with a passionate group of artists, professionals and theatre lovers to create unforgettable experiences for everyone in our local and national communities.
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Our job openings include permanent and seasonal positions, internships, and audition notices. We are a not-for-profit organization and an Equal Opportunity Employer.
Applications are accepted for current openings only. We do not accept unsolicited resumes. No phone calls, please.
OUR MISSION
We engage and inspire through the transformative power of live theatre.
OUR VISION
The DCPA will be the most inspiring and engaging theatre organization in the nation.
Denver Center 2022/23 Season Auditions
Denver Center for the Performing Arts | Denver, CO
SEEKING
Performers for a variety of roles for the 2022-2023 season.
CONTRACT(S)
LORT Non-Rep,
LORT B & D Minimums – $1008 week
DCPA Theatre Company pays above LORT B minimums across all its stages
PREPARATION
Two contrasting monologues. Singers should prepare a song from a musical standard and may forgo one monologue in lieu of song. Total audition package should be no longer than 3 minutes (singers may forgo a monologue in lieu of song). An accompanist will be provided for in-person auditions and accompaniment track/sheet music of DCPA’s choosing can be provided if actor does not have access to their own accompaniment for video auditions.
Actors will be asked to submit digital copies of their headshot and resume along with their Equity card number (for AEA members) at time of sign-up.
EQUITY AUDITION DATES
Denver Local Auditions (In-Person)
Monday, May 9th and Wednesday, May 11th
National Auditions (Video submission only)
Wednesday, May 11th
NON-EQUITY AUDITION DATES
Denver Local Auditions (In-Person)
Friday, May 6th and Saturday, May 7th
10:00AM (MST) – 6:00PM (MST)
Lunch: 1:00PM – 2:00PM
APPOINTMENTS
Beginning at 10am (MST) on Monday, April 25th, performers will request an audition appointment by clicking a link on this webpage. Auditions will be given on a first come, first serve basis- date and time requests may not be granted. Appointments will be assigned during regular business hours- please allow a 48 hour response time after sign up.
Local Auditions | Denver, CO
Local Equity and Non-Equity auditions were held in May. Check back for audition opportunities.
NATIONAL AUDITIONS
LOCATION
National auditions will be by video submission only. Denver auditions will take place on the DCPA Campus, in-person. Audition details will be sent once an audition is requested or an appointment is confirmed.
PERSONNEL
Grady Soapes (he/him), CSA- DCPA Director of Casting
OTHER DATES
Audition dates will be added to the Productions and Character Descriptions below when available.
OTHER
No stage management positions available.
www.denvercenter.org
EPA Procedures are in effect for this audition.
Performers will receive an email confirmation with audition details and a 30 minute window in which their appointment will take place. We will be seeing 10 actors per 30 minute window, so a 3 minute audition package length will be strictly enforced.
Equity audition dates are for members only and will be expected to enter their Equity card number at sign-up for proof of membership.
Equity’s contracts prohibit discrimination. Equity is committed to diversity and encourages all its employers to engage in a policy of equal employment opportunity designed to promote a positive model of inclusion. As such, Equity encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend every audition.
DCPA is only accepting video submissions for our National EPA auditions per Equity requirement
Denver Center for the Performing Arts Casting Statement
The Denver Center intends to lead all decisions from selecting each play to the final bow, with empathy and respect. We acknowledge that race, gender, ethnicity and physical abilities of the actors on stage have meaning and we want to be mindful of that throughout our practices. Our casting process will be led with thoughtfulness and appreciation of the artists we encounter and any level of discrimination will not be tolerated. We do not want to assume that the space you are entering or have entered is fully inclusive of your needs, but instead want to create an environment and expand our conditions that allows for your multi-faceted personhood to thrive and feel welcome.
2022/2023 Productions and Character Descriptions
Additional casting opportunities will be posted soon.
LITTLE RED – A New Musical!
Theatre for Young Audiences (TYA) Contract
Book, Lyrics and Music by Chad Henry
Director: Allison Watrous
The Randy Weeks Conservatory Theatre
FIRST REHEARSAL: October 5th, 2022
FIRST PREVIEW: October 28th, 2022
OPENING: November 2nd, 2022
CLOSING: December 18th, 2022
For all roles: this is authentic theatre storytelling for young audiences and their families- focused on PreK-3rd grade. The company of actors will reflect the diversity of our young audience members and their authentic engagement with the world. This production values the experience of childhood, curiosity, youth empowerment, joyful and truthful storytelling.
Actor 1: F. Single role: Little Red.
(Female, any ethnicity, 20s to 30s)
Strong mover with good dance skills
Vocal: belt to soprano and/or strong musicality
An every-girl, authentic (no snark or apathy), joyful, expressive, physical, a critical thinker who delights in building friendships and solving problems. Red is a child of the outdoors – in this case, the woods.
Actor 2: Multi-role: Mother, Grandmother, a Pig, Gretel
(Female, any ethnicity, mid 30s to mid 40s)
Strong dancer – musical theatre/jazz and any other style discipline
Vocal: soprano to alto – adult voice able to vary based on characters
Authentic, independent, supportive, adult figure – independent female households, bolsters their child/grandchild and sees her potential. Mother is less a character and more a role model while Grandmother could be a bit more of a character. Pig and Gretel are fairy-tale characters and require their own strong and vibrant physicality and playfulness. All characters: energy forward
Actor 3: Multi-role: Boy Who Cried Wolf (aka Shep or Shepherd Boy), a Pig, Woodcutter, Hansel
(Male identifying, any ethnicity, 30s to mid 40s)
Vocal: Baritone or tenor – adult voice able to vary based on characters
Strong dancer – musical theatre/jazz and any other style discipline
Authentic, independent, supportive, adult figure. Woodcutter is less a character and more of a role model while the other characters are fairy-tale characters and require their own strong and physicality and playfulness. All characters: energy forward.
Actor 4: Multi-role: Wolf, Pig.
(Male, any ethnicity, 20s to 30)
Vocal: High Baritone or 2nd Tenor – young adult voice able to vary based on characters
Strong dancer – musical theatre/jazz and any other style discipline
Very strong comedic skills – (based in charm and technique rather than sass) complimented by physicality and an authentic sense of discovery. This non-traditional version of the Wolf faces his own struggles with habitat and food resources and so must (joyfully) adapt to the circumstances he finds himself in. Eventually a friend to Red, he is never a physical threat but a performer with physicality that suggests a strong animal of the woods in compliment to Red’s a child of the woods is ideal. Character choices are never menacing, evil, snarky, or manipulative. Pig is a fairy-tale character and requires a strong and vibrant physicality and playfulness. All characters: energy forward.
**This production will be understudied**
A CHRISTMAS CAROL
Playwright: Charles Dickens, Adapted by Richard Hellesen
Director: Anthony Powell
Choreographer: Grady Soapes
Music Director: TBD
LORT B Contract
Wolf Theatre
FIRST REHEARSAL: October 18th 2022
FIRST PREVIEW: November 18th 2022
OPENING: November 25th 2022
CLOSING: December 24th 2022
EBENEZER SCROOGE – (Male, any ethnicity, mid-50’s to 60’s) Driven by greed and resentment, Ebenezer Scrooge is a man who has locked himself away from the world. Past disappointments have hardened into icy intolerance for anyone or anything that threatens his personal status quo. Flinty, tight-fisted and “solitary as an oyster,” Scrooge fears change above all else – but when it finally comes, this misanthropic miser transforms overnight into the man he was born to be: generous, affectionate, and alive with childlike wonder.
BOB CRATCHIT – (Male, any ethnicity, 30’s to early 40’s) Scrooge’s underpaid and overworked clerk. Good-hearted, caring and kind, Bob Cratchit just can’t help but wear his heart on his sleeve. He’s reticent in public, boisterous at home, and always does his best to stay positive – even when sickness and financial instability threaten the well-being of his beloved family.
FIRST SUBSCRIPTION GENTLEMAN / DICK WILKINS / THE UNDERTAKER’S MAN– (Male, any ethnicity, 20’s) The First Gentleman is an up-and-coming businessman collecting donations for the poor of London; he’s never encountered anyone like Scrooge before. Dick Wilkins is young Ebenezer’s best friend, outgoing and confident. The Undertaker’s Man is a weaselly punk who sells the belongings of dead people on the cheap.
FEZZIWIG / SECOND SUBSCRIPTION GENTLEMAN / OLD JOE – (Male, any ethnicity, 40’s to early 50’s) Mr. Fezziwig is Scrooge’s first employer, a man who knows how to make money and spend it for the benefit of others. He’s sprightly, exuberant, and more than a little zany – a whirling dervish whose dearest wish is to make everyone around him happy. The Second Gentleman is another philanthropic businessman raising money for the underprivileged; he really doesn’t want to let Scrooge off the hook. Old Joe is a lowlife fence for stolen goods. He’s funny and fond of putting on airs – but still plenty dangerous.
FRED / THE FIDDLER– (Male, any ethnicity, mid to late 20’s) Fred is Scrooge’s nephew, a young professional with the proverbial heart of gold. He’s optimistic, cheerful, and a bit mischievous. Despite everything, Fred has great compassion for his difficult Uncle, and that same sense of empathy extends outward into the world at large. The Fiddler is a jovial sort who keeps things hopping every year at the Fezziwigs’ annual Christmas party.
GHOST OF JACOB MARLEY / FRED’S PARTY GUEST – (Male, any ethnicity, 40’s) Jacob Marley is Scrooge’s former business partner, seven years dead and hungry for redemption. He’s possessed by sadness, rage and deep regret for a life horribly misspent. He also happens to be scary as hell – and an ironist of the first rank. Fred’s Party Guest is a friend of Fred’s from work, amiable and down-to-earth.
GHOST OF CHRISTMAS PRESENT / SCHOOLMASTER / BELLE’S HUSBAND– (Male, any ethnicity, 40’s) The Ghost of Christmas Present is a big, bountiful spirit – jolly and wise by turns, he’s the very embodiment of goodwill. Christmas Present is a commanding, larger-than-life figure, but love and sympathy for humankind suffuse his every word and gesture. The Schoolmaster appears in one of Scrooge’s bittersweet childhood memories, and Belle’s Husband is a thoughtful fellow who understands the true depths of Scrooge’s loneliness.
EBENEZER AS A YOUNG MAN / GHOST OF CHRISTMAS YET TO COME – (Male, any ethnicity, 20’s) In most things, Young Ebenezer is the polar opposite of his older self: he’s passionate, romantic, and open to new experience. The world is an exciting place for him, and Ebenezer envisions a bright future ahead. He’s deeply in love with his fiancé, Belle, but the desperate importance Ebenezer attaches to worldly success eventually spells doom for their relationship. The Ghost of Christmas Yet to Come is a dark and looming phantom capable of great eloquence – despite the stony silence it maintains.
PETER CRATCHIT / SUITOR #1 – (Male, any ethnicity, late teens) – The Cratchits’ oldest son Peter is earnest and attentive. He can be playful, too, but tries hard to be the man of the house when Bob is away. Suitor #1 is the youngest (and most awkward) of three young gentlemen paying court to the Fezziwig daughters.
TOPPER / SUITOR #2 – (Male, any ethnicity, 20’s to early 30’s) Topper is one of Fred’s good chums, a somewhat rowdy bachelor with an eye for the ladies. He’s high-spirited and fun to be around. Suitor #2 is another irrepressible admirer of the three Miss Fezziwigs.
MALE DEBTOR / SUITOR #3 – (Male, any ethnicity, 20’s to early 30’s) The Male Debtor is an impoverished young husband anguished at the thought of going to prison. He’s vulnerable and very nearly at the end of his rope. Suitor #3 is the final member of that romantic trio enthralled by the Fezziwig girls.
OLDER BELLE / STREET SINGER / FEZZIWIG DAUGHTER #1 / FRED’S PARTY GUEST– (Female, any ethnicity, 20’s to early 30’s) Just as sweet and full of grace as her younger self, Older Belle is now happily married, but saddened at the thought of Scrooge being so alone in the world. The Street Singer is a charismatic and lovely-voiced young woman who first ushers us into the world of A Christmas Carol. Fezziwig Daughter # 1 is a heartbreaker, beaming and flirtatious. Fred’s Party Guest is in attendance with her husband. She’s a genial person with a nicely tart sense of humor.
MRS. CRATCHIT – (Female, any ethnicity, 30’s to early 40’s) Bob’s supportive wife and the loving mother to their children, Mrs. Cratchit is adored by her family. She’s generous and hopeful by nature, but also determined and realistic. In tough times, she’s the pillar of strength that keeps all of the Cratchits going. She can also read her husband Bob like a book.
THE GHOST OF CHRISTMAS PAST/ FEMALE DEBTOR – (Female, any ethnicity, 20’s to early 30’s) A benevolent spirit who seems either very, very young or very, very old, The Ghost of Christmas Past is an ethereal being made almost entirely of light. She’s compassionate, humorous, and so outwardly gentle with Scrooge that one might not notice the fierce determination which underlies her every action. The Female Debtor has been so worn down by poverty and the threat of imprisonment that she becomes almost unglued at the mention of a possible reprieve.
MARTHA CRATCHIT / MAID #1 / FEZZIWIG DAUGHTER #2 – (Female, any ethnicity, late teens to early 20’s) Martha Cratchit is the eldest Cratchit child, industrious, cheerful, and full of tenderness towards her family. Just like her mother, Martha is someone who can always be depended upon. Maid #1 is among the many Londoners who help narrate the story. She’s perhaps a little flip about Scrooge and his ugly old house. Fezziwig Daughter #2 is the youngest of the Fezziwig Girls, vivacious and fun-loving.
BELLE / MAID #2 / THE WIFE’S SISTER (Female, any ethnicity, 20’s) Belle is a smart, caring, charming young shopgirl – and the only love of Scrooge’s life. She’s also forthright and strong enough to walk away from her engagement to Scrooge once his passion for money becomes overpowering. Maid #2 is another Londoner who helps tell our story. She’s a bit unnerved by the thought of Scrooge and his gloomy suite of rooms. The Wife’s Sister is one of the guests at Fred’s holiday party. She’s got something going on with Topper, and it makes her deliriously happy.
MRS. FEZZIWIG / CHARWOMAN – (Female, any ethnicity, late 30’s to 40’s) Mrs. Fezziwig is a warm-hearted human being constantly on the lookout for ways to make other people happy. Energetic and expansive, she’s a big personality who seeks to turn every day into an excuse for joyous play. Mrs. Fezziwig loves singing and dancing – she more than matches her husband in sheer effervescence. The Charwoman is another one of the looters selling stolen merchandise to Old Joe. She’s crafty and pseudo-philosophical about life’s ups and downs.
FRED’S WIFE / FEZZIWIG DAUGHTER #3 / LAUNDRESS – (Female, any ethnicity, 20’s) Fred’s Wife is kind and welcoming (even to Scrooge!), and witty to boot. She’s quite convivial, but at the same time – nothing gets past her. Fezziwig Daughter # 3 is the eldest and most serious of these delightful siblings. The Laundress is another vulture who sells items once owned by the recently deceased. She fancies herself a savvy young woman of business.
**This production will be understudied**
LAUGHS IN SPANISH – WORLD PREMIERE
Playwright: Alexis Scheer
Director: Lisa Portes
LORT D Contract
Singleton Theatre
FIRST REHEARSAL: December 27th, 2022
FIRST PREVIEW: January 20th, 2023
OPENING: January 27th, 2023
CLOSING: March 5th, 2023
MARIANA / MARI – (Female, late 20s/Early 30s, Latina) An art gallery director. Ambitious, Uptight, Guarded. Mari is throwing her first big Art Basel event as the newly-appointed gallery director. But between her mother showing up unannounced, romance blooming with an old friend, and missing artwork, she’ll have to learn how to soften her grip on how things “should” be in order to make the night a success.
ESTELA – (Female, mid 50s, Latina) A movie star. Regal, charming, and beloved. Art Basel in Miami is the “it” place for celebrities to be seen, but Estela is really here to reconnect with her semi-estranged daughter, Mari.
CAROLINA / CARO – (Female, mid/Late 20s, Latina) A painter. Unconventional, Intuitive, Passionate. Caro is ready to revolutionize the art world with her work… until she gets some life-changing news that makes her question her priorities.
JUAN – (Male, late 20s/Early 30s, Latino) A Miami-Dade police officer. Warm, Goofy, Easy-going. Caro’s boyfriend who tries to prove himself through big romantic gestures (and grand larceny).
JENNY – (Female, late 20s/Early 30s, White) A personal assistant. Bubbly, Savvy, Romantic. Jenny is Estela’s assistant and, to Estela’s surprise, an old friend of Mari who now hopes to become more than friends.
**This production will not be understudied**
HOTTER THAN EGYPT
Playwright: Yussef El Guindi
Director: Chris Coleman
LORT D Contract
Kilstrom Theatre
FIRST REHEARSAL: January 10th, 2023
FIRST PREVIEW: February 10th, 2023
OPENING: February 17th, 2023
CLOSING: March 12th, 2023
PAUL: (American from the U.S., mid 50s to early 60s) A business man. there’s a certain level of certainty about the world that he perhaps wields with too much confidence. He’s essentially a good soul with opinions that can be abrasive.
SEIF: (Egyptian, late 20s to mid 30s) A tour guide. Charismatic, strong, but has to bite his tongue a lot if he wants to keep his job. An outward facing gene being ready to do battle. Seif is clearly more handicapped in his desire to improve his lot.
MAHA: (Egyptian, late 20s to mid 30s) Former tour guide, aspiring fashion designer. Also charismatic and strong, but much more frustrated by her lot than Seif. She is ready to change her life now, and feels Seif isn’t doing enough to make that happen.
JEAN: (American from the U.S., late 40s to early 60s) Formerly a stay-at-home mother. She’s felt she’s had to play a role in a marriage that’s lost its heart. There’s strength and endurance and an adventurousness that’s waiting to assert itself. Not a victim but a person who’s allowed herself to conform to other people’s expectations of her.
BOATMAN/ MUSEUM GUARD/ DOORMAN: Egyptians, any ages between 30s and 60s Boatman: serene, compassionate, friendly. Museum Guard: officious, overbearing. Doorman: Too nosey, a gossip, wanting to know other people’s business.
**This production will not be understudied**
THE COLOR PURPLE
Book: Marsha Norman
Music & Lyrics: Brenda Russell, Allee Willis, and Stephen Bray
Director: Timothy Douglas
Choreographer: Lady Dane Edidi Figueroa
Music Director: TBD
LORT B Contract
Wolf Theatre
FIRST REHEARSAL: February 28th, 2023
FIRST PREVIEW: March 31st, 2023
OPENING: April 7th, 2023
CLOSING: May 7th, 2023
Based on Alice Walker’s groundbreaking, Pulitzer Prize winning novel, and the recent John Doyle-streamlined Broadway revival, the story follows the trials and triumphs of Celie – a quiet woman warrior inside an oppressively male-dominated world. Anchored by of her unshakable devotion to sister Nettie; transformed by her unlikely bond with bluesy chanteuse Shug Avery, and grounded by her unwavering devotion to God, Celie’s is an inspired journey passionately forged by will and faith.
All Characters/ Ensemble Members are African-American, and uninhibited in their soulful expressions of self. These are country folk who shimmer with an eternally earthy and spiritual wisdom.
CELIE (Female, plays age 14 – 40s) A radiant survivor who triumphantly journeys through a life filled with soul-reckoning challenges and emotional/physical violence. She is buoyed by a rock-solid faith in God, love and devotion for her sister Nettie, as well as the intimacy-awakening bond that she develops with Shug Avery.
NETTIE – (Female, plays age 13 – 40) Celie’s sister, and her rock. Smart, driven, and protected by circumstance. Unwaveringly devoted to her sister, she is nonetheless torn apart from her, and goes on to realize a fulfilled life in Africa, which includes serving as caretaker to Celie’s ‘lost’ children, ultimately reuniting them with their mother.
PA – (Male, plays age 40s – 50s) A deeply embittered and irredeemable man and violent abuser. He is father to Celie & Nettie, as well as father to Celie’s two children whom he abducts from Celie and gives them away at birth.
MISTER (Male, plays age 30s – 50s) A deeply troubled man, as well as Celie’s husband and abuser. He is also the estranged love interest to Shug Avery for whom he still carries a torch. Eventually he is redeemed by a self-reckoning and atoning for his transgressions.
HARPO (Male, plays age 18 – 40s) Mister’s hapless son from his first marriage. Well intended, but often falls short due to exceedingly bad parenting by Mister. Falls deeply in love with – and is dominated by his wife Sophia, then later by his girlfriend Squeak. He eventually finds his firm footing and manhood soon after Mister’s transformation and the return of his beloved Sophia.
SOFIE (Female, plays age 20 – 40s) Harpo’s wife and Celie’s friend for life. A full-figured woman who possesses a giant personality, along with an equally expansive lust for life, and a proud sense of justice. A domineering pacifist who suffers no fools.
SHUG AVERY (Female, plays age 30s – 40s) A sultry siren and juke-joint performer who has seen better days. A former lover of Mister and a ‘good-time girl’, whose body, soul, and desire to love again is reawakened by Celie and the intimate bond they form with one another.
DARLENE / ENSEMBLE (Female, late teen) Church lady who serves as a Greek/Gospel chorus who comments on the events of Celie’s life throughout the journey.
DORIS / ENSEMBLE (Female, mature) Church lady who serves as a Greek/Gospel chorus who comments on the events of Celie’s life throughout the journey.
JARENE / ENSEMBLE (Female, 30s) Church lady who serves as a Greek/Gospel chorus who comments on the events of Celie’s life throughout the journey.
SQUEAK / ENSEMBLE (Female, 20s) Harpo’s devoted and fiercely protective girlfriend who serves as his great motivator. She possesses a voice that matches her name with mathematical exactness.
PREACHER / OL’ MISTER / ENSEMBLE (Male, 50s/60s) The soul-stirring minister of the church / Mister’s equally misguided and misogynist father.
BOBBY / GUARD / ENSEMBLE (Male, 20s) Celie’s handyman in her later life / the arch flunky responsible for tending to Sophia during her jail stay.
BUSTER / GRADY / ENSEMBLE (Male, 30s/40s) Sophia’s goodtime man with whom she takes up between her relationship stints with Harpo / Shug Avery’s husband whose love and devotion grounds her life and love.
ADAM / ENSEMBLE (Male, 20s) Celie’s son raised by Nettie in Africa and reunited with his mother late in the play.
OLIVIA / ENSEMBLE (Female, 20s) Celie’s daughter raised by Nettie in Africa and reunited with her mother late in the play.
**This production will be understudied**
THE 39 STEPS
Playwright: Patrick Barlow, based on the novel by John Buchan and the movie by Alfred Hitchcock
Director: Meredith McDonough
LORT D Contract
Singleton Theatre
FIRST REHEARSAL: March 14th, 2023
FIRST PREVIEW: April 14th, 2023
OPENING: April 21st, 2023
CLOSING: June 4th, 2023
RICHARD HANNAY– (30’s – 50’s, male identifying, any race or ethnicity) One half of the leading duo full of Hitchcock-esque dashing, charismatic charm and mystery. He is an inadvertent revolutionary and an everyman capable of using his great wit to outsmart with determination, cunning and vulnerability. Must have great physical endurance and superb comic timing. Looking for a team player bringing creative flair and ideas to the rehearsal room. A commanding standard-British dialect is required.
ANNABELLA SCHMIDT/PAMELA/MARGARET– (30’s – 40’s, female identifying, any race or ethnicity) One half of the leading duo who possess extraordinary physical, emotional and comedic flexibility. Looking for a team player bringing creative flair and ideas to the rehearsal room. Actress will play all three roles: ANNABELLA: a neurotic spy on the run from a pair who end up murdering her in a dramatic death. Sexy, desperate and mysterious – she knows she is marked. German accent required. PAMELA: a quintessential Hitchcock-esque leading lady, smart, quick-witted, powerful and dashing. English accent required. MARGARET: a small town Scottish maid married to an abusive farmer; she is please and be helpful, has big dreams, and has the strength to risk the consequences from her husband in following her heart. Scottish accent required.
CLOWNS– (30’s – 50’s, any gender identity, any race or ethnicity) Two extremely versatile character actor.. The clowns expertly execute 100+ roles ranging from High London to country people from Scotland with near Herculean athleticism and exceptional comedic timing. Looking for a team player, highly skilled in improv to generate ideas with wild imagination in the rehearsal room. Must be able to provide multiple dialects, whether actual or created.
*This production will not be understudied**
We offer internships to students and graduates for specific positions across our organization. If there are no current listings posted here, please do not apply. We do not accept unsolicited resumes. Check back soon for future internship opportunities.
PLAY SUBMISSIONS
The DCPA Theatre Company is currently taking a pause from reading new submissions, as we reimagine both our literary department and submissions process. We will update this page once a new process is determined.
In regards to former submissions, while DCPA Literary Staff would previously have ensured a six-month response time, due to the impact of Covid-19, please know that response time is currently indeterminate. We apologize for the inconvenience and thank you for your patience.
SUBMIT A PLAY
We accept unproduced original, full-length plays and musicals, which must be submitted by a literary agent. Playwrights residing in Colorado, Wyoming, Montana, Idaho, Arizona, New Mexico, or Utah may send plays directly without an agent. We have a special interest in plays written by and for diverse voices, plays written by women playwrights and we are also interested in plays written for young audiences. Adaptations will be considered if you have secured underlying rights. Scripts may be sent by email or mail without prior synopsis or dialogue samples.
SUBMIT PLAYS YEAR-ROUND TO:
Attn: New Play Development
DCPA Theatre Company
1101 13th St.
Denver, CO 80204-5319
PLAY SUBMISSIONS ALSO MAY BE SENT DIGITALLY TO:
While DCPA Literary Staff would previously have ensured a six-month response time, due to the impact of Covid-19, please know that response time is currently indeterminate. We apologize for the inconvenience and thank you for your patience.
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