The last four years have been a whirlwind of staged readings for me, and honestly, it’s been a total blessing. Most of that time has been dedicated to my play BARKLEE. Now, BARKLEE is a bit of a different animal—no pun intended (it’s about a Service Dog)—but it’s a perfect example of how a play grows through collaborative theatrical development.
It started in one of the absolute best workshops in New York City: The Actors Gym. If you know, you know. It’s the kind of environment where the work is raw, honest, and rigorous. From that very first cold reading at the Gym, I had Vincent Piazza in the lead. Vincent isn’t just a phenomenal actor and an amazing person on and off the stage; he’s got a track record that speaks for itself, currently starring in the hit show Tulsa King.
Having that kind of talent—and the foundation of a workshop like The Actors Gym—brings a specific gravity to a public staged reading. Over the years, we’ve built a dedicated audience around the assets of BARKLEE. People keep coming back because they want to see the evolution—they want to see the script rewrites and how we’re tackling hot-button issues like mental health, school acceptance, and the role of service dogs in contemporary society.
But here’s the reality for emerging playwrights: BARKLEE is the result of years of specific, focused development to build that “care factor.” For most new works, the road to a full-length audience is a steep climb.
The Power of the Collective: “Under the Umbrian Sun”
Recently, I produced a series that perfectly illustrated why the group showcase model beats the solo playwright reading nine times out of ten. This project, titled “Under the Umbrian Sun,” didn’t start in a dark basement in Manhattan—it began in the hills of Italy at La MaMa’s Umbria International Theatre.
Under the brilliant guidance of Pulitzer Prize finalist Dael Orlandersmith, a cohort of us developed new works centered on hope and the “danger in creation.” When it came time to bring these pieces back to New York City, we didn’t just go our separate ways. We banded together for a three-day reading series at the legendary La MaMa Galleria.
The series featured 12 playwrights, ten 15-minute excerpts, and four longer pieces. I was actually given the choice to take over all three sessions and do one long, stand-alone presentation of my own work. I was asked several times: “Why didn’t you just take the long slot?”
The answer is simple: I’ve learned the downside of the “long piece.” Even with the pedigree of a program like La MaMa Umbria, stand-alone plays need immense time and multiple readings to develop an audience that actually cares enough to sit through the whole thing. If you aren’t at that stage yet, the Series model is your best friend.
4 Reasons Why a Multi-Playwright Series Beats a Solo Reading
1. Building a Web Presence and Digital Assets
We aren’t just playwrights anymore; we’re our own marketing departments. In today’s world, if your play doesn’t exist online, it doesn’t exist to a producer. Having a dedicated playwright website—like what I’ve built with www.barkleetheplay.com—is vital. It’s where your “assets” live: your headshots, your actor bios, and your production history.
When you do a series like Under the Umbrian Sun, your digital reach explodes.
The Social Media Multiplier: If I run a social media ad campaign for a solo reading, I’m reaching my followers. If 12 playwrights all share and boost the same event, the algorithm finally starts working for us.
Search Engine Visibility: Multi-author events generate more backlinks and social signals, improving your SEO for playwrights rankings.
2. The “Tasting Menu” Strategy for Audience Engagement
Asking a stranger to commit 90 minutes to an unproduced script is a big ask. A series offers a “theatrical tasting menu.” By presenting a 15-minute excerpt, you give the audience the best of your voice without the fatigue.
3. Cross-Pollination of Theatre Audiences
With 12 other playwrights in the mix at La MaMa Galleria, we didn’t just have my followers in the seats. We had the networks of a dozen different creators. My work was exposed to people who came to see their friends and walked away asking about my project. That is how you expand your theatrical assets.
4. Strategic Resource and Cost Sharing
Theatrical production costs are skyrocketing. By grouping up, you share the burden. You can utilize a “company” of actors who double up across scripts, and you split the theatre marketing costs. Paying for social media advertising becomes a lot more manageable when you’re splitting the ad spend with several other writers.
The Next Step: From Series to One-Act Play Festival
I had such a blast getting the Umbrian Sun series off the ground that it sparked a new fire in me. The next step I want to tackle? A One-Act Play Festival. I’m looking at producing 6 to 8 great one-act plays, each produced by their playwright creators.
It’s the ultimate version of “Strength in Numbers.” We take the agency back into our own hands, we use our websites and social media advertising to build the hype, and we create an event that is undeniable.
The Bottom Line: If you have the chance to be part of a playwriting series or a collective reading... DO IT. Don’t let the ego of wanting a “solo night” get in the way of building a community. From the workshops at The Actors Gym to the stages of La MaMa, we move forward faster when we move together.
Keep writing, keep submitting, and I’ll see you at the theater.
— Tom
Good tips!
for more go to www.barkleetheplay.com