What does Penguin's play curation process look like?

Penguin strives to design programming that centers visceral storytelling, bringing scripts to life that allow and often require our artists to reach the limitation of their instruments. These are funny, timely, moving stories that belong in teens’ bodies, whether or not the stories have been told by teens in the past. I always ask myself these five key questions when reading a script for Penguin:

  • Why this story?
  • Why now?
  • Why is it important to be told by and for Penguin’s community?
  • How does the show utilize theatricality to support the story it tells?
    • Will this be a fun and empowering show to perform/produce?

    Are you an artist over the age of 13 interested in directing at Penguin? Great! We try to have our youth directors (ages 13-22) assistant direct projects or direct for one of our short play festivals before taking on a full production, so keep your eye out for opportunities to do so. That said, please do not hesitate to reach out and pitch a show. When looking for plays to pitch, I recommend reading some of the scripts that we have produced in the past (I recommend starting with Hand to God, Metamorphoses, or The Effect). That said, Penguin is constantly evolving, so do not limit your choices based on what we have already done. Here are a few titles worth reading that we would love to consider producing in the future:

    • The Secret in the Wings by Mary Zimmerman
    • The Pillowman by Martin McDonagh
    • Gloria by Branden Jacobs-Jenkins
    • One Man, Two Guvnors by Richard Bean
    • The Thanksgiving Play by Larissa FastHorse
    • The Laramie Project by Moisés Kaufman and members of the Tectonic Theater Project
    • Speech and Debate by Stephen Karam
    • Sensitive Guys by MJ Kaufman
    • The Winter’s Tale by William Shakespeare (note: if you’re pitching Shakespeare or anything else that is frequently produced, you need a clear explanation for what will make your production unique! It doesn’t need to be Hamlet in outer space – in fact, please do not pitch Hamlet in outer space unless you have a really good reason for it – but there should be some layer of interpretation in your mind from the start)
    • Art by Yasmina Reza

    One of my primary goals as Producing Artistic Director is to make the directing process as accessible as possible. Email me at penguinproductionsleadership@gmail.com if you would like to pitch a show (on that list or something completely different that you’ve read/seen), or reach out about directing without a project in mind. You are also more than welcome to reach out if you are having trouble finding any of these scripts. I look forward to connecting with you!

    – Kyle Gerstel, Producing Artistic Director

    Values and Responsibilities Statement

    Our directors and stage managers are responsible for cultivating Penguin’s culture within each project. Penguin directors:

    • Articulate their vision with clarity and patience
    • Actively work to amplify the ideas of collaborators
    • Uphold Penguin’s artistic standards (constantly seeking answers to the five key questions listed above)
    • Strive to reach the limitation of their instrument and hold all artists to the same standard

    Penguin directors and stage managers:

    • Prioritize the growth of artists on the artists’ terms, encouraging artists to advocate for themselves
    • Stay present in our creative spaces, recognizing that their attitude is contagious
    • Work to serve the needs of each individual artist
    • Cultivate an environment in which everyone involved feels and is valued
    • Clearly communicate information with youth and families
    • Communicate with Penguin staff in a transparent and collaborative style, unafraid to seek help from producers and mentors
    • Support recruitment and promotion