oneACTS Festival

Every two years, the cornerHOUSE brings together a selection of exciting, innovative oneACT new plays to be performed on the cornerHOUSE stage across an incredible week!

The next festival performances will be from 18th to 23rd May 2026, and there will be two different programmes of selected plays running on alternate days.

We will shortly be announcing the Calls for directors and actors.

All writers/directors/producers/actors and those interested in being part of the crew should email cornerhouseoneacts@gmail.com

TERMS & CONDITIONS

Only people living in the UK are eligible to enter their play or plays into the oneACTS.
The plays we receive must be written by the person submitting them and must not have been previously performed.
A playwright may submit a maximum of two plays. If more are submitted, only the first two received will be accepted as eligible for judging.
All plays for oneACTS 2026 must be submitted by email to cornerhouseoneacts@gmail.com
The closing date for submissions is Friday, October 31, 2025.
Plays should be between 15 and 30 minutes long. Reading it out loud is the best way to time it.
Have a sensible cast size of no more than six (the fewer the better).
Technical (Lighting/sound) requirements need to be within reason as the plays will share evenings with other shows.
There should be a minimal set. Preference will be given to plays which facilitate speedy set changes.
All contact details/identifying marks will be removed before plays are read by the judging panel, so they have no idea who has written what until after the final decision has been reached.
Each play will be read by at least two judges, and every writer will receive feedback, irrespective of whether their play has been selected.

1) Scripts should be sent by email to cornerhouseoneacts@gmail.com

2) Do not send us your first draft. Reading it out loud – especially with at least one other person – and fixing, amending, redrafting – is one of the best ways to improve your script.

3) No name or contact details should be on the play itself. Put your play’s title as the subject of your email, and then add your name…. eg The Tempest by William Shakespeare. Your name should also be on the covering email on which you should include the title of the play, your full name, address and the best phone number to contact you on.

4) Submit your play as a Word document attached to your covering email. Pdfs will only be accepted if all identifying names and details are removed, the layout is clean and clear and there are no illustrations.

5) On the play itself, you should head it with the title, a one paragraph synopsis, a character list with brief descriptions and an estimated running time.

6) Also when you list your cast, state if the characters are male or female. Sometimes judges cannot tell by a name. If it doesn’t matter which sex they are, state M/F next to the name.

7) Please state if any of your characters can double up on your cast list. There is a high demand for actors in the festival because of the number of plays involved, so if there is the option of any of the actors playing more than one character it could give your play the edge over those that do not have that option.

8) State ENDS at the end of your play. Sometimes it might not be obvious when a play finishes – especially if it ends in a cliffhanger. This will tell us that we have received every page of your email.

9) If you are submitting more than one play, you must submit each play on separate emails following the same process outlined above.

10) Your play, if selected, may be photographed and filmed for our publicity and archive purposes and as a memento for cast, crew and for you.

When a play is accepted, from then on it is in the hands of a director who will follow the script and what he/she takes to be the writer’s intentions as far as possible. However staging a drama that works will always be the director’s first priority. Writers will be invited to be present for at least one rehearsal as an observer – unless asked for their opinion. However they retain the right to be consulted over any significant changes to the script. But what is finally seen on stage is the result of teamwork between the director, the actors and the stage crew and tech.
If selected, your play will be staged – subject to casting. Although we have a lot of people auditioning for the festival, we may not find the actors – under our open audition process – who are the right gender and age for your play – or who have the ability to take on certain parts. We would rather stage our first selected plays than go to our reserve list, so we may change the gender of a character or the age of a character if we have an actor available who we feel would be good in a particular role – and if we feel that this would not have an adverse effect on – or make a big difference to – the play. Obviously we will then have to modify the script to take into account a change of gender/age.

Writers are welcome to volunteer to direct, however they will be encouraged to direct a play other than their own. Preference will be given to ‘non-writer’ directors.
Selected directors will read the selected plays and state a preference in order from one to nine or however many plays are being staged.
The oA producer will then decide, based on these choices, who directs which play.
Roles will be cast by the oA producer, taking into account, where possible, the directors preferences, following the auditions.
Directors should attend the open auditions. If you are unable to attend for some unforeseen reason the oA producer will cast the play for you.
If a cast member drops out, then the director must go back to the oA producer to discuss a replacement actor. A new cast member can only be chosen by the director in agreement with the oA producer and with their prior knowledge.
Directors must notify the oA producer of any period during which they may be unavailable between the ‘rehearsals start’ and ‘get out’ dates. They should do this when they are informed by the oA producer that they have been selected to direct at the festival.
Directors will be encouraged to work with an assistant.
Mentors may be appointed by the oA producer to oversee plays and help with any problems/issues which may arise.
Directors are expected to keep the oA producer informed should any problems arise or if any issues are foreseen.
No filming or photographs of your show, other than by a cornerHOUSE appointed person, can be permitted without prior consent of the oA producer.
If there is any cost involved in staging the production eg props/costumes etc, the director must clear this first with the oA producer before they buy/hire any props/equipment etc. There will be no reimbursement of monies if the panel does not feel the outlay is merited and sanction it first. Basically it needs to be approved by the panel before there is any financial outlay.
Code of conduct – what we expect of you: Directors are asked to stay as closely to the scripts as possible. If a director wants to make changes to a script because of gender/age/staging issues, he or she needs to discuss them beforethey are made with the oA producer. The changes may or may not be approved or other solutions may be found. If the oA producer does not agree with the changes that the director wants to make, a new director for the play may be found – or if the staging issues are too complex, another play on the reserve list may be found to put in its place.
Directors will be responsible for ensuring the cornerHOUSE is returned to the state they found it in following any use of the premises by themselves or their cast.
Directors are responsible for acquiring, returning or disposing of any furniture and props they use, and are encouraged to use the furniture and prop items already available within the cornerHOUSE.

All auditions will be open and will be for all selected plays. There will be two audition dates in February 2026 – one on Thursday, February 12, 2026 at 7pm and the other on Saturday, February 14, 2026 at 2pm. You only need to attend one of these auditions. Please be prompt as you will need to register your details.
Actors must be prepared to audition for all plays and all roles, synopsis/details will be provided. However they can express a preference (eg comedic/serious and large/small role) for a certain type of role which will be considered when casting but cannot be guaranteed.
Auditions will be in workshop form, allowing all actors to audition fairly and equally.
U17s can audition on the proviso that if they are cast a parent/guardian must accompany them to rehearsals to chaperone them and be their chaperone at performances.
Actors must notify the oA producer of any period during which they may be unavailable between the ‘rehearsals start’ and ‘get out’ dates when they come to the auditions. A form will be provided at the auditions for you to provide basic information as well as information on your availability and contact details.
If you perform in a oneACT it is on the understanding that the show may be photographed and filmed for our publicity and archive purposes and as a memento for cast, directors, crew and writers. However, the photographs/videos/DVDs if applicable must not be copied or distributed through any other medium such as Facebook, YouTube etc.
Directors will be given an opportunity to express preferences for actors to the oA producer.
Casting will be in the hands of the oA producer – their decision is final.
As the festival is very much about teamwork and supporting each other, we would like anyone involved in a oneACT to clear the decks for the week and be available to help out backstage or front of house on the nights your show isn’t on to support your colleagues in the other plays.
oneACTERS are also asked to assist in helping to clear the auditorium after the final show on the Saturday, and to help to complete the “get out” the day after the final performance.

A rehearsal schedule will be prepared to allow everyone the opportunity to rehearse on the main stage at least once a week if required. Other rehearsals will be in other spaces within the building or may be convened by the director in an alternative venue.
Reimbursement of any costs incurred by a oneACT play is only available in certain circumstances and only by prior agreement with the oA producer.
Anyone taking part in the oneACTS does so on the understanding that the plays may be photographed and filmed for our publicity and archive purposes and as a memento for those taking part. However the photographs/videos/DVDs must not be copied or distributed through any other medium such as Facebook, YouTube etc.

oneacts festival

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