Living Room Series





Now in its 26th year, The Living Room Series is a New Play Development program, which embodies The Blank’s commitment to developing new work by diverse voices from both established and emerging writers. Submissions by women, playwrights of color, and other under-represented voices are strongly encouraged. The Blank is firmly committed to supporting gender parity and diversity.

The Living Room Series (LRS) takes place on Monday evenings at the 2nd Stage Theatre in Hollywood between Labor Day and Memorial Day. LRS offers a week-long rehearsal process for the playwright, director, and actors to explore and refine the play before presenting it to an audience.

The performances are minimally staged, with actors carrying scripts, and are a wonderful opportunity for the playwright to get a sense of the play’s full potential.




All performances begin at 8:00pm and take place at
The Blank’s 2nd Stage Theatre
6500 Santa Monica Blvd, Hollywood
unless otherwise noted.

For reservations click on the button below each play description.

You have the option to donate ahead of time with a credit card.  Every donation counts for both your taxes and our theatre magic.

Don’t fret, you can still make a reservation online and pay cash at the door or nothing at all. We just want you there to see a new play!




Monday April 30th
Written by Gina Femia
Directed by Laura Stribling

Annie is anorexic and Tiny is obese. They’re best friends, Brooklynites through and through, and they need (and feed) each other in the best (and worst) ways. But when they each embark on new romantic relationships, will the ties that bind them break or grow stronger?

Jae Youn Chung, Kidane Kelati, Martin Morales, Kara Song Wang

Writer Bio
Gina Femia’s plays include The Mermaids’ Parade (Semifinalist, The Relentless Award; Finalist, Princess Grace Award), Annie and the Fat Man (Finalist, Leah Ryan Prize for Emerging Playwrights; Honorable Mention The Kilroys), ALLOND(R)A (Finalist, American Blue Ink Playwriting Award), Super, or, How Clark Graves Learned to Fly (Semi-finalist, The O’Neill and The Princess Grace Award), For The Love Of (World Premiere: Pride Films & Plays), and The Violet Sisters (Great Plains Theatre Conference). For The Love Of receives its West Coast Premiere at Theatre of NOTE opening April 26th.

She is an Alum of EST Youngblood, Pipeline Theatre’s PlayLab and New Georges’ Audrey Residency (Accidental Burlesque) and has received a commission from Retro Theatre Productions (We Are a Masterpiece). She has received residencies with NTI at the O’Neill, SPACE on Ryder Farm, Fresh Ground Pepper and Grin City Collective and has been nominated for the Doric Wilson Award and the Cherry Lane Theatre Mentor Project. MFA, Sarah Lawrence College (Lipkin Prize in Playwriting).



Monday May 7th
Written by Tira Palmquist
Directed by Miranda Stewart

The day Grandpa Gunnar’s funeral, Carl Sorenson is looking for an inheritance in the boxes and detritus of Gunnar’s house. As an out-of-work taconite miner, inheriting the house would provide a windfall for his life with his fiancé, Jamie. Carl didn’t know that his aunt plans to sell the house, and while she is busy packing up the house, Carl attempts to locate his grandfather’s will.

As Carl digs through the boxes, he is forced to confront his family’s legacy of anger and violence that, despite his best efforts, he seems to have inherited. When Carl and Sam discover evidence of a murder in their family tree, this news shakes them. With this discovery, Carl confronts his own ghosts, and is undone by what he has learned. It seems, to Carl, in this very dark moment, that there is only one way to end this legacy.

Writer Bio
TIRA PALMQUIST’s plays include The Way North, Overburden, Two Degrees (Denver Center), And Then They Fell (MadLab Theater, Brimmer Street), Ten Mile Lake (Serenbe Playhouse), Age of Bees (MadLab Theater, Tesseract) and This Floating World. Two Degrees premiered in the Denver Center’s 2016/17 Season and was listed in the 2016 Kilroys Honorable Mention List. Ten Mile Lake was a finalist for the 2015 Primus Prize. She has directed and dramaturged at Seven Devils Playwrights Conference and the New Territories Playwriting Residency, a program she developed with Brian Clowdus at Serenbe Playhouse. More info at



Monday May 14th
Written by Judith Leora
Directed by Judith Moreland

After a smaller, female-owned advertising agency with a firm footing in the black community and markets is bought by a larger agency, the fiercely ambitious female employees who must now work together discover just how high the barriers of privilege, racism and misogyny are, and begin to feel the ways in which they drive them apart from one another. As the women scramble to find their place within the new corporate landscape, they find they must choose where their ultimate loyalties lie.

Writer Bio
Judith Leora began her career writing sketch, animation, television pilots and screenplays. As a playwright, recent productions include: Elijah (Bristol Valley Theatre, 2017) Gideon (Ego Actus/Paradise Theatre, NYC, 2016), The Cookie Fight (Bristol Valley Theatre, 2016). Recent readings: Showpony (Capital Rep, Albany, NY), The X and the Y (BVT Reading Series), The Cookie Fight (Last Frontier Theatre Conference), Heart-Shaped Uterus (MadLab Readings, NY Madness). Robert Askins Playwriting Fellow/Lone Star Theatre; Elijah (Semi-finalist, O’Neill). Webseries: #GoingHomeless currently in post-production. Judith is a Founding Member of NY Madness and is now the Executive Director. Recent short form projects: One Minute Play Festival: Indie Theater edition (New Ohio Theatre) – 5x; Weird About the Baby/NYC Icon Plays (Ego Actus Productions); Artisnal Jar (brain melt consortium) Where We Ended Up (Sticky); Crying in Nigeria, Pussyfest Redux, Caplocks Theatre. M.A. (Playwriting): Texas A&M University (Charles Gordone, Mentor) – Graduate Playwriting Award.





The submission period for the 2017-18 season has ended.


  • Submission must be full-length (we regret that one-acts or ten-minutes will not be considered at this time).
  • Submission must not have received a full production. Submissions that have received full productions, even if they have undergone significant post-production revisions, will not be considered. The Blank considers staged readings and academic productions exceptions to this rule.
  • Playwright may only submit one script per submission period.
  • If a script was declined for a prior season, please note what significant revisions have been made (in your Artistic Statement).
  • Materials must be submitted as PDFs. For information on how to create a pdf, please visit: