Submissions & proposals

OPEN FOR SUBMISSIONS
The following programmes and productions are currently open for submissions: 

 

POETRY & JAZZ – LOST & FOUND

– Submission deadline: Monday 6 January 2025
– Two performances out of these three dates: 12, 19 & 21 February 2025
– Rehearsals: TBD after the submission deadline. Dress rehearsal TBD on the basis of the performance dates.

What we are looking for:
– Poetry, monologues and songs on the theme of 'lost and found'. As usual, you can approach the theme from a postive or negative light. You could write about scientific discoveries, emotional insights, spiritual awakenings or archelogical finds. Or just about losing your keys. You could also lose weight, enthusiasm, your way or your mind.
– Pieces must be the performer's own work, or else they must have the rights holder's permission to perform
– The focus is on contemporary, 21st-century work

What is unlikely to be accepted:
– Shakespeare or other pieces with archaic language
– Anything that we’ve heard a million times before
– Song lyrics recited as poetry

Pls note: This is a recitation not a reading, so you will be expected to know your piece/s by heart.

How to submit: Please send your proposed texts/songs to This email address is being protected from spambots. You need JavaScript enabled to view it. by Monday 6 January 2025. The exact dates and times will be finalised once the programme has been finalised.

Questions: Please contant This email address is being protected from spambots. You need JavaScript enabled to view it. if you have any questions before submitting.

 

SHORT N SNAPPY #7 (an evening of short plays)

Script submission deadline: concepts by Monday 6 January 2025 (finished scripts by latest Sunday 26 January 2025)
– Auditions: 2 Februay 2025
– Performances: TBD 24 April– 3 May 2025

What we are looking for:
– Short plays of 5–20 minutes in length
– Minimal tech and staging requirements
– Small cast (1–4 actors, pref. max 3)

The theme for this production is "change/s". These changes could be small or large, physical, emotional, temporal, political ... or indeed whatever inspires you! Your submission can follow the theme as closely or loosely as you wish.

How to submit: Please send a deatailed concept for your play to This email address is being protected from spambots. You need JavaScript enabled to view it. by Monday 6 Janaury 2024. After your proposal is apporved, finished scripts must then been submitted by Sunday 26 January at the latest.

Please indicate who will be directing the play – either you or someone else. Also let us know if your submission would be already fully or partially pre-cast. NOTE: Scripts submitted without a named director are currently hightly unlikely to be produced at the moment, although you can still enquire.

  

FBP PRODUCTIONS AND CO-PRODUCTIONS (OPEN SUBMISSIONS)

Submission deadline:
Submissions are accepted all year round for any season, but for scheduling purposes:

– spring 2025 season (Jan–May) asap pref by 31 October 2024 (few slots remianing)
– summer 2025 season (Jun–Jul) pref by 31 January 2025
– autumn 2025 season (Aug–Dec) pref by 31 May 2025

What the FBP is primarily looking for atm
– full-length plays, one-act plays, short plays, sketches, performance poetry, spoken word, stand-up comedy
– new works written by people living in Finland
– new translations of Finnish or Fenno-Swedish plays into English
– contemporary, topical plays (21st Century)
– lesser-known, pre-21st Century plays that are still interesting and relevant to modern audiences
– innovative takes on classics (such as the KOM-teatteri’s recent version of Ibsen’s “The Doll’s House” or Simon Stephens’ “Vanya”)

What is less likely to be accepted as an FBP production
– pieces with archaic, difficult to understand language (remember that most audience members aren’t native English speakers!)
– traditional versions of classic or well-known plays that have already been done to death
– occasionally some exceptions to the above may be made for plays that are still certified crowd-pullers, specialised shows like the FBP's Naughty Shakespeare Evening, or an evening of classic or well-known poetry

Performance language
– pieces proposed for staging by the FBP must be in English (unless something is specially designed to be a multilingual show)

Queries and how to submit: Please send the basic details of your proposed production to This email address is being protected from spambots. You need JavaScript enabled to view it. and we can take it from there!

 

GUESTS & VISITING PERFORMANCES
When we're not using the theatre ourselves, we also welcome proposals from visiting groups. If you would like to make a proposal for an event at the NoName Theatre, please contact This email address is being protected from spambots. You need JavaScript enabled to view it.. Please note that the theatre is often be booked up many months in advance, so it's worth applying for a slot as soon as possible, even if you don't have all the details of your production finalised yet.

The NoName Theatre's mission is to promote theatrical and spoken-word performances in English and other minority languages in Finland. We also want to ensure that new audiences and performers continue to find and fall in love with theatre. We also want to encourage premieres of new works written by people living in Finland and introduce audiences to interesting yet lesser-known plays.

You can also read more about the venue, its dimensions and equipment here: Visiting performances / venue rental.

 

INKUBATOR
A programme to promote new scripts and provide opportunities for directors. You can now make proposals for the 2024 season.
Contacts & deadlines: read more on the Inkubator page.

Short n Snappy #3 – plays and roles

 

Baby Stuff written & directed by Matias Kylliäinen

A 20-minute comedy about a couple raising their daughter from a baby to age twenty-one.

 

OPEN ROLES

ERIKA – the mother

THOMAS – the father

MARIA – the daughter. Requires the actor to play the character at ages 1, 2, 4, 5, 14, 18 and 21.

REMOVER – a removal man/woman

 

 

Curse of the Meatballs written & directed by Zachariah Chamberlaine

A 20-minute comedy set in a café. A new customer is having trouble dealing with the café’s rather odd owner and regulars – and its cursed furniture.

 

CAST ROLES

TAYLOR – the café owner

CUSTOMER – a new customer

REGULAR – a regular customer

 

OPEN ROLES

WEIRDO – a regular customer with a strange fetish. A minor role that mainly requires physical comedy.

 

 

F******* Day written by Vladislav Nenchev & directed by Zachariah Chamberlaine

A 20-minute comedy–drama set in a café. Richard’s son and daughter-in-law decide to put on an embarrassing performance in honour of a special day.

 

OPEN ROLES

RICHARD – the father & café owner – warm, gentle, and compassionate. Timid demeanour. Shies away from conflict.

MATTHIAS – the son – initially nervous and submissive. Later ice-cold and passive aggressive.

LIVIA – the daughter-in-law – narcissistic and domineering. Sharp, controlled, and commanding behaviour.

SOPHIE – a waitress – optimistic, cheerful, and highly empathetic. Easily excited, up to the point of being gullible.

 

 

Messiah Whiskey written & directed by Kristoffer Lawson & Zachariah Chamberlaine

A 20-minute drama with an amusing twist in the tale. British military officers try to deal with a nuclear disaster from the safety of a military bunker.

 

OPEN ROLES

LIEUTENANT BARKER – an officer in the British Army

GENERAL CARTER – Chief of Defence Staff

ADMIRAL RADAKIN – First Sea Lord

HAZMAT-SUITED EXPLORER – a body double for BARKER. A minor role that requires only physical acting.

 

 

Reset written & directed by Dish M. Eldishnawy

A 15-minute comedy about resetting life on Earth after humans have screwed everything up.

 

OPEN ROLES

MR/MS X – the ultimate creator, the God of all Gods, the one him/herself

GABI – the favourite angel

MAN – a human screwing with the planet

 

OPTIONAL ROLES

WOMAN – the Man’s not-very-special one

 

 

Ronin written by Andrew Paulsen & directed by Ahti Tolvanen

A 20-minute drama set in a clothing store. The women effectively deal with a case of sexual harassment.

 

OPEN ROLES

TARA – the store clerk – confident, strong and sure of herself

JILL – a customer – professional, confident and comfortable in her body

MARK – a customer – sharply dressed and well-spoken. Used to a fast-paced lifestyle. Doesn’t hear “no” very often.

 

 

Volcano Insurance written & directed by Leben Norrie

A 10-minute sketch about fear and customer service. Rehearsals will involve workshopping the final script as a team.

 

OPEN ROLES

CUSTOMER – a customer

SALESPERSON – an insurance salesperson

 

Play reading/auditions for a rehearsed reading of 'Privacy'

Privacy Final Print 1 copyWHAT: Play reading/auditions for a rehearsed reading of 'Privacy', written and directed by Meritta Koivisto
WHERE: FINNBRIT (Fredrikinkatu 20 A 9) (MAP)
WHEN: Saturday 7 February 2015 @ 7 pm

Please note that everyone is welcome to take part in the first reading, whether or not you intend to audition for a part in the rehearsed reading on 7 March. At the director's discretion, some of the supporting male roles could be played by women, so women are also encouraged to attend the first reading. Casting decisions will be made promptly after the first reading and all those who choose to audition for a part will be informed of the director's decision.

PRIVACY
A two-act drama with black humor, by Meritta Koivisto

A famous author's extreme protection of his private life turns against him in a horrifying way. When a hometown acquaintance from his youth, Lorraine Gray,unexpectedly visits Paul J. Bauer and his wife Maude in their Hollywood Hills mansion, the consequences are unpredictable yet inevitable. Lorraine's portrait shows the fragility of morals, the destruction caused by a manipulative mind and the extent of the darkness it can reach.

Main roles:
MAUDE BAUER – A woman in her late-50s. Frail, plain.
PAUL J. BAUER – Her husband, author, late-50s. Dignified, manly.
LORRAINE GRAY – Maude's long lost high school friend from her hometown, in her late-50s. Tricky.

Supporting roles:
NED LEVOY – A lawyer, about 30. Boyish, charming looks.
BARNABY HOWELL – A Publisher, in his 60s. Pleasant. Stout.
JOSHUA I. STILLER – A Poet, in his late 30s. Hot-tempered, bohemian.
MELVIN WATTS – A Biographer, in his early 40s.
LILY BAUER – Maude and Paul's daughter, in her mid-30s.

(Image by: Niina Cord)

Call for auditions - The Memory of Water

WHAT: Auditions for the spring production The Memory of WaterThe Memory of Water
WHEN: Sunday 19 January, 2 pm to 6 pm
WHERE: FINNBRIT, Fredrikinkatu 20 A, Helsinki (Map)

Our spring production will be The Memory of Water, a play by Shelagh Stephenson, directed by Pauliina Munukka and Anna Rawlings. We are looking for a cast of 4 females and 2 males. Also those with interest in backstage work – including Stage Managing – are welcome to join us at the auditions. Hope to see you there!

The performances will take place in April or May 2014. This will be confirmed at the auditions.

REGISTRATION

We would greatly appreciate it if those interested in auditioning would let us know beforehand by e-mailing Pauliina (This email address is being protected from spambots. You need JavaScript enabled to view it.). If you would like to audition but are unable to attend on the 19th, please contact Pauliina to make other arrangements.

If you are interested in reading the play before the auditions, please get in touch with Pauliina. Remember that expressing initial interest and/or requesting the script neither bind you nor are obligatory for attending auditions.

ABOUT THE PLAY

This darkly funny tragicomedy is set in the present day. The storyline centres around three sisters, Mary, Teresa and Catherine, who come together in their childhood home after the death of their mother Vi, to arrange and attend her funeral. Over the course of the play, also Mark, the (married) boyfriend of Mary, and Frank, Teresa's husband, join the women. Vi the deceased mother appears to Mary from beyond the grave.

All characters are middle-aged, but we are not overly concerned with the ages or accents of the cast. Developing realistic, multifaceted characters and their relationships and interactions is the key issue in this play.

The play is essentially an ensemble piece with no real leads or supports. Whilst the three sisters are somewhat bigger parts than their other halves, the male roles are also fully developed and substantial. Vi's role is smaller in lines, but by no means unimportant, as she carries some pivotal scenes that condense some of the main points of the play. All roles are "meaty" and will present the actors with interesting and – we hope – rewarding challenges.