“The inaugural Leodis Prize has unveiled its first-ever shortlist, spotlighting ten bold, original plays”
A new theatre prize is shaking things up – and it’s doing it for the writers who don’t usually get a look in.
The inaugural Leodis Prize has unveiled its first-ever shortlist, spotlighting ten bold, original plays from completely unrepresented voices. Launched in 2025 by Leodis Talent, the prize is all about opening doors in an industry that can often feel closed off unless you already have connections, credits, or a foot in the door.
And the response? Huge. Nearly 350 submissions poured in from across the UK and beyond, with a team of 30 readers helping whittle things down to a final ten. It’s a reminder that the next generation of playwrights isn’t lacking in talent—just opportunity.
The stakes are seriously exciting. The winning writer will get a fully funded production at the Edinburgh Festival Fringein 2026, plus representation, publication with Methuen Drama (part of Bloomsbury Publishing), and a £2,000 cash boost. Not bad for a first big break.
What makes this shortlist stand out is its range. These aren’t safe, predictable scripts—they’re weird, funny, raw, and ambitious. Damien Hasson’s One Hundred Fires dives into identity through a chaotic stand-up set, while Tom Draper’s Lad Lad Lad turns a pub reunion into something much darker. Elsewhere, Anna Wright’s Needs Network Narrative jumps between medieval fantasy and modern suburbia, and Nia Braidford’s Strings takes on the pressures of elite sport.
There’s also a strong emotional core running through the list. Mary Condon O’Connor’s Before I Was A Moth explores grief with humour and warmth, while Jacob Sparrow’s Sanctuary plays with time and memory to examine belonging. From TV industry satire (Sawdust) to intimate two-handers (The Definition), the shortlist feels like a snapshot of what young theatre-makers care about right now: identity, connection, pressure, and the messy reality of modern life.
The judging panel—including Tamzin Outhwaite and director Sam Yates—brings serious industry weight. But as founder Daniel Hinchliffe puts it, the real story is the “amount of unrecognised talent” that emerged.
At a time when breaking into theatre can feel nearly impossible, the Leodis Prize is a refreshing shift. It’s less about who you know, and more about what you’ve got to say. And if this shortlist is anything to go by, the future of new writing looks loud, diverse, and unapologetically original.