"You are in the driver's seat with casting. Each play can be cast with as many or as few actors as you need for your theatre program. They even allow you to change the gender of characters. This personalized touch creates impactful theatrical experiences for our students."
Danielle W | Hoboken Junior / Senior High School
"The scripts are fun, modern, and really connect with our kids at every age level. Our students love performing them, and the audience feedback has been amazing. These aren’t your run-of-the-mill one-acts—they’re fresh, exciting, and perfect for middle and high school theater."
Matt Peters | Head Theatre Director, The Woodlands HS / Executive Board President, Texas Thespians
"Unlimited performances and script printing? Yes, please! We’ve saved so much money, and I don’t have to stress over changing a line or gender that doesn’t work for my program or community! It’s made my job easier and given me more time to focus on the students and the show."
Michelle Robbins | Theatre Teacher / Rampart HS, Colorado Springs
Like many of you, I once licensed shows from the largest companies, so when I became the CEO of Broadway Licensing, Dramatist Play Service, Playscripts and Stage Rights, I tried to change the arcane licensing model and rules from within the machine. And any time I tried to propose a change such as letting schools live-stream their shows - The industry would answer NO. Over and over again.
The breaking point? As costs on Broadway kept skyrocketing, those expenses were passed down to schools and community theaters-the very foundation of the industry. Licensing fees grew. Script minimums became the norm. Approval processes for one simple line change could take 6-8 weeks if you even got an answer at all.
Sean Cercone | Founder & CEO78%
of theater educators feel pressure to modify or reconsider their show selections.
51%
of theater educators operate with less than a $4,000 budget
86%
of theater educators say they, “Love” their job!
I spent six months talking to over 400 teachers—on Zoom, over email, on message boards, and only then I stood in front of a whiteboard and started rewriting licensing rules from scratch to make theater simpler, more fun, and completely frictionless.
Then, I went to the playwrights. Instead of making them wait years to see a single royalty check-if ever at all, we flipped the model—commissioning playwrights upfront to write plays specific to each market.
Finally, we brought in 20 teachers as a reading committee, helping playwrights fine-tune their scripts based on real classroom and stage needs.
The result?
Dramallama—the first subscription-based licensing company for theater.
Because theater should be about storytelling and creativity-not paperwork and headaches.
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