There is an interesting comment from an Eric Samuelson, who "teaches playwriting at a major university,"
In my experience, there are plenty of lousy male playwrights and terrible female playwrights, and, at the student level, lots of terrific playwrights of either gender as well. In my seminar, for example, I had two real superstars--two kids who wrote terrific stuff consistently, both female. Then there were four kids who were just a tiny bit below them, what I might call second-tier stars--two male and two female. But in the weekly script conferences for the local theatre I work with, the guys dominated. The two second-tier male writers got a lot more of their work produced, because in those meetings, where decisions got made, they were more assertive. Not obnoxiously pushy, but just a little more vocal, a little more willing to voice strong opinions. Meanwhile, the best playwright in my class, a fabulous young Hispanic woman who wrote with intelligence and wit and was just consistently smart and tough and real, she kind of shut down. I had to intervene to get the company to re-read her play; when they did, they ended up going 'man, you're right, that's way better than we initially thought.'
I've seen this a lot. As a playwright, I almost never get produced based on simply sending a play out for cold reading. Most of my professional productions have resulted from networking. Something in our culture rewards men with hustle skills, and discourages women from pushing themselves aggressively. Getting work produced requires more than just writing really well.