John William Tuohy lives in Washington DC

Let Evening Come

Let Evening Come

Let the light of late afternoon
shine through chinks in the barn, moving  
up the bales as the sun moves down.

Let the cricket take up chafing  
as a woman takes up her needles  
and her yarn. Let evening come.

Let dew collect on the hoe abandoned  
in long grass. Let the stars appear
and the moon disclose her silver horn.

Let the fox go back to its sandy den.  
Let the wind die down. Let the shed  
go black inside. Let evening come.

To the bottle in the ditch, to the scoop  
in the oats, to air in the lung  
let evening come.

Let it come, as it will, and don’t  
be afraid. God does not leave us  
comfortless, so let evening come.

Jane Kenyon, “Let Evening Come” from Collected Poems. Copyright © 2005 by the Estate of Jane Kenyon. Reprinted with the permission of Graywolf Press, St. Paul, Minnesota, www.graywolfpress.org.

Source: Let Evening Come: Poems (Graywolf Press, 1990)

The Portrait, Stanley Kunitz, 1905 - 2006

My mother never forgave my father

for killing himself,

especially at such an awkward time

and in a public park,

that spring

when I was waiting to be born.

She locked his name

in her deepest cabinet

and would not let him out,

though I could hear him thumping.

When I came down from the attic

with the pastel portrait in my hand

of a long-lipped stranger

with a brave moustache

and deep brown level eyes,

she ripped it into shreds

without a single word

and slapped me hard.

In my sixty-fourth year

I can feel my cheek

still burning

Born on July 29, 1905, Stanley Kunitz was the author of many poetry collections, as well as the winner of the Pulitzer Prize for Selected Poems, 1928-1958

Departures by Linda Pastan, 1985

They seemed to all take off
at once: Aunt Grace
whose kidneys closed shop;
Cousin Rose who fed sugar
to diabetes;
my grandmother's friend
who postponed going so long
we thought she'd stay.

It was like the summer years ago
when they all set out on trains
and ships, wearing hats with veils
and the proper gloves,
because everybody was going
someplace that year,
and they didn't want
to be left behind.


New Play Reading Series at Penn State Abington
Plays about these issues/topics are sought:
• Indigenous vs Colonial Culture
• Mass Incarceration
• Immigration
• Sustainability
• Opioid Addiction
• Educational Equity


Theatre Suburbia, Northwest Houston's longest running all volunteer playhouse, is looking to produce a new Summer Mellerdramer in 2019.

The scripts should contain asides (in mellerdrammer fashion) for the characters. The villain should have the most, followed by the hero and heroine, and remaining cast should have a few. The asides help generate the audience responses for the main characters - boos and hisses for the villain, oohs and ahs for the heroine, and of course cheers for the hero.


The Downtown Urban Arts Festival (DUAF) is currently accepting play submissions that reflect urban life for its 17th annual season to be held during April and May of 2019 in downtown New York City.

DUAF will accept up to 16 theatrical works (plays, musicals, and solo works) with running times up to 70 minutes. Each work is performed only once during the festival. There will be a $1,000 award in the category of Best Play, Best Short and Audience. There is no submission of participation fee and each playwright will receive a $300-$500 monetary stipend during the festival to defray some of the production costs of presenting their work.

*** For more information about these and other opportunities see the web site at http://www.nycplaywrights.org ***


The Marijuana-Logues is an Off-Broadway comedy show in New York City. Arj Barker, Doug Benson and Tony Camin are the creators and performers. It is a four-man stand-up comedy show, with the majority of the humor centered on the drug marijuana. The show's title is a play on the long-running Broadway show The Vagina Monologues. The show began its run in March 2004. There is also an original cast recording released in 2004 by Comedy Central, and a book. When the show toured, actor Tommy Chong became part of the tour for two cities. His legal concerns, including that audience members were actually smoking marijuana at some of the shows early in its tour, and pressure from his probation officer ultimately caused him to leave the show.[1]



Drug Story Theater (DST) takes teens in the early stages of recovery from drugs and alcohol, teaches them improvisational theater, and helps them craft their own unique stories into a play about their seduction of, addiction to and recovery from drugs and alcohol. They then perform this play to middle, high school and college audiences so “the treatment of one becomes the prevention of many.” Incorporating brain science with slides in between scenes, DST teaches how young people get addicted and how the adolescent brain is neurologically wired for addiction. 

Drug Story Theater is an innovative, evidence-based, peer-to-peer treatment and prevention program. Surveys show that after seeing a 40-minute play, the audience overwhelmingly believes marijuana is addictive, and that drugs and alcohol have an adverse effect on relationships and the ability to succeed in school. In the talk back portion of a show, one of the main points Dr. Joseph Shrand (the creator of Drug Story Theater and a leading expert in adolescent addiction) addresses is how marijuana is a gateway drug to opioids.



"Over-the-top" and "larger-than-life" are but two of the descriptive phrases that may be used in reference to both director Jason Lewis and his latest theatrical project Reefer Madness the Musical - and, in both instances, they are equally justified. In all honesty, who else better than he to helm a production of the thoroughly madcap and deliciously campy musical now onstage at Darkhorse Theater through this weekend as the final show of ACT 1's 2016-17 season?

With his resolute focus and encyclopedic knowledge of pop culture, Lewis - along with his collaborators musical director Rollie Mains and choreographer Stephanie Jones-Benton - creates a veritable camp classic from the pages of the script by Kevin Murphy and Dan Studney, based upon the potboiling film of the same name that atte



The Vortex is a play in three acts by the English writer and actor Noël Coward. The play depicts the sexual vanity of a rich, ageing beauty, her troubled relationship with her adult son, and drug abuse in British society circles after the First World War. The son's cocaine habit is seen by many critics as a metaphor for homosexuality, then taboo in Britain. Despite, or because of, its controversial content for the time, the play was Coward's first great commercial success.

The play premiered in November 1924 in London and played in three theatres until June 1925, followed by a British tour and a New York production in 1925–26. It has enjoyed several revivals and a film adaptation.



A Philippine youth theater club staged a musical at a Manila park on Sunday, challenging President Rodrigo Duterte’s bloody war on drugs.

The 20-minute show features a casket salesman whose funeral parlor is doing brisk business as corpses pile up.

But the salesman and his friends end up as statistics, falling to vigilante-style killings that have gripped the Southeast Asian nation and alarmed the international community.

“The play talks about the problem in the community with the war on drugs and the irony of it, that a few earn money amid this war and all the killings,” artistic director Jessie Villabrille told Reuters.

More than 8,000 suspected drug addicts and dealers have been killed since Duterte took office on June 30, some in police operations but many others in mysterious circumstances.



The doors outside About Face & Justin Brill's production of METHTACULAR! should warn audiences of the show's nudity.

OK, not nudity nudity, but after seeing the utter openness and vulnerability in Steven Strafford's one-man production of his "drug addled, sex crazed life," the word 'bare' certain comes to mind. Currently opening About Face's 2014-2015 season, Strafford puts it all out there for everyone to see in this emotional roller coaster, and the result is a highly entertaining and cathartic evening.

Born and raised in New Jersey, the majority of performer and playwright Steven (Michael) Strafford's story of sex, methamphetamine addiction, and connection in the gay community takes place in Chicago in the early 2000's. 



THERE are few theatrical experiences more exhilarating than watching a talented young artist fulfill his promise. That experience is now to be had at the American Place Theater, where the performer Eric Bogosian, a downtown fixture for almost a decade, has put together an airtight 80-minute show in which his gifts for acting and social satire collide to their most incendiary effect yet. ''Drinking in America'' is the evening's title, and, like such past Bogosian efforts as ''FunHouse'' and ''Men Inside,'' it is a breakneck, hair-raising comic tour of the contemporary American male psyche, with its creator playing all the roles. But if this is the funniest and most shapely of Mr. Bogosian's shows, the edges of his humor have not been smoothed out: ''Drinking in America'' leaves a hangover of outrage that a theatergoer can't easily shake.

The demographically diverse men on view include, among others, a grasping show-biz hustler; a latter-day Willy Loman on the road; a ghetto junkie, and a gyrating heavy-metal rock star. While many of the characters are indeed intoxicated - on cocaine, Quaaludes or heroin as well as alcohol - ''Drinking in America'' charts a more pervasive spiritual malady. The men we meet are gluttons for power, money and sex as well as for chemical stimulants; they have pigged out on the American way. Although Mr. Bogosian hardly approves of a neo-Nazi television evangelist who appears late in the show, he does seem to share the preacher's conviction that ''the Devil seduced us with a life of plenty and invited us into hell.''



Weed Shop the Musical was created by Becca Grumet and Madelyne Heyman in 2016, and has since had a successful extended run at the Eclectic Company Theatre in North Hollywood.
The show follows Alicia, a cheerful doctor with a brand-new medical marijuana practice in town, and Dave, an enthusiastic dispensary owner, as they search for love in Los Angeles. While weed-friendly, this show is for everyone, touching on universally heartwarming themes of love, self-expression, and identity with a hodgepodge of musical styles from classic Broadway tunes to funk.

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Heartland Theatre Company is seeking eight short original plays to be considered for production in June of 2019 as part of our 18th annual 10-minute play festival. This year, the theme is THE LIBRARY. The competition is open to all playwrights who wish to submit a play. Eight plays will be selected and performed from among all the submissions


The “Made in NY” Women’s Film, TV and Theatre Fund (“Women’s Fund”) is the latest in a groundbreaking series of initiatives by the City of New York Mayor’s Office of Media and Entertainment (MOME) designed to address the underrepresentation of all who identify as women in film, television and theatre. The NYC Women’s Fund, administered by the New York Foundation for the Arts (NYFA), provides grants to support film, television, digital, and live theatre projects that reflects the voices, experiences and perspectives of all who identify as women.


Stage Door Productions, Inc Twelfth Annual Original One-Act Festival
Fredericksburg, Va
Festival prizes to be awarded: Six plays shall be selected for production in the spring (March/April/May) of 2019. Of those six selected, one shall win the Grand Prize $150 and one shall win runner up $100 as determined by the festival play readers.  Of the remaining four, one shall will an Audience Favorite Prize $100 to be determined by the audience attending the festival performances.

*** For more information about these and other opportunities see the web site at http://www.nycplaywrights.org ***


Full casting is set for To Kill a Mockingbird, the new stage play based on Harper Lee's Pulitzer-winning novel. The production will begin performances on November 1 with an opening scheduled for December 13 at the Shubert Theatre.

Newly announced cast members include Baize Buzan, Thomas Michael Hammond, Ted Koch, David Manis, Danny McCarthy, Aubie Merrylees, Doron JéPaul Mitchell, Jeff Still, Shona Tucker and Rebecca Watson.

Based on an event that occurred in Alabama in the 1930s, the story of racial injustice and the destruction of childhood innocence centers on one of the most admired characters in American literature, small-town lawyer Atticus Finch. To Kill a Mockingbird features a script adapted by Aaron Sorkin and direction by Bartlett Sher.



The circumstances of World War II and Hitler’s legacy of conquest and persecution plunged many ordinary men and women into a crucible that tested and destroyed lives. Extraordinary events seen through the eyes of an ordinary man lies at the heart of Abby Mann’s Judgment at Nuremberg.

A teleplay in the 1950s and a highly regarded film in the early 60s, Mann adapted his material into a stage play in 2001. At American Century Theater, director Joe Banno uses the Broadway script with a ghostly framing device: on the edges of the stage, the specters of two Jewish women and two sharply dressed Nazis observe the courtroom drama in silence. These shadow characters may be a theatrical conceit, but they point out what is at stake during the Nuremberg trials – justice for millions or justification for the horrific actions of a few.



Director Steve Rohe has a valuable cast resource for reference while fine-tuning his new production of "Twelve Angry Jurors" for Footlight Players in Michigan City.

"Greta Friedman, who is the Magistrate in LaPorte, auditioned for our play and she has one of the roles," Rohe said.

"There's been a number of times when I've asked her advice or guidance about a detail and she's assured me I'm on track with my interpretation of what it's like during courtroom deliberations."

"Twelve Angry Jurors," the male and female version of the classic "Twelve Angry Men" written by Reginald Rose, opens Feb. 2 and continues weekends until Feb. 11 at the theater space located Michigan City.

Rohe, who lives in Porter, is also associated with 4th Street Theater in Chesterton, where he was cast as Juror No. 10 for a production of "Twelve Angry Men" that ran in 2011.

"This is a play that is timeless," said Rohe, who counts "Twelve Angry Jurors" as his 21st production at Footlight Players since 1998.

"The same battles about different views and grounded opinions are just as true today as decades ago when this story had its first audiences."



The handsome wooden courtroom that has been erected on the stage of the Lyceum Theater is Christopher Plummer’s personal playground. This may sound like a frivolous description of a forum for the lofty and abidingly important debate that occupies “Inherit the Wind,” the 1955 drama that opened last night, also starring Brian Dennehy, in a revival that is just about as wooden as its set.

But while the subject of teaching evolution and religion in public schools is even more topical than it was when Jerome Lawrence and Robert E. Lee’s worthy war horse first galloped onto Broadway more than half a century ago, Mr. Plummer at play is something sacred. If the Bible-quoting fundamentalists in “Inherit the Wind” want to make a case for the spark of divinity that separates man from beast, they need only point to the show’s august star, having the time of his life, as Exhibit A.

Approaching the end of his eighth decade, Mr. Plummer knows that if all the world’s a stage, few places in it are more temptingly so than a courtroom, an arena that would seem to have been conceived expressly for showboats with scripts.



Even if the stage were not a battleground of tables and chairs in gun-metal gray, it wouldn't take long to recognize the terrain in ''A Few Good Men,'' Broadway's new play about a court-martial. ''It's an open-and-shut case,'' goes an early line. ''I suspect there's more to this case than what's reported in the division report,'' goes another. The cast of antagonists includes a sarcastic Navy defense attorney who doesn't want to be a hero (Tom Hulce), a tightly wound commanding officer who insists on being one (Stephen Lang) and some cowed enlisted men caught in the crossfire. Let the scene change, and more than a few good marching men in crew cuts and khaki will sound off, ''One, two, three-four!''



Attention, please. All New Yorkers eager to experience the edge-of-your-seat suspense and gut-churning excitement commonly associated with two weeks of federal jury duty, please report to the Gerald Schoenfeld Theater, where a new Broadway revival of "The Caine Mutiny Court-Martial" opened last night. Roll call at 8 p.m.

Kidding aside, it is just possible that a stint weighing a worker's compensation case could offer more thrills than this eye-glazing attempt to resurrect Herman Wouk's 1953 play, adapted from his novel "The Caine Mutiny." Directed with metronome in hand by Jerry Zaks, this workmanlike production gives few clues to the enduring appeal of Mr. Wouk's tale of possible cowardice and possible insubordination, plus a humdinger of a typhoon, some disappearing strawberries and a nut job memorably named Queeg.



"NUTS" by Tom Topor, being presented by the Great Neck Theater Guild, is not the usual run-of-the-judiciary courtroom drama. It is a sanity hearing in the psychiatric wing of Bellevue Hospital to determine whether or not a woman is capable of standing trial for manslaughter.

A few months ago, this revival of a play filled with sex and sex issues might have been just another exploration of a woman's right to her own destiny. Recent events, however, have added powerful political shadings to a hearing in which a woman is defending her integrity and mental health before a panel of accusatory white men.



In "Parade," a man's religion, origin and social position mark him for persecution at a moment when the public needs an outlet for its collective frustration. Uhry and Brown base their work on the 1913 trial of Leo Frank, a Jewish Northerner indicted for the murder of a 13-year-old girl at the factory he supervised in Atlanta, a city still hurting from the Civil War. Though Frank is not the only suspect, he is, as an outsider, the preferred scapegoat of a showboat prosecutor who's under pressure from a constituent-wary governor. The public devours every bit of news, true or fake, that reinforces its worldview.



IN Emily Mann's ''Execution of Justice,'' the case of the People vs. Dan White is on trial in the court of theater and is found guilty of a miscarriage of justice. That conclusion is reached after a thought-provoking evening that is scrupulous in its quest for objectivity. With the playwright acting as investigative reporter, the play is not a polemic but a judicious assessment of a turbulent episode in recent American political history.

Written and directed by Miss Mann, the play opened last night at the Virginia Theater after previous productions at a number of America's regional theaters. During the work's journey to Broadway, Miss Mann has carefully distilled the text, eliminating testimony that might be considered extraneous or hortatory.

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