John William Tuohy lives in Washington DC

Your assumptions are your windows on the world

I'm a big big Fan of Bukowski 


Saturday Morning
Hugo Williams
Everyone who made love the night before
was walking around with flashing red lights
on top of their heads-a white-haired old gentlemen,
a red-faced schoolboy, a pregnant woman
who smiled at me from across the street
and gave a little secret shrug,
as if the flashing red light on her head
was a small price to pay for what she knew.

Alfred Eisenstaedt


THE ART OF WAR............

I had Japanese food the other night, it was just fantastic


John William Tuohy is a writer who lives in Washington DC. He holds an MFA in writing from Lindenwood University. He is the author of No Time to Say Goodbye: Memoirs of a Life in Foster Care and Short Stories from a Small Town. He is also the author of numerous non-fiction on the history of organized crime including the ground break biography of bootlegger Roger Tuohy "When Capone's Mob Murdered Touhy" and "Guns and Glamour: A History of Organized Crime in Chicago."
His non-fiction crime short stories have appeared in The New Criminologist, American Mafia and other publications. John won the City of Chicago's Celtic Playfest for his work The Hannigan's of Beverly, and his short story fiction work, Karma Finds Franny Glass, appeared in AdmitTwo Magazine in October of 2008. His play, Cyberdate.Com, was chosen for a public performance at the Actors Chapel in Manhattan in February of 2007 as part of the groups Reading Series for New York project. In June of 2008, the play won the Virginia Theater of The First Amendment Award for best new play.

Contact John:


This is a book of short stories taken from the things I saw and heard in my childhood in the factory town of Ansonia in southwestern Connecticut.

Most of these stories, or as true as I recall them because I witnessed these events many years ago through the eyes of child and are retold to you now with the pen and hindsight of an older man. The only exception is the story Beat Time which is based on the disappearance of Beat poet Lew Welch. Decades before I knew who Welch was, I was told that he had made his from California to New Haven, Connecticut, where was an alcoholic living in a mission. The notion fascinated me and I filed it away but never forgot it.     

The collected stories are loosely modeled around Joyce’s novel, Dubliners (I also borrowed from the novels character and place names. Ivy Day, my character in “Local Orphan is Hero” is also the name of chapter in Dubliners, etc.) and like Joyce I wanted to write about my people, the people I knew as a child, the working class in small town America and I wanted to give a complete view of them as well. As a result the stories are about the divorced, Gays, black people, the working poor, the middle class, the lost and the found, the contented and the discontented.

Conversely many of the stories in this book are about starting life over again as a result of suicide (The Hanging Party, Small Town Tragedy, Beat Time) or from a near death experience (Anna Bell Lee and the Charge of the Light Brigade, A Brief Summer) and natural occurring death. (The Best Laid Plans, The Winter Years, Balanced and Serene)

With the exception of Jesus Loves Shaqunda, in each story there is a rebirth from the death. (Shaqunda is reported as having died of pneumonia in The Winter Years)

Sal, the desperate and depressed divorcee in Things Change, changes his life in Lunch Hour when asks the waitress for a date and she accepts. (Which we learn in Closing Time, the last story in the book) In The Arranged Time, Thisby is given the option of change and whether she takes it or, we don’t know. The death of Greta’s husband in A Matter of Time has led her to the diner and into the waiting arms of the outgoing and loveable Gabe.

Although the book is based on three sets of time (breakfast, lunch and dinner) and the diner is opened in the early morning and closed at night, time stands still inside the Diner. The hour on the big clock on the wall never changes time and much like my memories of that place, everything remains the same.


The Valley Lives

By Marion Marchetto, author of The Bridgewater Chronicles on October 15, 2015

Short Stores from a Small Town is set in The Valley (known to outsiders as The Lower Naugatuck Valley) in Connecticut. While the short stories are contemporary they provide insight into the timeless qualities of an Industrial Era community and the values and morals of the people who live there. Some are first or second generation Americans, some are transplants, yet each takes on the mantle of Valleyite and wears it proudly. It isn't easy for an author to take the reader on a journey down memory lane and involve the reader in the life stories of a group of seemingly unrelated characters. I say seemingly because by book's end the reader will realize that he/she has done more than meet a group of loosely related characters.
We meet all of the characters during a one-day time period as each of them finds their way to the Valley Diner on a rainy autumn day. From our first meeting with Angel, the educationally challenged man who opens and closes the diner, to our farewell for the day to the young waitress whose smile hides her despair we meet a cross section of the Valley population. Rich, poor, ambitious, and not so ambitious, each life proves that there is more to it beneath the surface. And the one thing that binds these lives together is The Valley itself. Not so much a place (or a memory) but an almost palpable living thing that becomes a part of its inhabitants.
Let me be the first the congratulate author John William Tuohy on a job well done. He has evoked the heart of The Valley and in doing so brought to life the fabric that Valleyites wear as a mantle of pride. While set in a specific region of the country, the stories that unfold within the pages of this slim volume are similar to those that live in many a small town from coast to coast.

By Sandra Mendyk

Just read "Short Stories from a Small Town," and couldn't put it down! Like Mr. Tuohy's other books I read, they keep your interest, especially if you're from a small town and can relate to the lives of the people he writes about. I recommend this book for anyone interested in human interest stories. His characters all have a central place where the stories take place--a diner--and come from different walks of life and wrestle with different problems of everyday life. Enjoyable and thoughtful.

I loved how the author wrote about "his people"
By kathee

A touching thoughtful book. I loved how the author wrote about "his people", the people he knew as a child from his town. It is based on sets of time in the local diner, breakfast , lunch and dinner, but time stands still ... Highly recommend !

WONDERFUL book, I loved it!
By John M. Cribbins

What wonderful stories...I just loved this book.... It is great how it is written following, breakfast, lunch, dinner, at a diner. Great characters.... I just loved it....

An award winning full length play.

"Cyberdate.Com is the story of six ordinary people in search of romance, friendship and love and find it in very extraordinary ways. Based on the real life experiences of the authors misadventures with on line dating, Cyber date is a bittersweet story that will make you laugh, cry and want to fall in love again."  Ellis McKay  

Cyberdate.Com, was chosen for a public at the Actors Chapel in Manhattan in February of 2007 as part of the groups Reading Series for New York project. In June of 2008, the play won the Virginia Theater of The First Amendment Award for best new play. The play was also given a full reading at The Frederick Playhouse in Maryland in March of 2007.

In 1962, six year old John Tuohy, his two brothers and two sisters entered Connecticut’s foster care system and were promptly split apart. Over the next ten years, John would live in more than ten foster homes, group homes and state schools, from his native Waterbury to Ansonia, New Haven, West Haven, Deep River and Hartford. In the end, a decade later, the state returned him to the same home and the same parents they had taken him from. As tragic as is funny compelling story will make you cry and laugh as you journey with this child to overcome the obstacles of the foster care system and find his dreams.



Billy Eckstine (left) with Sammy Davis Jr. 


Ligurian Cost, Italy


Gus "The Greek" Alex, the only non-Italian to ever run  the Chicago mob
Sam Giancana, Boss of the Chicago mob in the early 1960s 

Sculpture this and Sculpture that....


Wayne Thierbaud


Rugose  \ROO-gohss\ 1:full of wrinkles 2 : having the veinlets sunken and the spaces between elevated . Rugose was borrowed into English in the 15th century from the Latin adjective rugosus ("wrinkled"), which itself derives from ruga ("wrinkle"). One descendant of ruga that you'll probably recognize is corrugate, which initially meant "to form or shape into wrinkles or folds" (as in "corrugated cardboard"). Another, which might be more familiar to scientists, is rugulose, meaning "finely wrinkled." In addition, there is the noun rugosity, which can refer to either the quality or state of being full of wrinkles or to an individual wrinkled place. Rugose is most commonly encountered in technical contexts, but it's also found occasionally in literary contexts, as in our quote above, from the second-place winner in an H. P. Lovecraft short story contest in The Providence Journal.


          The art and joy of cinematography

                          The Graduate 

Your assumptions are your windows on the world. Scrub them off every once in a while, or the light won’t come in. Isaac Asimov

Remember to look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the universe exist. Be curious. And however difficult life may seem, there is always something you can do and succeed at. It matters that you don’t just give up.  Stephen Hawking

If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.                    Henry David Thoreau

 If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.                    Henry David Thoreau

"The measure of a master is his success in bringing all men round to his opinion 20 years later." Ralph Waldo Emerson

We often think of peace as the absence of war, that if powerful countries would reduce their weapon arsenals, we could have peace. But if we look deeply into the weapons, we see our own minds- our own prejudices, fears and ignorance. Even if we transport all the bombs to the moon, the roots of war and the roots of bombs are still there, in our hearts and minds, and sooner or later we will make new bombs. To work for peace is to uproot war from ourselves and from the hearts of men and women.  To prepare for war, to give millions of men and women the opportunity to practice killing day and night in their hearts, is to plant millions of seeds of violence, anger, frustration, and fear that will be passed on for generations to come. Thích Nht Hnh

MISH MOSH..........................................

Mish Mash: noun \ˈmish-ˌmash, -ˌmäsh\ A : hodgepodge, jumble The painting was just a mishmash of colors and abstract shapes as far as we could tell. Origin Middle English & Yiddish; Middle English mysse masche, perhaps reduplication of mash mash; Yiddish mish-mash, perhaps reduplication of mishn to mix. First Known Use: 15th century

“Those heroes that shed their blood and lost their lives…you are now lying in the soil of a friendly country. Therefore rest in peace. There is no difference between the Johnnies and the Mehmets to us where they lie side by side here in this country of ours.” Turkish leader Mustafa Kemal Atatürk, who fought at Gallipoli, on the ANZAC dead in 1934

January 9th 1916: Gallipoli campaign ends

On this day in 1916, during World War One, the Gallipoli campaign ended with the final evacuation of Allied troops. The plan was the brainchild of British Lord of the Admiralty, Winston Churchill, who intended to weaken the Ottoman war effort by opening another front in the Dardanelles, forcing Germany to split their army and send troops to aid their Turkish allies. Churchill’s proposal was risky, underestimating the ability of the Turkish army, and was hastily pushed through the War Office. The initial naval attack in the Dardanelles in February 1915 had some success, but British and ANZAC (Australian and New Zealand Army Corps) troops were soon called in to push inland and capture Constantinople. The landings began on April 25th, with Allied troops deployed at separate beaches. One of the most famous landings were the ANZAC forces at Anzac Cove, where they faced fierce resistance from the Turks. The British fared little better at Cape Helles, and by May, 20,000 of the 70,000 men deployed suffered causalities. The campaign continued for months, with Allied soldiers living under Turkish fire and shelling, and suffering poor conditions in the trenches. Eventually, fierce critics of the operation began to speak out, and in December and January the Allied forces were evacuated from Gallipoli. The campaign was a disaster for the Allies, who lost around 45,000 men, and failed to make any strategic gains. While the Turkish successfully and bravely defended their country, it proved a Pyrrhic victory as they lost 86,000 soldiers in the campaign. The campaign is commemorated in Australia and New Zealand on April 25th as Anzac Day, in honour of the over 10,000 soldiers who died during the Gallipoli campaign representing their countries as independent nations.

On soft Spring nights I’ll stand in the yard under the stars - Something good will come out of all things yet - And it will be golden and eternal just like that - There’s no need to say another word. Jack Kerouac

When public schools are judged by how much art and music they have, by how many science experiments their students perform, by how much time they leave for recess and play, and by how much food they grow rather than how many tests they administer, then I will be confident that we are preparing our students for a future where they will be creative participants and makers of history rather than obedient drones for the ruling economic elite. Mark Naison


Late in his career, Venice served as a mystical muse for J.M.W. Turner, and the artist produced dozens of watercolor and oil paintings that explored the expressive effects of air, light, and water on the Italian city’s architecture and waterways.When "Approach to Venice" was first exhibited in 1844, Turner quoted Lord Byron in the catalog description: "The moon is up, and yet it is not night / The sun as yet disputes the day with her."
Joseph Mallord William Turner, "Approach to Venice," 1844, oil on canvas, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.110

Seeing Miró’s Majorca Studio, Just the Way He Kept It

PALMA, Majorca — In 1938, the Spanish artist Joan Miró, then 45, was living a precarious existence in Paris, moving from one insufficient studio to the next. His situation was scarcely better than it had been in Spain, where he had painted “in tiny cubicles where I could hardly turn around,” he wrote that year in “I Dream of a Large Studio,” an essay for a French art review.
The studio that Miró eventually built, nearly two decades later on this Mediterranean island, was central to his evolution as an artist. There, in his 60s, 70s and 80s, he freed himself from the bright and neat geometric patterns of his earlier work, placing canvases flat on the floor and then splashing paint onto them with brooms and brushes or applying it with fingertips and fists.
On the 60th anniversary of the studio’s 1956 opening, Mayoral, a Barcelona art gallery, is recreating it in London, in a space complete with replicas of the eclectic objects scattered around it, as well as 25 works by Miró, many of which will be for sale.
The London show is part of a surge in interest in Miró, who is having “a moment of rediscovery,” said Joan Punyet Miró, his grandson. A dozen exhibitions are scheduled worldwide from now to 2018, including two shows that include re-creations of the Palma studio, at the Villa Manin near Venice, Italy, and at the Cobra Museum in the Netherlands. A separate exhibition at the Joan Miró Foundation in Barcelona, “Miró and the Object,” examines his relationship to everyday items like the ones in his studio and how he used them as vehicles to move away from traditional painting.
Rosa Maria Malet, the director of the foundation, said there was a new appreciation for the artist’s versatility.
“I think there was a period, especially in the United States, when Miró was appreciated for the agreeable dimension of his art, for the poetry of his colors and his aesthetic,” she said, “but now we’re becoming more aware that there are a lot more aspects to Miró.”
The paintings Miró made in Majorca are those of an artist “who was not afraid of death or failure, but who was afraid of repeating himself again and again,” Mr. Punyet Miró said on a recent visit to the studio. “The older he gets, the more expressive he gets, the more violent he gets.”
Miró painted in his studio until two years before his death, in 1983 at the age of 90, and today the studio remains the way he kept it — “a very chaotic place where every single thing had to be in the right place,” Mr. Punyet Miró said with a smile.
The exhibition in London, which runs from Jan. 21 to Feb. 12 at a space rented from the gallery Bowman Sculpture, was curated by Elvira Cámara, the former director of the Pilar and Joan Miró Foundation in Majorca.
The show will include copies of correspondence between Miró and the architect Josep Lluis Sert, a friend and fellow Catalan whom Miró commissioned to design the studio.
Sert, later the dean of the Graduate School of Design at Harvard and the designer of the Miró Foundation building in Barcelona, was living in the United States, having fled Spain after the Spanish Civil War.
 “Miró was getting his dream studio, but having it made by an architect who was in exile, and that of course didn’t make things easier,” said Jordi Mayoral, who with his two siblings helps run the gallery, which was started by his parents.
Miró was eager to return to Majorca, where his mother’s family had lived and where he spent childhood vacations. In 1929, he married a Majorcan woman, Pilar Juncosa. When he got the keys to his new studio, he was so overwhelmed at the thought of starting a new artistic chapter that he decided to burn about 80 percent of the works that he had shipped to Palma from Barcelona, Mr. Punyet Miró said.
“It took him a few years to feel comfortable here,” he said.
Once he did, however, Miró set himself to his task, building up a body of work that by his death amounted to about 2,000 paintings and 500 bronze sculptures.
The Sert studio is part of the Miró foundation in Majorca, which includes a museum and another studio that the artist added in 1959, when he bought an adjacent 300-year-old house to allow him to work on larger canvases and sculptures. The house’s former stables were turned into a lithography printing shop, where artists in residence continue to work.
Miró was something of a hoarder, his grandson said. Scattered among the studio’s canvases are a tennis cap, an empty bottle of Cava sparkling wine, matchboxes and copies of the local newspaper covered in the artist’s scribblings, among many other objects and curiosities. There are more personal belongings, as well, like a photograph of Miró and Ms. Juncosa’s wedding in Palma. Among the odder items that Miró kept on hand was the mummified corpse of his cat, which hangs from a wall in a room where he found the pet dead after accidentally locking it in. (The cat is not part of the exhibition.)
The Barcelona exhibition, which is moving to Madrid next month, shows Miró at his most versatile, both as a painter and sculptor, in works that are often far removed from the controlled style he is known for. Early collages incorporate “anti-artistic” materials like chipboard and scrap metal, and by the late 1960s, Miró was lacerating and stabbing through some canvases — or hammering nails into them — to get viewers to look beyond the surface of paintings.
“Miró is not just about bright and delicate colors, because there is also a brutalist side to his work,” Ms. Malet of the foundation in Barcelona said.
That can be seen in the architecture of Miró’s Majorca studio, where he persuaded Sert to add an element of rawness into the sharp angles and undulating roof. Miró wanted an inside back wall of rough stone, “like in a cave,” Mr. Punyet Miró said.
For all of Miró’s efforts to take art forward, he said, “my grandfather was a primitive poet, who also always liked to recall that art had been in decadence" 

Real Art, Owned by a Seller of Forgeries


For years, the Gaston & Sheehan auction house, family-owned and located in Pflugerville, a small city in central Texas, has been a trusted place used by federal marshals to sell the many things seized in criminal cases.

Jewelry. Some impounded vehicles. Occasionally fine wine and sometimes paintings or antiques.
But Gaston & Sheehan has rarely tried to compete with large art auction houses. So it was a bit unusual when it took in nearly $5 million from the sale last year of 236 works of art, including a few by the likes of Warhol and Motherwell.
What made the works distinctive was their lineage: All had been seized from the Long Island home of a dealer who orchestrated one of the largest counterfeit schemes in the history of the art world.
By her own admission, between 1994 and 2009, the dealer, Glafira Rosales, had sold more than 60 fakes that she put forward as the work of Modernist masters like Rothko and Pollock. In reality, they were all created by a single forger in Queens.
Sold through two dealers who said that they, too, were hoodwinked, the fake paintings brought in $80 million, with $33 million pocketed, the government said, by Ms. Rosales and her confederates.
Despite Ms. Rosales’s penchant for fakery, though, federal authorities say they are confident that the art they seized from her home is all genuine, based on their own analysis, reviews of sale records and the assessment of a Houston art appraiser.
“During the appraisal, no issues arose that indicated the need for detailed authentication,” said Lynzey Donahue, a spokeswoman for the United States Marshals Service. “If any art work had been found to be counterfeit, the U.S.M.S. would not have sold it but rather would have destroyed it.”
Indeed, federal officials were confident enough in the legitimacy of the art that they did not think it necessary to advertise that the works had once belonged to Ms. Rosales. They rarely make such identifications, officials said, except in cases, like the sale several years ago of Bernard L. Madoff’s possessions (jewelry, furniture, even his socks and slippers), where they thought notoriety would increase interest.
In the case of Ms. Rosales’s private collection, Ms. Donahue said a Marshals employee spent weeks researching documents from her original purchases provided by her lawyer. All of the works had been bought at established houses, including Sotheby’s and Christie’s. This information was then passed to the appraiser for further verification.
The appraiser, Stephanie Reeves, said in an interview that she did not so much authenticate the paintings, drawings and other works as put a value on them. The authenticity had largely been established, and thoroughly, she said, by the federal authorities by the time she had come on board.
 “They had a sale history,” she said. “There was a lot of paper work backing them up.”
Ms. Reeves, an appraiser since 1999, said she worked with the auction houses to clear up any gaps she found in the sale histories.
 “If I had a lot number but not the sale, or the title, but I didn’t have it right, we sorted it out,” she added.
As additional evidence of their typical due diligence, the Marshals Service has described how exacting it had been before selling some fine wine last year at Gaston & Sheehan. The bottles had all belonged to Rudy Kurniawan, a well-known wine dealer convicted of fraud in the sale of purportedly rare wine that was actually old wines mixed together. The auction of the genuine vintage wines proceeded only after the service smashed hundreds of other bottles that it determined were fake.
For the Rosales trove, Gaston& Sheehan put the art on pre-sale display last March at Pfluger Hall, an events center downtown directly behind a fire station and about two miles from the auction house’s office.
“At least 20 to 30 major dealers came in from different parts of the U.S., and a smattering of people came in from this area, from Dallas, Houston, San Antonio” — more than 50 people in all, said Jason Rzepniewski, an auctioneer at Gaston & Sheehan.
Though the auction house did not mention Ms. Rosales as the prior owner in advertisements or in descriptions of the works provided to prospective buyers, Mr. Rzepniewski said it did disclose that fact “if people asked at the preview or if people phoned in.”
Bob Sheehan, Mr. Rzepniewski’s colleague, said he thought many of the prospective buyers knew where the artworks had come from, especially because one of the items on sale was a portrait of Ms. Rosales herself wearing a red hat — “Red Hat Portrait of Glafira 2010.” (It sold for $680.)
“The people who came down here from New York, they knew what it was,” Mr. Sheehan said.
Citing privacy concerns, the Marshals Service declined to make available any of the buyers.
Most of the art purchased at the Texas sale, which was first reported by The Art Newspaper, was not wildly expensive, and none secured the millions paid for some of Ms. Rosales’s faux masterpieces. But there were a few noteworthy works, and when the bidding — which was conducted online — concluded on the first day of the sale in early March last year, 178 of Ms. Rosales’s artworks had been sold for $4.3 million.
The remaining 58 works were included in three sales over the following few months and brought in another $532,000.
The highest price paid was for an oil on canvas, “Le Bijou” by Richard Pousette-Dart, which had been purchased at Sotheby’s in 2009, according to the lot description. It sold for $325,100.
An abstract work by Ad Reinhardt, purchased at Phillips auction house in 2008, sold for $300,100, and a couple of Warhols, titled “Heaven and Hell Are Just One Breath Away!,” from 1985, which were bought at Sotheby’s in 2007, together fetched $170,100.
Some works bore the mark of Knoedler & Co., the very dealership that had sold most of the now-documented fakes. Knoedler, then New York’s oldest gallery, closed in response to the burgeoning scandal in 2011, and 10 buyers subsequently sued to get their money back.
One case, a $25 million lawsuit brought by the family of Domenico De Sole, now the chairman of Sotheby’s, against Knoedler, its director Ann Freedman and the gallery’s corporate owner is scheduled for trial later this month in Manhattan.
Mr. De Sole’s lawyers say in court papers that Knoedler and Ms. Freedman conspired to sell him a fake Mark Rothko painting for $8.3 million in 2004.
Ms. Freedman has said that she believed the 43 paintings and drawings that Knoedler sold were genuine and that she had bought several herself.
It is up to the judge in Ms. Rosales’s case to decide how the $4.8 million raised in the Texas sale will be apportioned. Ms. Rosales, who pleaded guilty in 2013 to several charges, including tax evasion, and is now a cooperating witness, has yet to be sentenced, and any fine and restitution amounts have not been set. She is free after posting $2.5 million bond, and the authorities, led by the United States Attorney’s Office in Manhattan, are trying to extradite her boyfriend and his brother from Spain to face similar charges related to the fraud.
Bryan C. Skarlatos, Ms. Rosales’s lawyer, said that buyers should have no concerns at all about the authenticity of the art seized from her Sands Point, N.Y., home, which has also been sold, records show.
The Marshals plan to sell off more of Ms. Rosales’s former possessions later this month, though this time the items are not artworks, but automobiles — her Nissan and her Mercedes-Benz. The cars are to be sold at A. J. Willner Auctions in Lodi, N.J., on Jan. 21.

William K. Rashbaum contributed reporting.



The Observation and Appreciation of Architecture

AND HERE'S SOME ANIMALS FOR YOU................... 

Greetings NYCPlaywrights


It's true! Now's your chance to try out our classes without paying a thing! No experience required—plus, we add new dates and times every week so there's always something to fit your schedule. Open to all.

Jan 11, 2016, 5:30 pm
at The Magnet Training Center
22 West 32nd Street, bet. Broadway and 5th Ave., 10th floor

CIRCUIT TRAINING FOR WRITERS - GETTING IT READ at Primary Stages Einhorn School of Performing Arts (ESPA). This 5-week class offers you unprecedented access to the folks on the other side of the submission process. Discover what grabs a reader immediately and the red flags that turn them off.  Possible topics include: 10-page samples, how to make effective introductions with collaborators. Instructors: Jill Rafson (Director of New Play Development, Roundabout), Natasha Sinha (LCT3 Associate, Lincoln Center), Annie MacCrae (Associate Artistic Director, Atlantic Theater Company), Adam Greenfield (Associate Artistic Director, Playwrights Horizons) and Christopher Burney (Associate Artistic Director, Second Stage).
Payment plans available. http://primarystages.org/espa/writing/getting-it-read

PlayFest (Fall, 2016) is seeking new full-length plays that speak to the human condition in our fascinating and complicated contemporary world. We are interested in plays exploring important, challenging, and crucial social issues that affect our lives today. Topics can range from today’s international headlines to tonight's interpersonal situations in the bedroom. Both comedies and dramas are welcome.
19th Annual Festival of Originals at Theatre Southwest
Each playwright may submit up to 2 plays for consideration.
All entries should be previously unpublished and unproduced in the Houston area.
All Genres are accepted.
Monologues or One Actor plays are not accepted.
Plays should be 20 minutes in length (give or take a minute or two). Page count should be no less than 17, but no more than 22 pages.
There is no maximum limit of characters or sets, but common sense should be used as 5 plays will be produced in one evening.
Number all pages of the scripts, and scripts should be securely bound or stapled in the upper left hand corner.


Jubilee Theatre creates professional productions which reflect the African-American experience. Jubilee Theatre is committed to producing new works which help further the mission of the theatre. As a result, we do accept play submissions from established and new playwrights.

*** FOR MORE INFORMATION on these and other opportunities see the web site at http://www.nycplaywrights.org ***

Improvisational theatre, often called improv or impro, is a form of theater where most or all of what is performed is created at the moment it is performed. In its purest form, the dialogue, action, story, and characters are created collaboratively by the players as the improvisation unfolds in present time, without use of an already prepared, written script.
Improvisational theatre exists in performance as a range of styles of improvisational comedy as well as some non-comedic theatrical performances. It is sometimes used in film and television, both to develop characters and scripts and occasionally as part of the final product.
Improvisational techniques are often used extensively in drama programs to train actors for stage, film, and television and can be an important part of the rehearsal process. However, the skills and processes of improvisation are also used outside of the context of performing arts. It is used in classrooms as an educational tool and in businesses as a way to develop communication skills, creative problem solving, and supportive team-work abilities that are used by improvisational, ensemble players. It is sometimes used in psychotherapy as a tool to gain insight into a person's thoughts, feelings, and relationships.

Pan Theater Rules of Improve
The rules of improv comedy and improv theater. This is a guide to basic improvisational theater techniques and methods. Be sure to also see our Rules of Improv Part II.
Rules of Improv Part I
by David Alger
The first ten improv rules are:
1) Say “yes’and!”
2) Add new information.
3) Don’t block.
4) Avoid asking questions- unless you’re also adding information.
5) Play in the present and use the moment.
6) Establish the location.
7) Be specific and provide colorful details.
8) Change, Change, Change!
9) For serious and emotional scenes, focus on characters and relationships.
10) For humorous scenes, take choices to the nth degree or focus on actions/objects.
There are a ton more rules, but these are a good starting point. And if you really want to break the rules- commit to everything you’re doing and find moment to moment objectives, listen to what your partner says (and doesn’t say), look for the why in everything said and done by those in the scene, choose, use and play status, be changed with every beat…

The longer version:
Improv is an art. However, it is also a craft. A craft is something that is learned throgh practice, repetition, trial, error and hard work. Much like any other art, skill in improv is acquired over time. The more time spent improv-ing the greater the improvement (pun intended).
That being said, there are rules which can, in general, make a scene better. As with any art form, you can break all of the rules and still have quality scenes. However, those best able to break the rules are those who first learn and understand them.
Learn Improv
Welcome to learnimprov.com. This site is devoted to the art of improvisational comedy theatre. Learnimprov.com contains the most detailed and approachable collection of improv comedy structures on the web. Improv comedy structures are one of the key tools used to create improvisational comedy theatre. From games to warm-ups they are detailed here. It is unlikely that you will be able to learn improv comedy from the Internet. Improv comedy requires hours of rehearsal, coaching and dedication to the craft. This collection of improv structures is designed to help you along your path. Whether you are a recreational improviser, or a professional you can join the thousands of improvisers from around the world that have used this resource to make our world a funnier and more improvier place. Learnimprov.com is divided into two distinct parts: structures and tools.


Why Isn’t Your Improv Theater Diverse?
Recently I was a part of a panel of teachers and theater administrators at an improv camp. One of the questions was about how we can make our improv shows and teams more diverse. Many of the responses were about how to get people interested and involved, how to reach out to communities that are underrepresented and try to recruit people for classes or even just to get them to shows.
These weren’t bad ideas, but honestly there is a really simple answer. When you are making casting decisions, just decide that diversity is a priority and cast the most diverse ensemble that you can. Cast LGBT folks, cast black people and latinos, cast women. Just cast them. Do it. Stop making excuses about talent or quotas. Just cast them already.
It’s really a simple principle, if you want black people to be a part of your theater, ask them to be a part of your theater. I’m not being glib. If your audience comes to a show and they only see young, straight, white males on stage, and they aren’t a young, straight, white male, they are less likely to sign up for classes or sign up for auditions. Hell, they are less likely to come back to see another show.
Improvisation For The Theater A Handbook Of Teaching And Directing Techniques
by Viola Spolin
Published 1963
Entire book online:


The 10 People You Meet In Every Improv Class
Thinking about taking some Improv classes? Cool! Get ready to meet these 10 new friends:
 1. The Guy Who Keeps Doing a Really Awkward Black Voice
Guy: "OOOOHHHHHH GURRRRLLL welcome to the DMV, my name is Shaniqua HAAAAYYYYY how can I help you?"
You: "Uh, hello... Shaniqua. Since you're my cousin, I was wondering if you could hook me up with a job here?"
Guy: "Say WHAAAATTT??? DAYUMMNNN you ain't my cousin" [snaps a bunch of times while moving head back and forth]
You: "..."
Tina Fey’s Rules of Improvisation That Will Change Your Life and Reduce Belly Fat*
 The first rule of improvisation is AGREE. Always agree and SAY YES. When you’re improvising, this means you are required to agree with whatever your partner has created. So if we’re improvising and I say, “Freeze, I have a gun,” and you say, “That’s not a gun. It’s your finger. You’re pointing your finger at me,” our improvised scene has ground to a halt. But if I say, “Freeze, I have a gun!” and you say, “The gun I gave you for Christmas! You bastard!” then we have started a scene because we have AGREED that my finger is in fact a Christmas gun.

Now, obviously in real life you’re not always going to agree with everything everyone says. But the Rule of Agreement reminds you to “respect what your partner has created” and to at least start from an open-minded place. Start with a YES and see where that takes you.
What It Was Like to Do Surprise Improv With Robin Williams
It is sometime in 1990 or 1991, and I am in my friend’s basement and we are giddy over the movie we are about to watch - Good Morning, Vietnam. We are excited because Robin Williams is in this movie. And one undebatable fact when you are 11 in the early 90s is that Robin Williams is funny as shit.
We put the tape in. And we do not understand this movie. The cultural significance of Vietnam means nothing to us. The sad parts are confusing, and we talk about the Beastie Boys during them. But anything resembling a joke we laugh hard at. Because Robin Williams said it. When we were younger, we pretended to sleep while our parents watched his stand-up, and we laughed even though we didn’t know why he sweated so much or moved so fast or referenced a thing called cocaine so often.


Architecture for the blog of it
Art for the Blog of It
Art for the Pop of it
Photography for the blog of it
Music for the Blog of it
Sculpture this and Sculpture that
The art of War (Propaganda art through the ages)
Album Art (Photographic arts)
Pulp Fiction Trash (The art of Pulp Fiction covers)
Admit it, you want to Read this Book (The art of Pulp Fiction covers)

The Godfather Trilogy BlogSpot
On the Waterfront: The Making of a great American Film

Absolutely blogalicious
The Wee Book of Irish Recipes (Book support site)
Good chowda (New England foods)
Old New England Recipes (Book support site)
And I Love Clams (New England foods)
In Praise of the Rhode Island Wiener (New England foods)
Wicked Cool New England Recipes (New England foods)
Old New England Recipes (New England foods)

Foster Care new and Updates
Aging out of the system
Murder, Death and Abuse in the Foster Care system
Angel and Saints in the Foster Care System
The Foster Children’s Blogs
Foster Care Legislation
The Foster Children’s Bill of Right
Foster Kids own Story
The Adventures of Foster Kid.

Me vs. Diabetes (Diabetes education site)

The Quotable Helen Keller
Teddy Roosevelt's Letters to his children (Book support site)
The Quotable Machiavelli (Book support site)

Whatever you do, don't laugh
The Quotable Grouch Marx

A Big Blog of Irish Literature
The Wee Blog of Irish Jokes (Book support blog)
The Wee Blog of Irish Recipes
The Irish American Gangster
The Irish in their Own Words
When Washington Was Irish
The Wee Book of Irish Recipes (Book support site)

Following Fitzgerald
The Blogable Robert Frost
Charles Dickens
The Beat Poets of the Forever Generation
Holden Caulfield Blog Spot
The Quotable Oscar Wilde

The Quotable Thoreau
Old New England Recipes
Wicked Cool New England Recipes
The New England Mafia
And I Love Clams
In Praise of the Rhode Island Wiener
Watch Hill
York Beach
The Connecticut History Blog
The Connecticut Irish
Good chowda

God, How I hated the 70s
Child of the Sixties Forever
The Kennedy’s in the 60’s
Music of the Sixties Forever
Elvis and Nixon at the White House (Book support site)
Beatles Fan Forever
Year One, 1955
Robert Kennedy in His Own Words
The 1980s were fun
The 1990s. The last decade.

The Russian Mafia
The American Jewish Gangster
The Mob in Hollywood
We Only Kill Each Other
Early Gangsters of New York City
Al Capone: Biography of a self-made Man
The Life and World of Al Capone
The Salerno Report
Guns and Glamour
The St. Valentine’s Day Massacre
Mob Testimony
Recipes we would Die For
The Prohibition in Pictures
The Mob in Pictures
The Mob in Vegas
The Irish American Gangster
Roger Touhy Gangster
Chicago’s Mob Bosses
Chicago Gang Land: It Happened Here
Whacked: One Hundred years of Murder in Gangland
The Mob Across America
Mob Cops, Lawyers and Front Men
Shooting the Mob: Dutch Schultz
Bugsy& His Flamingo: The Testimony of Virginia Hill
After Valachi. Hearings before the US Senate on Organized Crime
Mob Buster: Report of Special Agent Virgil Peterson to the Kefauver Committee (Book support site)
The US Government’s Timeline of Organized Crime (Book support site)
The Kefauver Organized Crime Hearings (Book support site)
Joe Valachi's testimony on the Mafia (Book support site)
Mobsters in the News
Shooting the Mob: Dead Mobsters (Book support site)
The Stolen Years Full Text (Roger Touhy)
Mobsters in Black and White
Mafia Gangsters, Wiseguys and Goodfellas
Whacked: One Hundred Years of Murder and Mayhem in the Chicago Mob (Book support site)
Gangland Gaslight: The Killing of Rosy Rosenthal (Book support site)
The Best of the Mob Files Series (Book support site)

It’s All Greek Mythology to me

Psychologically Relevant

The Rarifieid Tribe
Perfect Behavior

The Upscale Traveler

The Mish Mosh Blog

DC Behind the Monuments
Washington Oddities
When Washington Was Irish

Litchfield Literary Books. A really small company run by writers.
The Day Nixon Met Elvis
Paperback 46 pages
Theodore Roosevelt: Letters to his Children. 1903-1918
Paperback 194 pages
The Works of Horace
Paperback 174 pages
The Quotable Greeks
Paperback 234 pages
The Quotable Epictetus
Paperback 142 pages
Quo Vadis: A narrative of the time of Nero
Paperback 420 pages

The Porchless Pumpkin: A Halloween Story for Children
A Halloween play for young children. By consent of the author, this play may be performed, at no charge, by educational institutions, neighborhood organizations and other not-for-profit-organizations.
A fun story with a moral
“I believe that Denny O'Day is an American treasure and this little book proves it. Jack is a pumpkin who happens to be very small, by pumpkins standards and as a result he goes unbought in the pumpkin patch on Halloween eve, but at the last moment he is given his chance to prove that just because you're small doesn't mean you can't be brave. Here is the point that I found so wonderful, the book stresses that while size doesn't matter when it comes to courage...ITS OKAY TO BE SCARED....as well. I think children need to hear that, that's its okay to be unsure because life is a ongoing lesson isn't it?”
Paperback: 42 pages
It's Not All Right to be a Foster Kid....no matter what they tell you: Tweet the books contents
Paperback 94 pages
From the Author
I spent my childhood, from age seven through seventeen, in foster care.  Over the course of those ten years, many decent, well-meaning, and concerned people told me, "It's okay to be foster kid."
In saying that, those very good people meant to encourage me, and I appreciated their kindness then, and all these many decades later, I still appreciate their good intentions. But as I was tossed around the foster care system, it began to dawn on me that they were wrong.  It was not all right to be a foster kid.
During my time in the system, I was bounced every eighteen months from three foster homes to an orphanage to a boy's school and to a group home before I left on my own accord at age seventeen.
In the course of my stay in foster care, I was severely beaten in two homes by my "care givers" and separated from my four siblings who were also in care, sometimes only blocks away from where I was living.
I left the system rather than to wait to age out, although the effects of leaving the system without any family, means, or safety net of any kind, were the same as if I had aged out. I lived in poverty for the first part of my life, dropped out of high school, and had continuous problems with the law.
 Today, almost nothing about foster care has changed.  Exactly what happened to me is happening to some other child, somewhere in America, right now.  The system, corrupt, bloated, and inefficient, goes on, unchanging and secretive.
Something has gone wrong in a system that was originally a compassionate social policy built to improve lives but is now a definitive cause in ruining lives.  Due to gross negligence, mismanagement, apathy, and greed, mostly what the foster care system builds are dangerous consequences. Truly, foster care has become our epic national disgrace and a nightmare for those of us who have lived through it.
Yet there is a suspicion among some Americans that foster care costs too much, undermines the work ethic, and is at odds with a satisfying life.  Others see foster care as a part of the welfare system, as legal plunder of the public treasuries.
 None of that is true; in fact, all that sort of thinking does is to blame the victims.  There is not a single child in the system who wants to be there or asked to be there.  Foster kids are in foster care because they had nowhere else to go.  It's that simple.  And believe me, if those kids could get out of the system and be reunited with their parents and lead normal, healthy lives, they would. And if foster care is a sort of legal plunder of the public treasuries, it's not the kids in the system who are doing the plundering.
 We need to end this needless suffering.  We need to end it because it is morally and ethically wrong and because the generations to come will not judge us on the might of our armed forces or our technological advancements or on our fabulous wealth.
 Rather, they will judge us, I am certain, on our compassion for those who are friendless, on our decency to those who have nothing and on our efforts, successful or not, to make our nation and our world a better place.  And if we cannot accomplish those things in the short time allotted to us, then let them say of us "at least they tried."
You can change the tragedy of foster care and here's how to do it.  We have created this book so that almost all of it can be tweeted out by you to the world.  You have the power to improve the lives of those in our society who are least able to defend themselves.  All you need is the will to do it.
 If the American people, as good, decent and generous as they are, knew what was going on in foster care, in their name and with their money, they would stop it.  But, generally speaking, although the public has a vague notion that foster care is a mess, they don't have the complete picture. They are not aware of the human, economic and social cost that the mismanagement of the foster care system puts on our nation.
By tweeting the facts laid out in this work, you can help to change all of that.  You can make a difference.  You can change things for the better.
We can always change the future for a foster kid; to make it better ...you have the power to do that. Speak up (or tweet out) because it's your country.  Don't depend on the "The other guy" to speak up for these kids, because you are the other guy.
We cannot build a future for foster children, but we can build foster children for the future and the time to start that change is today.
No time to say Goodbye: Memoirs of a life in foster 
Paperbook 440 Books
On the Waterfront: The Making of a Great American Film
Paperback: 416 pages
Scotish Ghost Stories
Paperback 186 pages
The Book of funny odd and interesting things people say
Paperback: 278 pages
The Wee Book of Irish Jokes
Perfect Behavior: A guide for Ladies and Gentlemen in all Social Crises
You Don’t Need a Weatherman. Underground 1969
Paperback 122 pages
Baby Boomers Guide to the Beatles Songs of the Sixties
Baby Boomers Guide to Songs of the 1960s
The Connecticut Irish
Paper back 140 pages
 The Wee Book of Irish Jokes
The Wee Book of Irish Recipes 
 The Wee Book of the American-Irish Gangsters
 The Wee book of Irish Blessings... 
The Wee Book of the American Irish in Their Own Words
Everything you need to know about St. Patrick
Paperback 26 pages
A Reading Book in Ancient Irish History
Paperback 147pages
The Book of Things Irish
Poets and Dreamer; Stories translated from the Irish
Paperback 158 pages
The History of the Great Irish Famine: Abridged and Illustrated
Paperback 356 pages
The New England Mafia
Wicked Good New England Recipes
The Connecticut Irish
Paper back 140 pages
The Twenty-Fifth Regiment Connecticut Volunteers
Paperback 64 pages
The Life of James Mars
Paperback 54 pages
Stories of Colonial Connecticut
Paperback 116 pages
What they Say in Old New England
Paperback 194 pages
Chicago Organized Crime
The Mob Files: It Happened Here: Places of Note in Chicago gangland 1900-2000
An Illustrated Chronological History of the Chicago Mob. Time Line 1837-2000
Mob Buster: Report of Special Agent Virgil Peterson to the Kefauver Committee
The Mob Files. Guns and Glamour: The Chicago Mob. A History. 1900-2000
Shooting the Mob: Organized crime in photos. Crime Boss Tony Accardo
Shooting the Mob: Organized Crime in Photos: The Saint Valentine’s Day Massacre.
The Life and World of Al Capone in Photos
AL CAPONE: The Biography of a Self-Made Man.: Revised from the 0riginal 1930 edition.Over 200 new photographs
Paperback: 340 pages
Whacked. One Hundred Years Murder and Mayhem in the Chicago Outfit
Paperback: 172 pages
Las Vegas Organized Crime
The Mob in Vegas
Bugsy & His Flamingo: The Testimony of Virginia Hill
Testimony by Mobsters Lewis McWillie, Joseph Campisi and Irwin Weiner (The Mob Files Series)
Rattling the Cup on Chicago Crime.
Paperback 264 pages
The Life and Times of Terrible Tommy O’Connor.
Paperback 94 pages
The Mob, Sam Giancana and the overthrow of the Black Policy Racket in Chicago
Paperback 200 pages
When Capone’s Mob Murdered Roger Touhy. In Photos
Paperback 234 pages
Organized Crime in Hollywood
The Mob in Hollywood
The Bioff Scandal
Paperback 54 pages
Organized Crime in New York
Joe Pistone’s war on the mafia
Mob Testimony: Joe Pistone, Michael Scars DiLeonardo, Angelo Lonardo and others
The New York Mafia: The Origins of the New York Mob
The New York Mob: The Bosses
Organized Crime 25 Years after Valachi. Hearings before the US Senate
Shooting the mob: Dutch Schultz
Gangland Gaslight: The Killing of Rosy Rosenthal. (Illustrated)
Early Street Gangs and Gangsters of New York City
Paperback 382 pages
The Russian Mafia in America
The Threat of Russian Organzied Crime
Paperback 192 pages
Organized Crime/General
Best of Mob Stories
Best of Mob Stories Part 2
Mob Recipes to Die For. Meals and Mobsters in Photos
More Mob Recipes to Die For. Meals and Mobs
The New England Mafia
Shooting the mob. Organized crime in photos. Dead Mobsters, Gangsters and Hoods.
The Salerno Report: The Mafia and the Murder of President John F. Kennedy
The Mob Files: Mob Wars. "We only kill each other"
The Mob across America
The US Government’s Time Line of Organzied Crime 1920-1987
Early Street Gangs and Gangsters of New York City: 1800-1919. Illustrated
The Mob Files: Mob Cops, Lawyers and Informants and Fronts
Gangster Quotes: Mobsters in their own words. Illustrated
Paperback: 128 pages
The Book of American-Jewish Gangsters: A Pictorial History.
Paperback: 436 pages
The Mob and the Kennedy Assassination
Paperback 414 pages
The Last Outlaw: The story of Cole Younger, by Himself
Paperback 152 pages
Chicago: A photographic essay.
 Paperback: 200 pages
Boomers on a train: A ten minute play
Paperback 22 pages
Four Short Plays
By John William Tuohy
Four More Short Plays
By John William Tuohy
High and Goodbye: Everybody gets the Timothy Leary they deserve. A full length play
By John William Tuohy
Cyberdate. An Everyday Love Story about Everyday People
By John William Tuohy
The Dutchman's Soliloquy: A one Act Play based on the factual last words of Gangster Dutch Schultz.
By John William Tuohy
Fishbowling on The Last Words of Dutch Schultz: Or William S. Burroughs intersects with Dutch Schultz
Print Length: 57 pages
American Shakespeare: August Wilson in his own words. A One Act Play
By John William Tuohy
She Stoops to Conquer
The Seven Deadly Sins of Gilligan’s Island: A ten minute play
Print Length: 14 pages
OUT OF CONTROL: An Informal History of the Fairfax County Police
McLean Virginia. A short informal history

The Quotable Emerson: Life lessons from the words of Ralph Waldo Emerson: Over 300 quotes
The Quotable John F. Kennedy
The Quotable Oscar Wilde
The Quotable Machiavelli

The Quotable Confucius: Life Lesson from the Chinese Master

The Quotable Henry David Thoreau
The Quotable Robert F. Kennedy
The Quotable Writer: Writers on the Writers Life
The words of Walt Whitman: An American Poet
Paperback: 162 pages
Gangster Quotes: Mobsters in their own words. Illustrated
Paperback: 128 pages

The Quotable Popes
Paperback 66 pages

The Quotable Kahlil Gibran with Artwork from Kahlil Gibran
Paperback 52 pages
Kahlil Gibran, an artist, poet, and writer was born on January 6, 1883 n the north of modern-day Lebanon and in what was then part of Ottoman Empire. He had no formal schooling in Lebanon. In 1895, the family immigrated to the United States when Kahlil was a young man and settled in South Boston. Gibran enrolled in an art school and was soon a member of the avant-garde community and became especially close to Boston artist, photographer, and publisher Fred Holland Day who encouraged and supported Gibran’s creative projects. An accomplished artist in drawing and watercolor, Kahlil attended art school in Paris from 1908 to 1910, pursuing a symbolist and romantic style. He held his first art exhibition of his drawings in 1904 in Boston, at Day's studio. It was at this exhibition, that Gibran met Mary Elizabeth Haskell, who ten years his senior. The two formed an important friendship and love affair that lasted the rest of Gibran’s short life. Haskell influenced every aspect of Gibran’s personal life and career. She became his editor when he began to write and ushered his first book into publication in 1918, The Madman, a slim volume of aphorisms and parables written in biblical cadence somewhere between poetry and prose. Gibran died in New York City on April 10, 1931, at the age of 48 from cirrhosis of the liver and tuberculosis.

The Quotable Dorothy Parker
Paperback 86 pages
The Quotable Machiavelli
Paperback 36 pages
The Quotable Greeks
Paperback 230 pages

The Quotabe Oscar Wilde
Paperback 24 pages
The Quotable Helen Keller
Paperback 66 pages
The Art of War: Sun Tzu
Paperback 60 pages
The Quotable Shakespeare
Paperback 54 pages
The Quotable Gorucho Marx
Paperback 46 pages

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