John William Tuohy lives in Washington DC


BEST PLAY $2,500

Best Director, Actress, Actor and Singer $500 each

Best Musical Score $300

Best Original Play, Stage Manager and Set Designer $200.

All genres are welcome, including MUSICALS.


Our 10th  Festival Season
There is no question why NYWINTERFEST has taken the world of playwrighting festivals by storm, becoming one of the largest festival in the country in just 6 years.

for more info



Las Vegas Little Theatre's 9th Annual New Works Competition
All plays must be full length (90 minutes or more). No musicals please.
Plays must have no more than 8 characters – doubling is allowed
The set must be simple or representational.
Ideally looking for subject matter that will appeal to an age range of 18 – 30.
Seeking new plays that have not been professionally produced or published.
Plays will be screened by the competition committee. The top 5 will be submitted to the judges.


Pallas Theatre Collective welcomes submissions of completed, full-length and one act musicals for their 2017 TableRead Series. TableRead 2016 will offer creative teams the opportunity to develop, workshop and present new works of musical theatre in collaboration with Pallas’s new musical development team through a series of university and professional readings (usually 3-4), culminating in a professional black-box style production in 2018. Creators are provided a small honorarium and some travel expenses, as well as 10% net box office receipts from the show. For more information and a list of past winners, visit: pallastheatre.org/TableRead.


Lakeshore Players Theatre is accepting submissions for 10-minute plays
Finalist plays will be produced at our Annual Festival in June 2017.
The play should be approximately ten-minutes in length.
The play must have no more than five on-stage (speaking and non-speaking) characters.
You may submit only one play, so send us your best! Please do not make more than one submission.
The play should be in a “play format” making it easy for the readers.

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



Award-winning playwright Carlyle Brown is currently performing his latest one-man play, Therapy and Resistance, at Dreamland Arts in St. Paul. Brown's new work focuses on telling the story of a Vietnam War draftee pursuing deferment.
Brown is a 2010 honoree of the Otto René Castillo Award for Political Theatre, and his one-man play The Fula from America has toured the country to critical acclaim.

Therapy and Resistance is Carlyle Brown's third one-man performance. Directed by Noël Raymond, it shares a story of a young African American man taking part in the draft resistance movement during the Vietnam War. The man claims to be a manic-depressive schizophrenic with paranoid tendencies, and shares a personal narrative from 1968 with cutting political satire that can easily reflect the feelings of today.



Therapy Becomes Theater in ‘Wilderness’

Ms. Hamburger wrote “Wilderness” with its director, Seth Bockley, 34, based on interviews with other families that have used wilderness therapy and people who work in such programs. At the center of the story are a half-dozen kids who have found themselves — generally not by choice and often without warning — removed from their regular lives, transported to this remote patch of southwestern Utah and dropped into a group of troubled strangers, where they may or may not begin to get better.

With actors playing teenage clients and the staff members, “Wilderness” is part drama, part straight documentary. For each child onstage, all based on real people, there is a real parent or set of parents on video or audio, filling in the story from another angle. The show traces the traumas and crises that led them here and gives a not-always-comforting glimpse of how their lives have played out afterward.



Drama therapy (written dramatherapy in the UK) is the use of theatre techniques to facilitate personal growth and promote mental health.[1] Dramatherapy is used in a wide variety of settings, including hospitals, schools, mental health centers, prisons, and businesses. Drama therapy, as a form of 'expressive therapy' (also known as creative arts therapies'),[2] exists in many forms and can be applicable to individuals, couples, families, and various groups.



Omega Transpersonal Drama Therapy

We offer professional training in Psychodrama, Transpersonal Drama Therapy & Transformational Theater Arts. Individual, group & family counseling services, supervision and consultation are also available. Omega Theater has been evolving its artistic healing work for over four decades.

Upcoming Courses & Events in 2017 (dates TBA):

Drama Therapy for Special Populations
Advanced Psychodrama Training
Creative Improvisation/Creative Dramatics
Creative Arts Therapies
Supervision Group for Drama Therapy and Psychodrama




This farcical comedy focuses on Prudence and Bruce, two Manhattanites who are seeking stable romantic relationships with the help of their psychiatrists, each of whom suggests their patient place a personal ad in the newspaper. Bruce is a highly emotional bisexual who tends to cry easily, a trait Prudence sees as a weakness. Their first meeting proves to be disastrous and the two report back to their respective therapists—libidinous Stuart, who once seduced Prudence, and eccentric Charlotte, who stumbles over the simplest of words, who references the play Equus as a good source of advice, and who interacts with her patients with the help of a stuffed Snoopy doll. Clearly the two therapists are more troubled than their patients. Charlotte suggests a revised ad, which once again attracts Prudence, but this time Prudence and Bruce manage to get past their initial loathing and discover they actually like each other. Complications ensue when Bruce's jealous live-in lover Bob decides to assert himself and do everything possible to maintain his status quo.




Equus is a play by Peter Shaffer written in 1973, telling the story of a psychiatrist who attempts to treat a young man who has a pathological religious fascination with horses.[1]

Shaffer was inspired to write Equus when he heard of a crime involving a 17-year-old who blinded six horses in a small town near Suffolk.[2] He set out to construct a fictional account of what might have caused the incident, without knowing any of the details of the crime. The play's action is something of a detective story, involving the attempts of the child psychiatrist Dr. Martin Dysart, to understand the cause of the boy's actions while wrestling with his own sense of purpose.[3] The stage show ran in London between 1973 and 1975, directed by John Dexter. Later came the Broadway productions that starred Anthony Hopkins as Dysart (later played by Richard Burton, Leonard Nimoy, and Anthony Perkins) and from the London production, Peter Firth as Alan. Tom Hulce replaced Firth during the Broadway run. The Broadway production ran for 1,209 performances. Marian Seldes appeared in every single performance of the Broadway run, first in the role of Hesther and then as Dora. Shaffer also adapted his play for a 1977 film of the same name.




It started, as many good things do, at Harvard. That’s where, in 1967, Dr. Armand M. Nicholi Jr., a psychiatrist, began teaching a seminar on the rationalist, atheist philosophy of Sigmund Freud. Under pressure from students, he has said, he widened the syllabus to include a more religious point of view as well, adding the writings of the Christian apologist C. S. Lewis to the course. He called it “The Question of God.”

In the years since, his seminar has become a book, a PBS television program and the inspiration for an unlikely Off Broadway hit in 2010, “Freud’s Last Session,” by Mark St. Germain. Now it’s the Schoolhouse Theater asking us to consider the question of God, mounting an excellent production of the play under the smooth direction of Sean Hagerty.



The relationship between creativity and mood disorders

…The subjects were subdivided into five groups: novelists (8), poets (18), playwrights (8), biographers (5), and artists (8). Overall, 38% of the sample had been treated for a mood disorder. The highest rate of treatment was in the playwrights (63%), but more than half had received psychotherapy rather than medication. The poets had the highest rate of needing medication for mood disorder (33%); they were also the only group to have received treatment for mania. This study did not include a control group, so statistical comparisons cannot be made between the creative individuals and a comparable comparison group. Although a relatively small subset of the sample had been treated for bipolar disorder, Jamison describes a variety of types of mood swings in this sample.



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