John William Tuohy lives in Washington DC

NYCPlaywrights December 24, 2016

NYCPlaywrights December 24, 2016


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


The Princeton Theatre Group invites submission of scripts to be considered for the 2017 New Works Festival 
Two categories ~ One-Act Scripts and Ten-Minute Plays 
Winners will receive a staged reading by professional actors during Festival 56, Illinois’ largest summer theatre festival. The New Works Festival will also include a playwrights’ reception and opportunities to receive feedback of the winning works. No entry fee — No cash prizes 


Source Festival seeks 10-Minute Plays of any genre (comedy, magical realism, drama, etc.) that relate to the theme listed below. This theme is inspired by the festival's Full-Length Play; please read the summary below for more information about the Full Length Play.


Watermelon One-Act Festival (Baltimore MD)
We welcome all original and unpublished works between 10 and 45 minute total running time (includes set up/breakdown and curtain call). Twelve to sixteen entries will be selected based on the quality of the writing, story/plot, and character development. Minimal technical requirements is advised as there are only 60 minutes for a technical rehearsal, all props and actors must fit into a 10- by 10-foot space (prior to set up and after breakdown), and there is no technical award. 

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


Christmas pantomimes in London
It wouldn't be Christmas without a pantomime. Oh no it wouldn't...

‘Sleeping Beauty’ is not a satirical drama about Brexit Britain - it is a panto that will delight audiences young and old with a raucous retelling of the popular fairytale. But creators Susie McKenna and Steve Edis know the anarchic, rapid response possibility of the art form, and it’s the first show I’ve seen to have the nads to really pile into the depressing absurdities of this year, most specifically in a very, very funny song called ‘Never Ask the People What They Want’ that’s about as cathartic as it gets. (Or it is until the bit where Gavin Spokes’s Dame Nanny Nora comes on in what I will only describe as a frock with a very special flag on it, which caused most of the adult audience to lose their collective shit).


‘Mother Goose’’s struggle is presented via two spirits: Virtue (played as being all sugar and spice) and the camp, swaggering, scene-stealing Vanity.

The best scenes were the silliest: a performance of ‘Twelve days of Christmas’ performed at ever-increasing pace inevitably went awry with comical consequences, and some heckling from the crowd spiced things up. The dance routines were strong – especially a saucy number that started with three female dancers in skimpy outfits (so far, so everyday sexism). But then they were joined – in a woke twist – by two lads in bondage gear.


Director Kerry Michael clearly means well in his panto production of ‘Sinbad the Sailor’ but as the cast sing ‘girl power! girl power!’ in triumphant unison at the show’s finale it only takes a quick flick through the female characters for the admirable sentiment to ring hollow: the female genie subservient to an evil man, the nurse who’s actually a bloke in drag, the princess who spends the show disguised as a boy, and Sinbad’s sister Sinbadda, who we’re told is actually the hero and not her scaredy-cat bookworm brother, yet is a part so bland that I genuinely forgot she was in it at some points. 



Cancellation of Lancaster Co. Christmas play goes viral

…In September, the Jewish parents had asked if their child could be excused from the play, and were told yes. After the decision to cancel the play in November, their child was harassed at school, according to the story on LancasterOnline, despite the district's assertion the child was not the cause of the play's cancellation. 

A reporter for Lancaster Online who spoke with the family wrote that the child had been "harassed by classmates" and that they had temporarily left the county out of concern.

The family could not be reached by the paper either Thursday or Friday for further comment, according to the story.

Philly.com has not been able to determine the identity of the family to reach out to them independently.

When news stories,  which portray the school’s move as part of a “war on Christmas," broke on Fox and Breitbart News Network, the school received more than 200 complaints.

When the parents saw the reader comments to the Breitbart story suggesting their address should be published, they pulled their child from school and temporarily left the area, according to the LancasterOnline story. 

“There’s no way we’re going to take a chance after the pizza incident,” they told the Lancaster reporter.

The reference was to a Dec. 5 incident. Edgar M. Welch of Salisbury, N.C, was arrested after he fired an assault rifle in a pizza restaurant in northwest Washington, D.C, after reading a fake-news story that said suggested Hillary Clinton was running a child sex ring out of the location.



Rockettes Not Required to Dance at Trump Inauguration, Company Says

The Radio City Rockettes performed at the “Celebration of Freedom” concert on Jan. 19, 2005, in Washington as part of the inauguration festivities for President George W. Bush. Credit Mike Segar/Reuters
Within hours of confirming plans to appear at the inauguration of Donald J. Trump, the Radio City Rockettes were plunged into a maelstrom of social media outrage on Friday amid reports that the performers were contractually obligated to dance at the ceremony or lose their jobs.

But as the day wore on, both the Madison Square Garden Company, which manages the Rockettes, and the dancers’ union, the American Guild of Variety Artists, said that any of the dancers could opt out of the Jan. 20 performance in Washington.

The day of statements followed reports that a Rockette was “embarrassed and disappointed” that the decision to perform had been made for her. The dancer’s private Instagram post was published by the gossip website Perez Hilton and quoted widely by news outlets. That dancer, Phoebe Pearl, did not respond to multiple requests for comment on Friday, nor did several of her fellow performers.



A Very Merry Unauthorized Children's Scientology Pageant is a satirical musical about Scientology and L. Ron Hubbard, written by Kyle Jarrow from a concept by Alex Timbers, the show's original director. Jarrow based the story of the one-act, one-hour musical on Hubbard's writings and Church of Scientology literature. The musical follows the life of Hubbard as he develops Dianetics and then Scientology. Though the musical pokes fun at Hubbard's science fiction writing and personal beliefs, it has been called a "deadpan presentation" of his life story.[1] Topics explored in the piece include Dianetics, the E-meter, Thetans, and the story of Xenu. The show was originally presented in 2003 in New York City by Les Freres Corbusier, an experimental theater troupe, enjoying sold-out Off-Off-Broadway and Off-Broadway productions. Later productions have included Los Angeles, New York, Boston, Atlanta, Philadelphia and Washington, D.C.



Spirit of the Yule, A New Holiday Musical

Celebrate the holiday season with Key City Public Theatre as they unveil the new holiday musical, Spirit of the Yule, directed by KCPT’s Artistic Director, Denise Winter, with music and lyrics by acclaimed local composer, Linda Dowdell. Spirit of the Yule, a new take on Dickens’ A Christmas Carol, is set in Port Townsend when the lumber boomtown was eagerly awaiting the railroad connection that would make it the preeminent port city in the Pacific Northwest. This musical is steeped in the history and cultural legacy that defined Port Townsend as “the city of dreams.”



The Genius of “The Hard Nut”

In that quarter century, almost all the original 1991 cast members have gone on to other jobs, other lives, or at least other roles in “The Hard Nut.” (Morris, originally the party guest who kept getting his leg humped by the Stahlbaums’ hormonal teen-age daughter, Louise, is now Dr. Stahlbaum.) Only one person from the starting lineup remains in place, and appropriately—since that character seems, from the curtain-call decibels, to be the most beloved—it is the Stahlbaum family maid, played, in drag, by Kraig Patterson. There she still stands, in her little French maid’s outfit, plus black point shoes, on which she bourrĂ©es furiously when she needs to show someone who’s boss. “I kind of fashioned her after Naomi Campbell,” Patterson recalls. “Also the housekeeper in ‘The Jeffersons’—the one who’s always sucking her teeth at her boss.” The uniform tells it all. In front, you see the white apron and the little doily of a cap. But turn her around and you find that the dress is backless.

The maid is the tutelary genius of “The Hard Nut,” the one who embodies the spirit of the piece. Almost all the adults in the ballet behave badly most of the time, and it’s not as though they don’t mean to. Mrs. Stahlbaum takes drugs. The guests grab one another in inappropriate places. In one performance I saw, a neighbor, leaving for home, picked out a package from under the Christmas tree and took it with her. But often, in a Mark Morris piece, a sort of bumbling badness will be placed alongside goodness, and in the end goodness wins, even if in a humble way. The maid is the only person in “The Hard Nut” who selflessly enjoys small pleasures. When, at the party, the guests do the Stroll, she joins in and has a great old time, though her partner is the family’s horrible little son, Fritz. In another scene—it opens Act II—the maid is watching over Marie, who is ill. (Her nutcracker got broken; there was a war between the rats and the G.I. Joes; she fainted; everything is awful.) While Marie sleeps, the maid thumbs through a fashion magazine, and she finds a scratch-and-sniff. She scratches! She sniffs! Free perfume! What joy!


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