John William Tuohy lives in Washington DC


Greetings NYCPlaywrights


by Beth Zetlin

A solo theatrical piece told through a series of monologues that delves into the world of mentally ill patients. A police officer who is traumatized after watching his rookie partner shoot an unarmed mentally ill teenager; a 13-year-old girl reveals the pain of bouncing between foster care and an alcoholic mother; a woman with paranoid delusions becomes desperate as she believes all of her food and water has been poisoned and a man in a manic episode rants about how he’s not the one who should be considered sick.

Dixon Place
161A Chrystie Street
Btwn Rivington & Delancey
New York, NY 10002


Tilted Windmills Theatricals presents
Puffs, or: Seven Increasingly Eventful Years at a Certain School of Magic and Magic
Potter changed the World of Wizards forever. The Puffs were also there.
Written by Matt Cox
Directed by Kristin McCarthy Parker
More information:


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


NYCPlaywrights seeks monologues and 10-minute plays. 
President-elect Donald Trump has said a number of controversial things, including that he can grab women "by the pussy" because "when you're a star they let you do it, you can do anything." This is considered a description of sexual assault by some, but locker room talk by others. 
NYCPlaywrights is looking for scripts about women in a time when the leader of the United States is Donald Trump.

DEADLINE: Saturday December 24, 2016 at 11:59 PM EST


Music Theatre of Madison, a professional theatre company in Madison, Wisconsin, is seeking submissions from everywhere for our 2017 Festival of New Musicals. This will be the second year of the Festival (last done in 2015), which features readings of 3 or 4 musicals still in development as well as talkbacks with audiences. It is the only series of its kind in Wisconsin. Dates are still being determined for the 2017 festival, but it will likely take place in October-December of 2017.


Palm Beach Dramaworks has revised its submission criteria for out-of-state (Florida) residents by welcoming plawrights without represenation to submit a brief synopsis of their play along with their bio to The Dramaworkshop Manager for consideration. 
In addition, the Dramaworkshop has expanded its reach to include graduating MFA Playwriting candidates. 


Theatre Suburbia, Northwest Houston's longest running all volunteer playhouse, is looking to produce a new Summer Mellerdramer in 2017.
Theatre Suburbia invites the playwriting community to submit new unpublished scripts for consideration. 
To qualify for consideration, the scripts should conform to the following guidelines:
• The script must have a running time between 90 and 120 minutes.
• The script should have 2 acts with one intermission.
• The main characters (villain, hero and heroine) should make their stage entrances within the first 10 pages of the script.

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


Stage machinery, devices designed for the production of theatrical effects, such as rapid scene changes, lighting, sound effects, and illusions of the supernatural or magical. Theatrical machinery has been in use since at least the 5th century bc, when the Greeks developed deus ex machina, by which an actor could be lowered to the stage. 



A mechane (/ˈmɛkəniː/; Greek: μηχανή, mēkhanḗ) or machine was a crane used in Greek theatre, especially in the 5th and 4th centuries BC. Made of wooden beams and pulley systems, the device was used to lift an actor into the air, usually representing flight. This stage machine was particularly used to bring gods onto the stage from above,[1] hence the Latin term deus ex machina ("god out of the machine"). Euripides' use of the mechane in Medea (431 BC) is a notable use of the machine for a non-divine character. It was also often used by Aeschylus. It was used to allow actors playing gods to fly through the air.



Deus Ex Machina: Ancient examples

Aeschylus used the device in his Eumenides, but it was with Euripides that it became an established stage machine. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution, and some critics claim that Euripides, not Aeschylus, invented it.[4] A frequently cited example is Euripides' Medea, in which the deus ex machina, a dragon-drawn chariot sent by the sun god, is used to convey his granddaughter Medea, who has just committed murder and infanticide, away from her husband Jason to the safety and civilization of Athens. In Alcestis, the eponymous heroine agrees to give up her own life in order to spare the life of her husband, Admetus. At the end, Heracles shows up and seizes Alcestis from Death, restoring her to life and to Admetus.

Aristophanes' play Thesmophoriazusae parodies Euripides' frequent use of the crane by making Euripides himself a character in the play and bringing him on stage by way of the mechane.

The effect of the device on Greek audiences was a direct and immediate emotional response. Audiences would have a feeling of wonder and astonishment at the appearance of the gods, which would often add to the moral effect of the drama.[5]



Superheroes rule everything, right? The box office, Netflix’s original programming department, prime time on ABC, the children’s fantasy market. Not Broadway, though, buddy. Nope. Spider-Man: Turn Off the Dark is ending its New York run in early January, less than three years after opening, the Wall Street Journal reports. At $75 million, it was history’s priciest theatrical production — unless the Greeks were pulling out some serious stops on their deus ex machina contraptions and historians have failed to calculate inflation rates correctly. “The show is, I would say, middling,” producer Jeremiah J. Harris tells the New York Times. “We could run for probably another three to five years being stuck in the middle. We think it will play Las Vegas with a greater bang than it did in New York.” You’ve been cast forth into the desert, Spidey.



Making the Angel Work

Tony Taccone: We made lots of mistakes with the flying. Poor Ellen.

Mary Klinger: We worked seven days a week, because Monday, the normal day off, we worked on the flying with Ellen. Which is fine because they were paying us. But we were getting so exhausted, I had to call the union and ask them to intervene. Which they did; they placed a polite call and said, “Hey let them have a day off. They’re exhausted. They might hurt themselves.”

Tony Kushner: I’ll never forget Ellen hanging at a wire at the Taper, and it was on some sort of pivot thing that they were trying out. And she couldn’t stop spinning, and the wire caught her wig and some of her actual hair, and it was starting to scalp her. I ran up onstage, and I grabbed a broom, and we unwound her and got her off of it.



Behind the Scenes - WICKED - how to fly


“It is so forceful, it really takes your breath away,” says director Brian Clowdus. He’s not lying.

The Serenbe Playhouse production of Miss Saigon is set in the secluded hills of Georgia, in a 1,000-acre residential and commercial community called Serenbe, located in Chattahoochee Hill Country. Audiences must find their way to the setting of Saigon’s Dreamland, deep in the woods where a shipping container lies in front of a dirt hill and a small pool of water. Off in the distance is a landing spot for the Huey helicopter once used in the Vietnam War and now flown by actual war veterans for the show.

As day turns to night before audiences’ eyes, Saigon takes shape. A young, angelic Kim emerges from behind the shipping container to enter the movie in her mind—a cinematic take on the production conceived by Clowdus—and marines ride in on trucks as dusk approaches. By the time the show reaches Act II, the chopper rides in from a hidden location, circles overhead and descends—slightly kicking up water and grass with a powerful gust of wind—to land in the distance.


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