John William Tuohy lives in Washington DC

Greetings NYCPlaywrights


FreudMahler dramatizes the therapeutic encounter between Sigmund Freud and Gustave Mahler. It will have a staged reading at the Dramatists Guild, Mary Rodgers Room, 1501 Broadway, on Friday, September 23 at 6:00pm. 
Admission is free. 
For information, email MarlinThomas@iCloud.com.
The Dramatists Guild of America
1501 Broadway, Suite 701, NYC


Three short works by Rose-Marie Brandywein
Sunday, September 16, 3PM
A staged reading with talk back & reception to follow
Polaris North
245 W. 29th Street
Fourth Floor
Admission Free - Donations Gratefully Accepted
RSVP: rmbrandwein@gmail.com


September 13: FREE Writing Workshop and Ice Cream Social at Primary Stages ESPA: Join us for an evening of workshops and ice cream! There will be an ice cream social from 6-8pm. From 7-8pm there is a “Submissions Only” Screening and Discussion with Writer/Director/Creator Kate Wetherhead, followed by a Getting it Written workshop with Kate from 8-9pm. Also an actor? There are Monologue and Alexander Technique workshops, too.  All events are free and open to the public.

RSVP to the ice cream social: https://www.eventbrite.com/e/espa-mixer-fall-2016-tickets-27470333507
RSVP to the Submissions Only Screening and Discussion: https://submissionsonly-fall2016.eventbrite.com
RSVP to the writing workshop: https://espagettingitwritten-nycp-fall2016.eventbrite.com  

Primary Stages ESPA is a home for all artists, in all stages of their careers. 


BEST PLAY $2,500
Best Short Play $1,500

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



Babes with Blades: Joining Sword & Pen
The winner of Joining Sword & Pen 2017-18 will receive the Margaret W. Martin Award:
The winning script will be workshopped through Fighting Words in 2017.
The winning script will be produced as part of Babes With Blades’ 2018-19 Season.
The winning playwright will receive a $1000 cash prize.
U.S. and International submissions accepted.


Northern Kentucky University | School of the Arts is once again calling for submissions for its award- winning, 18th Biennial Year End Series Festival of New Plays - THE Y.E.S. FESTIVAL, running April 20-30, 2017. The two selected playwrights will each receive a cash prize of $250 and an expense-paid (travel and accommodations visit to NKU to see their plays in production. Selected plays will receive a full production.
• Full-length plays are eligible. All rights must be fully owned by the author.
• No children’s theatre, one-acts, or reader’s theatre pieces will be considered.
• Adaptations will be considered only if the adapted work is in the public domain.
• A submitted play may not have had a previous professional or university production.


Shakespeare in the ‘Burg is pleased to announce our third annual one-act playwriting competition, in conjunction with our Shakespeare in the ‘Burg theater festival scheduled for March 31-April 2, 2017 in Middleburg, VA. There is no fee for this competition. The winning play will be performed during the Shakespeare in the ‘Burg festival.
Please note that you can write in any style you choose; this is not a “Shakespeare” writing competition, so plays in any genre are welcome.
Please bear in mind that your script will be performed for an audience of all ages.

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



– Have fun while keeping all the balls in the air until we open.
– Producers do everything!  We are the bank, the therapist, the negotiator, the scapegoat, the creative, and we rarely get credit! I should add its awesome. Because I think it is.
– Getting everyone to do what I want done while making them all think it was their idea.
– We manage the business behind the show.
– Create solutions.



What's the producer's role?

As a theatre director, I'm used to people either asking me exactly what it is I do or assuming that I'm really some kind of actor. But at least the director's role is generally understood within the industry. A recent series of discussions set up by Stellar Network at the Young Vic made me realise that the role of the producer is much more mysterious.

In the first Young Vic event, 30 directors gathered to discuss what a theatre producer is or does. In the second, 30 producers attempted to articulate their own job specs. Both sessions uncovered how vast and self-defining the producer's job actually is. According to Stage One, which exists to promote new commercial producers, the job involves being "responsible for making arrangements for every aspect of the production in order to prepare it for presentation to the public on stage, subsequently managing it during the course of its production run and finally making all necessary closure arrangements".



What do Theater Producers do?

A Theater Producer — or Theatrical Producer — makes theater “magic.” He or she is the person who’s responsible for putting theater productions together.

No matter what they’re about, the best plays — be they comedy, drama, or musical — are so good that they make the audience forget, however briefly, that they’re actually at the theater. That magic is the work of countless cast and crew members, including Actors, Directors, and Stage Managers, not to mention Lighting Designers, Sound Technicians, Costume Designers, Set Designers, and others. Really, though, the head Magician is neither a performer nor a technical expert; it’s the Theater Producer.

As a Theater Producer, you don’t write, direct, or perform in plays. You do, however, “create” them. Typically, that means managing the business side of theater, and hiring others to manage the creative side.



On the Job: Broadway Producer
Broadway producer Jeffrey Seller tells us what it takes to stage a hit musical
How did you get into this line of work?

When I graduated from [the University of] Michigan, I moved to New York. I found my first job doing publicity at a four-man pr operation that did a little bit of theater, a little bit of television. Less then a year later, I got a job in the famous Broadway producers Barry and Fran Weisler's office. They deposited me in their booking division, so at age 22 I was an assistant booker, booking national tours of Broadway shows. Though it was the least fun job in the office and the most removed from the action of putting a new show on Broadway, what that job taught me was the road. And the road is about 60 percent of the actual full Broadway business. I learned virtually everything there is to know about touring Broadway musicals.

Read more: http://www.smithsonianmag.com/arts-culture/on-the-job-broadway-producer-33249107/#JlfT1rjYg54DAxji.99


Producing Broadway (Working In The Theatre #367)
American Theatre Wing


Theater Is an Inconvenient Business
An Interview with Kevin McCollum

Broadway producer Kevin McCollum is a rare creature—a visionary who takes chances on young writers and new work. He has more faith in daring, grown-up material than celebrity actors and saccharine endings. He has spun hits from scripts starring young people with AIDS (Rent), puppets who sing about sexuality and poverty (Avenue Q), and depressive protagonists who may or may not commit suicide at the end of the show (The Drowsy Chaperone). If you care at all about making quality work (and making money) in American theater, pay careful attention to this man.

McCollum came to the 5th Avenue Theatre last week to discuss his latest hit, In the Heights—a musical about Dominican-Americans living in New York, which won a pack of Tony Awards and will open in Seattle on September 28. The 5th Avenue invited me to interview McCollum, in part, because he is a successful Broadway producer and I am a critic who routinely dismisses Broadway as 90 percent bullshit. I sat down with McCollum and had one of the best conversations about theater I've had in years.



Broadway Show Producer Tricks of the Trade

Broadway's The Producers, starring Nathan Lane and Matthew Broderick, was a farcical look at the extremes that a very unscrupulous Broadway producer was willing to go to in order to make a profit. Real-life Broadway producers don't usually resort to seducing old ladies to raise money, nor do they deliberately choose to produce wildly offensive shows (although frequent Broadway-goers might wonder sometimes!). But here are some of the top tricks that Broadway producers employ in order to spread buzz and sell tickets to their shows.

1. "Papering" the Theatre
To keep the house full, especially on nights that critics are expected to be in attendance, Broadway producers will often "paper" -- i.e. give out free or very heavily discounted tickets. They do this by offering tickets to various Broadway industry organizations, universities, and papering services. These tickets usually end up in the hands of Broadway fans, actors, and other Broadway insiders whose presence helps create a big and appreciative audience. The Broadway theatre experience tends to be more enjoyable when you're with a lot of people, so the producer hopes that will make an impression on the critics and inspire the paying customers to tell their friends that the show is a hit. And just as Broadway producers will paper a theater to create a big audience, on occasion some have been known to buy up their own tickets to create the appearance on paper that the show is doing better financially than it really is.

2. Broadway Show Shills
Good word-of-mouth is one of the most effective ways for a Broadway show to sell tickets. And, in the internet age, many Broadway producers have elected to take matters into their own hands by manufacturing positive word-of-mouth. So next time you see somebody proclaiming that Broadway Musical X is "the most amazing show I've ever seen!!!" on a Broadway forum, keep in mind that they may be a paid "shill" for that show. But how can you tell a shill from a genuine fan? Well, shills tend to be more generic in their praise and lacking in any negative criticism at all. Also, they usually appear out of nowhere, post numerous times about one particular Broadway show, and don't contribute in discussions about Broadway shows other than the one they are shilling for.



I Wanna Be a Producer