John William Tuohy lives in Washington DC

Play Writing News


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


Moonlit Wings International Playwright Contest 2017
Winning theater-for-youth scripts receive workshop, written feedback and world-premiere at our celebrated Performing Arts Summer Camp programs. 
- Plays or Musicals (straight plays are fine, although we will ask to work music into your play)
- Runtime: 20-40 minutes (longer scripts may be submitted but we will ask to make necessary cuts)
- LARGE cast, 8 minimum - 35 maximum, ensemble shows preferred, female driven or gender neutral casts encouraged. *We will not consider scripts with less than 8 characters.


Seeking playwrights for SKIRTS, the AlphaNYC Theater Company's Winter Theater Festival. 
We are seeking short 10 minute plays written with only female characters. There is no charge to participate or submit a play. Plays must be 13 minutes in length or less. The AlphaNYC will supply the actresses, and directors.
Performs one weekend, February 16th through the 18th at the new 60-seat Roebuck Theater in Midtown NYC.


Woodward/Newman Drama Award
The BPP is accepting submissions for the 2016-17 Woodward/Newman Drama Award. 
"Full-length" plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes).
Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, subsequent activity does not change the acceptability of the script.

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

*** BEST THEATER OF 2016 ***

The Best Theater of 2016
by Ben Brantley and Charles Isherwood

The New York theater talked back this year — to its audiences, to a nation, to the world. This new boldness made international headlines when a cast member of the blockbuster musical “Hamilton” (still dominating Broadway more than a year after its opening) addressed an audience member from the stage during curtain calls — one Mike Pence, the vice president-elect — on the importance of honoring his country’s diversity.

But in theaters throughout this city, other productions were issuing similar pleas, more obliquely perhaps but just as resonantly. To grasp the force and complexity of what was being said, you needed only to bring your ears and eyes to the theater and to keep them — and your mind — wide open.

The credo in each case was pretty much the same: “Attention must be paid,” to again quote that well-worn but enduringly urgent line from Arthur Miller’s “Death of a Salesman.” In a year that saw the most divisive presidential election in living memory, the New York theater asked us to refocus and listen — really listen — to how we talked about race, sexuality, the demonization of others (as in Ivo van Hove’s radically reimagined Broadway revival of Miller’s “The Crucible”) and even, in the case of Richard Nelson’s beautiful cycle of “Gabriels” plays at the Public Theater, about the election itself.



Paste Magazine
The Best Plays of 2016
By Alicia Kort 

Although many will remember 2016 as a year of round-the-clock politics, 2016 was also a year that theatre flourished. The plays, both revivals and new, were groundbreaking. Each show on this list had something larger to say about humanity and had a particular focus on the parts of our nature that we’d rather leave in the shadows. With the larger context of a divided America, these stage plays felt even more important and poignant.

The Crucible 
Tony award-winning director Ivo van Hove made Arthur Miller’s 1953 play, which is set in the 1690s in the midst of a fictionalized version of the Salem witch trials, timeless. Originally meant as Miller’s commentary on 1950s McCarthyism, van Hove showed that a feverish fear can overtake everyone and anyone—even silly schoolgirls. Two-time Oscar nominee, Saoirse Ronan made her Broadway debut as the vengeful Abigail Williams who not only wields her power of manipulation, but witchcraft as well, leaving audiences hoping that Ronan will come back to Broadway soon.



The 19 Best Plays And Musicals Of The Year
by Louis Peitzman

American Psycho was always going to be a tough sell: a musical about a charismatic serial killer slashing his way through Wall Street in the ’80s doesn’t offer the kind of broad, family-friendly appeal that generally turns Broadway shows into long-running hits. Even to the theoretically more open-minded critical community, the musical — with a Duncan Sheik techno score and a darkly funny book by Roberto Aguirre-Sacasa — was instantly divisive, ravaged by some and gushed over by others. Given that the source material is Bret Easton Ellis’s perennially controversial novel, that’s to be expected. But what detractors missed was the musical’s keen sense of irony and biting social commentary. It stood out as a thoroughly original vision on Broadway, and the fact that so many people missed the point is a mark in its favor and a sign that its future cult status is inevitable.



Wall Street Journal
The Best Theater of 2016: Away From the Great White Way
by Terry Teachout

Lots of excellent revivals, several impressive new plays, two terrific new musicals—most of them produced off Broadway or out of town: That’s the shorthand story of theater in America in 2016. Many big-buzz Broadway openings, in particular “The Front Page” and “The Humans,” missed fire, but I saw plenty of great shows elsewhere.

Three of the best new plays were by familiar names, the first from Chicago’s Steppenwolf Theatre Company and the others off Broadway: Tracy Letts ’s “ Mary Page Marlowe, ” Kenneth Lonergan ’s “Hold On to Me Darling” and John Patrick Shanley ’s “Prodigal Son.” In addition, Lydia R. Diamond, an up-and-comer, hit the off-Broadway target with “Smart People,” a sharp-witted portrait of four smug members of the academic monoculture. Also noteworthy was “The Band’s Visit,” a big-hearted small-scale musical with warmth and charm to burn, produced off Broadway by the Atlantic Theater Company.



The Hollywood Reporter
David Rooney: The Best New York Theater of 2016

Now in the second year of its blockbuster run, Hamilton continued to dominate Broadway news in 2016, not least after President-elect Donald Trump ripped into the cast for daring to voice concerns about the incoming government directly to Vice President-elect Mike Pence when he attended the show Nov. 18.

"The theater must always be a safe and special place," fumed Trump on Twitter, calling the respectful curtain-call speech made by actor Brandon Victor Dixon harassment and demanding an apology.

But "safe" in the theater generally means unchallenging, and the best of this year's Broadway and off-Broadway shows were anything but passive entertainment. Even the 19th-century Russian romp that tops my list is audacious in the way it shakes up conventional musical theater form and language, pulling the audience into its giddily immersive storytelling.



TimeOut New York
by David Cote

1. Natasha, Pierre & the Great Comet of 1812
Intimate yet epic, ironic yet deeply felt, cosmic yet down to earth, Dave Malloy’s eclectic and electrifying Tolstoy-based musical lights up the sky and our hearts. Josh Groban also wowed us with a deeply felt Pierre.

2. A Life
Adam Bock’s weird and quietly shocking look at mortality, destiny and the human impulse to map the unmappable evoked Thornton Wilder, but went to even stranger places, with a dryly brilliant David Hyde Pierce in the (vanishing) lead.



The 10 Best Theater Events of the Year
by Jesse Green

As if it needed more acclaim, Hamilton shattered the weekly Broadway box-office record with more than $3 million in ticket sales over Thanksgiving. Fair-fight contenders for that sort of cultural heavyweight crown are few. In such an environment the action naturally moves to the margins, and indeed the most exciting new New York theater to be found in Hamilton’s wake this year was almost entirely Off Broadway, where necessary work for an unstable time is flourishing. One reason is that producers are beginning to colonize a viable middle ground for smart plays that merit longer runs and bigger audiences than their original nonprofit homes can offer; Men in Boats, Wolves, and Small Mouth Sounds (see below) all did nicely in modest commercial transfers. (Perhaps not coincidentally, all three were by women.) In stocking my list of the year’s best theatrical productions I too was drawn to a middle ground: toward intimate plays with correspondingly big ideas. All were produced Off or Off–Off Broadway (though one has since made the leap to the Main Stem) and all, importantly, are new, not revivals. In times like this we need, at least as much as the morale-boosting stomp of the bigfoots, the fresh smallness of regrowth.


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