Welcome

Welcome
John William Tuohy lives in Washington DC

*** PLAYWRIGHTS OPPORTUNITIES ***



After our successful runs of Shorts @ The Canal and The Twilight Hour at Canal Cafe Theatre, Union Theatre and Etcetera Theatre, we are inviting all writers to submit a play no longer than 15-minute, for "The Twilight Hour" season 2.
The show will be based on The Twilight Zone TV series to be performed at the award-winning Canal Cafe Theatre a renowned comedy and theatre venue in London.

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Tree City 2018 Ten-Minute Play Competition

Entries must be one-act stage plays with performance times of 8 to 12 minutes. Submissions are restricted to original dramatic works – no adaptations – that have not been previously published or submitted to this playwriting competition. There are no restrictions on genre or theme. Scripts will be judged on concept, dramatic action, characterization and dialogue. Preference will be given to plays with 2 to 4 characters, limited staging requirements, and content/language sensitive to the “family-friendly” value of Tree City Playhouse.

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Parson’s Nose Theater is seeking full-length plays by or about women. Plays can be any genre, but we are particularly seeking comedies and historical plays. The plays will be part of a reading series in the Spring of 2019


*** For more information about these and other opportunities see the web site at http://www.nycplaywrights.org ***


*** AUTUMN PLAYS ***


THAT SUMMER - THAT FALL

“THAT SUMMER - THAT FALL” opened. Last night. Helen Hayes. 46th Street. Contemporary setting. Based on “Phedre.” Author able. Play absent. Not enough words.

Forgive my taciturnity, but this sort of thing is catching. Frank Gilroy has always been a tight writer, lean and never loquacious. In “Who’ll Save the Plowboy?” he made the economy function as a mystery. In “The Subject was Roses” he made it function as spare family echo, as pennies dropped in a pod from the past.


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THE BOYS IN AUTUMN

Tom Sawyer and Huck Finn reunite in 1920s Hannibal, years after their boyish adventures, hashing over the good old days and revealing surprising secrets.


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A PICTURE OF AUTUMN

Removing an aged parent or grandparent from a home that’s no longer safe or convenient is never easy. Now just imagine this scaled up a bit, so that the frail relative is clinging not to a 1950s split-level with a nagging set of stairs but to a crumbling 16th-century 18-bedroom mansion, set on 60 acres of unkempt gardens and forest. This is the problem faced by Robert, who responds to his mother’s cranky letters about caring for Winton Manor (not to mention her husband and brother-in-law) by recruiting a potential buyer for the decrepit property — only to find that his mother and clan are not as keen on downsizing as their constant complaints suggested.


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THE VELOCITY OF AUTUMN

In a simple Brooklyn brownstone, 79-year-old Alexandra lives a solitary existence with her fleeting memories and enough explosives to take down most of the block. At an impasse with her family over how she should spend her autumn years, Alexandra's long-absent son enters as a most unlikely mediator, to try and save his mother's life as much as his own. Funny and dangerous, aching and revelatory, this perceptive play reveals both the fragility and ferocity of life. 


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AUTUMN CROCUS

Autumn Crocus is a 1931 play by the British writer Dodie Smith. It was Smith's first play written under the pseudonym of C.L. Anthony. It follows a single schoolteacher who goes on holiday to the Tyrol and falls in love with the married owner of the hotel in which she is staying.


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NEXT FALL

In the waiting room at a Jewish Hospital, three people wait for news of Luke (Patrick Heusinger) who is in critical condition because he was hit by a cab. Within the hour Luke will die, but not before we find out enough about him and Adam (Patrick Breen) to consider ourselves eligible to be listed as people who survive the death of a loved one.

We do this not only because of Luke and Adam but also because of the waiting room folk. Luke’s mother Arlene (Connie Ray) has a mouth that behaves like a puppy that just discovered the closet door is open and filled with shoes. Luke’s father Butch (Cotter Smith) is wound tighter than a tourniquet but the lack of circulating blood has not quite killed his heart. Holly (Maddie Corman) is a self confessed fag-hag who owns a candle shop at present, and it may be the only thing that is keeping her tethered to the planet. Brandon (Sean Dugan) is a quiet man, a left-over from the days when being a Christian and being gay were okay as long as they didn’t mix.


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AUTUMN FIRE

Another play out of the Irish Dramatic Movement, which gave the stage the work of Yeats, Synge, Lady Gregory and, in the later days, Lennox Robinson and Lord Dunsany, was brought to New York last night. "Autumn Fire" is its name, and its author is T.C. Murray, a County Cork schoolmaster.


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THE AUTUMN GARDEN

The Autumn Garden is a 1951 play by Lillian Hellman. The play is set in September, 1949 in a summer home in a resort on the Gulf of Mexico, about 100 miles from New Orleans. The play is a study of the defeats, disappointments and diminished expectations of people reaching middle age. For inspiration, Hellman drew on her memories of her time in her aunts' boardinghouse. Dashiell Hammett, who had been Hellman's lover for 20 years, helped her write the play and received 15 percent of the royalties. Of all Hellman's plays it was her favorite.


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