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John William Tuohy lives in Washington DC

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In 1922, Ernest Hemingway was working on a temporary newspaper assignment in Lausanne, Switzerland. Journalism was his day job; at night, he wrote fiction, the thing he cared about most in the world. He was 23 years old. None of his fiction had ever been published. He and his then-wife, Elizabeth Hadley Richardson, lived in Paris, as did F. Scott Fitzgerald, Ezra Pound, and many other American expatriate artists hoping to become something big.
Hemingway asked his wife to join him in Switzerland for Christmas. She was sick at the time, and she packed her luggage the way you do when you’re sick: in a haze, forgetting useful things you need and throwing in extra stuff that you don’t. She knew how valuable her husband’s work was to him, and so she packed that, too. Every manuscript, every draft, all the handwritten notes for future novels, even the carbon copies, all went into one suitcase. One single suitcase.
At Gare du Lyon, a porter loaded her bags into her compartment. And then, just before the train left, Richardson—who was still under the weather, and had an eight-hour journey ahead of her—dashed quickly into the station to buy some water for the journey. When she returned, one suitcase, the suitcase containing every piece of fiction Hemingway had by that point produced, was gone.

Hemingway didn’t believe his tear-stained wife when she stepped off the train and told him the news. He left Richardson in Lausanne and took the train back to Paris to see for himself.

Charles Bukowski

"I WILL REMEMBER YOUR SMALL ROOM, THE FEEL OF YOU, THE LIGHT IN THE WINDOW, YOUR RECORDS, YOUR BOOKS, OUR MORNING COFFEE, OUR NOONS, OUR NIGHTS, OUR BODIES SPILLED TOGETHER, SLEEPING, THE TINY FLOWING CURRENTS, IMMEDIATE AND FOREVER, YOUR LEG MY LEG, YOUR ARM MY ARM, YOUR SMILE AND THE WARMTH OF YOU WHO MADE ME LAUGH AGAIN."

*** PLAYWRIGHTS OPPORTUNITIES ***






Call for Submissions for an evening of ten-minute plays at Buffalo State College. The program will run two nights during the Spring 2019 semester.
The play must have characters in 18-25 range, no exceptions. If needed, you may include ONE (1) character not in that age range, but we are looking for plays that will resonate with the diverse young actors playing the roles, as well as the diverse college students in the audience; changing the ages on a generic play probably isn't going to work.

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Cone Man Running Productions is announcing a nationwide call for the third iteration of our series ‘Five Minute Mile – Theatre on the Run.’ The series will perform in at Studio 101 in Houston, Texas.
We will be again staging this one-of-a-kind theatre festival. Each evening, twenty (20) plays will be performed off book by a core ensemble of actors. Eight (8) of those plays will be set for each evening, six (6) will be drawn at random by audience members and the last six (6) will be voted on by the audience (based on title, the blurb you provide, and word of mouth). Every night will be a different experience! 

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Established in 2016, the SETC/Stage Rights Ready to Publish Award is a program dedicated to developing, publishing, and licensing new works by members of the SETC community.
The awards process is open to all and the requirements for submission are: one completed full-length play (no musicals, short plays, or short play compilations) that is either unproduced, has had a produced staged reading, or a world premiere production...


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


*** SUFFRAGE DRAMA ***

Suffrage drama (also known as Suffrage Plays or Suffrage theatre) is a form of dramatic literature that emerged during the British women’s suffrage movement in the early twentieth century. Suffrage performances lasted approximately from 1907-1914.[1] Many suffrage plays called for a predominant or all female cast. Suffrage plays served to reveal issues behind the suffrage movement. These plays also revealed many of the double standards that women faced on a daily basis. Suffrage theatre was a form of realist theatre, which was influenced by the plays of Henrik Ibsen.[2] Suffrage theatre combined familiar everyday situations with relatable characters on the stage in the style of realist theatre.

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The Vote is a 2015 British play written by James Graham. The play received its world premiere at the Donmar Warehouse as part of their spring 2015 season, where it ran from 24 April to 7 May 2015. Directed by Josie Rourke and set in a fictitious London polling station on election night 2015, the play was broadcast live on UK television channel More4 on the night of the election.

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Aaron Landsman figured it would be boring. After all, he was being dragged to a city council meeting.

But something unexpected happened at the session that night in Portland, Ore. A man dumped a pile of needles and vials onto a table, offering a quick illustration of how dangerous a park near his home was. He wanted it cleaned up.

That gesture gave Landsman an idea. After attending hearings in several cities, he stitched together the most dramatic moments into a play called “City Council Meeting” that has played in cities such as New York, San Francisco and Keene, N.H. “In the most dry, banal meeting,” he says, “there’d be a moment that was theatrical and moving.”

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If doors that opened for the nation’s most prominent civil rights leader had similarly opened for Fannie Lou Hamer, a former senator once said “we would have had a female Martin Luther King.”

Forty years after Ms. Hamer died, Golden Globe-winning actress and playwright Regina Taylor is making sure the voting rights activist won’t be forgotten. Commissioned to write the latest work in Carthage’s New Play Initiative, she wrote “A Seat at the Table” based on Ms. Hamer’s life.

A plantation worker for much of her life, Ms. Hamer lost her job when she tried to register to vote. She later received a severe beating after being jailed on a trumped-up charge in 1963. Still, the Mississippi woman went on to give televised testimony at the 1964 Democratic National Convention.

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"The Agitators" at Park Square Theatre

When planning their 2018-2019 season, Park Square Theatre couldn't have known how timely and relevant The Agitators would be. But then again, the lives and work of Susan B. Anthony and Frederick Douglass will never not be relevant and urgent until their dream of an America that is equal and just for all is realized. And we have not yet reached that day. That's why football players take the knee during the National Anthem, and why women take to the streets in pink hats. It's the legacy of these two self-described (at least in the words of the play) agitators, people who stir things up and get people talking, because that's where change begins. Their legacy is also our right to vote, which these two (among many) fought so hard to secure for all Americans. With what feels like the most important mid-term election in history approaching, it's a perfect time for this play to remind us just why the vote is so important that these two agitators devoted their entire lives to it. Playwrights' Center core writer Mat Smart's smart (pardon the pun), funny, engaging, and inspiring play couldn't come at a better time.

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THE ELECTION by Don Zolidis

After an embattled student body president resigns in disgrace, Mark Davenport figures he will cruise to victory in the special election. After all, his only opponent is nerdy Christy Martin, who wants to eliminate football. But when a mysterious Super PAC gives her an unlimited budget, things start to get very ugly. Mark must face total annihilation or accept the services of a slick professional campaign manager with questionable ethics and a million-dollar Super PAC of his own. A hilarious and timely satire on the contemporary political scene.


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Could A Play Stop A Demagogue? Theatre and Electoral Politics

The US presidential candidate in IT CAN'T HAPPEN HERE, the prescient 1936 play by Sinclair Lewis, doesn’t childishly insult his rivals nor boast about the size of his penis. He doesn’t deride Mexicans as rapists and women as fat pigs, dogs, slobs, and disgusting animals. He doesn’t call for a ban on all Muslims, or explicitly advocate the use of torture and the murder of terrorists’ families. 

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