John William Tuohy lives in Washington DC

Greetings NYCPlaywrights

Greetings NYCPlaywrights

Thursday, July 11, 2019
12:30 p.m.–1:30 p.m.
Broadway in Bryant Park

The most popular shows on and off Broadway perform their biggest hits each summer in the park. Join hundreds of fans on the Lawn and enjoy favorite Broadway tunes. Arrive early and catch rehearsals!

This event repeats every week on Thursday between 7/11/2019 and 8/15/2019.


Whether you're writing your first play or your hundredth, it's not always easy to set your creative wheels in motion. This 8-week class will guide you through the development of your first draft, giving you concrete deadlines and constructive feedback to encourage you to get your ideas on the page. 
6/16: Section B with EDDIE SANCHEZ (Barefoot Boy with Shoes On)
6/19: Section C with LISA RAMIREZ (To the Bone)
7/8: Section E with NIKKOLE SALTER (In the Continuum)

Classes start in June. Payment plans available. 


DEATHSCRIBE: The International Festival of Horror Radio Plays
Every year we seek 10-minute audio drama scripts that are genuinely scary, imaginative, chilling, intelligent, suspenseful, horrific or downright grotesque. Writers may submit up to two audio drama scripts to Deathscribe in any given year. Five scripts will be selected from all submissions. These five pieces will be performed on stage in front of a live audience. The writer of the winning piece, chosen by a celebrity panel of judges, will receive the coveted Bloody Axe Award, as well as a $100 cash prize.


BoxFest Detroit is an annual theatre festival for female identifying directors
We are looking for 5 – 55-minute submissions for our August 2019 festival. We will only accept three (3) submissions per playwright.


Village Theatre is committed to inclusivity and encourages submissions with diverse stories, experiences, musical styles, forms, content, and points of view.
Your musical must fit these criteria:
MUSICALS ONLY - we do not accept non-musical plays, plays with music, or traditional operas;
We are seeking professional-level writers. Emerging, mid-career, and master writers are all encouraged to submit;
We do not accept children’s theatre or Theatre For Young Audiences (TYA) shows;
While we only need a sample at this time, shows must have a full-length script available upon request (at least 80 minutes);

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


Russian poet/playwright Alexander Pushkin wrote a short play in 1830 called Mozart and Salieri, and playwright Peter Shaffer—who was already a Tony winner for Equus—took inspiration from that to write his own play. Amadeus played in various theaters in London beginning in 1979, then premiered on Broadway in 1980 with Ian McKellen as Antonio Salieri, Tim Curry as Mozart, and Jane Seymour as Constanze, Mozart's wife. The production won five Tonys, including Best Play and Best Actor for McKellen, who beat out Curry for the award; the two leads had been nominated in the same category.


Mark Hamill
Me as Mozart in Amadeus- on Broadway & 1st National Tour directed by Sir Peter Hall- 1983
2:10 PM - 8 Jul 2018

Randal Myler conceived and adapted Love, Janis from the book of the same title written by Joplin's sister Laura. Developed through her letters to her family and her contradictory public persona, Love, Janis reveals the thoughtful, sometimes sad young woman behind the singer, while featuring performances of some of her most famous songs. Myler also directs.

Three actresses will share the role of Janis Joplin. Catherine Curtin (Off Broadway's The American Jew) play "Janis-The Private Person" with Beth Hart (front woman for the L.A. based Beth Hart Band) and Andra C. Mitrovich (Janis in the Austin, TX Love, Janis) alternating the part of "Janis-The Public Singer," Michael Santo plays the interviewer.

Big Brother and the Holding Company founder Sam Andrew serves as musical director for the musical. Andrew, who was principal songwriter and music director for Big Brother, left that band with Joplin to form Kozmic Blues Band.


Souvenir purports to be one big gag about bad opera singing – and of course some people would say all opera singing is appallingly funny– so a comedy based on the life of an historic, horrendously bad soprano would be like aiming at the side of a barn. Any joke, or should I say note, indeed gets guffaws.  Luckily, it becomes much more – a play about overstepping ambition, the phenomenon of celebrity, the truth of not being able to see or hear ourselves, the indomitability of the human spirit, and friendship.  As such it is worthy of our attention.


Live Bird is a one-man play celebrating the life of jazz legend and alto saxophonist Charlie “Bird” Parker that takes place in a jazz club in NYC and written and performed by playwright, director, actor, and saxophonist Jeff Robinson. While playing the music of Charlie Parker on solo saxophone and filling the stage with imaginary characters Jeff bring’s us back to 1954 in a small Jazz club in Harlem NYC and the revered jazz icon Charlie Parker is on the gig.


Here's another one-man show with a celebrity subject -- to wit, rock idol Freddie Mercury, who died of AIDS in 1991 -- looking back on his life as he prepares to enter the pearly gates. Rupert Holmes used this device in "Say Goodnight, Gracie," for one, but there the similarity ends, as the avuncular George Burns is a far cry from the flamboyant Mercury.
Playwright Charles Messina's Mercury is an embittered man, consumed with shame at dying of the terrible plague after a lifetime of deceiving the public about his sexuality. The piece was written in 1997 for actor Paul Goncalves, but Amir Darvish brings an almost Shakespearean theatricality, sardonic humor, and passionate intensity to his interpretation.


Beautiful – The Carole King Musical is a delightful, heavenly-sounding, Tony and Grammy Award-winning musical about Carole King, who “wrote the soundtrack to a generation.” With a hit parade of King’s greatest songs, the musical generally follows the timeline from the sale of her first song, at age 16, to her breakout best-selling solo album, “Tapestry,” to her first concert performance in front of an audience, at Carnegie Hall, no less.


When Audra McDonald takes to the stage and pours her heart into her voice in “Lady Day at Emerson’s Bar and Grill,” a similar sustained hush settles over the Circle in the Square, where the show opened on Broadway on Sunday night for a limited run. With her plush, classically trained soprano scaled down to jazz-soloist size, Ms. McDonald sings selections from Holiday’s repertoire with sensitive musicianship and rich seams of feeling that command rapt admiration.


Word origins/ Palimpsest


 PAL-imp-sest. A writing material (such as a parchment or tablet) used one or more times after earlier writing has been erased.

Long ago, writing surfaces were so rare that they were often used more than once. Palimpsest originally described an early form of recycling in which an old document was erased to make room for a new one when parchment ran short. (The word is from the Greek palimpsēstos, meaning "scraped again.") 

Fortunately for modern scholars, the erasing process wasn't completely effective, so the original could often be distinguished under the newer writing. De republica, by Roman statesman and orator Cicero, is one of many documents thus recovered from a palimpsest. Nowadays, the word palimpsest can refer not only to such a document but to anything that has multiple layers.

Most creativity is a transition/ Quote from Alan Kay, computer scientist

Most creativity is a transition from one context into another where things are more surprising. There's an element of surprise, and especially in science, there is often laughter that goes along with the 'Aha'. Art also has this element. Our job is to remind us that there are more contexts than the one that we're in -- the one that we think is reality.         
                                      -Alan Kay, computer scientist

Even the great writers don't get much respect



Gertrude Stein, the expatriate American writer and critic who ran the Paris “salon” frequented by such figures as Ernest Hemingway, F. Scott Fitzgerald, Ezra Pound, and Pablo Picasso, famously referred to herself as a mere “newspaper mechanic” when one of her early articles was published in the “Le Figaro” newspaper.
Such a “declasse” statement seems odd coming from someone who coined such phrases as “the lost generation” and “there’s no ‘there’ there.”
I really don’t think Stein meant to marginalize the importance of newspapers, especially in the early 20th century. I know that they certainly had a great impact on my life in the 1940s.  You see, newspapers taught me how to read. 
I knew how to read when I started first grade. While the rest of the class was dutifully repeating the teacher’s incantations of “See Spot Run,” and pondering over the adventures of Dick and Jane, I was sitting on the back row, looking out the window, thinking to myself: “You’ve got to be kidding me.”
I’m not particularly smart: I learned to read by looking at the “funny papers” in The Times Picayune.
Every Sunday, I would be at the station and meet the bus from New Orleans that brought several bundles of newspapers, buy mine, and hurry home to catch up on the exploits of Prince Valiant, the Katzenjammer Kids, and Little Orphan Annie.
I can’t tell you when or how I learned to read, but before I was six the captions just made sense.
I’ve since found out that I learned to read by what is known as the “whole language approach.” Simply put, one learns to read by reading. Today, however, the emphasis is on phonics, or learning the individual sounds that make words.
There are only 26 letters in the alphabet, but they make a total of 44 sounds. A student learns these sounds, puts them together, and they eventually form words. Or something like that. It doesn’t make too much sense to me now and it certainly would not have then. I would have been placed in a remedial class, or worse.
My theory, totally unsubstantiated, is that math-talented people learn best by the phonics method. Unfortunately for me, that side of my brain is undeveloped.  
I’ve always been interested in language and the power of words. Words can make you rich or break your heart.
 As someone who spent 20 years at sea and who read voraciously to pass the time, I’ve always kept a “weather eye” open for the deftly turned phrase or the apt figure of speech.
Take “palindromes,” for example. First popularized by the English playwright Ben Jonson in the 17th century, palindromes are special words or phrases that are spelled exactly the same when read forward or backward.
Random words like “radar,” “kayak,” “deed,” and “Hannah” come to mind. However, it’s more interesting when you can put phrases together, especially if in a historical context.
How about this from Teddy Roosevelt: “A man, a plan, a canal, panama?”
Maybe Napoleon Bonaparte: “Able was I ere I saw Elba?” How about owls? “Too hot to hoot?”
Or you can go philosophical: “Do geese see God?” or even biblical: “Madam, in Eden, I’m Adam.”
Just east of Hattiesburg, on Highway 98, we have an example of a “place name” simply spelled backwards, the community of Mahned.
It’s named for a Mississippi Civil War veteran, Joseph Wyatt Denham. Denham served in the 7th Mississippi Infantry Battalion and fought at Vicksburg, Atlanta, and Spanish Fort, Alabama.
After the war, he settled on the Leaf River to farm, and while the small community which grew up around him could well have been named “Denham,” there was already such a place in Wayne County, so it was called “Mahned” instead, which is Denham spelled backwards.
Reading and writing are solitary pursuits, fitting for a life at sea. Someone once said, “There are three kinds of people: the living, the dead, and those at sea.”
Often, when one has been at sea for a long time, months even, a feeling of what the French call “ennui” or what we might call lassitude sets in.
Sailing with a good collection of books to read helps one stay grounded in reality. I always left a working library on the ships when I transferred. Like Tim Robbins’ character who built up the prison library in the movie, “Shawshank Redemption,” I would write to major publishers and they would send me boxes of unsold books, known in the trade as “remainder” books. It’s amazing what you can get if you just ask for it.
Speaking of Stein and Paris, I picked up rudimentary French early on, overhearing it in dockside cafes, patisseries, and boulangeries. Unfortunately, it was the kind of French that purists refer to as “Franglais” or even “Tarzan-speak.”

A few years ago, I attended a month-long French language immersion course in Nice, France. All instruction was totally in French, and during class hours, from 8 a.m. until 4 p.m., students were fined one Euro for every word spoken in their native tongue.
One day, after one of my recitations, the instructor turned to me in exasperation and said: “Benny, where did you learn French? In the gutters of Marseilles and Toulon?” I said “Well, as a matter of fact . . .”
While we’re on experiences, let me tell you about writing my novel, a work in progress.
A Jesuit priest (my other vocational choice, by the way) and now a chaplain is sitting in his sea cabin on a Navy ship in port in the Philippines during a monsoon rainstorm. An old sergeant from the Marine detachment onboard knocks on his door and asks Father Damien (for now, after the famous priest of the leper colony on Molokai, Hawaii) to hear his confession. He does and this turns into a long conversation about the Marine’s life: multiple tours down range in Vietnam; his guilty conscience at being a “life taker and a heart breaker;” his lost love, etc. At the end of the novel, the big “denouement” is that it’s all been introspection: the “Marine” is actually Father Damien himself, and he is thinking about his own past. Look for it.
I have no illusions. It most likely won’t be the next great American novel. Writers get no respect.
When Herman Melville, the author of Moby Dick, which probably was the greatest American novel, died, his obituary in The New York Times referred to him as “Henry.”
As for Gertrude Stein, the next time you go to Paris, check out her grave in Montmartre Cemetery as I have.
For whatever reason, she and her literary and life partner, Alice B. Toklas, are buried in the same grave. No respect.
Light a candle for me.

Hattiesburg’s Benny Hornsby is a retired Navy captain. Send him a note at bennyhornsby.com.

I was doing some research today and came across this/ The Day of the Locust

The Day of the Locust is a 1939 novel by American author Nathanael West set in Hollywood, California.

Major characters

•Homer Simpson – a former
accountant at a hotel in Iowa who comes to California at the recommendation of his doctor to restore his health. Soft-mannered, sexually repressed, and socially ill-at-ease, Homer's almost constant inner turmoil is expressed through his huge hands which have an uncontrollable and detached nature to them.

From Russia with Love / President kennedy

Because President Kennedy had named From Russia with Love among his ten favorite books producers Broccoli and Saltzman chose this as the second Bond movie. From Russia with Love was the last film Kennedy saw at the White House on 20 November 1963 before going to Dallas.

Word origins: Goodbye

Goodbye is a contraction of the phrase 'God be with ye’

The great Mr. Bukowski, American writer


The Great F. Scott

- F. Scott Fitzgerald

Believe you can

Fall in love

The Spiritual life: One random act

A US cargo plane crashed while moving children from Vietnam.

A US cargo plane crashed while moving children from Vietnam. American businessman Robert Macauley heard that it would take over a week to evacuate the survivors, so he chartered a Boeing 747 and arranged for 300 orphaned children to leave the country, paying for the trip by mortgaging his house.

"There is no way to happiness. Happiness is the way." Thích Nhất Hạnh

It’s all about balance

It’s all about balance. Be kind but don’t allow yourself to be abused or disrespected. Trust others but be aware of deceit. Be content in your life but never, ever stop improving yourself. 


Everything everybody does is so

Everything everybody does is so—I don’t know—not wrong, or even mean, or even stupid necessarily. But just so tiny and meaningless and—sad-making. And the worst part is, if you go bohemian or something crazy like that, you’re conforming just as much as everyone else, only in a different way. J.D. Salinger, Franny and Zooey

Kurt Vonnegut/ The Sirens of Titan

Kurt Vonnegut sold the movie rights of “The Sirens of Titan” to Jerry Garcia of the Grateful Dead. In a 1987 interview , Jerry admitted that his main motive of buying the rights was less about making the movie, but more to make sure that nobody would make a bad film version of the book.


Greetings NYCPlaywrights


May 10 - 8:00pm
May 11 - 2:00pm
May 11 - 8:00pm

Chinese Opera and a Modern Drama

A thousand years ago, Madame Huarui was the Chinese version of Helen of Troy, with her life beyond her control. In 2019, Kiki, a New York-based stage manager, is hired to work on a new Beijing Opera featuring Madame Huarui, while her professional and personal life is deeply affected by her uncertain Visa status. Chinese Opera and A Modern Drama explores patriarchy in both historical times and nowadays, as well as new immigrants living under the current political climate between the US and China.

Lenfest Center for the Arts
615 W. 129th St.
New York, NY 10027



Little Fish Theatre (San Pedro CA) is accepting scripts for our 18th Annual PICK OF THE VINE short play production to be presented in January-February 2020.
There will be a $75 flat fee royalty payment to playwrights per play produced.


The Relentless Award, established in honor of Philip Seymour Hoffman and his pursuit of truth in the theater, is the largest annual cash prize in American theater awarded to a playwright in recognition of a new play.
What we are looking for:
• Plays that are challenging.
• Plays that exhibit fearlessness.
• Plays that are not mainstream.
• Plays that exude passion.
• Plays that are relentlessly truthful.


Through INGENIO, Milagro seeks to create a space where Latina/o playwrights can develop their plays in a safe, supportive environment with mentors and artists to whom they can relate. INGENIO serves as an intrinsic step in the creation of new full-length theatrical works. Rehearsals and workshops culminate in concert-style readings and feedback sessions with audiences of theatre professionals and members of the public.

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


Frank Rich carefully called this show “an earnest but bizarre career decision” for Andrew Lloyd Webber in his New York Times review of this show. Aspects of Love is ultimately a show about people, “human beings with human feelings”- and processing these feelings can be a bit slow. This musical centers on the characters Alex Dillingham, his uncle George, artists Rose and Giulietta and their quest to find love – of course with complications – over a 17-year period. With some cuts from a bookwriter and finesse when approaching the characters from the actors, this show could be a touching story about family and close friends and their entanglements.


She Loves Me: Based on a Hungarian play, Parfumerie, the musical follows Georg and Amalia, two shop clerks who clash constantly in person but, unbeknownst to either, are actually each other's beloved pen pals. If this sounds familiar, it's probably because it is: the classic rom-com You've Got Mail is based on the same original story.



Lost Musicals is a British musical theatre project established in 1989 by Ian Marshall Fisher.[1] It is dedicated to presenting lost or forgotten musicals by famous American writers, and has been responsible for the first revivals of the lesser-known works of writers such as Stephen Sondheim, Cole Porter, Alan Jay Lerner, Richard Rodgers, Oscar Hammerstein II, Harold Arlen and Jerome Kern.[2]



Don’t be fooled by how mild-mannered Ben West seems. He’s the musical theater world’s Sherlock Holmes and Victor Frankenstein rolled into one.

As artistic director of the nonprofit UnsungMusicalsCo. Inc., West scours libraries, newspaper archives and databases for overlooked and undervalued musicals. Then he breathes life into them.

“The intention is to return them to the canon,” he says as he puts the finishing touches on the latest of his “lost” shows – “Bless You All!” a 1950 revue with songs by Harold Rome and sketches by Arnold Auerbach.

West, who also directs, has restructured the show, trimmed a few numbers, restored a sketch and streamlined the story. “I always try to stay true to the original author’s intent,” he says from the company’s temporary home at the Connelly Theatre.



Lost Musicals began when Marshall Fisher realised he was losing interest in going to the theatre. "I was bored with the same revivals that have been going on for the last 20 years. The same Arthur Miller plays, the same Tennessee Williams, the same musicals. There's a whole generation - two - who don't know there were some wonderful original writers, whose material may have failed, possibly the first time, or been forgotten. I thought, for people who are interested in this area, for people who 'like musicals' and - they probably wouldn't like this at all - go to see whatever's on in Shaftesbury Avenue, I can give them something that they will see for the first time, instead of a couple of dry sentences in a history book. It became a sort of a passion."



Moliere is known today as possibly the greatest comic playwright in history -- an artist who portrayed semi-abstract personality types (a hypocrite, a miser, a misanthrope a social climber) in such universal strokes that much of his work is still stageworthy three centuries later. But during his lifetime (1622-73), Moliere must have had a status something like Andrew Lloyd Webber today.

In the last dozen years of his tragically short life, in collaboration with the leading French composer of his time, Jean-Baptiste Lully, Moliere produced a dozen song-and-dance spectaculars (Come'dies-Ballets) for the court of Versailles that were the 17th-century equivalent of "Evita" and "Cats" today. "Le Bourgeois Gentilhomme," as originally staged, had an hour and a half of Lully's music, and elaborate costumes -- the Mufti's ceremonial turban for the "Turkish scene," for example, described in the stage directions as "extremely large and decorated with five or six rows of burning candles."



Flahooley ran for 40 performances in 1951. The musical features a book by E. Y. Harburg and Fred Saidy, music by Sammy Fain, and lyrics by Harburg.

Subways Are For Sleeping ran for 205 performances 1961–1962. The musical features a book and lyrics by Betty Comden and Adolph Green, and music by Jule Styne.

Lady in the Dark ran for 467 performances 1941–42 and returned to Broadway for 83 performances in 1943. The musical features a book by Moss Hart, music by Kurt Weill, and lyrics by Ira Gershwin.

Merlin ran for 199 performances 1982–1983. The musical features a book by Richard Levinson and William Link, music by Elmer Bernstein, and lyrics by Don Black.

Drat! The Cat! ran for eight performances in 1965. The musical features a book and lyrics by Ira Levin, and music by Milton Schafer.



The Golden Age of Broadway (1920–1959) was an era filled with iconic musicals such as “The Sound of Music,” “Show Boat” and “South Pacific. These shows are timeless and will continue to resound with future generations, but the Golden Age has plenty of (mostly undeservingly) forgotten gems that are rarely performed or recorded. Here are 16 to check out:

1. ‘Plain and Fancy’

Featuring classic numbers such as “Young and Foolish” and “This Is All Very New to Me,” this musical was one of the earliest depictions of Amish life in American media. The musical premiered on Broadway in 1955 and was revived Off-Broadway in 2006.

2. ‘Pipe Dream’

Based on John Steinbeck’s novel “Sweet Thursday,” this 1955 Rodgers and Hammerstein musical is about the relationship between Doc, a marine biologist, and Suzy, a prostitute. Critics panned the show, although “Encores!” performed the musical in 2012.



Octomom! The Musical (2009)

Shamelessly satirical, this retelling of modern celebrity Nadya Suleman and her famed octuplets’ rise to fame debuted in Los Angeles. But was the real Suleman invited? “We have a whole row of seats—14 of them—reserved just for her,” said director Chris Voltaire. It's no longer playing, but you can see the whole show on YouTube.



Which Witch is a musical written by Norwegian singers/composers Benedicte Adrian and Ingrid Bjørnov.

The storyline for Which Witch was derived from the witch finder's manual Malleus Maleficarum,[1] and the original script was written by Adrian and Bjørnov's manager Ole A. Sørli. The lyrics of the early concert versions were written by Helen Hampton and Roger Avenstrup, in collaboration with Adrian, Bjørnov and Sørli.[citation needed]



Canterbury Tales is a musical originally presented at the Oxford Playhouse in 1964, conceived and directed by Martin Starkie and written by Nevill Coghill and Martin Starkie. It was expanded into a full length musical and presented at the Phoenix Theatre, London on 21 March 1968 and ran for 2,080 performances. The music was written by Richard Hill and John Hawkins, with the lyrics by Nevill Coghill. There are two versions of this musical (Canterbury Tales and More Canterbury Tales), each making up about half the story.



''Prince of Central Park,'' the new musical at the Belasco, is a numbing evening of such guileless amateurism that it will probably have a future as a Harvard Business School case study, whatever its fate in the annals of drama. Even modest Broadway shows like this cost more money than the gross national product of some third world nations. People put up this money. As long as there are people as gullible as the sponsors of ''Prince of Central Park,'' the theater need never fear for its survival.

The author of the book is Evan H. Rhodes, whose novel of the same title also served as the basis for a Ruth Gordon made-for-television movie. He tells the ''Harold and Maude''-ish story of Jay-Jay (Richard H. Blake), a 12-year-old foster-home runaway who lives by his wits in a tree house in Central Park until he encounters Margie Miller (Jo Anne Worley), a jogger of late middle-age who has just lost her husband to a younger woman and her adult daughter to the career track.

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