Dykes, One of Whom Is a Man
First Draft completed 2005. Received 2 New York State
Council on the Arts Decentralization grants, one to
develop the first draft, and the second grant in 2006
for a staged reading on April 30, 2006.
A Kitchen Theatre Company 1999 Fifteen Minutes of Fame
in Y2K Outrageous Comedy Festival selection.
God’s Pants Too Small,
A 1998 Kitchen Theatre One Act Play Contest selection.
The script was read at the 1999 Kitchen Theatre Festival
of New Plays, March 19, 1999.
Revised script produced by the Kitchen Theatre of Ithaca,
2001, and by Love Creek Productions, NYC, 2001
first draft completed in 1998. Consigned to trunk awaiting
further inspiration occurs.
A 1997 Kitchen Theatre Play Contest selection. Productions
mounted by The Kitchen Theatre Company, Ithaca, NY and
Love Creek Productions, New York City.
The Ithaca Playwrights Forum, 1994; The Ithaca Festival,
Ensemble Studio Theatre’s Summer Conference, 1995
The Ithaca Theatre Guild, 1992; Ensemble Studio Theatre’s
Summer Conference, 1994.
The Black Box
Produced by the Playwrights Theatre of Washington, 1977.
loosely based on the Prokofiev ballet.
Produced by the National Center for Puppet Arts, Alexandria,
Produced by the Palisades Theatre Company, Washington,
Produced by the ASTA Theatre, Washington, D.C., 1976.
original adaptation of Robert Lewis Stevenson classic.
Produced by the Smithsonian Institution, Division of
Performing Arts, Washington, DC, 1975. Remounted by
the National Center for Puppet Arts, Alexandria, VA,
Chant de la Joie
Produced by the Playwright’s Theatre of Washington,
The Legend of Sleepy Hollow
Produced by the Botega Puppet Theatre, Washington, DC,
Co-founded and co-produced the Playwright’s Theatre
of Washington from 1972 to 1978.
Founder of the Ithaca Playwrights’ Forum
General Manager of Historic Ithaca’s State Theatre
from 2001 to 2005
University of Michigan, Ann Arbor, English Literature,
University of Maryland, College Park, Theatre, 1970.
Lindenwood Colleges, St. Charles, Missouri, MFA in Theatre,
Dramatists Guild member.
The standard bio would commence with . . . an award
winning playwright whose scripts walked the boards in
Washington, D.C. and New York City among other places
of lesser note. Currently the right hemisphere of his
brain derives much of its creative sustenance in Ithaca,
NY—the cultural crown of the Finger Lakes where
the Kitchen Theatre Company and the Hangar Theatre comprise
the largest gems.
And the truth is: I have won awards, and received grants,
and all my scripts save one have been staged. But does
that say anything about what compels me to spend my
free time writing plays instead of washing the kitchen
floor? Does it speak to the reasons why it has taken
me until my latest opus, Three Dykes, One of Whom Is
a Man, to feel like I’ve finally written something
worthy of . . . What? A larger life? No.
So, this bio commences with . . . George Holets, a first
wave baby boomer, was
a glint in his father’s eye at Gaudalcanal, as
his mom traced her husband’s boot steps through
the Battle for the Solomons—newsreel by perilous
George grew up in the Republican 50’s, thinking
like his parents that Dwight D. was the MAN—General,
War Hero, President of Columbia University, President
of the US of A.
Sometime between the family’s purchase of a 1953
emerald green Chevy and its trade-in for the 1957 coral
Chevy, George’s mother took him to see a production
of Snow White and the Seven Dwarves at Roosevelt High
School in Washington,
DC. Was it a school production? A community theatre
group using the school auditorium? A touring professional
group? He is unable to recall. What he does recall,
oh, so vividly, was the transporting, the transcendence,
the transformation. Ever since, his heart’s belonged
to the stage—not to act on necessarily, but to
In the best of times script writing is a precarious
career choice; much more so than accounting, law, medicine,
insurance, or computer science; all of which his parents
would have preferred. Going against the grain, always
difficult, was thrice so for him. Raised in a contentious
family, even the good times carried a patina of anxiety
and he grew up a screaming co-dependent, meaning he
had no life of his own. Instead of living life he constantly
surveyed the terrain for the next conflagration. Instead
of writing plays he steeled himself against the barbs
and cuts directed against him and his choice of vocation.
He felt guilt that he wasn’t a doctor, lawyer,
insurance chief. He felt trepidation when he traded
his parents’ Republicanism for Democratic Socialism
prior to the Goldwater/Johnson election. And because
he was unable to actuate his own life, he founded a
theatre to produce other new playwright’s plays,
he worked with the Smithsonian Institution, Division
of Performing Arts, he got married and had two kids,
traded stocks and options for a brokerage, was the controller
of the Landmark Society of Western New York, managed
the finances for AIDS WORK of Tompkins County, and ran
the State Theatre of Ithaca from 2001 to 2005. A Jack
of many trades, while struggling to master his own.
Now, none of these things prevented me from being a
playwright. It was me, myself, and I. I kept letting
my focus slip. Discipline’s always a sticking
point. Instead of keeping the playwright front and center,
I let him slip to the side. I became the box office
manager, or the hash slinger instead of being the playwright
who slung hash
to make ends meet. It was only after a friend dragged
me to a twelve-step program, that I began to develop
the skill of boundary setting. And in discovering where
I stopped and the rest of the world began, I reanimated
my passion and calling as a playwright. In that process,
I discovered that I'd given myself a wealth of adventure
to call upon. So while I've only written 15 plays over
the last 37 years, I've ridden an elephant and climbed
an active volcano, and had many human interactions that
make good theatre. Officially, I count the start of
my playwriting career with M/21 Bellevue. That’s
where I found my voice and the ability to . . . “write
lovely, witty, clever, economical dialogue.” What
came before is prologue.