Three 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.

Going Postal,
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

Smoky Times,
first draft completed in 1998. Consigned to trunk awaiting further inspiration occurs.

M/21 Bellevue,
A 1997 Kitchen Theatre Play Contest selection. Productions mounted by The Kitchen Theatre Company, Ithaca, NY and Love Creek Productions, New York City.

Blessed Assurance
The Ithaca Playwrights Forum, 1994; The Ithaca Festival, 1995;
Ensemble Studio Theatre’s Summer Conference, 1995

Boronga Kazi
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, VA, 1977.

Johnny Appleseed
Produced by the Palisades Theatre Company, Washington, DC, 1977.

Produced by the ASTA Theatre, Washington, D.C., 1976.

Treasure Island,
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, 1976.

Chant de la Joie
Produced by the Playwright’s Theatre of Washington, DC, 1974.

The Legend of Sleepy Hollow
Produced by the Botega Puppet Theatre, Washington, DC, 1973.

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, 1968.
University of Maryland, College Park, Theatre, 1970.
Lindenwood Colleges, St. Charles, Missouri, MFA in Theatre, 1979.

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 newsreel.

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 create for.

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.