Tim Boland

Tim Boland

TIM BOLAND is an award-winning playwright, who has written for theatre, film and television. His original play, IN THE NAME OF THE PEOPLE, was selected as the national contest winner of the Acme Acting Company's Third Annual New Play Festival, where it received its World Premiere at the Colony Theatre in Miami Beach. IN THE NAME OF THE PEOPLE received its West Coast premiere at The Road Theatre Company...
TIM BOLAND is an award-winning playwright, who has written for theatre, film and television. His original play, IN THE NAME OF THE PEOPLE, was selected as the national contest winner of the Acme Acting Company's Third Annual New Play Festival, where it received its World Premiere at the Colony Theatre in Miami Beach. IN THE NAME OF THE PEOPLE received its West Coast premiere at The Road Theatre Company of Los Angeles. He subsequently adapted his play IN THE NAME OF THE PEOPLE for film for CBS Productions, which produced it, starring Scott Bakula, Amy Madigan and Richard Thomas. His one-act ACCEPTANCE SPEECH was part of an evening bill of one-acts called TAKE THREE, directed by Paul Lazarus, that played at the No Smoking Playhouse in NYC. ACCEPTANCE SPEECH was subsequently produced as part of a production of the author’s one-acts, NIGHT VOICES, staged in San Francisco at Shelton Studio Theatre. His play LOVE MAD received its world premiere at the Cast Theatre in Los Angeles where it enjoyed an extended run. His "HAPPY THANKSGIVING" was the co-winner of the Long Beach Playhouse 2018 New Works Festival, where it received a public staged reading. His SANCTUARY won the 2018 3rd Place Prize in Montreal's Infinitheatre's Write-On-Q annual play contest and was a Eugene O'Neill Theatre Center Semifinalist at their 2019 National Place Conference semifinalist and was a 2019 Ashland New Play Festival Semifinalist. His political comedy, HAIL TO THE CHIEF, received a staged reading production with Canada's Brave New Productions. His romantic comedy DIVORCE HONEYMOON received public staged readings in Florida and Los Angeles and THE HOUSE received a public staged reading at the Little Victory Theatre in Burbank. He participated in the Bay Area Playwrights Festival where LOVE MAD was first presented. The film WELCOME HOME, for which he was original co-screenwriter, starring Luke Perry, was filmed for UPtv. He was a member of the BMI Musical Theatre Workshop where SUBURBAN GOTHIC was showcased at the Edison Theatre as part of BMI’s Spring Showcase of new works. He is a member of the Dramatists Guild and the Writers Guild of America.

Plays

  • INVISIBLE
    The year: 2020. The year of the Invisible Enemy. The tale of two viruses ravaging and transforming American life forever: COVID-19 and TRUVID-20. TRUVID-20? Truth Virus 2020: the selective choosing of one’s own truth and facts, regardless of the veracity, ramifications and deadly consequences to others.

    INVISIBLE is the just as much the story of the Visible Enemy, those public figures...
    The year: 2020. The year of the Invisible Enemy. The tale of two viruses ravaging and transforming American life forever: COVID-19 and TRUVID-20. TRUVID-20? Truth Virus 2020: the selective choosing of one’s own truth and facts, regardless of the veracity, ramifications and deadly consequences to others.

    INVISIBLE is the just as much the story of the Visible Enemy, those public figures sworn to protect us and their countless Invisible followers holding competing truths and facts as they battle their fellow American Invisible in a real life mortal combat when truth meets power. INVISIBLE is about the hall-of-mirrors challenge of who to believe, what to believe, facts changing, science changing, misinformation and disinformation multiplying, the line between true and false disappearing, with no vaccine or emergency use authorization coming to the rescue to battle TRUVID-20.

    INVISIBLE is part journalistic theatre, story theatre, documentary theatre, reality theatre, breaking the Fourth Wall theatre, told in live time. A Cast of Players (8) -- with a number of gender/color blind roles -- led by a Narrator, assisted by a professional Fact Checker, and the Players (assuming multiple roles and speaking parts), invite the audience on a journalistic search, utilizing the Fair Use doctrine and public record, to re-enact the story of America’s 2020 nightmare through government officials’ words, speeches, press releases, postings, etc., to learn how America divided at a time they most needed to be united.

    As the story is performed for what is now their umpteenth performance, the Players become severely challenged and conflicted in recreating the words, thoughts and feelings of the Visible characters, not insulated by the knowledge of performing an imagined, fictional creation, but faced with having to live through performance after performance depicting characters who become all too real and horrifying, propelling the actors to battle each other as they fight to get through the present performance.
  • WEALTH
    WEALTH (currently a Eugene O'Neill 2020 Semifinalist and PlayPenn 2020 Semifinalist) is a full-length play dramatizing just how inter-connected and dependent American rich and poor may be on each other beyond wealth and class. Where income inequality meets the blood ties that bind even the most disconnected of Americans.

    JIMMY and TAMMI, American poor, fight to dig themselves out of their...
    WEALTH (currently a Eugene O'Neill 2020 Semifinalist and PlayPenn 2020 Semifinalist) is a full-length play dramatizing just how inter-connected and dependent American rich and poor may be on each other beyond wealth and class. Where income inequality meets the blood ties that bind even the most disconnected of Americans.

    JIMMY and TAMMI, American poor, fight to dig themselves out of their economic hole, but all seems lost and hopeless after their children are removed from their care by Children’s Protective Services for suspected parental neglect due to their children’s state of chronic hunger and unsafe living conditions.

    ROGER BANCROFT, Hedge Fund King of America and multi-billionaire, suffering end stage kidney disease and facing premature death as he languishes far down on the national kidney transplant waitlist, must decide how much longer he will play by the government’s waitlist rules of no special privilege or assert his power to do whatever it takes to ensure his survival.

    WEALTH asks how far will rich and poor alike go to hold onto those things that money cannot always buy: life, love, family.
  • SANCTUARY
    SANCTUARY is a two-act contemporary play set in West Texas that dramatizes the story of MARIA, an undocumented immigrant from Mexico and single parent with two American-born children as she fights to remain with her children in America. MARIA escaped Mexico’s hardened streets after her brother and cousin were both killed in the drug wars and still fears for her life with the thought of being returned. With...
    SANCTUARY is a two-act contemporary play set in West Texas that dramatizes the story of MARIA, an undocumented immigrant from Mexico and single parent with two American-born children as she fights to remain with her children in America. MARIA escaped Mexico’s hardened streets after her brother and cousin were both killed in the drug wars and still fears for her life with the thought of being returned. With MARIA’S legal options having finally run out and facing imminent deportation, she seeks sanctuary in a small church in West Texas as the conservative PASTOR RANDY, somewhat new in his position at First United and recovering from his own troubled past, must look deep into his heart and decide whether or not to open the church doors to this "stranger." But PASTOR RANDY does not anticipate the resistance that MARIA’S presence will cause within the conservative church elders and congregation as his actions threaten to split the church and its congregants in half as they will all be asked to answer the question: where does the rule of law end and faith and love and conservative compassion begin?
  • HAPPY THANKSGIVING
    HAPPY THANKSGIVING is a full-length play set on Thanksgiving Day, 2016, two weeks after the highly divisive U.S. presidential election.

    A Michigan-state (Blue state turned Red!) married couple, two conservative Republican parents, are holding their annual Thanksgiving dinner for their three adult children coming back to Jackson, Michigan (often branded as the birthplace of the Republican party):...
    HAPPY THANKSGIVING is a full-length play set on Thanksgiving Day, 2016, two weeks after the highly divisive U.S. presidential election.

    A Michigan-state (Blue state turned Red!) married couple, two conservative Republican parents, are holding their annual Thanksgiving dinner for their three adult children coming back to Jackson, Michigan (often branded as the birthplace of the Republican party): their first-born, a liberal firebrand Hillary-supporting daughter, along with their middle child, a gay Republican son, and the baby of the family, a Sandernista democratic socialist daughter.

    Annual Thanksgiving family gatherings are normally fraught with enough anxiety for this diverse and politically-conscious family, but after the long and contentious presidential campaign of 2016, this post-election turkey get-together threatens to be a disaster in the making. One American family and their binds of marriage, parenthood, brother and sisterhood will all be tested as the family members are challenged to answer the ultimate question, which comes first, party, candidate, country or family?
  • HAIL TO THE CHIEF
    HAIL TO THE CHIEF is an Oval Office dramatic comedy set in the foreseeable future: the outing/coming out of the first gay President of the United States, the first gay Christian conservative Republican president.

    President William Barber is running for his almost certain re-election when his Secretary of Homeland Security confronts the President with electronic surveillance evidence of the...
    HAIL TO THE CHIEF is an Oval Office dramatic comedy set in the foreseeable future: the outing/coming out of the first gay President of the United States, the first gay Christian conservative Republican president.

    President William Barber is running for his almost certain re-election when his Secretary of Homeland Security confronts the President with electronic surveillance evidence of the President secretly and anonymously trolling Internet gay websites and chatrooms and demands an end to the President's dalliances. What follows is a battle between the President trying to remain the most powerful person on the planet and his conservative brethren determined to oust him for his true nature, as the President embarks on a very personal journey of self-discovery and acceptance that he has denied himself all his life.
  • THE HOUSE
    THE HOUSE is a two-act play (3W, 4M) set in the quintessence of the post-WWII American Dream: the American suburban home. A tale of magical realism set in the most naturalistic of settings, the American living and dining room.

    It is Fall, 1981. Long Island, NY. The country is in a steep recession. House values have plummeted. Reagan has nearly been assassinated. Morning in America has...
    THE HOUSE is a two-act play (3W, 4M) set in the quintessence of the post-WWII American Dream: the American suburban home. A tale of magical realism set in the most naturalistic of settings, the American living and dining room.

    It is Fall, 1981. Long Island, NY. The country is in a steep recession. House values have plummeted. Reagan has nearly been assassinated. Morning in America has yet to arrive. The American Dream is cracking apart. The action begins with a knock on the door. WILLIAM TALBOT (30) returns to the scene of his childhood, the house originally built by his parents in the later 1950's when America was filled with promise and purpose. WILLIAM, gone for 13 years, his childless marriage in crisis, has taken his wife's ultimatum to "fix whatever the hell happened in that house you grew up in" quite literally and returned to find the answer. But upon returning to be welcomed in by the present owners of the house, William finds that his deceased mother, who died suddenly in the house, still inhabits the premises, her “crossing over” to the next world blocked, her presence unbeknownst to all the subsequent owners. William does not understand how it has come to be but does know that the house holds the one promise to again be with the mother he lost at way too young an age. William proposes to buy his family house back from the present homeowners, Peter and Jane, both on their second marriage, but his offer to recover his childhood family home splits the couple and their two teenage children. Peter feels he has achieved the life he has always sought while Jane has begun to regret their once-thought of dream home, financially burdened by the recession and the unrealized merging of a step-family, their children having developed an unhealthy alliance as they try to deal with the anger and disillusion they feel as the collateral damage of their parents’ messy marital pasts.

    As William tries to “come home,” his mother fights to leave for good, to free herself from the dream house, while Peter and Jane must confront their broken vows and betrayals and priorities. All must confront the chains of pain that have bound them up as they all try to define the true meaning of home in America.
  • IN THE NAME OF THE PEOPLE
    IN THE NAME OF THE PEOPLE is a two-act drama, set in the heart of America in one of the remaining death penalty states. It is a play that explores the American heart and what it is capable of in the face of the most unforgivable of crimes. It dramatizes the stories of two families left behind, indelibly connected, that of the survivors of the victim and the perpetrator’s family, all still dwelling in their...
    IN THE NAME OF THE PEOPLE is a two-act drama, set in the heart of America in one of the remaining death penalty states. It is a play that explores the American heart and what it is capable of in the face of the most unforgivable of crimes. It dramatizes the stories of two families left behind, indelibly connected, that of the survivors of the victim and the perpetrator’s family, all still dwelling in their own private hell. IN THE NAME OF THE PEOPLE is a story where hope seems to have vanished as the quest for justice is pitted against the possibility of true reconciliation.

    J.P. Johnson has less than 24 hours to live for the murder of sixteen-year old Debbie Murphy, but he has more on his mind than his own survival, the survival of his own twelve-year old daughter, Cheryl. Johnson’s mother Maze has been raising his daughter ever since the mother of Cheryl overdosed, but she is in the late stages of a returned cancer, as the condemned Johnson is fixed on making sure his daughter’s future is not likewise condemned.

    Jack and Connie Murphy, Debbie’s parents, are torn over what is to come. Connie Murphy, the founder of her own victims’ rights group, Parents for Justice, is driven to see Johnson pay the ultimate price for his act while Jack has come to feel that the execution will not free them but only leave another family suffering with loss. Jack has infuriated Connie in going so far as to consider speaking to the Governor to ask for clemency and reprieve for Johnson. Jack has requested to see Johnson in his last day to know if asking for Johnson’s life is worth the risk of angering his wife so much that he will lose her forever.

    As Jack Murphy, and later Connie, face off with their daughter’s killer in a quest to find answers to that senseless night of ten years past, Johnson makes an extraordinary request of the Murphys that will further challenge their marriage and ultimate humanity. As Johnson fights for his daughter’s welfare, the Murphys are faced with pardoning the unpardonable and forgiving the impossible if they are to ever find their way back to each other.
  • LOVE MAD
    Time: Present
    Setting: Manhattan.
    Characters: 5; 3 men and 2 women. All in their late 20’s to early 30’s.
    LOVE MAD is a romantic comedy with an edge, the endless battle between the sexes. A tale of men trying to please their respective female partners, but at war with their own inner desires over the call for a monogamous existence and the women who must survive their madness and...
    Time: Present
    Setting: Manhattan.
    Characters: 5; 3 men and 2 women. All in their late 20’s to early 30’s.
    LOVE MAD is a romantic comedy with an edge, the endless battle between the sexes. A tale of men trying to please their respective female partners, but at war with their own inner desires over the call for a monogamous existence and the women who must survive their madness and guide them through their testosterone-fueled angst, ambivalence and plain old male madness.

    Spencer has finally met the woman of his dreams, the woman he wants to marry, Michelle. But Spencer's longtime bachelor best buddy, Trevor, tries to slow Spencer down until he gets through the sex-crazed first year of infatuation and hopefully come out of his state of madness, while Michael, his other best bro, newly married and still basking in the glow of the honeymoon phase, wholeheartedly coaxes Spencer to make the leap. Adding fuel to the fire is Deborah, Spencer’s ex-girl friend, still in love with Spencer, all charged up and ready to divide and conquer. Amidst forays to a polygamist’s compound in Utah and Michael’s wife turning out to have a seven-year itch turn into a seven-month itch, and Deborah and Trevor beginning a secret affair built more around angry sex and ultimate power, all five people will raise maximum mayhem and madness in their battle and quest towards freedom and connection.
  • DIVORCE HONEYMOON
    DIVORCE HONEYMOON is a three character, one set, two-act comedy. The setting is a hotel suite in the Dominican Republic.

    At the rise of the play, Renee Stanton (mid-30’s-later 30’s) and Peter Franklin (mid-30’s-later 30’s) arrive at the Romeo and Juliet fantasy-themed honeymoon suite at the Hotel Domingo in Santo Domingo of the Dominican Republic. But we soon learn that they are not there for a...
    DIVORCE HONEYMOON is a three character, one set, two-act comedy. The setting is a hotel suite in the Dominican Republic.

    At the rise of the play, Renee Stanton (mid-30’s-later 30’s) and Peter Franklin (mid-30’s-later 30’s) arrive at the Romeo and Juliet fantasy-themed honeymoon suite at the Hotel Domingo in Santo Domingo of the Dominican Republic. But we soon learn that they are not there for a honeymoon. They have come to the Dominican Republic for one of the island’s quickie divorces that the island is renowned for.

    Renee and Peter after nine years of marriage have decided to end their union, having simply come to different places in their lives and no longer “in love.” They look to avoid some messy parting and have a “happy divorce.” Dissolving their partnership, uncoupling with dignity and love and respect. And maybe a little goodbye sex to find true closure. But Peter has other ideas for the weekend as he has decided to resurrect the marriage, bring it to a whole new level, pushing Renee to confront their deepest secrets, the hidden conversations that they have never had out of fear it would have destroyed their couple.

    Trying to maintain the peace along the way is Roberto (30’s-40’s), their room service butler, a father of nine and a self-anointed amateur couples counselor. Roberto will bring his own Third World perspective to the relations between men and women and the balances of power necessary to sustain modern day relationships.

    DIVORCE HONEYMOON starts out as a frothy souffle that soon turns into a royal battle of the sexes, examining the politics of modern love and sex, contemporary male and female roles and the eternal struggle between the need for intimacy and the need for independence and what it takes to sustain a lifelong union.