Winner, 2018 National Free Speech Play Award (THE XXX-RATED GENIUS), New Dramatists alum., Two NEA grants (one Individual Playwright, one International to Centaur Theatre, Montreal), two Fulbright Guest Artist appointments (Spain and Ireland), Shubert Playwriting grant, Eugene O’Neill Conference selection, NYFTA grant, first John Ringling Fund Award (FL), two Puffin Foundation grants, four Florida Playwriting grants, five Ford Foundation development subsidies, Pilgrim Project grant (shared with Daniel Czitrom), etc.
Edinburgh, Southern Theatre, Mount Sequoyah, Aspen, Sundance, Capital, Theatre of The First Amendment, New York International Festivals. Artistic Residencies at Yaddo, MacDowell, Millay, Edward Albee, Djerassi, Dorset, Hawthornden Castle (SCOT), Tyrone Guthrie (IRE) colonies.
Productions and/or development at NYShakespeare Fest/Public Theatre, Circle Rep, Phoenix (NYC) Theatre, 59e59, Nat Horne Theatre, Theatre For The New City, Culture Project, Harry Chapin’s PAF Playhouse, Samuel Beckett Theatre, John Houseman Theatre, Actors’ Studio, and Shubert Thr (Phila.), Folger DC), Empire State Inst for the Perf Arts, ACT/San Francisco, Indiana Rep (Twice), Theatre-By-The-Sea (NH), Asolo (FL), Florida Studio Theatre, Peterborough Players (NH), Theatreworks (CO), Elite TC (CA), Theatreworks (FL), American Stage (FL), Jan McArt’s New Play Series (FL), Theatre Odyssey (FL), Stageworks (FL),various colleges and universities, etc.
Published by Samuel French, Broadway Play Publishing, Inc., New American Library, Smith & Kraus, Applause Books, etc.
In The Time Trial, Jack Gilhooley, another exceptional talent, presented us with a cultural experience quite different from that of the average civilized theatregoer. Yet the predicament of a gang of smalltown, Southern outcasts struck me as profoundly human. Speaking in a language as brutal and quick‑witted as any New York street person's, they spend the day drinking and watching cars circle a race track. In many ways the play became a powerful account of lives going in circles; of drugs, sex, and "speech" going nowhere. For these people, small‑town America has become a raw, bloody place with no way of fitting in or getting out; a kind of destructive maze containing nothing of lasting value. It's a mordant and unsparing work written without apology and, in an odd way, aimed directly at us.
Plays from the New York Shakespeare Festival
Red Bessie… is clear-headed and humane, not unaware of the hurt that political idealism can cause, and more fun than might be expected of such a high-minded project.
London Times (TLS) September 5, 2003
The Brixton Recovery . . .is a wistful romance with a steeliness beneath the surface . . . has a precise sense of character, atmosphere and imagery . . . echoes with the sound of the Brixton streets, of the punch‑drunk battler on the international circuit and the restless nomads who move between countries searching for new lives.
New York Times
... Alongside Shaw, Coward, Moliere, Chekov and Ibsen, and inter-mingled with Williams, Miller, Pinter, Albee, Hellman and O'Neill are Athol Fugard, Ed Bullins, Tom Stoppard, Sam Shepard, Jack Gilhooley, Lanford Wilson, David Mamet and David Rabe, as some of the most frequently produced writers in the American theatre today.
Theatre Communications Group
A good deal of the credit...goes, of course, to Gilhooley who has an infallible ear for real‑life human speech‑‑and a remarkable skill for getting it onto the stage. He is equally adept at capturing the surface idiosyncrasies that turn faces in the crowd into human characters. If the playwright were a camera, certain primitive tribes would surely ban him, for fear he would capture their souls.
Marilyn Stasio about "Afternoons in Vegas"
New York Post
The writers I respect tell us a completely different and absorbing tale every time. Jack Gilhooley is one of those playwrights.
Christopher Gould, Publisher, Broadway Play Publishing, Inc.
I love this man’s writing.
Actor and Activist