doollee banner
The Playwrights Database
contact doollee


Carl Leo

CARL LEO  

 Nationality:    n/a
email:    n/a     Website:    n/a

Literary Agent:    n/a


I do not have a biography of this Playwright. Please help doollee to become even more complete by sending me any information you have
thank you

Buy Plays with Doollee

Each page of doollee.com has links to play/book outlets, either directly to the Publisher, through Stageplays.com and Amazon to the second hand and 1st editions of AbeBooks. These links will automatically take you to the relevant area obviating the need for further search.
AbeBooks.co.uk   AbeBooks.com   Stageplays.com   amazon.com   amazon.co.uk   amazon.ca
whether you are a Playwright who wishes to make their entry definitive, an unlisted Playwright or a User with a tale to tell - we want to hear from you.
download WORD submission template

below is a list of Carl Leo's plays - click on a Play Title for more information

 Family Man, The

Family Man, The

Synopsis:
Bill Cahill, a former athlete but accident-prone, breaks his leg sliding into third base while playing baseball with his children. Faced with a long convalescence, his wife, Ellen, valiantly goes back to work to support the family, while Bill looks after the house. They do their work grudgingly, not realizing that they are both happier and more efficient in their new roles. Then Ellen, on a last minute impulse, brings her boss home for dinner, sending Bill into a rage. Bill feels this imposition is the last straw, and their new scheme of living, as well as their marriage, seems to be heading for the rocks. Things become even more uproariously complicated when it is discovered that Bill, using his wife's name, has sent in one of his original cookie recipes and an essay on homemaking to a TV Contest-and has been chosen the recipient of the Homemaker award of the Year. The winner is to receive $50,000, plus additional sums for appearing on television-but the winner must be a woman. Bill wants his wife to pass herself off as the homemaker, but she refuses to be involved in anything so deceitful. The producers of the TV show arrive and are alarmed and dismayed when Ellen turns down their handsome award, and then are horror-struck when they realize they have bestowed their award on a man rather than a woman. Their fifteen-million-dollar TV program might be held up to ridicule and cancellation. But they decide, to save face and their program (and to capitalize on the enormous publicity which they sense will develop), to give the award this year to a man-Bill Cahill. Bill and Ellen are happily reunited, and the next thing we hear is that there is a sudden rash of broken bones among the men in the neighborhood. accidental? Perhaps. But then Bill Cahill has shown that staying around the house each day might not be such a bad idea after all.

Notes:
written by Benjamin Zavin And Carl Leo

1st Produced:
-    -

Company:
-

1st Published:
Dramatists Play Service, NY,    -

Music:
-

To Buy This Play:
If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

Booksellers:

Genre:
Comedy

Parts:
Male:  5            Female:  7            Other:  1b 1g

Further Reference:
-

Top of Page Top of Page









Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.