writer, composer, screenwriter

View my Blcklist profile here.

Timothy Guillot is a Helen Hayes Award-nominated playwright and composer from Washington, DC via New York. His plays, musicals, and original compositions have been read and performed in the US, Canada, Europe, and South Korea. His work has been read and performed at Center Theatre Group, Alliance Theatre, The Lark Playwrights' Center, Imagination Stage, Yale Cabaret, Forum Theatre, Mead Theatre Lab, Source Festival, Capital Fringe Festival, and many others. He is the 2016 winner of the Dramatic Writing Prize from the Adirondack Shakespeare Company, the 2011 recipient of the KCACTF Musical Theatre Award, a finalist for the Kendeda Graduate Playwriting Competition, the Larry Neal Writers' Awards, the nuVoices Festival, and a semifinalist for the O'Neill (twice), and Blue Ink.

At Imagination Stage, Tim's has worked as a composer on seven original productions, including Mouse on the Move, Inside Out and Backwards, Blue, The Smartest Girl in the World, and James and the Giant Peach. These productions have lead to 23 additional productions across 10 states and Canada. In 2017, Inside Out and Backwards was performed at the ASSITEJ festival in South Korea, becoming the first American company to present in the festival's history.

Tim is also a commissioned artist at Imagination Stage, where he has co-written two world premiere adaptations with Janet Stanford, Davy Copperfield and The Snowman and The Snowdog. In February 2026, The Snowman and the Snowdog was nominated for Charles MacArthur Award for Outstanding New Play or Musical Adaptation and Outstanding TYA Production at the 2026 Helen Hayes Awards.

Tim lives in Alexandria, VA with his wife and scruffy rescue dog.

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PRAISE FOR THE WORD AND THE WASTELAND

“Perceptive playwright Timothy Guillot has clearly spent his fair share of time absorbing cable news shows and police procedurals. His script overflows with morning show outrage, breathless news reports, and fire and ice interrogation scenes ripped from “Law and Order”. These cultural touchstones serve as an angry, charged backdrop, contrasting with the surprisingly gentle relationship that evolves between the central figures of poet and presumed terrorist.” - Ben Demers, DC Theatre Scene

“Guillot has crafted a shrewd and evocative script that is propelled by crackling dialogue, a mesmerizing narrative, an astute spin on media, and the aforementioned enigma, Benjamin Harding. Not only does the play keep us wondering what makes Harding tick; it turns our voyeuristic curiosity into a measure of concern for the character.” - John Stoltenberg, DC Metro Theatre Arts

PRAISE FOR THE AGONY AND THE ECSTASY OF STEVE JOBS: THE MUSICAL

“… As faithful a translation of Daisey’s monodrama as one could imagine. It’s surprisingly effective, especially when the multiple-role-playing cast of five embodies the workers in Chinese electronics plant and sings the plaintive “Factory Floor” – a song sadder than any in Working.” – Peter Marks, The Washington Post

“Here is a case where one man wrote the entire show and scored big on all fronts. Tim Guillot is a triple threat. This is one talented writer that has achieved the impossible of going it alone without the benefit of a writing collaborator. This is extremely risky but Guillot really succeeded. He musicalizes moments from Daisey’s monologue but not to the point of overdoing it. Everything is perfectly balanced.” – Elliot Lanes, Maryland Theatre Guide

“Guillot has done a masterful job in setting Daisey’s biting story to music – the mostly rock-based music compositions are reason enough to see the show and should be praised for the diversity of styles employed.” – Jennifer Perry, DC Broadway World

PRAISE FOR THE WEBCAM PLAY

“(The) Webcam Play inventively used technology to portray a romance that was virtual in every sense of the word. Under director Sasha Bratt’s sensitive guidance, actors Steve Isaac and Sarah Ferris gave amusing and appealing accounts of young people crossing paths, purposes, and wires on an online dating site.” – Peter Marks, The Washington Post

“Patrick (the reviewer) was so personally affected by the message of this play that he actually CALLED his startled editor Jenn instead of texting… this “real, raw, authentic” piece resonated with him as it explored the idea of love that grows without physicality.” – Jenn Larsen, We Love DC

PRAISE FOR WE FIGHT WE DIE

“The play finds strength in its brevity, distilling its central man-vs.-establishment conflict down to 75 minutes of one basic, angry thesis — that blunt-force truism in the title. When the four-member Greek chorus first storms on stage to rap out a blistering call to arms, we pay attention. And when they anoint Q as their paint-stained martyr, we believe in the power of the man’s aerosol spray.” – Andrew Lapin, DC Theatre Scene

PRAISE FOR INSURGENT SONATA

“Perhaps I might be toeing a critical boundary here, but I’ll say it anyway: I believe in this play. Local playwright Timothy J. Guillot’s play is a rare gift.” – Charlotte Asmuth, Maryland Theatre Guide

“… A vacuum of teenage love, lust, despair, and camaraderie. This compressed ball of teenage humanity is beautifully written and the use of classical music is haunting in the presence of young murderous minds begging the question, “Could you do it?” – Brynn Tucker, DC Theatre Scene