Photo: From the 2014 Yale Cabaret Production of We Fight We Die (Nick Thigpen) More photos here.

“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.” – Andrew Lapin, DC Theatre Scene

A modern, urban riff on a classic Greek play, We Fight We Die tells the story of Q, a homeless, virtuosic graffiti artist who has transfixed the local city with his stunning and subversive work. When he is finally captured by the police, Q must decide - defiance or conformity?

Finalist, 2011 Kendeda Graduate Playwriting Competition

Finalist, 2011 Larry Neal Writers' Awards

Regional Finalist, 2011 KCACTF

Grant Recipient, 2011 Mead Theatre Lab Program


“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

Junesong Staged Readings, June/July 2014

Production, Source Festival, June 2015


“(The) Webcam Play inventively used technology to portray a romance that was virtual in every sense of the word.” – Peter Marks, The Washington Post

A unique fusion of theatre and film, The Webcam Play is the story of two lonely twentysomethings who meet and fall for each other entirely over the internet. When things turn sour, they are forced to wonder - was it ever real?

Junesong Production, 2012 Capital Fringe Festival

Watch Act One of The Webcam Play (it's a film!) here. 


“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

Insurgent Sonata tells the story of five young victims of abuse who attempt to start a revolution by murdering their parents. Locked inside an abandoned nuclear fallout shelter, they collectively confront their violent pasts and in doing so, slowly tear each other apart. 

Junesong Production, 2011 Capital Fringe Festival


9:23pm. A big, fancy wedding at a big, fancy reception hall. In the Men's Room, Andrew is hiding from the party after crashing the wedding. His hopes to confess his love for Anabel, the bride, have been thwarted by his own trepidation. Andrew is soon joined by Blake, the brash little brother of the Maid of Honor, whose intestinal pyrotechnics compel him to not stray far. Their caustic encounter is made dangerous when Blake proudly confesses to an affair with the bride, only to have the groom walk in just as he makes his bold proclamation...

9:23 pm. Same wedding, same reception hall. In the Women's Room, Anabel accidentally rips her heirloom dress after Michelle, the Maid of Honor, has a little too much fun helping her pee. They employ the talents of Carly, a jaded, shy relative of Guy (the groom) to help patch it up. While waiting on Carly to work her magic, Michelle and Anabel soon hear word that Andrew, Anabel's first and most treasured kiss, has crashed the wedding and his hiding in the bathroom. Once Guy hears word, he sets his sights on getting Andrew out. That is, of course, until Andrew tells Michelle the secret Blake just let slip...

Act One, the Men's. Act Two, the Women's. Altogether, IN THE BATHROOM AT A WEDDING is a darkly comic exploration of marriage, friendship, betrayal, risotto balls, and the things of which we cannot let go.

Finalist, 2013 nuVoices Festival

Staged Reading, 2014 Baltimore Playwrights' Festival


Image Credit: Lauren Reynolds/Bernard Handick

“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

The first-ever musical adaptation of Mike Daisey's infamous muckraking masterpiece, TATESJ:TM is one man's journey across the world to find out where his shit is made.

Junesong Production, 2013 Capital Fringe Festival