(See "Controversy" below.) Playwriting, theater, and social therapy Newman was a cofounder (1983), artistic director (1989–2005), and playwright-in-residence of the Castillo Theatre in New York. The theater, named for the Guatemalan poet Otto René Castillo, has served as the primary venue for the production of the 30 plays that Newman wrote since the 1980s, four of which were written for and performed at annual conventions of the American Psychological Association from 1996 onwards. Newman described the Castillo Theatre as a "sister" organization to his social therapy clinics and institutes, where he also used Vygotsky's methodological approach. Writing in 2000 in New Therapist, Newman and Holzman discussed the Vygotskian thread that linked the sister organizations: The entire enterprise - human life and its study - is a search for method. Performance social therapeutics, the name we use to describe our Marxian-based, dialectical practice, originated in our group therapy but is also the basis for a continuously emergent development community. We coined the term tool-and-result methodology for Vygotsky's (and our) practice of method in order to distinguish it from the instrumental tool for result methodology that characterizes the natural and social sciences (Newman and Holzman, 1993). Our community building and the projects that comprise it - the East Side Institute for Short Term Psychotherapy, the East Side Center for Social Therapy and affiliated centers in other cities, the Castillo Theatre, the All Stars Talent Show Network, the Development School for Youth, etc. - are practices of this methodology. Some of Newman's plays have been cited as examples of alleged anti-Semitism by the Anti-Defamation League (ADL), which Newman described as "politically motivated". In his play No Room for Zion (1989), Newman recounts the transition in his own Bronx Jewish community from primarily working class to increasingly middle class and upwardly mobile, rapidly losing its identity as an immigrant community tied to traditional ideals (represented by the Rabbi Zion of the play's title). In the play, Newman goes on to present his view of the postwar shifts in Jewish political alignments, both domestically and internationally: From the West Bank to the West Side of Manhattan, international Jewry was being forced to face its written-in-blood deal with the capitalist devil. In exchange for an unstable assimilation, Jews under the leadership of Zionism would "do-unto-others-what-others-had-done-unto-them." The others to be done unto? People of color. The doing? Ghettoization and genocide. The Jew, the dirty Jew, once the