In November I was in New York City for a
gathering of the American Theatre Critics Association. I saw five
Broadway shows, listened to some informative panel discussions and
attended a luncheon at Sardi’s with an array of Broadway performers.
Christopher Durang got an early start as a playwright. “When I was 8,” he told The Juilliard Journal (he
teaches playwriting at the Juilliard School), “I announced to my mother
I was going to write a play. It was my own two-page version of an I Love Lucy episode...
I spent last weekend in Kentucky at the Humana Festival of New American Plays at Actors Theatre of Louisville watching a half-dozen brand new works. The festival is an invigorating whirl of creativity, conviviality and engaging performances.
When I was a high school senior and the teacher who staged the school plays — her name was Mary Price — picked Shakespeare’s The Taming of the Shrew,
there was a lot of moaning and groaning. Why do we have to perform in
some dusty old play from centuries earlier?
A crowd of female playwrights came
together in New York City in 2008 to express their concern that works by
women were not getting produced by that city’s theaters. More than 150
playwrights attended the gathering, resulting in standing-room-only at
It was 35 years ago when I first heard
about a new Broadway musical, the story of a Victorian serial murderer whose
victims were ground up for meat pies. My first reaction to Sweeney Todd: The Demon Barber of Fleet Street was disbelief.
It’s award season in the theater world,
locally and elsewhere, when past work is pored over to find outstanding
productions and performances, accolades are bestowed, “thank you”
speeches are made and egos are boosted or blasted.