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...Arthur Kopit, Alan Schneider, John Simon, and Jerome Weidman will discuss "The Role of Criticism in the American Theatre" at 8 p.m. tonight in Leverett Old Library...

Author: NO WRITER ATTRIBUTED | Title: Role of Criticism | 12/15/1966 | See Source »

...couldn't write that play today," Kopit told his Dunster Forum audience, speaking in the sincerely self-critical role of the serious playwright. "There's too much wrong with Oh Dad, too much that I wouldn't do now that I did then. In fact, there's a good deal wrong with almost everything I've written. I've got two full-length plays sitting in my bottom drawer, and they'll probably stay there...

Author: By Gregory P. Pressman, | Title: Arthur Kopit | 12/16/1965 | See Source »

...called M'hill Daiim, about Sally, a beautiful girl in the Peace Corps,--"She's got to be beautiful, she's got to be the American dream"--who, on the New York-to-Washington Limited, gets eaten by her three African guests. The title, incidentally, is translated "Meal Time." Kopit has provided such touches as a Hammacher-Schlemmer electric cannibal pot in which Sally is cooked, offstage, although she is eaten onstage. "I think I went too far here," Kopit explained, "not just in showing cooked portions of Sally, but in the play's whole conception. The play's intent...

Author: By Gregory P. Pressman, | Title: Arthur Kopit | 12/16/1965 | See Source »

...other plays include two giant man-eating venus flytraps, in Oh Dad, and 18 whores who simultaneously break wind, offstage again, in The Day the Whores Came Out to Play Tennis. And through these moments, one glimpses the grinning Arthur Kopit, boy playwright, who writes like he drives, outrageously. He's funny because he shatters all expectations, because he either parodies our reality or substitutes his own absurdity...

Author: By Gregory P. Pressman, | Title: Arthur Kopit | 12/16/1965 | See Source »

...same spirit that he offered conversation at Radcliffe, breaking the white tablecloth and candlelight quiet of the dinner by singing, "I would have let him see me naked," a lament from his dramatization of The One Hundred Dollar Misunderstanding. "This girl's boyfriend goes to a brothel," Kopit happily explained, "and she sings this song describing what she would have done for him. It's got violins and everything." After that he turned to the dorm's head resident. She just smiled weakly...

Author: By Gregory P. Pressman, | Title: Arthur Kopit | 12/16/1965 | See Source »

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