Word: playwright
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Dates: during 1980-1989
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...this hilarious rendition of Strindberg's drama, Prascak takes us on a surreal two-hour journey through the playwright's inner dreams--into a sort of Emerald City in Hell. Prascak makes use of everything from green fishnets to Pine-Sol Spray to create his narrative of life-on-earth. But remember, this is the fantasyland of dreams. Here, as Strindberg admitted, "anything can happen; everything is possible and probable. Time and space do not exist. Characters can split, double, multiply, dissolve, float apart, condense." This ain't gonna be no night at the opera...
...IRISH Playwright Graham Reid understands the importance of being earnest, but he hasn't quite grasped the importance of being compelling...
That poignant valedictory, like almost everything else in A Walk in the Woods, has the ring of political truth. Playwright Lee Blessing apparently was inspired by a real-life walk in the woods, between U.S. Negotiator Paul Nitze and Soviet Delegate Yuli Kvitsinsky, during arms-control talks in Geneva in 1983. His wry and engaging new work at the Yale Repertory Theater in New Haven, Conn., persuasively imagines the human fabric of a similar fictional enterprise. Blessing's conceit is that the Soviet negotiator, far from a stereotypical xenophobe, is worldly, glib and cynical, while the American newcomer is stuffy...
...Playwright Dervis places his two main characters in close quarters--an Amtrak dining car on a train from Chicago to San Francisco. Tom (David Frisch) is a Yippie turned corporate executive. Founder of The Advocate, a left-wing newspaper, he is headed to the West Coast in order to sell its current mainstream incarnation. Busily writing out proposals, he is joined rudely by Spence (George Saulnier), a self-proclaimed, 17-year-old "romantic drifter." What Time charts three hours of their relationship, and falls straight into the one-act trap of revealing every silly detail about the pair...
When we first meet the young protagonist of A Nite-Lite, acted with appropriate repulsiveness by the playwright, he is returning home from work, dressed respectably in suit and tie. His initial encounter with the motionless, battered body beside his front door arouses his sense of pity. He addresses the formless mass politely as "sir," and even brings out a plate of food. But as the homeless person fails to acknowledge these gestures, the young man grows increasingly annoyed and impatient. He begins throwing scraps of food at the human heap of rags and soon dumps the entire plate...