Word: playwrightes
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...Well, that’s my weakest point, which is bad for a playwright. My thesis advisor, Todd Kessler is a screenwriter, he’s worked on “The Sopranos” and other television and screen projects that are character based in a way that many of the plays I’ve read don’t have to be. Most plays I’m interested move away from straight character interaction. He [Kessler] is pushing me to focus on relationships for my foundation and that has been incredibly useful...
...Welles as King Lear, stands out. A double exposure of the guitarist Sharon Isbin superimposes the guitar on her hair in a manner that, if not entirely original, is pleasing. Perhaps the most enigmatic image of the show is a distorted portrait of Attilio Pierelli, an Italian sculptor, poet, playwright and dentist, shot at an exhibition of his at the Zabriskie Gallery in New York. But these are scattered without effect amid the straightforward portraits of, say, Dean Martin and Jerry Lewis. Nonetheless, though a misnomer, this is not a show to be missed...
...simply outdated. Entertainers in every field are in a crisis of relevance, caught up in a nationwide feeling of survivor's guilt, unsure whether their work has a place in the new reality. "I don't know if my writing right now is adequate to the time," says playwright Jon Robin Baitz. "I'm not going to write until I feel that's no longer an issue...
Some art will risk offense to stay relevant. In December playwright Tony Kushner opens Homebody/Kabul, set in Afghanistan in 1998, the year of American air strikes in response to bin Laden's U.S. embassy bombings in Africa. Despite the now incendiary subject, Kushner says he "wouldn't change a thing" in the script. "Even a country at war has a moral imperative to think about the people with whom they are fighting and ask questions about them," he says. All of us are likely to crave escape in the months ahead. But we should be afraid to live...
...anti-governmental stances, Fo was forbidden a visa to enter the United States throughout the 1970s and during most of the Regan administration. It wasn’t until 1986 that Robert Brustein, artistic director of the American Repertory Theater, succeeded in bringing the great Italian playwright and performer to American shores for the first time. True to form, Fo thanked President Regan for generating publicity by keeping him out of the country...