Word: playwrighting
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...cursory remarks. But in more extended passages, such as the fascinating and powerfully-felt paragraph comparing the literary aspects of England and Ireland in the nineteenth century, Trevor's voice takes on the tone of a refreshingly enthusiastic, rather than a dutiful, guide. For example, talking about the playwright Sean O'Casey, Trevor says that...
...great credit, Concealed Enemies, a four-hour, three-part docudrama in PBS'S American Playhouse series, clears away much of that baggage and concentrates instead on one of the most fascinating political mystery stories of the century. The drama, with script by British Playwright Hugh Whitemore, begins on Aug. 3, 1948, the day that Chambers electrified a HUAC hearing by naming Hiss as a Communist. Chambers by then had been out of the Communist Party for ten years, and was working as a senior editor for TIME. The climax is set in a courtroom almost 18 months later, when...
...play therefore, is somewhat inaccessible to present day sensibility Composed in the far away dawn of the television era, the play juxtaposes how oppressive the deadening hilarity of sitcom is next to a drama which probes the validity of all its characters feelings. Playwright Lorraine Hansberry impresses any audience with her command over an astonishing range of feeling, she recalls I M Forster at his best and least boring. But immediately one wonders if a Black playwright today, writing after the tumults, disillusion, and stilling of the last two decades, could afford the humanity which Hansberry so richly displays...
...with the granddaughter and forgets Fitzgerald. Worth is, as ever and always, in supreme command of the stage, and Channing and Daniels are both capable performers. John Tillinger's direction is competent and Designer Oliver Smith's Manhattan town house is lovely. The problem here is the playwright, who should have followed the master's plan...
Shades of gray are hard to come by in South Africa. That beautiful, terrible land invariably tempts writers to reduce it to black-and-white terms, to find a moral in its every predicament, a sermon in its every scene. Playwright Athol Fugard, 51, has won international acclaim by resisting the impulse to moralize. Such dramas as "Master Harold" . . . and the Boys, Boesman and Lena and A Lesson from Aloes do not preach against the evils of apartheid; they give institutionalized racism a human face, sometimes stolid, sometimes collapsing in laughter, tears or rage...