The universe and the playwright
This guide is for women who feel that they will soon be engaged in a new revolution to overthrow the soul-crushing social codes that govern their sexual, professional, and familial lives.
New York sees two of the playwright’s most recent works performed this fall, The Flick and John. She talks with Kan about her fondness for Chekhov’s plays, writing for certain actors, and the music of speech.
On being an outsider, the nature of authenticity, and the depths of pop-culture.
The writing is on the wall in Annie Baker’s reimagining of Uncle Vanya at the Soho Rep.
I have seen Scott Shepherd perform many times as a core member in two of my favorite New York theater companies—Elevator Repair Service and The Wooster Group.
Even among that vibrant flock of downtown New York performer-playwrights (Wallace Shawn, Eric Bogosian, Holly Hughes), David Greenspan sticks out as a rare bird.
I first met Donald Margulies at Sundance in the 1980s. An early play, What’s Wrong With This Picture?, was workshopped and given a fine reading.
Joseph Chaikin changed the face of theater with his Open Theater company and collaborations with Sam Shepard. The avant-garde director, who has garnered just about every theater award, speaks with Liz Diamond.
Gary Sinise may have migrated to Hollywood, but it’s not all glitter and confetti for the long-time actor/director. From the trenches of Chicago’s Steppenwolf Theatre to the dazzle of a De Palma blockbuster, Sinise is a straight-up actor’s actor.
Scott Elliott’s meteoric rise as a theater director is hailed as the return to the tradition of ensemble acting.
Joseph Chaikin and Sam Shepard together have created from the earth, with dirt on their hands and the imagination of the galaxy on their minds, an epic poem in the form of an Off Broadway play.
In the old days of theater, when the play was still the thing but movies were already a fast way to make a buck, New York playwrights hightailed it out to Hollywood after the current season had gotten underway. Then by the following summer, having made a killing in the schlock market, they’d be on the train heading back for Broadway to go into rehearsal for the next season.
Playwright and screenwriter Frank Pugliese and actress Martha Plimpton get real about what it means to make work, get work and keep on living in New York, L.A. and the theater world.
Ridge Theater walks the line between opera and the avant garde, biting over a hundred sounds a minute. An original look at how they do it.
Mac Wellman has written forty plays in twenty years. He speaks with Linda Yablonsky about his past work (“Bad Penny was the best thing I ever did”) and his adaptation of Ovid’s Metamorphosis, set in Florida.
Don’t miss Helen Mirren in The Debt or issue 52 of BOMB. So take a flashback just like they do in the film, but to 1992, and check out Helen Mirren’s conversation with fellow actor Peter Eyre.
“It’s been a very, very strange time. I feel very lost and confused and sort of unclear about what I should be doing with the play, where I should be going with it and where I should be going after the play is done.”