Peter Wolfe's new book isn't just a groundbreaking introduction to one of today's leading American playwrights; it's also a subtle, carefully nuanced critique. This first book-length monograph on Terrence McNally shows how McNally's decades in the theater have both deepened and refined his thoughts on subjects like growing up gay in mannish, homophobic Texas, Shakespeare's legacy in contemporary drama, and the life-giving power of forgiveness. McNally believes that the ability to forgive confirms our humanity because the wrongs perpetrated against us usually don't deserve to be forgiven. Putting them behind us, he knows, too, challenges the most high-minded. He likens this to the idea, from Edward Albee's Zoo Story, of having to go a great distance out of our way to cover a short distance correctly. This journey, he views as vital. Wolfe shows how his impeccable timing, his instinct for a good laugh line, and his preference for physical sensation and character over plot helps him reveal both what's important to his people and why his people are important. These revelations will shake up your preconceptions. Often shaking your sides with laughter, too, they leave you in a better place?while providing, to boot, a great evening at the theater.
Based on Eric Bentley's Brecht Memoir, as well as on extensive personal interviews with the writer himself, Marowitz has created an entertaining story that is simultaneously funny, perplexing and disturbing. Tossing in small bits of insight into both men THE AGONY & THE AGONY is proof, once and for all, that hard work, grit and determination almost compensate for a total lack of talent. --Jill Silver (the playwright's mother).
A Study Guide for Terrence McNally's "Andre's Mother", excerpted from Gale's acclaimed Drama for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama for Students for all of your research needs.
THE STORY: The setting is a walk-up apartment on Manhattan's West Side where, as the curtain rises, Frankie (a waitress) and Johnny (a short-order cook who works in the same restaurant) are discovered in bed. It is their first encounter, after havi
THE STORY: Maria Callas is teaching a master class in front of an audience (us). She's glamorous, commanding, larger than life--and drop-dead funny. An accompanist sits at the piano. Callas' first victim is Sophie, a ridiculous, overly-perky sopra
“Terrence McNally is one of our most original and audacious dramatists, and one of our funniest.”—New Yorker Since his first play,And Things That Go Bump in the Night, which premiered in 1965, McNally has proven himself to be a trailblazing figure and unique voice in American theater, known for his exploration of gay themes and his chronicling of America’s changing social attitudes over the past fifty years. His thirty-three plays, nine musicals, three operas, and seven scripts for film and television, are a testament to his astonishing commitment to writing. InSelected Plays, for the very first time, McNally collects a set of eight plays that he considers the most important of his oeuvre, including the Tony-nominatedMothers and Sons and the critically acclaimedAnd Away We Go, neither of which have been previously published. Introducing each play with a personal essay that recounts an anecdote or discusses an aspect of the play that proceeds it, McNally himself frames his own life in the theater.Selected Plays is a landmark publication, a memoir in plays from one of America’s most highly regarded and best-loved playwrights.
THE STORY: Jupiter, king of the Gods, has again become enamored with a mortal woman, Alcmena, wife of the military general, Amphitryon. During the general's absence in the field, Jupiter assumes Amphitryon's form, and is gladly welcomed home and in
Clean typescript with revisions dated 5/9/91-5/21/91. Used by The New York Public Library for the Performing Arts' Theatre on Film and Tape Archive on July 13, 1991 when videotaping the production at the Manhattan Theatre Club, New York, N.Y.
(Applause Books). Featuring 28 of the top talents on Broadway! The Alchemy of Theatre lets the top talents in every theatrical field, from producing and writing to publicity and makeup, share their hard-earned wisdom. They speak on how to achieve success in an environment where giant egos are locked up together under mounting financial and emotional pressure, and are expected to deliver greatness. In short, this book is a how-to manual of collaboration by the professionals who do it best. Among those who have packed their lively essays with real-world stories of experience on legendary productions are directors Harold Prince, Susan Stroman, and George C. Wolfe; playwrights Wendy Wasserstein, recently deceased, and Edward Albee; stars Chita Rivera and Brian Stokes Mitchell; set designer Robin Wagner; songwriter Cy Coleman, in one of his last writing efforts before his death; costume designer William Ivey Long; producer Rocco Landesman; theatre operator Gerald Schoenfeld, chairman of The Shubert Organization; playwright and librettist Terrence McNally; lighting designers Jules Fisher and Peggy Eisenhauer; Musical Director Paul Gemignani; and more than a dozen more. This book is nothing but true-life stories of how these precepts work in real life for some of the most talented people alive. "Every narrative gives an inside look at what makes theater magical and allows a performance to come together. For those who love the theater, this book is essential." Library Journal
Bringing it All Back Home, Last Gasps; Three Plays
Author: Terrence McNally
Publisher: Dramatists Play Service Inc
THE STORIES: ¡CUBA SI! Waiting for the revolution that she feels certain is near at hand, Cuba, a supporter of Fidel Castro, has set up camp in New York's Central Park. Having become something of a tourist attraction, she is interviewed by a report
THE STORY: The most controversial and talked about play of the 1998 theatrical season begins: We are going to tell you an old and familiar story. But from that point on, nothing feels quite familiar again. What follows is a story that parallels t
The editors collect essays about theater professionals who broke through stereotypes to transgress established lines about homosexuality in the various fields of the entertainment industry, including profiles of Clyde Fitch, Rachel Crothers, Djuna Barnes, Cole Porter, Lorenz Hart, William Inge, Loie Fuller, and others. Simultaneous. (Performing Arts)
THE STORY: The first act is set in the fussily ornate apartment of Mendy, a ferociously dedicated opera buff who begs and cajoles his friend Stephen to let him borrow his copy of the pirated Maria Callas recording of La Traviata made during
THE STORIES: HIDDEN AGENDAS is a satirical look at nonprofit arts institutions that depend on the various whims of their subscribers wishes, the beneficence of the National Endowment for the Arts, charitable patrons and the passing fashions of the
From Shakespeare's gender-bending play Twelfth Night to the the critically-acclaimed Broadway hit Angels in America, from 17th century kabuki theater of Japan—performed by cross-dressing prostitutes—to the NEA-denounced performance art of Holly Hughes, theater has long been—as co-editor Alisa Solomon terms it—the queerest art. The Queerest Art is a pioneering collection of essays by and conversations among a diverse range of leading theater academics and artists. The first anthology to bring scholars and makers of queer theater into direct dialogue, the volume explores such subjects as same-sex desire in Restoration comedy, the racialized impact of colonial Shakespeare, the cuerpo politizado of a performance artist in contemporary Los Angeles, and the nitty-gritty of getting a queer show presented in Peoria. The Queerest Art rereads the history of performance as a celebration and critique of dissident sexualities, exploring the politics of pleasure and the pleasure of politics that drive the theater. Lively and accessible, The Queerest Art will be useful to scholars, students, artists, and theater-goers alike interested in what makes queer theater . . . and what makes theater queer. Contributors include: Jill Dolan, Brian Freeman, Randy Gener, George E. Haggerty, Holly Hughes, Ania Loomba, Tim Miller, José Esteban Muñoz, Deb Parks-Satterfield, Lola Pashalinski, Everett Quinton, David Román, David Savran, Laurence Senelick, Don Shewey, Carmelita Tropicana, Valerie Traub, Paula Vogel, Doric Wilson, and Stacy Wolf.
In Richard Barr: The Playwright’s Producer, author David A. Crespy investigates the career of one of the theatre’s most vivid luminaries, from his work on the film and radio productions of Orson Welles to his triumphant—and final—production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Explored in detail along the way are the producer’s relationship with playwright Edward Albee, whose major plays such as A Zoo Story and Who’s Afraid of Virginia Woolf Barr was the first to produce, and his innovative productions of controversial works by playwrights like Samuel Beckett, Terrence McNally, and Sam Shepard. Crespy draws on Barr’s own writings on the theatre, his personal papers, and more than sixty interviews with theatre professionals to offer insight into a man whose legacy to producers and playwrights resounds in the theatre world. Also included in the volume are a foreword and an afterword by Edward Albee, a three-time Pulitzer Prize–winning playwright and one of Barr’s closest associates. !--EndFragment--