DOCSLIB.ORG

1. Ruby Cohn, New American Dramatists, (London: 2. Preface to the American Dream. Naturalism in Edward Albee's the Zoo Story, Tw

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1. Ruby Cohn, New American Dramatists, (London: 2. Preface to the American Dream. Naturalism in Edward Albee's the Zoo Story, Tw Notes 1. Ruby Cohn, New American Dramatists, (London: Macmillan, 1982) p. 5. 2. Preface to The American Dream. 3. Interview in Michael E. Rutenberg, Edward Albee: Playwright in Protest (New York: DBS Publications, 1969) pp. 231-2. Albee refers to Rose Zimbardo, 'Symbolism and Naturalism in Edward Albee's The Zoo Story, Twentieth Century Literature, 8, no. 1 (Apr 1962). 4. Interview in Rutenberg, Albee: Playwright in Protest, p. 247. 5. New York Times, 28 March 1976. 6. New York Times, 18 Feb 1963. 7. Los Angeles Times, 27 Dec 1964. 8. Digby Diehl, 'Edward Albee Interviewed', Transatlantic Review no. 13 (Summer 1963) p. 72. 9. New Yorker, 19 Dec 1964. 10. Quoted in Anita Maria Stenz, Edward Albee: The Poet of Loss (The Hague: Mouton, 1978) p. 55, n. 15. 11. Tom F. Driver, 'What's the Matter with Edward Albee', The Reporter, 2 Jan 1964. 12. Diehl interview, Transatlantic Review, no. 13, pp. 71-2. 13. Pittsburgh Press, 3 Feb 1974. 163 Edward Albee 14. New York Times, 30 July 1967. 15. New York Times, 18 Apr 1971. 16. Charles Marowitz (ed.), New American Drama (London: Penguin, 1966) p. 11. 17. New York Herald Tribune, 3 Oct 1971. 18. Interview in Rutenberg, Albee: Playwright in Protest, p. 298. 19. August Strindberg, Letters to the Intimate Theatre, tr. Walter Johnson (London: Peter Owen, 1967) p. 19. 20. Saturday Review, 24 Jan 1970. 21. Newsweek, 4 Feb 1963. 22. San Francisco Chronic/e, 12 Oct 1978. 23. Washington Post, 26 Mar 1967. 24. Interview in Rutenberg, Albee: Playwright in Protest, p. 235. 25. Marowitz (ed.), New American Drama, p. 11. 26. C. W. E. Bigsby, Albee (Edinburgh: Oliver and Boyd, 1969) p. 69. 27. Saturday Review, 30 Jan 1965. 28. New York Times, 27 Dec 1964. 29. Strindberg, Letters to the Intimate Theatre, p. 132. 30. Women's Wear Daily, 8 Oct 1973. 31. New York Times, 23 May 1978. 32. Interview in Rutenberg, Albee: Playwright in Protest, p. 230. 33. New York Times, 28 March 1976. 34. Stenz, Albee: The Poet of Loss, p. 115. 35. New York Times, 21 Jan 1975. 36. Interview with Peter Adam, The Listener, 7 Feb 1980. 37. The Guardian, 27 Mar 1976. 38. Harold Pinter, Old Times (London: Methuen, 1971) pp. 31-2. 164 Bibliography Plays by Edward Albee The Zoo Story, The Death of Bessie Smith, The Sandbox (New York: Coward McCann, 1960). The American Dream, FAM and YAM (New York: Coward McCann, 1961). The Zoo Story and Other Plays (with The Death of Bessie Smith, The Sandbox and The American Dream) (London: Jonathan Cape, 1962). Who's Afraid of Virginia Woolf! (New York: Atheneum, 1963; London: Jonathan Cape, 1964). Tiny Alice (New York: Atheneum, 1965; London: Jonathan Cape, 1966). A Delicate Balance (New York: Atheneum, 1966; London: Jonathan Cape, 1968). Box and Quotations from Chairman Mao (New York: Atheneum, 1969; London: Jonathan Cape, 1970). All Over (New York: Atheneum, 1971; London: Jonathan Cape, 1972). Seascape (New York: Atheneum, 1975). Counting the Ways and Listening (New York: Atheneum, 1977). The Lady from Dubuque (New York: Atheneum, 1980). 165 Edward Albee ADAPTATIONS The Ballad of the Sad Cafe (New York: Atheneum, 1963). (Adaptation of Carson McCuller's novel.) Malcolm (New York: Atheneum, 1965). (Adaptation of James Purdy's novel.) Everything in the Garden (New York Atheneum, 1967). (Adaptation of Giles Cooper's play.) Books on Edward Albee R. E. Amacher, Edward Albee (New York: Twayne, 1969). C. W. E. Bigsby, Albee (Edinburgh: Oliver and Boyd, 1969). C. W. E. Bigsby (ed.), Edward Albee: Twentieth Century Views (Englewood Cliffs, NJ: Prentice-Hall, 1975). R. Cohn, Edward Albee (Minneapolis: University of Minnesota Press, 1969). G. Debusscher, EdwardAlbee: Tradition and Renewal, tr. A. D. Williams (Brussels: American Studies Center, 1967). R. Hayman, Edward Albee (London: Heinemann, 1971). L. Kerjan, Le Theatre d' EdwardAlbee (Paris: Klincksieck, 1978). A. Paolucci, From Tension to Tonic: The Plays of Edward Albee (Carbondale and Edwardsville: Southern Illinois University Press, 1972). M. E. Rutenberg, Edward Albee: Playwright in Protest (New York: Avon Discuss Books, 1969). A. M. Stenz, Edward Albee: The Poet of Loss (The Hague: Mouton, 1978). 166 Index Albee, Frances 5 21-3,30; The Exorcism 2; Albee, Reed 5 The Lady from Dubuque Albee, Edward A Delicate 6,28,30,51,53,116,147- Balance 6,31,49,51,79- 62; The Sandbox 2,5,8, 97, 148; All Over 51, 98- 32,44,47-9, 161; The Zoo 114,118-19,128,137,148, Story 1,4,6,9, 13-14,44- 150; Box and Quotations 7,56,68,116,132,141; from Chairman Mao 17, Tiny Alice 13,25,32-9, 19,25,32,39-43,54,98- 44, 53, 79; Who's Afraid of 100, 130--1; Counting the Virginia Woolf! 2,3,6,7, Ways 30,43,52,54,147, 14--15, 18,22-4,28,31,33, 154; Everything in the 44,45,50,59-78, 79, 82, Garden 11; FAM and 132, 147, 149, 162 YAM 3-4; Listening 19, Arnold-Foster, Val 129 129-46,147; Lolita 11; Malcolm 11, 44; Schism Barr, Richard 9, 59 7; Seascape 49,98,99, Beckett, Samuel 9,54; 114--27; The American Krapp's Last Tape 1,50; Dream 2, 3, 5, 6, 8, 24--5, Not I 50; Waiting for 32,45,47; The Ballad of the Godot 76, 133 Sad Cafe 7, 11, 79; The Bigsby, Christopher 38 Death of Bessie Smith 2, Billy Rose Theatre 59 167 Edward Albee Brecht, Bertolt Mother Marat-Sade 25, 30 Courage 15; The Resistible Marowitz, Charles 24, 33-4 Rise of Arturo Vi 15 Mason, James 76 Broadway 26,28,99, 114 McCarthy, Eugene 23 Brook, Peter 30 McCullers, Carson 7 Brown, Kenneth 2 McNally, Terrence 10 Burton, Richard 76 Oedipus Rex 16 Cafe La Mama 10 O'Neill, Eugene 3,26,59, Cafe Cino 10 67,68; Long Day's Journey Chekhov, Anton 9,54; into Night 92; The Iceman Three Sisters 50 Cometh 77 Cohn, Ruby 2 Open Theatre, The 10 Crickett Theatre 1 Pinter, Harold 20,76,137, Davis, Bette 76 145, 150; Old Times 145-6 Descartes, Rene 123-4 Playwrights Repertory 10 Dewhurst, Colleen 50, 75 Playwrights Unit 9 Purdy, James 44 Esslin, Martin 9 Richardson, Jack 2 Festival Theatre, Stratford, Rosencrantz and Guildenstern Ontario 44 are Dead 25 Flanagan, William 8 Royal Shakespeare Gazzara, Ben 50, 75 Company 114 Gelber, Jack 2 Genet, Jean 9,36, 107; Schneider, Alan 31, 74 Deathwatch 100 Shepard, Sam 10 Gielgud, John 44, 51 Stenz, Anita-Maria 102 Strindberg, August 3,9,25, Hagen, Uta 76 34-5,49,53-4,60,82 Hill, Arthur 76 Hobson, Harold 102 Taylor, Elizabeth 76 Hutt, William 44 Wilder, Clinton 9, 59 Ibsen, Henrik, 34; Peer Gynt Williams, Tennessee 3, 7, 9, 37 26, 67; Orpheus Ionesco, Eugene 3, 9 Descending 57; Sweet Bird of Youth 112 Jones, Leroi (Amiri Baraka) Worth, Irene 44,51, 129, 10 136 168 .
Load more

Recommended publications
  • A Delicate Balance ​ ​​ ​ ​ ​​ ​
    PEEK BEHIND ​ ​ THE SCENES OF A DELICATE BALANCE ​ ​​ ​ ​ ​​ ​ Compiled By Lotta Löfgren ​ ​ ​ ​ ​ ​ To Our Patrons ​ ​ ​ ​ Most of us who attend a theatrical performance know little about how a play is ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ actually born to the stage. We only sit in our seats and admire the magic of theater. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ But the birthing process involves a long period of gestation. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Certainly magic does happen on the stage, minute to minute, and night after night. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ But the magic that theatergoers experience when they see a play is made possible ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ only because of many weeks of work and the remarkable dedication of many, many ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ volunteers in order to transform the text into performance, to move from page to ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ stage. In this study guide, we want to give you some idea of what goes into creating a ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ show. You will see the actors work their magic in the performance tonight. But they ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ could not do their job without the work of others. Inside you will find comments ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ from the director, the assistant director, the producer, the stage manager, the set ​ ​ ​ ​ ​
    [Show full text]
  • Interface Semiotics in the Dramaturgy of Tennessee Williams and Edward Albee
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SZTE Doktori Értekezések Repozitórium... Ph.D. Dissertation Theses Interface Semiotics in the Dramaturgy of Tennessee Williams and Edward Albee Réka Mónika Cristian Szeged 2001 A. Objectives and Structure The topic of the present dissertation is the dramaturgy of two modem American playwrights, Tennessee Williams and Edward Albee. The aim is to map the common features of their works in the context of semiotic textual exchange between the two oeuvres and of the biographical background of the playwrights in the context of a dramatic interface of the two authors. The scope of the Albee-Williams dramatic interface is to explain both oeuvres through an internal patterning of events and characters by deriving concepts of the one (Williams) into the other (Albee). The study of both oeuvres provides the visualization of the enigmas, of the invisible patterns that work to build the intertextual Williams-Albee bind. The invisible in one play is a trope of representation in another play within the same oeuvre. One play is or might well be the other discourse of the other play both in the case of the same author and in case of two different authors. This trans-substantiation is present in the form of the dramatic intertext or, to be more precise - due to the biographical implication - of the dramatic interface. The influence of Williams on Albee’s works had been expressed by many literary critics, as well as by Albee himself The dramatic interface of the two authors is mapped with the theoretical help of semiotics, psychoanalysis, theories of myth, symbols and gender approaches.
    [Show full text]
  • Newton Grisham Library Play Script List -By Author
    Newton Grisham Library Play Script List -by Author BIN # PLAY # TITLE AUTHOR # MEN # WOMEN # CHILDREN OTHER 73 1570 Manhattan Class Company Class 1 Acts 1991-1992 161 2869 The Boys from Siam Connolly, John Austin 2 161 2876 Fugue Thuna, Lee 3 5 74 1591 Acrobatics Aaron, Joyce; Tarlo, Luna 96 1957 June Groom Abbot, Rick 3 6 99 2016 Play On! Abbot, Rick 3 7 103 2080 Turn For The Nurse, A Abbot, Rick 5 5 30 699 Three Men On A Horse Abbott, G. And J.C. Holm 11 4 34 802 Green Julia Ableman, Paul 2 133 2457 Tabletop Ackerman, Rob 5 1 86 1793 Batting Cage, The Ackermann, Joan 1 3 86 1798 Marcus Is Walking Ackermann, Joan 3 2 88 1825 Off The Map Ackermann, Joan 3 2 101 2051 Stanton's Garage Ackermann, Joan 4 4 10 227 Farewell, Farewell Eugene Ackland, Rodney; Vari, John 3 6 84 1776 Lighting Up The Two-Year Old Aerenson, Benjie 3 167 2970 Dark Matters Aguirre-Sacasa, Roberto 3 1 168 2982 King of Shadows Aguirre-Sacasa, Roberto 2 2 169 2998 The Muckle Man Aguirre-Sacasa, Roberto 5 2 169 3007 Rough Magic Aguirre-Sacasa, Roberto 7 5 doubling 101 2054 Edgar Lee Masters' Spoon River Anthology Aidman, Charles 3 2 101 2054 Spoon River Anthology Aidman, Charles [Adapt. By] 3 2 149 2686 Green Card Akalaitis, JoAnne 6 5 10 221 Fragments Albee, Edward 4 4 19 436 Marriage Play Albee, Edward 1 1 26 604 Seascape Albee, Edward 2 2 30 705 Tiny Alice Albee, Edward 4 1 34 800 The Zoo Story and The Sandbox: Two Short Plays Albee, Edward 34 800 Sandbox, The Albee, Edward 3 2 44 1066 Counting the Ways and Listening: Two Plays Albee, Edward 44 1066 Counting The Ways
    [Show full text]
  • Who's Afraid of Virginia Woolf?
    Otterbein University Digital Commons @ Otterbein 1979-1980 Season Productions 1971-1980 2-6-1980 Who's Afraid of Virginia Woolf? Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/production_1979-1980 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Who's Afraid of Virginia Woolf?" (1980). 1979-1980 Season. 5. https://digitalcommons.otterbein.edu/production_1979-1980/5 This Book is brought to you for free and open access by the Productions 1971-1980 at Digital Commons @ Otterbein. It has been accepted for inclusion in 1979-1980 Season by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. Otterbein College Theatre presents February 6-7-8-9, 1980 Director - Charles W. Dodrill Scenery Designer and Technical Director - D. Scott Dillon Lighting Designer, Costume Coordinator - Kathleen Lewicki Produced by arrangement with Dramitists Play Service. Inc DIRECTOR’S CORNER We are pleased to announce the completion of a working relationship with the Great Lakes Shakespeare Festival for our next production, the Shakespearean farce TFIE COMEDY OF ER­ RORS. Producing Director Vincent Dowling has arranged for professional actor and director ROBERT ELLENSTEIN to spend the next five weeks with us to direct ERRORS and teach the junior level Acting Studio classes. ROBERT ELLENSTEIN has been a professional actor, director and teacher for over 30 years. He is frequently seen on television in numerous series (over 300 appearances) including Chips, Hawaii 5-0 Quincy, Columbo, Rockford Files, McCloud and most recently in A Man Called Shane.
    [Show full text]
  • Three Tall Women: Director’S Notes Four Fortunate Women (And One Man)
    PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY SYLVIA D. CHROMINSKA, DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE, SYLVIA SOYKA, THE WESTAWAY CHARITABLE FOUNDATION AND BY JACK WHITESIDE LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
    [Show full text]
  • Péter Egri from the British Grotesque to the American Absurd
    PÉTER EGRI FROM THE BRITISH GROTESQUE TO THE AMERICAN ABSURD: THE DRAMATISTS DILEMMA Edward Albee's reworking (1967) of Giles Cooper's play Everything in the Garden (1962) received diametrically divergent critical interpreta- tions. While it was called "one of the ... most outrageous cop outs in recent theatrical history",1 it was also referred to as "the first important American play of the season".2 For Michael E. Rutenberg, the author of a full-length monograph on Albee, "Garden will probably be the most successful of the Albee adaptations ... Albee has added and changed just enough of the structure to warrant the new play's examination."3 Albee himself at first simply considered the Americanization of Cooper's work as a commercial commission, and did not even wish to have his name put on the theatre bill. But in the course of remodelling the play he caught himself in the act of recomposing, rather than simply adapting, the drama. In his own words, "Something happened, and by the time I was finished with my work there was hardly a word left of the original ... Cooper's play became a catalyst and set me to working my own variations on his theme ... the play ... is not an adaptation of another man's work but a much more intense collaboration."4 1 Cf. M. E. Rutenberg, Edward Albee: Playwright in Protest {New York, 1969), p. 172. 2 Ibid. 3 Ibid. Cf. pp. 180,181, 229. 4 Ibid., p. 171. 25 A comparative close reading of Cooper's and Albee's versions may show that the American dramatist has not only transplanted but has also considerably transformed the British playwright's work.
    [Show full text]
  • “American Literature”
    PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF ABDLHAMID IBN BADIS MOSTAGANEM FACULTY OF FOREIGN LANGUAGES DEPARTMENT OF ENGLISH MASTER IN AMERICAN AND BRITISH LITERATURE AND CIVILISATION “American Literature” Albee’s Women Representation from The American Dream (1960) to The Goat, or Who is Sylvia? (2000) SUBMITTED BY Fatma Houria Mahmoudi Board of Examiners: Chair: Mrs. Benmaati Fatima Zohra University of Mostaganem Supervisor: Pr. A. Bahous University of Mostaganem Examiner: Mrs. Abdelhadi Nadia University of Mostaganem Academic year: 2017-2018 DEDICATION I dedicate this dissertation to my family and friends. A special feeling of gratitude to my loving parents, Habib and Fatma Mahmoudi whose words of encouragement and push for tenacity ring in my ears.First and foremost, I am dedicating this thesis to a beloved person who has meant and continue to mean so much to me. Although he is no longer of this world, his memory continues to regulate my life.His love for me knew no bounds and, he taught me the value of hard work. Strength and faith during the last months of his life gave me a new appreciation for the meaning and importance of life. Thank you so much “papa”, I will never forget you. I dedicate this work to my Loving Mother too, for being the source of guidance and strength as I prepare and hand over this research paper. I also dedicate this dissertation to my daughters, Chanez and Malak who have supported me throughout the process. They kept me working when I wanted to give up.
    [Show full text]
  • A Look at Aging Women in Four Contemporary American Dramas Rachel Thomas Western Kentucky University, [email protected]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-2015 Aging Ragefully: A Look at Aging Women in Four Contemporary American Dramas Rachel Thomas Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the American Literature Commons, and the Creative Writing Commons Recommended Citation Thomas, Rachel, "Aging Ragefully: A Look at Aging Women in Four Contemporary American Dramas" (2015). Masters Theses & Specialist Projects. Paper 1464. http://digitalcommons.wku.edu/theses/1464 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. AGING RAGEFULLY: A LOOK AT AGING WOMEN IN FOUR CONTEMPORARY AMERICAN DRAMAS A Thesis Presented to The Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Rachel Thomas May 2015 For Jean. ACKNOWLEDGEMENTS First, I would like to thank my thesis chair, Dr. Kelly Reames, for her encouragement and instruction, as well as occasional prodding, throughout this process. I would also like to thank the other members of my committee, Dr. Sandra Hughes and Dr. Lloyd Davies, for their instruction, encouragement, and advice during my time here at WKU. I am eternally grateful to my parents, Jan and Marty Thomas, for instilling in me the work ethic and sense of humor which are equally necessary for an undertaking such as this.
    [Show full text]
  • Speaking Flyer for April 2008
    SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY The Shakespeare Guild IN COLLABORATION WITH The National Arts Club AND THE NEW YORK BRANCH OF The English-Speaking Union EDWARD ALBEE x Monday, May 12 In a gathering that will pay tribute to the author of such classics as The Zoo Story (1959), Who’s Afraid of Virginia Woolf? (1962), Tiny Alice (1964), A Delicate Balance (1966), Breakfast at Tiffany’s (1966), All Over (1971), Seascape (1975), Listening (1975), Counting the Ways (1976), The Man Who Had Three Arms (1981), Three Tall Women (1990), and The Goat, or Who is Sylvia? (2000), GUILD president John Andrews will join other admirers of EDWARD ALBEE in a conversation that will cele- NATIONAL ARTS CLUB brate the accomplishments of a dramatist whose many honors 15 Gramercy Park South include three Pulitzer Prizes and two Tony Awards. The CHERRY Manhattan LANE THEATRE is currently presenting two of Mr. Albee’s early one-act plays, The American Dream (1960) and The Sandbox Program 8:00 p.m. (1959), in a double bill, starring Judith Ivey, that was directed Members $25 Others $30 by a playwright who recently marked his eightieth birthday. JEFFREY HOROWITZ x Monday, June 9 One of today’s most innovative and influential producers, JEFFREY HOROWITZ began his career as an actor and appeared in several Broadway and Off-Broadway plays before founding THEATRE FOR A NEW AUDIENCE in 1979. Among TFANA’s many distinctions is the work it has done in coop- eration with institutions such as the ROYAL SHAKESPEARE COMPANY. Its 2007 production of The Merchant of Venice, for example, with F.
    [Show full text]
  • Download 2018–2019 Catalogue of New Plays
    Catalogue of New Plays 2018–2019 © 2018 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Take a look at the “New Plays” section of this year’s catalogue. You’ll find plays by former Pulitzer and Tony winners: JUNK, Ayad Akhtar’s fiercely intelligent look at Wall Street shenanigans; Bruce Norris’s 18th century satire THE LOW ROAD; John Patrick Shanley’s hilarious and profane comedy THE PORTUGUESE KID. You’ll find plays by veteran DPS playwrights: Eve Ensler’s devastating monologue about her real-life cancer diagnosis, IN THE BODY OF THE WORLD; Jeffrey Sweet’s KUNSTLER, his look at the radical ’60s lawyer William Kunstler; Beau Willimon’s contemporary Washington comedy THE PARISIAN WOMAN; UNTIL THE FLOOD, Dael Orlandersmith’s clear-eyed examination of the events in Ferguson, Missouri; RELATIVITY, Mark St. Germain’s play about a little-known event in the life of Einstein. But you’ll also find plays by very new playwrights, some of whom have never been published before: Jiréh Breon Holder’s TOO HEAVY FOR YOUR POCKET, set during the early years of the civil rights movement, shows the complexity of choosing to fight for one’s beliefs or protect one’s family; Chisa Hutchinson’s SOMEBODY’S DAUGHTER deals with the gendered differences and difficulties in coming of age as an Asian-American girl; Melinda Lopez’s MALA, a wry dramatic monologue from a woman with an aging parent; Caroline V. McGraw’s ULTIMATE BEAUTY BIBLE, about young women trying to navigate the urban jungle and their own self-worth while working in a billion-dollar industry founded on picking appearances apart.
    [Show full text]
  • Edward Albee Category : Whos Who:In American Theatre Published by Outreach on 2006/1/20
    Theatre Port Houston - Theatre Auditions News and more! - Performing arts News and Film and Stage Auditions Edward Albee Category : Who's Who:In American Theatre Published by Outreach on 2006/1/20 Edward Albee -Playwright Edward Albee was born in Washington, DC on March 12, 1928. When he was two weeks old, baby Edward was adopted by millionaire couple Reed and Frances Albee. The Albees named their son after his paternal grandfather, Edward Franklin Albee, a powerful Vaudeville producer who had made the family fortune as a partner in the Keith-Albee Theater Circuit. Young Edward was raised by his adoptive parents in Westchester, New York. Because of his father's and grandfather's involvement in the theatre business, Edward was exposed to theatre and well-known Vaudeville personalities throughout his childhood. In 1940, twelve-year-old Edward entered the Lawrenceville School, a prestigious boys' preparatory school. During his high school days, he shocked school officials by writing a three-act sex farce entitled Aliqueen. At the age of fifteen, the Lawrenceville School dismissed Edward for cutting classes. Hoping to inspire some discipline in his wayward son, Reed Albee enrolled Edward at the Valley Forge Military Academy. Within a year, Valley Forge had dismissed Edward as well. Ultimately, Edward attended Choate from 1944 to 1946. Even as a teenager, Edward was a prolific writer. In 1945, his poem "Eighteen" was published in the Texas literary magazine Kaleidoscope. His senior year at Choate, Edward's first published play Schism appeared in the school literary magazine. After graduating from Choate, Edward enrolled at Trinity College, a small liberal arts school in Hartford, Connecticut.
    [Show full text]
  • A Tribute to Edward Albee
    The Rome Savoyards and Plays in Rome Present A tribute to Edward Albee The American Dream & The Sandbox Directed by Sandra Provost In English --------------------------- Cast Carolyn Gouger, Rishad Noorani, ShelaghStuchbery, Edoardo Camponeschi, Fabiana De Rose About the Play and Author Edward Albee (1928 – 2016) was an American playwright known for many works among which The Zoo Story (1958), The Sandbox (1959), The American Dream (1961), Who's Afraid of Virginia Woolf? (1962), and A Delicate Balance (1966). Three of his plays won the Pulitzer Prize for Drama, and two of his other works won the Tony Award for Best Play. His works are often considered as frank examinations of the modern condition which makes them still very applicable and real in the present day. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Samuel Beckett, Eugène Ionesco and Jean Genet. Written in 1961, The American Dream is a satire on American family life, it concerns a married couple and their elderly mother. On a particular day, they are visited by two guests who turn their worlds upside down. Albee explores not only the falsity of the American Dream but also the status quo of the American family. As he states in the preface to the play, "It is (...) an attack on the substitution of artificial for real values in our society, a condemnation of complacency, cruelty, emasculation, and vacuity...." Press notes state: "It is a ferocious, uproarious attack on the substitution of artificial for real values, a startling tale of murder and morality that rocks middle-class ethics to their complacent foundations..." Written in 1959, The Sandbox is a prelude to the themes addressed by The American Dream and indeed the two one- acts are often performed together.
    [Show full text]