By Alexis Soloski
By Molly Grogan
By R. C. Baker
By Christian Viveros-FaunÃ©
By Alexis Soloski
By Alexis Soloski
By Lilly Lampe
Yes theater is a game, and yes that game is rigged, and yes everyone knows it. While we're speaking in threes, the three (unacknowledged) rules of the American theater: Aim low, shit floats, and the squeaky wheel gets the grease. All this, as I've said, everyone knows, yet none knows to shun the heaven that leads us to this hell.
American theater always manages to reinvent itself at the worst of all possible times. The best of our new theater practitioners have already begun to imagine a set of goals and procedures in which perception requires no other justification than the beauty that entitles it. In this dramatic universe, theatrical high jinks are their own reward; and so it is with the new plays one is beginning to encounter these days in New York.
Like I say, how this is, I do not know. But it may well be that just as the conventional realism of the second half of the 20th century has devolved into meretricious self-parody, remarkable new kinds of theater writing have begun to appear in these States. Quizzical, skeptical even of the idea (if not the fact) of reality itself. This is neither the arch and histrionic skepticism of the absurdists nor the equally histrionic cynicism of what passes for postmodernism. For the best of this new work is more intellectually and emotionally grounded than these earlier movements. Grounded in a paradoxical lack of groundedness. I am talking about plays that are based on meticulous realist craft, but that do not rest with conventional and tired realist homilies. Plays that do not attempt to reassure us that what is taken for granted (by the previous realists) is all there is. Still, given the prevalence of corporate riggery and staleness in the boardrooms of American theater, the questions remains: Why the optimism?
ITEM:Consider the excellence of this year's plays at the Humana Festival: new work by Naomi Iizuka, Kirsten Greenidge, Rinne Groff, Melanie Marnich, and Jordan Harrison, not to mention the surprise hit, After Ashley, by Gina Gionfriddo. Now, Marnich and Groff are both highly talented veterans. Greenidge and Harrison are younger writers of obvious and unusual talent, and Gionfriddo is a dark horse whose play seems likely to move on. Harrison and Gionfriddo are graduates of Paula Vogel's estimable Brown playwriting program, as are Sarah Ruhl, this year's Susan Smith Blackburn Award winner, and Adam Bock, whose Five Flightsappeared at the Rattlestick this year after a two-year run in San Francisco. Interestingly, Bock attributes the success of the Brown program to Paula Vogel's emphasis on formal rigor, a concern that animates much of the exciting new playwriting one finds downtown.
ITEM:Clubbed Thumb, the creation of Meg McCary and Maria Striar (both Brown and later UCSD grads), has a splendid summer series, which has presented the work of Lisa D'Amour (Obie winner for Nita and Zita), Scott Adkins, Ann Marie Healy, Gordon Dahlquist, and Gionfriddo, and has produced Erin Courtney's Demon Babythis season. Courtney also studied at Brown, and recently received her M.F.A. from the Brooklyn College program started by the legendary Jack Gelber (where I currently labor). Clubbed Thumb also produced Groff's play, Inky. Groff is also a performer with Elevator Repair Service, and was a member of a remarkable class of NYU playwrights that includes Madeleine George, a founder with Rob Handel of 13P (see below), as well as Madelyn Kent, Eduardo Andino, Maja Milanovic, Gary Winter, and Anne Washburn. Len Jenkin, Martin Epstein, and Janet Neipris are among the notable playwriting teachers at NYU.
ITEM:The Pataphysics Workshops, started up by Washburn and Winter at the Flea a few years ago, have been sparking useful collaborations. These intensive two-week sessions tend to attract a slightly older and more committed type of writer, generally New York based. Jeffrey M. Jones, Erik Ehn, Karen Finley, Charles L. Mee, and the remarkable Maria Irene Fornes have regularly conducted these workshops.
ITEM:13P (short for 13 Playwrights, Inc.) has just begun operations with a fine production of Washburn's The Internationalist at the Culture Project, directed by Ken Rus Schmoll (who also directed Courtney's Demon Baby). 13P is of particular note because it has been created by playwrights for playwrights on behalf of playsplaywrights who see no point in the whining endemic to the Theater of the Unproduced. Thus, each of the 13 will receive a full production before 2010, and each is expected to contribute manfully to the others' shows. A fine and intelligent idea in this day of institutional blandness. 13P is made up of Sheila Callaghan, Erin Courtney, Madeleine George, Rob Handel, Ann Marie Healy, Julia Jarcho, Young Jean Lee, Winter Miller, Sarah Ruhl, Kate E. Ryan, Lucy Thurber, Anne Washburn, and Gary Winter. These playwrights remain unawed by the difficulty of pursuing an aggressively non-corporate, non-careerist path.
ITEM:Emily DeVoti, another NYU playwright, and her husband, Theodore Hamm, have started The Brooklyn Rail, an excellent new monthly arts and politics magazine that contains serious and comprehensive articles by and about many of the writers mentioned, as well as excerpts from their current work.