Although The Twenty-Seventh Man is at times a funny play, it is also, like most of Englander's writing, quite dark. Yet he's almost distressingly buoyant about its three-year journey to the stage. He marvels at the generosity of his collaborators ("crazy," "mind-boggling") and the staggering amount of hugging. He calls the process a "joy" and says the experience has "freed up my fiction."

He chucked the dirigible.
Christopher Farber
He chucked the dirigible.


The Village Voice's Fall Arts Guide:
Einstein Heads Back to the Beach
BAM hosts the Return of a now classic avant-garde opera.
By Seth Colter Walls

Let's Irk the Rabbis
Writer Nathan Englander relieves some theater urges.
By Alexis Siloski

Forget Olivier
Andrea Arnold adapts Wuthering Heights.
By Aaron Hillis

Red-Sauce Diaries
For fall, try some classic Italian joints.
By Robert Sietsema

Fall Picks: Art
By Christian Viveros-Fauné

Fall Picks: Books
By James Hannaham

Fall Picks: Dance
By Deborah Jowitt

Fall Picks: Film
By Aaron Hillis

Fall Picks: Music
By Seth Colter Walls

Having found the stage again, Englander doesn't plan to forsake it after opening night. Now a confirmed "theater junkie," he mentions several further script ideas: a collaborative piece, another based on a short story, and a "crazy Israel play," which he describes as Beckettian, "or what I assume is Beckettian, since I've still never read or seen any Beckett." Performances begin November 7, the Public Theater, 425 Lafayette Street,

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