Gimmicks, in playwriting, can generate structures. Lately, though, the problem seems to be that playwrights increasingly stop at the gimmick instead of going on to build a play from it. In the three recent openings reviewed below, the works vary in quality, but they all share an odd reluctance to live in their respective narratives. In each case, the writers have been content to seize a gimmick and lay it out before the audience with fancy trimmings. Result: a sort of nouvelle cuisine banquet platter—lots of lavish decoration and, in the center, one meager canapé, pretty to look at, but... More >>>