The library of world drama, where I used to find myself browsing alone, has unexpectedly become a very crowded place. Carl Forsman of Keen Company and Jack Cummings III of Transport Group race each other through the stacks of the post-1950 American wing; a few shelves ahead of them, Peccadillo's Dan Wackerman grabs for every large-cast work he can find from the '30s and '40s; one stack beyond him, Alex Roe of Metropolitan Playhouse busily blows dust off the pre–World War I repertoire. Their clamor has driven the Mint's Jonathan Bank, who used to leaf through the Edwardian catalog undisturbed, over to the Russian shelves in the far corner, while Eduardo Machado of INTAR, which formerly concentrated on new plays, has dashed in to claim a chunk of Latin-inspired Broadway tradition. I love a quiet library, but I couldn't be happier. Nothing cures the ache of loneliness faster than finding friends who share your concerns. If most Americans are clueless about the past, clearly the rising generation doesn't intend to... More >>>