- Mexican train carrying 1,300 migrants headed toward U.S. derails
- Secret Service begins regular K-9 patrols around White House
- Pentagon’s human memory-chip program moves forward
- Obama blasts GOP, ignores immigration crisis in Texas speech
- Marine Warfighting Lab tests the Godzilla of amphibious assault vehicles
- Harry Reid: Birth-control ruling the worst Supreme Court decision in 25 years
- Vet suicides ‘horrible human cost’ of VA dysfunction: lawmaker
- First marijuana customer in Spokane says he was fired
- Hagel: ‘Make no mistake,’ ISIL is an ‘imminent’ threat to U.S.
- Armed militia sets up Texas command center to ‘fight for national sovereignty’
Drama makes a resurgence on Broadway stages
Producers take more chances
Question of the Day
NEW YORK — Drug addiction, religion, the Iraq war, class warfare and marital sacrifice - it’s been a grim season on Broadway. But not for the playwrights.
From “Good People” to “Ghetto Klown” to “Lombardi,” it was a bumper year for dramatic writers. Of the 25 plays that made it to Broadway for the 2010-2011 season, a robust 14 productions were new.
“Broadway is just really full up this year with people expressing their vision,” said Lynne Meadow, artistic director of Manhattan Theater Club. “And what a range! What a range of plays we have.”
The works each took different paths to Broadway. Some had star celebrities, such as Robin Williams in “Bengal Tiger at the Baghdad Zoo.” Some had extensive out-of-town tryouts before arriving, such as “High.” And some opened cold on Broadway - John Guare’s “A Free Man of Color.”
At next month’s Tony Awards, two American works will battle two British imports for top-play honors when “Jerusalem” and “War Horse” vie against David Lindsay-Abaire's “Good People” and Broadway debutante Stephen Adly Guirgis‘ “The Motherf— With the Hat,” a tale about drug addiction starring Chris Rock.
“Playwrights have access to Broadway in a way they never had before,” said Mr. Lindsay-Abaire, whose play starring Frances McDormand and Tate Donovan explores class tensions in Boston. “I think it helps that there are brave producers that are taking chances.”
The relative glut of plays - two consecutive seasons of 14 new plays - comes as a new generation of theatrical thirtysomethings emerges, including directors Alex Timbers (“The Pee-wee Herman Show” and “Bloody Bloody Andrew Jackson”) and Thomas Kail (“Lombardi”), and playwright Rajiv Joseph, who made a splash this season with his “Bengal Tiger at the Baghdad Zoo.”
“It seems like there are a lot of people my age - playwrights and directors - who are doing great work. And it seems like theaters are entrusting them,” said Mr. Joseph, who credits older American playwrights such as Lynn Nottage and Mr. Guirgis for inspiring him.
Much of the good new works has been the result of nurturing by such groups as the Manhattan Theater Club, LAByrinth Theater Company, Second Stage Theatre, Playwrights Horizon, the Lark Play Development Center and the Atlantic Theater Company.
The Manhattan Theater Club has made a point of championing playwrights and “Good People” is the fifth Lindsay-Abaire play it has produced. Other writers it has backed include Terrence McNally, Donald Margulies, John Patrick Shanley and Beth Henley. This season it produced Matthew Lopez’s well-received New York debut “The Whipping Man,” off-Broadway.
“When the support is there and when the commitment is there, then the work follows and the work gets better and better. And I think that’s what we’re seeing now,” said Miss Meadow. “I think there’s a tremendous amount of wonderful writing that’s happening now in the theater.”
Mr. Joseph credits the Lark for helping him shape his well-regarded Broadway debut. Founded in 1994 as a laboratory for new voices, the Lark arranges for readings, mounts bareboned productions and even takes the playwright abroad to see their works performed in other languages.
Last year, all three Pulitzer Prize nominees shaped their breakthrough plays at the Lark, including “The Elaborate Entrance of Chad Deity” by Kristoffer Diaz, “In the Next Room or the vibrator play” by Sarah Ruhl and “Bengal Tiger.”
“The real future of the American theater or the global theater is basically dependent upon our capacity to allow individual artists to be the leaders that they were meant to be, to imagine the future in innovative and idiosyncratic ways,” said John Clinton Eisner, who co-founded the Lark.
Mr. Joseph, 36, said that when he graduated from New York University with a master’s degree in playwriting, he happily found a network of support in the theater community that has encouraged him to keep improving his plays and not necessarily run to Hollywood and write screenplays.
TWT Video Picks
Senate majority leader practices politics of personal destruction
- Armed militia sets up Texas command center to 'fight for national sovereignty'
- HUSAIN: The fake caliph of 'The Islamic State'
- IRS employee suspended for pro-Obama activities
- HUSAR: Mexicos Pena Nieto passes the immigration bucket
- Va. Democrat reportedly seeks nude shots of Kendall Jones
- Sgt. Andrew Tahmooressi denied freedom by Mexican judge
- Pentagon's human memory-chip program moves forward; two universities awarded contracts
- Facebook allows 'Kill Kendall Jones' page, but deletes her game hunting photos
- Amid border crisis, Obama to take 15-day vacation in Martha's Vineyard
- PRUDEN: 'Dirty Harry' Reids increasing eccentricity
Obama's biggest White House 'fails'
Celebrities turned politicians
Athletes turned actors
20 gadgets that changed the world
Fighting in Iraq
World Cup's sexiest WAGs
U.S.-Ghana World Cup opener