- The Washington Times - Friday, March 20, 2009

Some of the home-grown shows that have moved onto New York stages over the years include:

• Woolly Mammoth: “Wonder of the World,” David Lindsay-Abaire (2000); “Jump/Cut,” Neena Beber (2002); “Recent Tragic Events,” Craig Wright (2003); “Los Big Names,” Marga Gomez (2004); “The Clean House,” Sarah Ruhl (2005); “Dead Man’s Cell Phone,” Sarah Ruhl (2007)

•Signature: “Never the Sinner,” John Logan (1997); “Glory Days,” Nick Blaemire and James Gardiner (2008)

• Arena Stage: “The Great White Hope,” Howard Sackler (1968); “Moonchildren,” Michael Weller (1972); “Raisin,” Judd Woldin and Robert Brittan (1973); “Boccaccio,” Richard Peaslee and Kenneth Cavander (1975); “Zalmen or the Madness of God,” Eli Wiesel (1976); “A History of the American Film,” Christopher Durang (1978); “Loose Ends,” Michael Weller (1979); “The 1940s Radio Hour,” Walton Jones (1979); “Tintypes,” Mel Marvin (1980); “K2,” Patrick Meyers (1983); “Accidental Death of an Anarchist,” Dario Fo (1984)

• Kennedy Center: “Annie,” Charles Strouse and Martin Charnin (1977); “King Hedley II,” August Wilson (2001)

• Ford’s Theatre: “Don’t Bother Me, I Can’t Cope,” Micki Grant (1972); “Your Arms Too Short to Box With God,” Alex Bradford and Vinnette Carroll (1976); “Truly Blessed,” Queen Esther Marrow (1989)

— Jayne Blanchard



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