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THE STORY: In the first section of the play, a Woman enters and embarks on an increasingly frenetic (and funny) recital of the perils and frustrations of daily life in urban America--waiting in line, rude taxi drivers, inane talk shows and the selfi
...eloquently dramatizes questions of responsibility, guilt and pathology...the complex moral issues are translated into challenging story theater, like a cubist portrait of grief...Homage must be paid, this grieving mother cries to the stars, and Medoff answe The mysteries of life, death and survival in the city, of friendships among women and relationships between the sexes are explored...in Jacquelyn Reingold's GIRL GONE...the playwright display[s] admirable talent and generate[s] plenty of interest, tension an
THE STORIES: SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU. Sister Mary Ignatius, a teaching nun who is much concerned with sin in all of its various forms, delivers a cautionary lecture to her charges. One of them, a precocious little boy named Tho
THE STORY: Christopher Durang turns political humor upside down with this raucous and provocative satire about America's growing homeland insecurity. WHY TORTURE IS WRONG, AND THE PEOPLE WHO LOVE THEM tells the story of a young woman suddenly in crisis:
THE STORIES: NAOMI IN THE LIVING ROOM. Naomi, when visited by John and Johnna, her son and daughter-in-law, is alternately friendly and insulting. Johnna copes her best, but when John changes his clothes to look like Johnna, things start to unravel
A painfully funny, Obie Award-winning play about the tragedy and comedy of family life. Never have marriage and the family been more scathingly or hilariously savaged than in this brilliant black comedy. The Marriage of Bette and Boo brings together two of the maddest families in creation in a portrait album of life’s uncertainties and confusion. Bereaved by miscarriages, undermined by their families, separated by alcoholism, assaulted by disease, and mystified by their priest, Bette and Boo, in their bewildered attempts to provide a semblance of hearth and home, are portrayed with a poignant compassion that enriches and enlarges the play, and makes clear why Christopher Durang has become one of the great names in American theater. “One of the most explosively funny American dramatists.”—Newsweek
THE STORY: As the play begins Helen and John gaze proudly at their new offspring, a bit disappointed that it doesn't speak English and too polite to check its sex. So they decide that the child is a girl and name it Daisy--which leads to all manner
THE STORY: Amid a tangle of changing identities-and sometimes sexes-the action of the play centers on an American family, the Tammurais, who are traveling aboard the Titanic. Comprised of father, mother, brother and sister (or is she actually the Captain's daughter?) the Tammurais undergo a series of sexual permutations as they reveal all manner of shocking secrets and bizarre fetishes while awaiting the iceberg which, somehow, the ship seems unable to find. The mother tells the father that their son is not really his; the father confesses to the mother that their daughter is not really hers; the daughter mysteriously becomes an aunt who is having an affair with her sister (when she isn't seducing her nephew); while the father and son compete vigorously for the affections of a handsome young sailor, who is hard put to choose between them. Eventually the ship does go down, taking its odd assemblage of passengers with it, but leaving behind a remarkable array of original thoughts on the nature of the modern American family and the undeniably disturbed society which nurtures it.
The Theatre of Christopher Durang considers the works of one of the foremost comedic writers for the American stage. From Durang's early success with the controversial Sister Mary Ignatius Explains It All for You (1974) to his recent Tony Award-winning play, Vanya and Sonia and Masha and Spike (2012), he has been an original theatrical voice in American theatre. Edith Oliver, long-time theatre critic for The New Yorker, described Durang as “one of the funniest men in the world.” Durang challenges traditional dramatic idioms with his irreverent comedies that are as shocking as they are prescient and compassionate. This volume provides the first comprehensive examination of Durang's works and incorporates comedic theory to examine how laughter in performance subverts social conventions and hierarchies. Through a clear, detailed discussion of the plays, Miriam Chirico considers Durang's use of black comedy, satire, and parody to explode such topics as: western literature, religion, dysfunctional families, and American social malaise. Robert Combs and Jay Malarcher provide additional critical perspectives about Durang's works, detailing his use of alienation techniques and locating his place within the American parodic tradition. The book also includes a warm introduction by Durang's former student, Pulitzer Prize-winner, David Lindsay-Abaire. The Theatre of Christopher Durang, in demonstrating how Durang has shaped contemporary theatrical possibilities, offers a valuable guide for students of American drama and comedy.
Prudence is a conservative and slightly mixed-up young woman who thinks Bruce is crazy. Bruce is a bi-sexual who lives with his male lover and is crazy about Prudence.