Worth noting, especially to those curious about the play landing in 2020: This was a commissioned script, the playwright funded by Williamstown and Second Stage to create a new piece from the ground up. I'm strongly in favorite of theaters sticking with writers, but this does explain why some are mystified by the rush to get this story on two stages -- for companies that are offered the best work circulating. Because it wasn't a script that rose to the top of a stack of plays on its own singular merit, it had productions tethered to its development. It probably needed (more) workshops, script-in-hand readings and rewrites. But it seems that the genre itself -- domestic dramedy -- is what has disappointed some posters. The genre was once a staple (those plays like "To Grandmother's House..." and once published, they do well in community theater. In recent years, fresher ways into generational conflicts have been written, without the old fashioned structure. Audiences now expect something they haven't seen, in style, character, overall shape.
Surprised to read that Jane Alexander wasn't "so nice" at the Stage Door. Perhaps that guy she had signed for before, was a regular there and she was just tired of it. Glad to read other reports here where she is "more friendly".
Thanks for your insight, Auggie27. As a playwright in the early stage of her career, that frustrates me a little bit because only "established" writers can benefit whereas it is already tough for newbies like me to get their original work seen/produced...
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