Will You Remember

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Seriously, how did August: Osage County win the Pulitzer over two vastly superior plays? Dying City is a small play: only two actors playing three characters.

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Following the death of his twin brother, a man comes to see his former sister-in-law. The play jumps back and forth between the wife and husband, Seriously, how did August: Osage County win the Pulitzer over two vastly superior plays? The play jumps back and forth between the wife and husband, and the widow and former brother-in-law. It stuck with me for days after finishing, and the more I think about it, the more I appreciate the depth and nuance.

What most amazed me is how Mr. Shinn captured the time period in which he wrote, including the emotions and mood of and Highly recommended. Jun 29, Chambers Stevens rated it it was amazing Shelves: plays. I waited a long time to read the plays of Christopher Shinn. I read rave review after rave review of his plays but still I didn't read any.

About Shinn Plays: 1

Because every review contained the same word I like expansive works. Angels in America, Streetcar, Death of a Salesman. I don't like minimal art. And I thought I didn't like minimal plays. But recently I gave myself the assignment to read a play from all of the hot contemporary playwright. Which meant it was time to read Shinn. Well let me s I waited a long time to read the plays of Christopher Shinn. Well let me say this I was blown away by Dying City. I loved it. So now I'm going to stop my assignment for a bit. And read the collected plays of Christopher Shinn.

Jan 27, Rick rated it liked it. On the one hand, a beautifully written play filled with luscious, surprising and ambiguous character arcs. On the other hand, a strong argument for why political thinking can't really be advanced by luscious, surprising and ambiguous character arcs. Also, the subtlety of the writing isn't well served by the actual plot identical twins?!? Aug 12, Ashley rated it liked it Shelves: school-reading , theatre , plays , fiction.

A rather short, two person play.

Where Do We Live and Other Plays by Christopher Shinn

While an interesting commentary on passive aggression, it is not specific as to what the actual primary storyline was intended to be. The dialogue also includes a large amount of pop culture references which may be lost to audiences as the play ages. Aug 01, Josh rated it it was ok. Pulitzer finalist whatever. For a two-actor play, the female's role is fairly undeveloped. Apr 25, Robert rated it it was ok.

There's some interesting stuff here that might be neat to watch on stage but the stakes of the drama never seemed high enough to consider the events of the play important. Jan 26, Kris Vire rated it liked it Shelves: plays. Read for work. Looking forward to seeing it in production. Jan 19, Joy rated it really liked it. Saw this excellent play and cane home and bought the script. Reads well too! May 31, Kendra Carlson rated it liked it.

Short but interesting in the end. Wouldn't recommend it. Seems to be of its time - but too soon to be reflective of it in an interesting way.


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Allison rated it really liked it Jan 26, Kyle rated it liked it Jul 12, Meredith rated it really liked it Mar 12, Asa Merritt rated it it was ok May 18, Shahriar shiva rated it really liked it Apr 02, Nick rated it liked it Jun 12, Craig Seip rated it really liked it May 08, Amanda Korkunis rated it it was ok Sep 03, Brandon Pollock rated it it was amazing Jul 22, Catherine Goldstone rated it really liked it Mar 19, In the late s, I was working on my masters degree at the University of Kansas, a period of great discovery for me as a student and an artist.

I walked into every room and across every lawn on campus, and saw it as a potential space for a show I had just discovered environmental theatre. These playwrights, all of them British, not only spoke to me, but shook the very ground I walked on, the ideals I believed in. But what I mostly learned in those heady days of university theatre was an appreciation of any writer who had a good sense of the greater world around them and who was brave enough to write about it.

Theatre is not dying. We hear this every so often and have self-important conferences to defend this or that. Theatre is a resilient little shit of an art form that will go on long after any of us are around to worry about it. But it can get stuck, and I believe American theatre is currently in danger of this. I include myself: in fact, I'm there near the front, perpetrating the same crimes as my brothers and sisters.

Where Do We Live and Other Plays

We are small writers in America these days, writing tiny plays about tiny ideas with two to four characters, so that we get produced and nobody loses any money. American playwrights have been workshopped and "staged-readinged" to death, and we are now a fearful bunch who add sitcom lines to our dramas and tie things up at the end so that folks can walk out of theatres smiling. We watch the studios make films about Iraq that don't sell tickets and we steer clear of the subject.

Wallace Shawn , the most underrated playwright in America, quietly keeps questioning the way we live, but in infrequent bursts; and next week David Mamet opens a new play on Broadway about an American president fingers crossed it will be good. So there are sparks of fire out there on the horizon, but not enough. Maybe every writer has a political play hidden away in a drawer somewhere, but my guess is that we've stopped writing them. Pilot scripts are a lot shorter and easier to hustle.

Let's face it, most writers are pussies.

Theater Commentary: Dead American Theater Walking

We sit back and watch the world go by, writing down the things we find funny or sad while trying to make a buck off it. We use our lives, or the lives of others, for personal gain, and we defend it by saying it's "in the public domain" or "true", and therefore OK to slop around in someone else's pain.

All tragedy ever does is bring life into sharp relief; you become a more magnified version of the person you already are. If your tendency is to be the first out of the door at work, or to pass on the inside while driving, you are not going to suddenly stop and hoist a co-worker on your shoulders and stagger out the emergency exit to safety. That day did indeed see many heroic acts, but not everybody who died was a saint, and a good many people felt the ol' US of A finally got what was coming.

Few American writers have wanted to take on the subject of how much we are hated abroad. I've written two plays about this - The Mercy Seat and Land of the Dead - and neither has won me any friends or admirers. Is the situation any better in Europe or England? I don't know, but I do know that, however many years after they first started writing, I can still count on a playwright like David Hare or Caryl Churchill to give a shit.


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Sit through one of their plays, good or bad, and you know they are hugely interested in where we are as a race, and where we're going. They're not afraid to ask the big questions. That's the job of the playwright, I firmly believe. We are outsiders. Party poopers. I've often said that a good relationship equals a shitty drama.