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Creating the Self in the Contemporary American Theatre
Combining his skills as both a professional reviewer of theatre and a literary critic, Robert J. Andreach finds himself in a position to provide coherence to what most observers perceive as anExpand
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Tally's Terra Nova: From Historical Journals to Existential Journey
Of plays of recent vintage that have a philosophical bent, as opposed to lighthearted summer-stock fare, one in particular has engendered no scholarly inquiry, no critical commentary. Though wellExpand
Overmyer's Amphitryon: Adapting Kleist for a Contemporary Audience
In the published text of his Amphitryon, Eric Overmyer expresses his gratitude to Brian Kulick and David Esbjornson for asking him to adapt Kleist's Amphitryon for New York's Classic Stage Company.Expand
Reversed Heroines in Neil Simon's Biloxi Blues
The Maiden's Prayer: Nicky Silver's Chekhovian Play
When Nicky Silver's The Maiden's Prayer premiered in 1998, it received tepid reviews from two reviewers who usually enjoy the playwright's work. For Ben Brantley, the play is not fully developed:Expand
The War Against Naturalism: In the Contemporary American Theatre
Part 1 Acknowledgements Chapter 2 Introduction: The War at the Close of the 20th Century Chapter 3 The War in the Total Play and in Setting: Ludlam and Eno Johnson, Lindsay-Abaire, Lucas, and GroffExpand
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LaBute's the Break of Noon and Claudel's Break of Noon
Although Neil LaBute is one of America's premiere playwrights, The Break of Noon played to mixed reviews in the 2010 season. Yet when compared with another play of identical title, it gains inExpand
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