Privilege – Paul Weitz

privilege

Originally produced by the Second Stage Theatre in New York City, April 25, 2005.

Original Cast:

Porter (16)                                       Harry Zittel
Charlie (12)                                      Conor Donovan
Anna (early 40s)                               Carolyn McCormick
Erla (early 30s; Latina)                      Florencia Lozano
Ted (mid 40s)                                    Bob Saget

Director:  Peter Askin
Scenic Design:  Thomas Lynch
Costume Design:  Jeff Mahshie
Lighting Design:  Jeff Croiter
Original Music and Sound Design:  Lewis Flinn
Stage Managers:  Gerald Cosgrove and Michael McGoff

Publication:  Weitz, Paul. Privilege. Dramatists Play Service, 2006. Drama Library PS3573. E4314 P75 2006.

Setting:  An expensive Upper East side apartment, New York City, and a modest apartment on the Upper West Side, New York City, 1987.

Language:  Contemporary

PORTER

It’s my room and I’ll fart if I want to. (Sings.) It’s my party and I’ll fart if I want to, fart if I want to, fart if I want to…

Genre/Style:  Comedy

Plot:  The lives of two teenagers on the Upper East Side change dramatically when their father is convicted of insider trading.

 

Representative Monologues:  All of the monologues in the play are under one minute.  (Mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.)

p. 15:  Porter questions attending Brown University.

PORTER

What’s the big deal about Brown? What if I don’t want to go to Brown? What if I’d rather go to Apex Tech? What if I’d rather learn a valuable trade, like washing machine repair? [lines cut] Of course I’d have to change my name, you can’t have a doorman named “Porter.” I’d have to change it to “Joe”—or “Jimmy.”

p. 23:  Charlie writes a letter to the Times.

CHARLIE

So I think I should write a letter to the Times. You want to hear my first draft? (Charlie takes out a piece of paper and reads.) “In this land, we are innocent until proven guilty. Our forefathers fought for various rights, such as that of a man’s innocence until guilt is proven. [Lines cut] I guess I have to take out that last part. Well, what do you think?

p. 30:  Erla explains the reality of the boys’ new situation to them.

ERLA

No, Charlie, we’re not a team. You two are a team. [Lines cut] You have computer games, you have waterskis, you have servants. You have become accustomed to the idea of people serving you.

 

Representative Scenes:   The play is mostly made up of scenes between the two brothers so there are many scenes to choose from.

p. 5-6:  Charlie and Porter are supposed to be packing for Antigua and end the scene discussing farts. Starts with

CHARLIE

Oh God, I’m so bored.

and ends with

CHARLIE

If I showed you a ten, you would die immediately.

p. 21-22:  Porter and Charlie discover the extent of their father’s crimes in the New York Times. Starts with

PORTER

What? What about the Times?

and ends with

 PORTER

Yeah, it sort of does. “Assistant D.A. Theresa Novalis believes the government case is strong. ‘It’s about time,” she says, ‘that the party ended.’ “

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Gluck, V. (2005). Privilege. Back Stage, 46(19), 40.

Isherwood, C. (2005, Apr 26). Daddy’s rich (mama’s good looking) and trouble’s an insider trade away. New York Times (1923-Current File), pp. 2.

Kershner, J. (2011, Feb 27). Review: Clunky at times, but a rich story is told in ‘privilege’. McClatchy – Tribune Business News.

Pincus-Roth, Z. (2005). Paul pushes play on ‘Privilege’. Daily Variety, 287(19), 27.

Rizzo, F. (2005). Privilege. Variety, 398(11), 74.

Stevens, A. (2005, May 06). Conor donovan and harry zittel. New York Times, pp. 0-24.

Wolfe, A. (2005). Money changes everything. New York, 38(16), 73-74.

The Idiot Box – Michael Elyanow

television

First produced by Naked Eye Theatre Company in Chicago in 2003.

Original Cast:

Fiona                     Kathy Logelin
Connor                 Jim Slonina
Veronica
               Meghan McDonough
Omar                     Ansa Akyea
Chloe                    Beth Lacke
Raymond              Bradley Balof
Billy                       Brad Eric Johnson
Harvey                  Rom Barkhordar
Mark                     Joe Dempsey
Stephanie            Lisa Rothschiller

Characters (All early-to-mid-30s)

The Cast Regulars
Mark:
  The Neurotic New Yorker. He’s a paramedic.
Chloe:  The Spoiled Rich Girl. She’s a curtain designer.
Billy:  The Sex-Crazed Dummy. He’s a model.
Fiona: The New Age Hippie. She’s an acupuncturist.
Stephanie: The Controlling Wife. She’s a romance novelist.

The Guest Spots
Harvey: 
He’s a doctor in the navel reserves.
Raymond:  He’s a drag queen/cabaret singer.
Veronica:  She’s an Australian dog shusherer.
Omar:  He’s a non-Caucasian PhD student.

Director:  Jeremy B. Cohen
Scenic Design:  Brian Sidney Bembridge
Costume Design:  Rachel Healy
Lighting Design:  Jaymi Lee Smith
Sound Design:  Andre Pluess

Publication:  Elyanow, Michael. The Idiot Box. Samuel French, 2008. Drama Library PS3605. L93 I35 2008.

Setting:  New York City, winter, the living room of a split-level penthouse suite.

Language:  Contemporary sitcom

CHLOE

Toast. What A Slice of Toast Might Say. Since when does a hooker ever say “My crust is turning brown?” Never. A hooker never says that.

Genre/Style:  The first act, according to the playwright, should play like a great modern sitcom; the second act should be more gritty, honest, and real.  However, one problem with the play is that the regulars in the first act are, for the most part, annoying and not very likeable and the situations they find themselves in are so farcical that by the time the second act arrives, it’s difficult to make the transition to caring about them as “real people” with “real problems.”  Another problem with the play is the plethora of problems they face, from strange boyfriends with chubby chasing tendencies, emergent homosexual feelings, racism, social consciousness, etc.

Plot:  The play tells the story of six sitcom characters whose lives are changed when reality crashes into their perfect world.

 

Representative Monologues:  (Long mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.)

p. 27:  Omar tries to explain to Chloe why he felt the need to find her and leave her a letter.

OMAR

…I’m sorry. I’m gonna. Sorry.

He exits. But just as CHLOE is about to close the door:

No, wait. Please. The thing is. I was watching the play and somewhere toward the end of the first act I happened to take my eyes off the stage for a second and…I saw you sitting across from me and you were so completely “in it”, I mean, leaning forward, tears in your eyes, you know, and I was thinking, Yes! [Lines cut] You must be the most extraordinary person. And I must be a complete idiot for talking all this time and not introducing myself. Omar Jackson. Blabbermouth.

p. 36:  Fiona defends herself against Harvey’s charge that she only pretends to be a hippie so that her friends will like her and explains to him just what she’s gotten out of being a hippie.

FIONA

Okay. Stop. I’m gonna stop you right there. You know, just because we went out a few times, don’t presume you know me and don’t presume I don’t know what I’m doing. [Lines cut] I haven’t had to pay for anything—quite literally—since I was TWELVE. That’s what being a so-called flighty, wind-in-her-hair-hippie has gotten me.

p. 61-62:  Stephanie’s on the phone talking to her hero, LaVyrle Spencer about her writer’s block. (A very long monologue, at least 2 minutes.)

STEPHANIE

Hello? HellomMYGODhello!  I’ve been on hold so long I wasn’t sure if I got disconnected but I don’t think I did if this is you, LaVyrle, IS this you, LaVyrle, do you mind if I call you LaVyrle? Um,oh, it’s me, Ms. Spencer: Stephanie Dah. No-no-no-no, don’t hang up! [Lines cut] I write about Love. I need Love. And if [I] give that up, if I give up Love… I have no husband, no marriage, no career, and then what? What am I left with? What the fuck do I have then, LaVyrle?

 

 

Representative Scenes:  

p. 35-37:  Harvey and Fiona argue in a subway car. Starts with

FIONA

You feel sorry for me?

and ends with

FIONA

Oh, Harvey. FUCK OFF.

p. 41-44:  Billy accuses Raymond of trying to seduce him by pretending to be something he’s not:  a woman.  Starts with

BILLY

What did you do to me?

and ends with

RAYMOND

What are you?

p. 62-64:  Chloe and Omar confront each other about the fact that Omar has accepted a job in Berkeley without telling Chloe but Chloe found out and is looking for a job on the West Coast, hoping he’ll take her with him.  Stars with

CHLOE

It’s not what you think.

and ends with

OMAR

I didn’t think you’d say yes. In case you hadn’t noticed, I’m a little… I’m far from perfect. That’s just me. Sometimes I do, I get scared and I make mistakes. Does that sound like something you could be a part of?

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Houlihan, M. (2003, May 9). “More than just ‘Friends’ – Typical sitcom characters get dose of reality from playwright in ‘The Idiot Box’.” Chicago Sun-Times 9; nc.

Chris Jones, T.,arts reporter. (2003, May 25). `The idiot box’ needs fine-tuning. Chicago Tribune.

Rosell, K. (2011, April 18). The Idiot Box opens at CSUF. Daily Titan, The: California State University – Fullerton (CA) n.pag.

Street, N. (2007, August 3). Bipolar Express: ‘Idiot Box’ takes a trip. Jewish Journal of Greater Los Angeles, The (CA) n.pag.

Zeff, D. (2003, June 5). Theater Review – `The Idiot Box’: A misguided event. Beacon News, The (Aurora, IL) E6.

 

After. – Chad Beckim

after

First produced by the Partial Comfort Productions at The Wild Project in New York, September 2011.

Original Cast:

Susie (Asian, early 30s)                                              Jackie Chung
Chap (Any ethnicity, 40s-50s)                                     Andrew Garman
Monty (Latino, mid 30s)                                              Alfredo Narciso
Liz (Monty’s sister, early 30s)                                     Maria-Christina Oliveras
Warren (Indian, early 30s)                                           Debargo Sanyal
Eddie (Latin, mid to late 30s)                                      Jeff Wilburn

Director:  Stephen Brackett
Scenic Design:  Jason Simms
Costume Design:  Whitney Locher
Lighting Design:  Gregg Goff
Sound Design:  Daniel Kluger
Fight Director:  David Anzuelo
Dramaturg:  John M. Baker
Stage Manager:  Tara M. Nachtigall

Publication:  Beckim, Chad. After. Samuel French, 2012. Drama Library PS3602. E327 A38 2012.

Setting:  Various locations

Language:  Contemporary

WARREN

A little too slim for me. I like ’em thicker than that, but she’s definitely cute. And she definitely likes you. No woman initiates contact like that with a man without liking him. Unless she’s a prostitute.

Genre/Style:  Drama but with comic moments that arise out of character

Plot:  DNA evidence has just exonerated Monty and he is released from prison after seventeen years.  He now has to adjust to life on the outside after having spent half of his life incarcerated. Although the play covers the standard ex-con just released from prison and is now coping with life on the outside moments, by looking at those moments in a fresh way, the playwright avoids stereotypes and clichés.  However, an act of violence near the end of the play introduces a new character who isn’t really germane to Monty’s growth and the play slips a little into melodramatic territory.

 

Representative Monologues(Long mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.)

p.22-23:  Susie explains why she doesn’t like Axe guys. 

SUSIE

I don’t get that, you know? Like, you’ll see these good looking guys, well groomed, well maintained, together, the kind of guy that you see and secretly think, “He looks like a nice guy to talk to,” only then they walk past you and they smell like they just got stuck in a cologne thunderstorm. [Lines cut]

I’m sorry. I talk too much. I say too much dumb stuff. And I forced that toothbrush on you. I’m working on it, but it’s… The deodorant aisle is that way. (She points.) Two aisles down.

p.26:  Warren bitches to Monty about the doggy day care business he owns and operates.

WARREN

Yep. We chauffeur dogs here. I can’t get over that. I understand the brushing and washing and feeding and all that. But chauffeuring? Like they’re kids coming home from a field trip?

[Lines cut]

When I was a kid we had a yellow lab. Lived outside. Ate dry food—and take it from me? Avoid that wet stuff, dude. That wet stuff makes them shit pudding. But my dog. Didn’t even need to be chained up. Came and went as he pleased. And he seemed perfectly happy-lived until he was thirteen, I think.

p.41:  Warren tells Monty how his dad got the nickname, Destroyer of lives.

WARREN

My father really is the destroyer of lives, though. That was his nickname for himself when I was a child.

I got this record—”Shamu and Friends”—for my birthday one year? It was all of the characters from “Seaworld” singing songs about the sea and about the environment. [Lines cut]  And I wouldn’t talk to him for a week, and finally a week later my mom came home with a new record and hands it to me, and it’s “Sigmund the Sea Monster,” which is not even nearly the same thing, and she’s like, “This is from your father and me.” And when I told her that it wasn’t the same one, my father laughed and said, “I am the destroyer of lives.” Because he is.

p. 61-62:  (This monologue is fairly long, perhaps two minutes long or more in its entirety.)  Monty laments the death of the one of the service dogs he trained in prison and the loss of his life, and rages about the state’s offer to pay him restitution and the apology the victim of the rape he was accused of wants to make.  [Chap’s line can be cut.]

MONTY

Ripley was a good dog, man.

[CHAP

She was.]

MONTY

A good dog. No, a great fucking dog. The best. I taught her to sit. I taught her to stay. I taught her to lie down. I taught her to shake—even though I wasn’t supposed to. I taught her to nudge someone’s hand when they were scared or angry or anxious or just, just shut the fuck down. Me. I did that.

[Lines cut.]

The only fucking good thing I ever did is gone, and you come here telling me that the good news is that they want to pay me for missing my prom and college and keg parties and my first apartment?

Fuck them.

Fuck the dude that killed my dog.

And fuck Laura Miller.

(A long beat. He turns to the window.)

Show yourself out, man.

 

Representative Scenes:  

p. 39-41:  Monty confesses to Susie why he’s never asked a girl out or gone shopping or tied a tie.  Starts with

MONTY

I lied to you.

and ends with

SUSIE

Huh? Of course. I just—I thought I saw someone I knew. (She grabs the basket and looks at the list.) Okay. First up. Deodorant.

p. 16-18: Monty receives a visit from the chaplain from the prison and explains for the first time how it feels to be outside.  Starts with

CHAP

You’re sleepwalking?

and ends with

CHAP

I know.

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Isherwood, C. (2011, Sep 22). After the hard life of prison comes the hard life of the outside world. New York Times.

Jones, C. (2012, Sep 07). Plumbing depths of bittersweet freedom. Chicago Tribune.

Soloski, A. (2011, Sep 28). Sprung awakening. [open access] The Village Voice.

Vincentelli, E. (2011, Sep 22). Leaves Nice ‘After’-Glow. New York Post.

 

Steve & Idi – David Grimm

donut

Produced by Rattlestick Playwrights Theatre, in New York City, on April 23, 2008.

Original Cast:

 

Steve                                    David Grimm
Ralph 
                                   Greg Keller
Max 
                                      Zachary Knower
Brad
                                      Michael Busillo
Idi Amin                                 Evan Parke

Steve:  Intelligent, defensive, neurotic gay Jewish writer in his 30s
Ralph:  Scruffy, unshaven, hyper-intellectual writer in his 30s
Max:  Heavyset, long-haired, bearded left-wing teddy bear of a writer in his 30s
Brad:  A beautiful young man in his mid 20s
Idi Amin:  Apparition of the former President of Uganda


Director:  Eleanor Holdridge
Scenic Design:  Kris Stone
Costume Design:  Jessica Ford
Lighting Design:  Les Dickert
Sound Design:  Scott Killian
Stage Manager:  Emily M. Arnold

Publication:  Grimm, David. Steve & Idi. (2009). Dramatists Play Service. Drama Library PS3607. R56 S74 2009

Setting:  Steve’s apartment in downtown Brooklyn, New Year’s Eve and after.

Language:  Contemporary with contemporary references that will date it quickly; but it has some great one-liners

MAX

Dreaming about John McCain is the first sign of madness.

Genre/Style:  Comedy; if you find the idea of the ghost of Idi Amin eating Krispy Kreme donuts and discussing torture funny.

Plot:  The ghost of Idi Amin, former Ugandan strongman, haunts a New York playwright, demanding that he write a play about him in three days.   His boyfriend and his agent have just dumped the playwright, Steve, and he’s suicidal. The play begins with an intriguing idea:  a playwright with writer’s block is visited by the ghost of Idi Amin, who demands that he write a play about him in three days, but doesn’t go far enough with it.  Idi Amin as a character, as a symbol, as a metaphor, carries substantial weight; he was a tyrant who used violence to cow both his enemies and the citizens of Uganda.  To reduce him to a pizza- and donut-eating ghost who lounges about haranguing a playwright misses dramatic opportunities even if, in the end, Amin is just a figment of the writer’s imagination.  The play does have scenes where the playwright, seemingly under the influence of Amin, succumbs to darker impulses, but overall, the play barely skims the surface of its setup.

 

 

Representative Monologues:  (Long mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.)

p.10:  Steve ranting about the futility of playwrighting.

STEVE

Reading, workshop, reading, workshop—Suck my fucking dick. What are we doing, anyway? Why are we pretending? You can play the politically engaged writer all you like, Ralph, it won’t make you a better artist and it won’t absolve you. [Lines cut] I look in the mirror and my fucking gorge rises till I wanna tear my face off and flush it down the toilet. “Let’s write a play!” Jesus Christ, what an utterly pointless waste of time.

p.31-32:  Idi explains hunger and yearning.

IDI

When yearning ends, life ends. I am what becomes of yearning that will not die. You think I do not understand?

 For eight years, Field Marshal Amin loved his people. For eight years he makes them beautiful and strong and asks for nothing but their love. But always they betray him. Even in Jiddah, in exile. [Lines cut]

What is done cannot be undone. The glorious past is lost forever.

p.41:  Idi pushing for a final time for Steve to finish the play.

IDI

I want Danny Glover. Danny Glover must play me. The Forest Whitaker was good but everybody loves the Danny Glover. Plus he was a Lethal Weapon. Roger Murtaugh. I also like the Lethal Weapon 2: “The magic is back!” Number Three and Four, not so much, but still… Danny Glover!

[Lines cut]

Why do you stare? Get me donuts. Get me steak. Get me a bottle of wine and a woman!

p. 42:  Steve, upon smelling a t-shirt belonging to his ex.

STEVE

(In a kind of reverie.) Sandalwood and sweat—Salt and honey. Bitter steel. If only I could bottle this. (He smells it again, tastes it. He speaks very calmly.)

If he were here right now, I would take him in my arms and taste his lips. I would rock him and comfort him and tell him everything’s all right. I would place around his neck a thin gold wire, sharp as razors. And oh so slowly I would draw it: Oh so gently but oh so tight and watch as it pinches his skin and breaks it. [Lines cut] I would taste his blood and pull at his hair and chew skin off his face and swallow it. And I would shout the name of God and know it only has the meaning I give it, because everything is empty. And then I would know what it’s like to be free.

 

 

Representative Scenes:  

p. 23-24:  Steve tries to convince Max that he really is being haunted by the ghost of Idi Amin. Starts with

MAX

Okay, so where is it?

and ends with

MAX

What better inspiration for a writer than a blank page? I’m sorry, man, but with Daniel there was never any there there. Come on—You saw something beautiful in him—Great. That’s part of your gift, man. But all that stuff, that wasn’t in him. That’s in you.

p. 30-31: Idi is upset because Steve seems obsessed by his ex and isn’t working on the play. Starts with

IDI

(Looking at compute.) What is this? Answer me! What is this?

and ends with

IDI

I am proud of you for it. Love cannot be trusted. It is better to be feared. Fear lasts longer than love.

 

 

Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

 

Feingold, M. (2008, May). Some unenchanted evenings. The Village Voice, pp.54

James, Caryn. (2008, May 7). A lesson before writing, courtesy of idi amin’s ghost. The New York Times, pp.4.

Scheck, Frank. (2008, May 6). Absurd tale with Ugandan dictor is “idi’-otic. The New York Post, pp.42.

Thelman, S. (2008). Steve and Idi. Daily Variety, 299(22), 4-7.

Gruesome Playground Injuries – Rajiv Joseph

gruesome

Received its world premiere at the Alley Theatre in Houston, Texas on October 16, 2009; and premiered in New York at the Second Stage Theatre on January 31, 2011.

Original Cast:

Kayleen (ages 3-38)        Selma Blair
Doug (ages 8-38)             Brad Fleischer

Director:  Rebecca Taichman
Scenic Design:  Riccardo Hernandez
Costume Design:  Miranda Hoffman
Lighting Design:  Christopher Akerlind
Sound Design:  Jill BC DuBoff
Dramaturg:  Mark Bly
Stage Manager:  Elizabeth M. Berther

Publication:  Joseph, Rajiv.  Gruesome Playground Injuries. Samuel French. 2012.  Drama Library, PS3610. O669 G78 2012

in Joseph, Rajiv. Gruesome Playground Injuries; Animals out of paper ; Bengal tiger at the Baghdad Zoo: three plays. Soft Skull Press/Counterpoint, 2010.  Drama Library PS3610.O669 G78 2010

also available online in Joseph, R. (2011). Gruesome Playground Injuries. American Theatre, 28(4), 64-75.

Setting:  Various places; the play jumps forward and backwards in time over the course of 30 years.

Language:  Contemporary

DOUG

I’m not stupid. That’s really mean, you know? Everyone just thinks just because I’m awesome at sports and I always get hurt that I’m stupid, but I’m not stupid, I’m just brave, that’s all. I’m brave. Don’t leave.

Genre/Style:  Serio-comedic; a black comedy where the humor is less about one-line zingers (although there are some) and more about the absurd situations the characters find themselves in that result in their injuries.

Plot:  Over the course of 30 years, Kayleen and Doug’s lives intersect when one or both of them are hurt.  It doesn’t sound like a lot to base a play on, but Joseph succeeds in rendering two very real and relatable characters who, nevertheless, sustain very bizarre injuries.

 

Representative Monologues:  (Long mono­logues con­tain the first few lines and the last few lines; please con­sult the pub­lished text for the mono­logue in its entirety.)

p.30:  Doug explains how he recently hurt his leg investigating an explosion at their old school.  [Doug’s first two lines can be cut.]   

DOUG

[I know. But I got to go and investigate the wreckage.] I go over and the place is collapsed. So I hoist myself up there and I’m walking on the roof and then I stepped through a weak board or something and this upright nail went clear through my foot. It was about eight inches long. [Lines cut] All of a sudden, everything was clear…trapped up on that roof, impaled, surrounded by all the angels and saints…That’s my life up there, Leenie. That’s my life without you.

p.36:  Doug recounting at Kayleen’s dad’s wake how he stopped by the previous year to see her and her dad never told her.

DOUG

You know what, Kayleen? Jesus Christ, you know, I came to your house last year and your Dad was t here, and I know he hates my guts, he always has, and he’s like She is where she is.  I don’t know where the girl is. He said he didn’t care and didn’t care to know. And I was about to leave, but I didn’t. I didn’t and I said to that son of a bitch… [Lines cut] And then I told him I hoped he’d die alone. Which he did. So I feel a little guilty about that now. (Beat.) I can take care of you, Leenie.

 


Representative Scenes:   The play is a two-hander comprised of short scenes which can be broken down into sub-scenes.

p.11-12: Kayleen visits Doug in the hospital after he puts out his eye with fireworks. Starts with

DOUG

                The fireworks were awesome.

and ends with

KAYLEEN

                Fuck you. You know how I get. When you get hurt. You know.

p.38-39:  Kayleen and Doug meet at the ice rink where Doug now works; he is in a wheelchair now.  Starts with

KAYLEEN

I came here to lay my hands on you, Dougie. I’ve never believed it, but I have to do it… because if you believe it, that must be enough. (Doug doesn’t answer, doesn’t look at her.) I came and saw you when you were in the coma.

and ends with

KAYLEEN

God, I don’t know… We talked about everything. We talked so long, it was the latest I’d ever stayed up in my life. It was almost morning when we left the swings. It was cold, and you gave me your jacket to wear. The playground was so pretty just then. The sky was starting to be blue. (They look at the ice.)

 


Select Bibliography of Reviews and Criticism:  (Note:  arti­cle title links are to the online ver­sions, mostly UW-only restricted unless des­ig­nated as open access.)

Arnold, M. (2011). What’s in a Maim?. Playbill, 29(6), 20. [Review of the Second Stage Theatre production]

Brantley, B. (2011, Feb 01). Love hurts, and for some couples, that’s the point. New York Times. [Review of the Second Stage Theatre production]

Coffey, F. (2011). Two Plays by Rajiv Joseph: Gruesome Playground Injuries & Bengal Tiger at the Baghdad Zoo. Ecumenica, 4(2), 89-92. [Review of the Second Stage Theatre production]

Drukman, S. (2011). Scar Stories. American Theatre, 28(4), 62-63. [Interview with Rajiv Joseph]

Evans, E. (2009, Oct 23). Taking risks pays off for gruesome playground GRUESOME: Injury-prone characters are made for each other. Houston Chronicle. [Review of premiere production in Houston]

Gardner, L. (2013). Gruesome Playground Injuries: Guardian. Theatre Record, 33(1/2), 33. [Review of the revival of the play at the Gate Theatre in London, 2013]

Marks, P. (2010, May 25). Complex friendship sustains ‘injuries’; vignettes explore a bond strengthened by sadness and pain. The Washington Post. [Review of 2010 Woolly Mammoth production in Washington, DC]

Maxwell, D. (2013). Gruesome Playground Injuries: The Times. Theatre Record, 33(1/2), 33-34. [Review of the revival of the play at the Gate Theatre in London, 2013]

Mountford, F. (2013). Gruesome Playground Injuries: Evening Standard. Theatre Record, 33(1/2), 33.

Newmark, J. (2011, Nov 02). ‘Injuries’ is more an exercise than a play; theater review; sad-sack couple are thrown together in times of crisis, mostly medical. St.Louis Post – Dispatch. [Review of Soundstage production, 2011]

Sheward, D. (2011). Gruesome Playground Injuries. Back Stage (19305966), 52(5), 49. [Review of the Second Stage Theatre production]

Siddhartha, R. (2012, Feb 08). Not so gruesome: Playground injuries. Eastern Eye.  [Review of the revival of the play at the Gate Theatre in London, 2013]

Soloski, A. (2011, Feb 02). Gruesome playground injuries-rajiv joseph’s scar trek. (open access) The Village Voice.  [Review of the Second Stage Theatre production]

Weinert-Kendt, R. (2009). Wounded By Love. American Theatre, 26(9), 22. [Review of original Houston production]