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The Best American Short Plays 2001-2002 written by Glenn Young


The Best American Short Plays 2001-2002 written by Glenn Young


"This work is first rate! It is exciting to find this collection of truly short plays by truly accomplished playwrights ... ideal for school reading and workshop productions." -Kliatt Applause is proud to continue to publish the series that for over 60 years has been the standard of excellence for one-act plays in America. From its inception, The Best American Short Plays has identified new, cutting edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams, Edward Albee, Wendy Wasserstein, Terrence McNally, and David Mamet. Here is the latest volume in Applause's campaign to fill in the missing gaps in this acclaimed series. The plays include David Ives' "Lives of the Saints"; Will Scheffer's "Alien Boy"; Joyce Carol Oates' "When I Was a Little Girl and My Mother Didn't Want Me"; Christopher Durang's "Kitty the Waitress"; Donna de Matteo's "Her Name Is Kathy"; Beth Henley's "Sisters of the Winter Madrigal"; Arthur Kopit's "Chad Curtis, Lost Again (Episode 14)"; Leslie Ayvazian's "Deaf Day"; Paul Kuritz' "The Yellow Wallpaper"; Neena Beber's "In Bed with Kafka/Kafka in My Bed"; and Laura Shaine Cunningham's "El Depresso Espresso."

Library Journal

The continuing success of the one-act play in American theaters is evidenced by these two books, which include a startling array of stylesexamples of realism, fantasy, farce, tragedy, and even symposium plays are presented. Fourteen eclectic pieces, half of which are by major playwrights, comprise the latest volume in Applause's long-running annual celebration of the form. The most unusual work is a recently rediscovered text by Thornton Wilder, The Wreck of the 5:25, anthologized here for the first time. This play alone casts into clear relief the adventurous nature of contemporary playwrights (though the sparsity of major women playwrights here is notable). The Humana Festival, held at the Actors' Theatre in Louisville, has long been a venue for new plays. This fat collection contains the cream of two decades' worth of work. As fewer major playwrights are represented, these plays are more risky, more adventurous, and much more political. By and large, they test the limits of the form more rigorously than those found in the Applause collection. Both texts provide a wealth of source material for theaters, actors, and academic training programs. Both are recommended for academic and larger public libraries.Thomas E. Luddy, Salem State Coll., Mass.

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