HowlRound interviewed me about the playwriting MFA at the New School for Drama.
Kris Vire, Time Out Chicago: Shinn displays much of the same fascination with the interplay of sexual desire and psychological identity as can be seen in later works like Dying City or Teddy Ferrara, and Nate Silver’s measured, handsomely staged production for Jackalope Theatre Company carefully captures the ambiguities of such fraught encounters, the equal mix of elation and uncertainty.
Kevin Greene, Chicago Stage Standard: Christopher Shinn’s Four, set in 1996, avoids decade fetishizing in the simplest way possible: by being an authentic document of the time. In 2015 his play functions as a time portal devised by a writer with a keen sense of what changes and what stays the same from decade to decade.
Lawrence Bommer, Stage and Cinema: A slice of art delicately delivered in Jackalope’s less-is-more local premiere. Howard’s paternal mentor, Kurowski’s big-eyed listener, Collins’ spunky schoolgirl, and Martinez’ frustrated Lothario–they encapsulate the U.S. on the day we were born.
In 2014, my main piece of public writing was an essay on disability for The Atlantic, which led to an interview with the CBC and a Dramatists Guild panel on disability. Otherwise, I continued working with a great group of students at the New School for Drama. I also enjoyed continued small productions of Dying City; had some fun at the doomed NYT Opinion App launch party; contributed a short piece for The Dramatist; had a productive retreat with the Sundance Institute in the Hamptons; and did a fun in-depth interview with Stephen Bottoms about my work. 2015 should be a productive year; stay tuned for news.
I just returned from a wonderful week at the Sundance Institute’s Playwrights Studio at Flying Point. Graciously hosted by Joan and George Hornig, a great group of writers got to work freely in a beautiful setting. Below, the barn on the Hornig property where many of us did our work.
Below, a Dramatists Guild panel “Writing for Disability,” from HowlRoundTV.
Roger Martin, miamiartzine: A challenging piece best watched while leaning forward, perched on the edge of the seat, mouth slightly agape and eyes squinted to catch every nuance skittering through a ninety minute message that all’s not right with a young war widow, her manly dead husband reappearing in flashbacks and her husband’s gay twin brother.