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.
Theodore P. Mahne, NOLA.com/The Times-Picayune: In her landmark and poetic play, A Raisin in the Sun, Lorraine Hansberry focuses on the idea that a dream deferred becomes a heavy load over time. In his play Dying City, Christopher Shinn cuts deeper, creating a harsher poetry for harsher times, as he explores the weighty effects of an unfulfilled life.
Michael Martin, NOLA Defender: Dying City is about many things (at first I thought 9/11 and the Iraq invasion were mere topical window dressing, but Shinn has ideas of value even about those) but if I were to pick one, I’d say it’s first about the fatal attraction of machismo, in individuals and in nations… this is not a play in which everything will turn out okay if people can just tell each other the hard truth. City is a play in which the ability to hold secrets and sustain lies is all that keeps people going and sorta functional. Dying City is a stone-cold-hearted piece of work.