Non-Shakespearean Writings

The Thief of Time (Peter Pan & Wendy)
Priestley’s Wide Gap of Time (An Inspector Calls)
Much Ado About Nothing (Waiting for Godot)
J.B. Priestley’s TIME AND THE CONWAYS and the Theater’s Wide Gap of Time
A Room of One’s Own (Harold Pinter, The Lover/The Collection)

Critics on Parade (Tom Stoppard/Richard Brinsley Sheridan, The Critic/The Real Inspector Hound)
Tom Stoppard, Dogg’s Hamlet/Cahoot’s Macbeth
Edward Bond, Bingo
The Pith of Pirandello (Luigi Pirandello/Tom Stoppard, Henry IV)
Cowardesque (Noël Coward, Private Lives)
The Importance of Being Wilde (Oscar Wilde, The Importance of Being Earnest)
Giving Thanks (Alfred Hitchcock)
Emlyn Williams, The Corn is Green

Bearing Witness: The Two Worlds of The Amen Corner
The Feminism & Modernism of Edith Wharton (The Shadow of a Doubt)
Les Blancs and the Unknown Lorraine Hansberry
Lee Blessing, Fortinbras
Lillian Hellman, The Autumn Garden
Dawn Powell, Big Night
Rachel Crothers, Susan and God
Susan Glaspell, Chains of Dew
Eugene O’Neill’s Chamber Sonata (Hughie)
The American Dollhouse (Eugene O’Neill, Strange Interlude)
Notes on the Goat (Edward Albee, The Goat, or Who is Sylvia?)
Fun & Games: Edward Albee’s Pop Art Theater (Who’s Afraid of Virginia Woolf?)
What is Farce? (Thornton Wilder, The Matchmaker)
History and Comedy (Hecht & MacArthur, The Front Page)
On Mark Twain and Harriet Beecher Stowe
That Word (Chappelle’s Show)

Tragedy and Democracy (Ellen Mclaughin’s The Oresteia)

Malevolent Mendacity (Molière/David Ives, The School For Lies)
Passion Play (Molière, Tartuffe)
Pierre Corneille, Horatius
Lost Inside a Dream (Alexis Piron/David Ives, The Metromaniacs)
The Comedy of Art (Carlo Goldoni/Christopher Bayes, The Servant of Two Masters)
Regnard Resurgent (Jean-François Regnard/David Ives, The Heir Apparent)

The Body Politic (Friedrich Schiller, Wallenstein)
How to Unscramble a Teutonic Egg, Or, Democracy in Deutschland (Friedrich Schiller, Wallenstein)
Gotthold Ephraim Lessing, Emilia Galotti
Johann Wolfgang von Goethe, Egmont
Friedrich Schiller, Demetrius
On Brecht: Part 1 & Part 2
Wedekind’s Weltanschauung (Lulu)
Apocalypse Now (The Sternheim Trilogy)
The Creation of the Self (Ernst Toller)

To Dream, Or Not To Dream (Calderón de la Barca, Life is a Dream)
Tirso de Molina, Marta the Divine

Gogol’s Giggles and Putting Russia Onstage (Nikolai Gogol/Jeffrey Hatcher, The Government Inspector)
The Russian Molière (Alexander Ostrovsky, Crazy Money) and A Family Affair

The Meaning of The Wild Duck
Ibsen’s Scenography

Restoration/18th Century:
John O’Keefe, Wild Oats
Death of a Salesman (George Lillo, The London Merchant)
Love is a Battlefield (William Congreve, Love for Love)
Ben Jonson, Sejanus

Bildungswoman (Kate Hamill, Vanity Fair)
Medieval à la Mode (Branden Jacobs-Jenkins & Everybody)
The Classical Paradox (Romeo Castellucci, Julius Caesar: Spared Parts, Third World Bunfight’s Macbeth)
Toni Morrison, Desdemona
The Hemingway Myth (Elevator Repair Service, The Select)
Bartlett’s Bardolatry (Mike Bartlett, King Charles III)
Sheer Cloudy Vagueness (Headlong, 1984)

The Stories Not Told (Yäel Farber, Salomé), NT Version
The Painterly Theatrical Violence of Romeo Castellucci (Hey Girl!)
Trance of Death (Richard Foreman, Deep Trance Behavior in Potatoland)
Hamlet Karaoke, or the Ghost in the Machine (The Wooster Group, Hamlet)

Musical Theater:
The Myth of Camelot
A Bit of Earth, A Bit of Magic (Frances Burnett, The Secret Garden)
Taming of the Screwball (Porter/Spewack, Kiss Me, Kate)
The Impossible Musical (Dale Wasserman, The Man of La Mancha)
Comedy Tonight! (Sondheim, Gelbart, & Shevelove, A Funny Thing Happened on the Way to the Forum)