Giving Prof. Guralnick the benefit of fair doubt, I believe her goal in writing the book is to expand the audience for radio drama by proving its link to stage drama, to discuss playwrights who are best known for their stage work, rather than playwrights who write specifically for radio. I cannot argue against her choice of material. What I will argue is that the approach probably confirms more biases than it dispels.
The Author makes it home with his youngest, his only, daughter. It’s late, early in the afternoon but late for nap. He has been calling Lilly’s name in the car and poking her in the backseat to keep her awake so she wouldn’t take a fifteen-minute nap that replaced a two-hour nap. He has been minimally successful and does not know what will come of naptime. The final chapter on their morning excursion has yet to be written, though it is no longer morning.
Artists like Norman Corwin strove toward an idea of radio as an artist’s studio with radio drama as a natural product of the process. Yet as so often typical in American culture, singular artistic visions hardly merit a mention in histories of radio. The idea of an artist’s studio went largely ignored, because the goal of OTR was not to produce art but rather to produce consumers.
Two scientists grapple with reality while watching the dream of their final subject. Based on a story by the Star’s own Garrison Kammer. Directed and co-written by Ian Kammer.
John Guare’s plays were po-mo before po-mo was the American theater’s default setting. They revel in pop culture references. They erase the line between reality and the phony “hyperreality” promoted every day in the media. His approach to the material is that so beloved of deconstructionists everywhere: pastiche. The difficulty in staging this pastiche is that the play often threatens to turn into pure chaos.
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The desire to be somewhere better is indigenous to the human race. There are probably at least a myriad of clichés about how “the grass is greener” and it is certainly common to wish one were somewhere else. When life is relatively stable, this desire to find greener pastures is a luxury. When life is chaos, this desire is no longer a luxury but a thirst for life.
A dramatic poem from our resident Muse, Pam Carter.
Edith Buxbaum: she also liked to cook.
While many people are certainly satisfied with the absence of a canon for radio drama, the lack of one has dismal consequences.