Drama Criticism

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Drama Criticism, Vol. 24

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Acknowledgments

The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of DC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIAL IN DC, VOLUME 24, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Back Stage West, v. 7, May 11, 2000. Copyright © 2000 by VNU Business Media. Reproduced by permission.—Byron Journal, v. 10, 1982. Reproduced by permission.—Christianity and Literature, v. 51, winter, 2002. Reproduced by permission.—CLA Journal, v. 42, September, 1998. Copyright © 1998 by The College Language Association. Used by permission of The College Language Association.—College Literature, v. 25, fall, 1998. Copyright © 1998 by West Chester University. All rights reserved. Reproduced by permission.—Commonweal, v. 119, December 4, 1992. Copyright © 1992 Commonweal Publishing Co., Inc. Reproduced by permission of Commonweal Foundation.—Comparative Drama, v. 10, fall, 1976;

v. 25, winter, 1991-1992; v. 36, fall-winter, 2002-2003. Copyright © 1976, 1991, 1992, 2002, 2003 by the Editors of Comparative Drama. All reproduced by permission.—Criticism, v. 41, winter, 1999. Copyright © 1999 Wayne State University Press. Reproduced with permission of the Wayne State University Press.—ELH, v. 36, September, 1969; v. 48, winter, 1981. Copyright © 1969, 1981 The Johns Hopkins University Press. Both reproduced by permission.—English Record, v. 22, October, 1971 for “Is Our Town Really Our Town” by Michael A. D’Ambrosio. Reproduced by permission of the author.—Essays in Theatre/Etudes Théâtrales, v. 15, May, 1997 for “David Mamet’s Oleanna and the Way of the Flesh” by Sandra Tomc. Reproduced by permission of the author.—Hartford Courant, July 23, 1994. Copyright © 1994 by the Hartford Courant. Reproduced by permission of TMS Reprints.—The Hudson Review, v. LIII, summer, 2000. Copyright © 2000 by The Hudson Review, Inc. Reproduced by permission.—Keats-Shelley Journal, v. XL, 1991. Reproduced by permission.—Los Angeles Times, April 2, 1993 for “A Striking Production of Our Town”by T.H.Mc-Culloh; December 9, 1995 for “Ordinary Becomes Extraordinary in Our Town” by T. H. McCulloh. Copyright © 1993, 1995 by Los Angeles Times. Both reproduced by permission of the author.—The Massachusetts Review, v. XL, winter, 1999-2000. Copyright © 1999 by The Massachusetts Review, Inc. Reproduced from The Massachusetts Review, The Massachusetts Review, Inc. by permission.—Modern Drama, v. 40, winter, 1997; v. 43, spring, 2000. Copyright © 1997, 2000 by the University of Toronto, Graduate Centre for Study of Drama. Both reproduced by permission.—The New Leader, v. LXXXI, October 5-19, 1998. Copyright © 1998 by The American Labor Conference on International Affairs, Inc. All rights reserved. Reproduced by permission.—New York Times, August 13, 1939, Sec. 9, “Mr. Wilder Has an Idea” by John Franchey. Copyright © 1939 by The New York Times Company. Reprinted by permission.—Renascence, v. LV, winter, 2003. Copyright © 2003, Marquette University Press. Reproduced by permission.—South Atlantic Review, v. 60, May, 1995. Copyright © 1995 by South Atlantic Modern Language Association. All rights reserved. Reproduced by permission.—Studies in Philology, v. 73, January, 1976. Copyright © 1976 by the University of North Carolina Press. Reproduced by permission.—Studies in Romanticism, v. 31, fall, 1992. Copyright © 1992 by the Trustees of Boston University. Reproduced by permission.—Studies in the Literary Imagination, v. 32, fall, 1999. Copyright © 1999 Department of English, Georgia State University. Reproduced by permission.—Texas Studies in Literature and Language, v. 11, 1969 for “The Coherence of The Orphan” by Geoffrey Marshall. Copyright © 1969 by The University of Texas Press. All rights reserved. Reproduced by permission of the publisher and the estate of Geoffrey Marshall.—Theater, v. 24, 1993. Copyright

© 1993, Yale School of Drama/Yale Repertory Theatre. All rights reserved. Used by permission of the publisher.—Times Literary Supplement, November 6, 1992. Copyright © 1992 by The Times Supplements Limited. Reproduced from the Times Literary Supplement by permission.—Village Voice, v. 38, November 2, 1993. Copyright © 1993 V. V. Publishing Corporation. Reproduced by permission of the Village Voice.—Washington Times, 23 November, 1990. Copyright © 1990 News World Communications, Inc. Reprinted with permission of the Washington Times.

COPYRIGHTED MATERIAL IN DC, VOLUME 24, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Austell, Jan. From What’s in a Play? Copyright © 1968 by Harcourt, Inc. and renewed 1996 by Jan Austell. Reprinted by permission of the publisher.—Bean, Kellie. From “A Few Good Men: Collusion and Violence in Oleanna,”in Gender and Genre: Essays on David Mamet. Edited by Christopher C. Hudgins and Leslei Kane. Palgrave, 2001. Copyright © 2001 by Christopher C. Hudgins and Leslie Kane. All rights reserved. Reproduced by permission of Palgrave Macmillan.— Brown, Laura. From English Dramatic Form, 1660-1760: An Essay in Generic History. Yale University Press, 1981. Copyright © 1981 by Yale University. All rights reserved. Reproduced by permission.—Canﬁeld, John Douglas. From Word as Bond in English Literature from the Middle Ages to the Restoration. University of Pennsylvania Press, 1989. Copyright © 1989 by University of Pennsylvania Press. All rights reserved. Reproduced by permission of the University of Pennsylvania Press.—Ehrstine, John W. From The Metaphysics of Byron: A Reading of the Plays. Mouton, 1976. Copyright © 1976 by Mouton & Co. Reproduced by permission.—Erdman, David V. From “Byron’s Stage Fright: The History of His Ambition and Fear of Writing for the Stage,” in The Plays of Lord Byron: Critical Essays. Edited by Robert Gleckner and Bernard Beatty. Liverpool University Press, 1997. Copyright © 1997 by Liverpool University Press. All rights reserved. Reproduced by permission.—Fergusson, Francis. From “Three Allegorists: Brecht, Wilder, and Eliot,” in Critical Essays on Thornton Wilder. Edited by Martin Blank. G. K. Hall & Co., 1996. Copyright © 1996 by G. K. Hall & Co. All rights reserved. Reproduced by permission of The Gale Group.—Goldstein, Malcolm. From The Art of Thornton Wilder. University of Nebraska. Copyright © 1965 by The University of Nebraska Press. Copyright © renewal 1993 by the University of Nebraska Press. Reproduced by permission.—Haberman, Donald. From ‘Preparing the Way for Them’: Wilder and the Next Generations” in Critical Essays on Thornton Wilder. Edited by Martin Blank. G. K. Hall & Co., 1996. Copyright © 1996 by G. K. Hall & Co. All rights reserved. Reproduced by permission of The Gale Group.— Haberman, Donald. From The Plays of Thornton Wilder: A Critical Study. Wesleyan University Copyright © 1967 by Wesleyan University. Reprinted by permission of Wesleyan University Press.—Hagopian, John V., and Arvin R. Wells. From “Our Town,”in Insight I: Analyses of American Literature, edited by John V. Hagopioan and Martin Dolch, Frankfurt, Germany: Hirschgraben, 1971. Reproduced by permission of Arvin R. Wells.—Katz, Montana. From “Truth or Consequences: Mamet’s Oleanna in the Real World,” in The Erotics of Institution. Edited by Regina Barreca and Deborah Denenholz Morse. University Press of New England, 1997. Copyright © 1997 by University Press of New England. All rights reserved. Reproduced by permission.—Kelsall, Malcolm. From an introduction to Thomas Otway: Venice Preserved. Edited by Malcolm Kelsall. University of Nebraska Press, 1969. Copyright © 1969 by University of Nebraska Press, renewed 1997 by the University of Nebraska Press. All rights reserved. Reproduced by permission.—Manning, Peter J. From “Rebels Cosmic and Domestic,” in Byron and His Fictions. Wayne State University Press. Copyright © 1978 by Wayne State University Press. Reproduced by permission of the publisher and the author.—McDonough, Carla J. From Staging Masculinity: Male Identity in Contemporary American Drama. McFarland & Company, Inc., 1997. Copyright © 1997 by Carla J. McDonough. All rights reserved. Reproduced by permission of Mcfarland & Company, Inc., P.O. Box 611, Jefferson, NC 28640. www.mcfarlandpub.com.—Melchiori, Giorgio. From “The Dramas of Byron,” in The Romantic Theatre: An International Symposium. Edited by Richard Allen Cave. Colin Smythe Limited, 1986. Copyright © 1986 by Sir Joseph Cheyne, Timothy Webb, Giorgio Melchiori, Stuart Curran, and Richard Allen Cave. Reproduced by permission.—Munns, Jessica. From Restoration Politics and Drama: The Plays of Thomas Otway, 1675-1683. University of Delaware Press, 1995. Copyright © 1995 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.—Nadel, Ira B. From “The Playwright as Director: Pinter’s Oleanna,”in The Pinter Review: Collected Essays 2001 and 2002. Edited by Francis Gillen and Steven H. Gale. The University of Tampa Press, 2002. Copyright © 2002 by The Pinter Review. All rights reserved. Reproduced by permission.—Papajewski, Helmut. From “Our Town,”in Thornton Wilder. Translated by John Conway. Frederick Ungar, 1968. Copyright © 1968 by Frederick Ungar Publishing, Co., Inc. All rights reserved. Reproduced by permission of The Continuum International Publishing Group.—Piette, Alain. From “The Devil’s Advocate: David Mamet’s Oleanna and Political Correctness,” in Staging Difference: Cultural Pluralism in American Theatre and Drama (American University Studies, Series 26: Theatre Arts, Vol. 25). Edited by Marc Maufort. Peter Lang, 1995. Copyright © 1995 by Peter Lang Publishing, Inc. All rights reserved. Reproduced by permission.—Rose, Charlie. From an interview: “On Theater, Politics and Tragedy,” WNET-TV, Channel 13, New York, November 11, 1994. Copyright © Rose Productions, Inc. All rights reserved. Reproduced by permission of the courtesy of the Charlie Rose Show/Rose Communications, PBS.—Skloot, Robert. From “Oleanna, or, The Play of Pedagogy,” in Gender and Genre: Essays on David Mamet. Edited by Christopher C. Hudgins and Leslie Kane. Palgrave, 2001. Copyright © 2001 by Christopher C. Hudgins and Leslie Kane. All rights reserved. Reproduced by permission of Palgrave Macmillan.—Taylor, Aline Mackenzie. From an introduction to Thomas Otway: The Orphan. Edited by Aline Mackenzie Taylor. University of Nebraska Press, 1976. Copyright © 1976 by University of Nebraska Press, renewed 2004 by the University of Nebraska Press. All rights reserved. Reproduced by permission.—Warner, Kestin P. From “Otway’s View of the Political Scene (1679-1683): Emerging Political Awareness,” in Thomas Otway, Twayne’s English Authors Series. Edited by Bertram H. Davis. Twayne Publishers, 1982. Copyright © 1982 by G. K. Hall and Company. All rights reserved. Reproduced by permission of the Gale Group.—Weber, Jean Jacques. From “Three Models of Power in David Mamet’s Oleanna,”in Exploring the Language of Drama: From Text to Context. Edited by Jonathan Culpepper, Mick Short, and Peter Verdonk. Routledge, 1998. Copyright © 1998 Jean Jacques Weber. All rights reserved. Reproduced by permission of the publisher and the author.

PHOTOGRAPHS APPEARING IN DC, VOLUME 24, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Byron, George Gordon, painting. The Library of Congress.—Edson, Margaret, photograph. AP/Wide World Photos. Reproduced by permission.—Mamet, David, photograph. Copyright © Rufus F. Folkkes/Corbis.—Otway, Thomas, photograph. Archive Photos. Reproduced by permission.—Wilder, Thornton, photograph. AP/Wide World Photos. Reproduced by permission.

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