Lanford Wilson 1937-
The following entry presents information on Wilson's plays through 2001. See also Lanford Wilson Literary Criticism (Volume 7), and Volumes 14, 197.
A prolific and award-winning American playwright, Wilson is an innovator of the off-off-Broadway phenomenon that began in the 1960s, co-founding the now-defunct Circle Repertory Company where many of his own plays premiered throughout the 1970s and 1980s. Over the course of several decades Wilson has written more than forty one-act and full-length plays, most notably the long-running The Hot l Baltimore (1973) and Talley's Folley (1979), for which he won the Pulitzer Prize for drama in 1980. As many playwrights of his generation have done, Wilson has experimented with but has not completely abandoned the realistic conventions of drama. In his plays, Wilson has frequently breached the traditional “fourth wall” by incorporating such devices as monologues, asides, and overlapping dialogue, yet he has also observed the dramatic verities of coherent plotting and character exposition. Themes of decay, disillusionment, and family conflict inform the bulk of Wilson's drama; his works also spotlight such formerly taboo subjects as homosexuality and the plight of social outcasts.
Born on April 13, 1937, in Lebanon, Missouri, Wilson is the son of Ralph Eugene and Violetta Careybelle Wilson, who divorced when he was five years old. His father relocated to San Diego, California, where he worked at an aircraft factory during World War II, while Wilson stayed with his mother, who remarried and settled in Ozark, Missouri. In 1955, Wilson briefly attended Southwest Missouri State University before he transferred to San Diego State University, hoping to renew a relationship with his estranged father, who gave him a room. While there, Wilson studied art and art history and also worked as a riveter at an aircraft plant, but the reunion with his father was short-lived. In 1956, Wilson moved to Chicago, Illinois, where he was employed by an advertising firm as a graphic artist for the next five years. Although Wilson wrote short stories since boyhood, he enrolled in a playwriting class in Chicago and began writing one-act plays. In 1962, Wilson relocated to New York City to launch his career as a playwright, which he accomplished in 1963 with the production of his first play, So Long at the Fair. Throughout the 1960s, Wilson wrote plays at a furious pace. Most of his early works were produced off-off-Broadway at the Caffe Cino and La Mama Experimental Theater Club, which mounted such plays as Home Free (1964) and The Madness of Lady Bright (1964). His other plays of this period include Balm in Gilead (1965) and The Rimers of Eldritch (1966), Wilson's first full-length productions. In 1967, the suicide of Joe Cino, producer at Caffe Cino, forced Wilson to find other venues to produce his plays, including Lemon Sky (1968) and Gingham Dog (1968). In 1969, he found a permanent stage for his talent at the Circle Theatre (later Circle Repertory Company) in Greenwich Village, which he co-founded with a group of friends that included director Marshall W. Mason. Wilson served as the Circle Rep's playwright-in-residence until it closed in 1996. At the Circle Repertory Company, Wilson produced Serenading Louie (1970) and The Hot l Baltimore, his first major critical and commercial success, which ran for 1,100 performances before it transferred to Broadway. That play not only set a performance record for off-Broadway theater at the time but also became the basis for a successful television series of the same name. In 1973 Wilson collaborated with Tennessee Williams on the screenplay for The Migrants, which premiered on television's prestigious “playhouse 90.” Wilson followed that with another critically acclaimed play, The Mound Builders (1975). In 1977 he staged Fifth of July, the first in a cycle of plays about several generations of a Missouri family that also includes Talley's Folley and A Tale Told (1981). Meanwhile, Wilson's teleplay Taxi! was presented as a “Hallmark Hall of Fame” special in 1978. During the early 1980s, Wilson slowed his output, writing Angels Fall (1982) and Thymus Vulgaris (1981), as he concentrated on learning the Russian language in order to translate the works of Anton Chekhov. Subsequently, Wilson premiered his translation of Chekhov's Three Sisters in 1984. In 1987 Wilson returned to form with several productions, unleashing a string of plays that included The Bottle Harp, Burn This, and Say DeKooning. Since then Wilson has produced Redwood Curtain (1991), By the Sea (1996), Book of Days (1998), and Rain Dance (2000).
Wilson's plays typically explore themes of alienation, loneliness, and crumbling illusions. His earliest works, most of which are one-act plays, often focus on destitute characters. For instance, The Madness of Lady Bright concerns an aging transvestite whose fading beauty drives him insane, while Home Free revolves around a pair of incestuous siblings living as a married couple in a fantasy world. Set in an all-night diner with a cast of fifty-six characters, Balm in Gilead features the junkies, prostitutes, homosexuals, and hustlers who populate New York City's underworld, revealing their personalities and histories through overlapping dialogue and simultaneous scenes. Wilson's second full-length play, The Rimers of Eldritch, uses a similar montage technique to recreate life in a small town in Missouri. The play opens with the verdict at a murder trial and proceeds backward in time to conclude with the murder of the town's hermit. Self-described as “completely autobiographical,” Lemon Sky tells the story of a young man who moves in with the father who abandoned him and his mother when he was five years old, but his efforts to reconcile ultimately prove futile when his father violently evicts him because he “doesn't bed women.” In Serenading Louie, two young suburban couples confront the unhappiness that lies at the heart of their marriages. The multiple award-winning play Hot l Baltimore is set in the lobby of a derelict hotel marked for demolition where a motley group of drifters, prostitutes, and aging residents gather to reminisce about the people and times that formerly occupied the hotel. Evincing Wilson's appreciation of the past, The Mound Builders dramatizes the attempt of archaeologists to protect their discovery of an ancient civilization from commercial development. The site is ultimately destroyed, however, by a university scientist whose jealousy and vengeance is aroused by the dig.
Fifth of July is the first play of an acclaimed trilogy about the Talley family spanning several generations and set in Wilson's hometown. Recounting events at the family's Independence Day celebration in 1977, this play concerns a disaffected paraplegic veteran of the Vietnam War, Ken Talley, Jr., who must decide whether or not to sell “the Talley place” to a group of friends who want to convert the property into a recording studio. Among the guests, which includes these friends, are Ken's gay lover, his sister and her daughter, and his Aunt Sally, who ultimately persuade Ken not to sell. The second play in the trilogy, Talley's Folly, features Aunt Sally as a young woman. Set on Independence Day, 1944, this short, two-character play tells the simple yet affecting story of an unlikely love that develops between Sally and Matt Friedman, a Jewish accountant who meets disapproval from Sally's rich, bigoted family. The couple ultimately elopes despite their dissimilar backgrounds. In A Tale Told, the third play of the Talley trilogy, the action occurs on the same night as Talley's Folly and introduces other members of the bigoted, greedy clan who resolve by the end of the play to sell the family garment business to a conglomerate. Angels Fall involves six people confined in a small mission church in a remote part of New Mexico as they face their own mortality following a possible nuclear accident. In Burn This, an up-and-coming female dancer in the throes of a personal crisis turns for help to the men in her life: a gay advertising executive who is her current roommate; a successful screenwriter who is in love with her; and the crude brother of her former roommate, a gay dancer who recently died in a boating accident. In Redwood Curtain, a teenaged Vietnamese-American piano prodigy returns to her aunt's redwood plantation in Northern California to learn more about her father from the homeless Vietnam veterans who inhabit the forests. Set again in Wilson's native Missouri, Book of Days explores the effects of the arts on a small, rural, conservative town where a troubled Hollywood director mounts a production of G. B. Shaw's St. Joan that stars a local dairy-factory bookkeeper whose real-life predicament mirrors that of the titular martyr. In Rain Dance, the testing of the first atomic bomb in 1945 forms the backdrop for a group of people gathered at a Los Alamos cantina, including a young American scientist, a Native-American M.P. officer, and two German immigrants, each of whom has contributed in some way to the bomb's development. As the potential consequences of their work weigh on their consciences, they also grapple with the realization that their efforts contribute to the destruction of local Native-American culture.
Wilson has been widely acknowledged for his contributions to the rise and success of off-Broadway theater as a legitimate venue for American drama. Critics have enthusiastically responded to most of Wilson's plays, especially his work from the late 1960s through the 1970s, which have garnered some of drama's most prestigious prizes. These have included the Vernon Rice Award, the Obie (the off-Broadway's version of the Tony awards), and the New York Drama Critics' Circle Award, culminating with the Pulitzer Prize in 1980 for Talley's Folley. Critics have universally been attracted to the authenticity of dialogue and simultaneous conversations that develop the characters and advance the plots in many of Wilson's plays. In addition, critics have applauded Wilson for showcasing the plight of homosexuals and other socially marginal people as valid concerns of drama. Furthermore, many commentators have noted the compassion and humanity with which Wilson draws these characters. Critics have also praised Wilson's dramaturgy for experimenting with the superficial illusions of realism and breathing new life into such neglected dramatic devices as the monologue and the aside. Despite the critical acclaim Wilson received early in his career, when he was often named among the most promising playwrights of his generation, his plays since the late 1980s have elicited a somewhat cooler reception. Nevertheless, critics have generally continued to esteem Wilson's skills for creating realistic dialogue and evocative scenes, exposing the underbelly of social discontent, and giving a voice to marginal members of American society.
So Long at the Fair 1963
Home Free 1964
The Madness of Lady Bright 1964
No Trespassing 1964
Balm in Gilead 1965
Days Ahead 1965
Ludlow Fair 1965
The Sand Castle 1965
Sex Is Between Two People 1965
This Is the Rill Speaking 1965
The Rimers of Eldritch 1966
Wandering: A Turn 1966
Miss Williams: A Turn 1967
Gingham Dog 1968
Lemon Sky 1968
Serenading Louie 1970
The Great Nebula in Orion 1971
Sextet(Yes): A Play for Voices 1971
Summer and Smoke 1971
Ikke, Ikke, Nye, Nye, Nye 1972
The Hot l Baltimore 1973
The Mound Builders 1975
Fifth of July 1977
Talley's Folly 1979
A Tale Told 1981; revised as Talley & Son, 1985
Thymus Vulgaris 1981
Angels Fall 1982
A Betrothal 1986
The Bottle Harp 1987
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Criticism: General Commentary
SOURCE: Schvey, Henry I. “Images of the Past in the Plays of Lanford Wilson.” In Essays on Contemporary American Drama, edited by Hedwig Bock and Albert Wertheim, pp. 225-40. Munich: Max Hueber Verlag, 1981.
[In the following essay, Schvey examines the thematic unity in Wilson's plays from The Hot l Baltimore through Talley's Folley.]
With more than thirty plays to his credit since he began writing for the stage in 1963, Lanford Wilson is almost certainly the most prolific of the younger generation of American playwrights and among the very few who have made the transition from Off-Off Broadway experimental theaters (the Caffe Cino and La Mama Experimental Theatre Club) to widespread commercial and critical success. However, despite the largely favorable reviews his plays have enjoyed since 1973 (when he won the New York Drama Critics Circle Award for Best American Play with The Hot l Baltimore) and despite his continuingly productive relationship with New York's Circle Repertory Company of which he is a founder member and resident playwright, Wilson's plays have not yet received serious critical attention.
Wilson presents the literary critic with the uninviting paradox of a contemporary writer who has already produced a large body of work, yet is young enough to be characterized as a “developing” artist whose best plays have probably not yet been written....
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SOURCE: Jacobi, Martin J. “The Comic Vision of Lanford Wilson.” Studies in the Literary Imagination 21, no. 2 (fall 1988): 119-34.
[In the following essay, Jacobi traces the evolution of a comic vision throughout Wilson's career, arguing that with comedy Wilson harmonizes his often-conflicted interests in the past and social misfits.]
The small body of published criticism on Lanford Wilson's drama has frequently mentioned the playwright's recurring interest in two themes: a sympathetic depiction of the past, the traditions, and the cultural values which shape society, and the compassionate portrayal of misfits and outcasts, people not sympathetic to society. As Gene Barnett says in what is currently the fullest analysis of Wilson's plays,
He writes longingly of family love but focuses on the individual, the misfit, or the outsider. … His family exists in a society that became restless and rootless in the social flux and economic revival during and after the Second World War. It is a society thoughtlessly turned destructive of a heritage it never learned to appreciate. … He is disturbed at the rejection of the old and durable in favor of the new and sterile. His America is engaged in “tearing down,” in a pointless and deliberate overthrow of the cultural icons of the past.1
Through the years and the course of his...
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SOURCE: Konas, Gary. “Tennessee Williams and Lanford Wilson at the Missouri Crossroads.” Studies in American Drama, 1945-Present 5 (1990): 23-41.
[In the following essay, Konas compares the Missouri backgrounds of Wilson and Tennessee Williams and contrasts their uses of a Missouri setting in their major works.]
Missouri is sometimes called the Crossroads State because of its central geographical position and because America's two greatest rivers, the Mississippi and the Missouri, meet there. It is an apt nickname for other reasons, as well; conceptually, Missouri is where several dichotomies and contradictions meet which make the state and its residents difficult to understand. The contradictions date back at least to 1860, when Missouri, a slave state, voted to side with the Union in the Civil War. The Gateway Arch in St. Louis (1965) reminds us that Missouri also straddles East and West, trying to combine conservative Eastern culture with a pioneer Western spirit. Moreover, the state's largest city, St. Louis, has traditionally formed an industrial island in a state that is otherwise largely agricultural.
Missouri is the site of the confluence of two important playwrights: Tennessee Williams (born in Mississippi but raised from age seven in Missouri) and Lanford Wilson (born and raised in Missouri). Their work reflects many of the state's dichotomies, and there are parallels in...
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SOURCE: Peterson, William M. “Lanford Wilson's Classroom.” Confrontation: A Literary Journal of Long Island University, nos. 48-49 (spring-summer 1992): 257-59.
[In the following essay, Peterson explicates the pedagogical dimension of Wilson's life and plays.]
I first met Lanford Wilson on November 20, 1991, at the Post House Restaurant in Southampton, Long Island. Perhaps I really had met him earlier, for I had read The Mound Builders and The Hot l Baltimore and had seen Talley's Folly and The Fifth of July on Broadway, and a televised adapatation of Lemon Sky on Public Broadcasting System. I knew the work if not the writer. After three meetings with the writer I know I know his work better. At his best, his work provides a mystery of illumination in a prism of speculative shading. As for his persona, he is content to remain an enigma; I suspect he likes to tantalize.
Wilson won a Pulitzer Prize for his drama Talley's Folly in 1980; he has won many other dramatic awards, including The New York Drama Critics Circle Award for Best American Play in 1973, The Hot l Baltimore. Yet many people think of him as an evolving writer. One of the reasons for this judgment is the physical presence Wilson projects; he is 54 years old but looks at least twenty years younger. He dresses the part of a young man as well—on the night I met him...
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SOURCE: Adler, Thomas P. “The Artist in the Garden: Theatre Space and Place in Lanford Wilson.” In Modern Dramatists: A Casebook of Major British, Irish, and American Playwrights, edited by Kimball King, pp. 383-95. New York: Routledge, 2001.
[In the following essay, Adler survey's Wilson's full-length dramas, analyzing the visual—but not rhetorical—absence of definite places on the stage sets of a dozen plays.]
In his essay “Writing for Films,” William Inge—whose plays share with several of Lanford Wilson's a distinctively midwestern setting—comments on the spatial limitations that would seem to restrict the dramatist's art: “In the theatre,” Inge asserts, “one is always confined to the dimensions of the stage. … Writing for the theatre has its own satisfactions, but mobile geography is not one of them” (1). Such overstatement—some would argue inaccuracy—is understandable if one equates serious drama with a realistic set (the traditional room with an imaginary fourth wall separating audience from acting area) that allows for unity of place, at least within the acts. From Inge's perspective, the fluidity of moving from locale to locale and the possibility for simultaneity of action are properties associated with the freer medium of film rather than with theatrical realism.
And yet, from another perspective, just as the world in realistic film continues...
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SOURCE: Wilson, Lanford, and Gene A. Barnett. “Recreating the Magic: An Interview with Lanford Wilson.” Ball State University Forum 25, no. 2 (spring 1984): 57-74.
[In the following interview, conducted on April 21, 1981, Wilson discusses his preference for drama, literary influences, writing habits and choices, and response to critics.]
Gene A. Barnett, a native of Missouri, holds the Ph.D. degree from the University of Wisconsin. He has taught at Wayne State University and is now a professor in the Department of English and Comparative Literature at Fairleigh Dickinson University, Teaneck Campus. He is the author of the volume on Irish playwright Denis Johnston in the Twayne English Author Series and of several articles on subjects related to modern drama and American Literature. He is completing a book on Lanford Wilson for the Twayne American Author Series.
The following interview with playwright Lanford Wilson was conducted by Dr. Gene A. Barnett on April 21, 1981, at the offices of the Circle Repertory Company in New York City. Wilson's most recent play at that time, A Tale Told, was being prepared for a premier at the company's off-Broadway theater. Dr. Barnett, like the playwright, is a native of Southwest Missouri. He is currently working on a critical study of Lanford Wilson.1
[Barnett]: Why do you write plays as opposed to novels...
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SOURCE: Wilson, Lanford, and John L. DiGaetani. “Lanford Wilson.” In A Search for a Postmodern Theater: Interviews with Contemporary Playwrights, edited by John L. DiGaetani, pp. 286-93. New York: Greenwood Press, 1991.
[In the following interview, Wilson talks about his literary influences, his principal themes, his attraction to the theater, his relationship with Tennessee Williams, and his use of homosexuality in his plays.]
Lanford Wilson was one of the founders of the Circle Repertory Company in New York. He has received the following prizes: a Rockefeller Grant, a Vernon Rice Award, an ABC-Yale Fellowship, the New York Drama Critics Circle Award (twice), three Obie Awards, the Outer Circle Award, an American Academy of Arts and Letters Award, and a Pulitzer Prize.
Wilson's first produced play was So Long at the Fair (1963), first done in New York, followed by No Trespassing and Home Free. Balm in Gilead, first staged in New York in 1964, was his first major success, followed by a production in Edinburgh. Ludlow Fair appeared in 1965, followed that same year by Sex Is between Two People and The Rimers of Eldritch. Days Ahead and The Sand Castle were also produced in New York that same productive year—1965. The Great Nebula in Orion appeared in 1970, which also saw Wilson's Lemon Sky and Serenading...
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SOURCE: “Lanford Wilson.” In The Playwright's Art: Conversations with Contemporary American Dramatists, edited by Jackson R. Bryer, pp. 277-96. New Brunswick, NJ: Rutgers University Press, 1995.
[In the following interview, conducted on May 20, 1993, Wilson discusses his writing processes and goals, the production aspect of playwrighting, his literary influences, and his response to critics.]
Lanford Wilson was born in 1937 in Lebanon, Missouri. After attending Southwest Missouri State College briefly and spending a year in San Diego and five years in Chicago, he came to New York in 1962. His initial plays, one-acts, were presented at the off-off-Broadway Caffe Cino. His first full-length play was Balm in Gilead (1965). It was followed by The Rimers of Eldritch (1966), The Gingham Dog (1968), Serenading Louie (1970), Lemon Sky (1970), The Hot l Baltimore (1973), The Mound Builders (1975), 5th of July (1978; revised as Fifth of July ), Talley's Folly (1979), A Tale Told (1981; revised as Talley & Son ), Angels Fall (1982), Burn This (1986), Redwood Curtain (1992), and numerous one-acts. The Rimers of Eldritch received the Drama Desk Vernon Rice Award; The Hot l...
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Criticism: Fifth Of July
SOURCE: Witham, Barry B. “Images of America: Wilson, Weller and Horovitz.” Theatre Journal 34, no. 2 (May 1982): 223-32.
[In the following essay, Witham considers Fifth of July, Michael Weller's Loose Ends, and Israel Horovitz's Alfred Dies with respect to their treatments of Independence Day to dramatize the American temperament of the mid-1970s.]
American playwrights are fascinated by the 4th of July and their attempts to articulate its significance are among the most intriguing aspects of the contemporary theatre. It would be convenient to attribute this fascination to the influence of Eugene O'Neill whose Ah Wilderness! explored the dramatic possibilities of Independence Day fifty years ago, but it probably has more to do with the recent Bicentennial celebration. Since the close of that euphoric national party, American dramatists have produced Israel Horovitz's Alfred Dies (1977), Lanford Wilson's 5th of July (1978) and Talley's Folly (1979), Michael Weller's Loose Ends (1979), and Tom Eyen's Independence Day (1979) all of which are set in part or fully on the 4th of July. To this list we could also add Archibald MacLeish's The Great American Fourth of July Parade (1975), John Guare's In Fireworks Lie Secret Codes (1980) and, with a bit of stretching, Ernest Thompson's On Golden Pond (1979) which draws from the...
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SOURCE: Schlatter, James F. “Some Kind of a Future: The War for Inheritance in the Work of Three American Playwrights of the 1970s.” South Central Review 7, no. 1 (spring 1990): 59-75.
[In the following essay, Schlatter compares Fifth of July, Preston Jones's The Oldest Living Graduate, and Sam Shepard's Curse of the Starving Class and Buried Child with respect to the cultural implications of the 1970s family presented by the plays.]
George McGovern built his dreams for the presidency on the passionate exhortation to “come home, America!” His decisive defeat offers strong evidence that in 1972 America was not ready to do so. She would come home anyway three years later, following the fall of Saigon, but she would arrive on crutches, in wheelchairs, and in stainless steel boxes draped with American flags. And if this “homecoming” witnessed the return of young men and women from a senselessly prolonged odyssey marked by blood and death, it also saw the return of others from a spiritual and political emigration, a mass movement of youth either toward an imminent Aquarian Apocalypse or in flight from a ruthless system of conscription. Casualties were suffered on both sides: by those who fought the war and by those who fought against it. But the deepest wounds were self-inflicted, received on our collective conscience as a nation.
America came home to...
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Criticism: Redwood Curtain
SOURCE: Tucker, Martin. “A Running Log on Lanford Wilson.” Confrontation: A Literary Journal of Long Island University, nos. 48-49 (spring-summer 1992): 245-56.
[In the following essay, Tucker details the circumstances leading up to and including an interview with Wilson around the time he staged the premiere of Redwood Curtain.]
“You in school here? … Let me see your I.D.” The actor playing the Vietnam War veteran in Redwood Curtain tries out these lines, standing alone on the huge, empty stage of the Nederlander Theater in New York. Lanford Wilson, Marshall Mason the director, and Tanya Berezin of the Circle Repertory Company listen from the auditorium.
While Wilson does not think of himself as a teacher, a school or a college is often offstage in his plays; artist and educator, he asks his audiences to think about what he has seen and understood. Wilson grew up in Missouri, where the plays about the Talley family and several other plays are set. In Lebanon, Missouri, he could see the night sky. Millions of Americans have never seen the night sky unobscured by the glare of cities and suburbs; they must rely on people who have and who write plays like The Great Nebula in Orion to help them see.
Although Wilson did not complete his own college education, in The Sand Castle, Lemon Sky, Serenading Louie, and The Fifth of...
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Criticism: Book Of Days
SOURCE: Jones, Chris. “The Glory Years.” American Theatre 15, no. 9 (November 1998): 20-2.
[In the following essay, Jones presents commentary from Wilson and his colleagues focusing on his writing, specifically Book of Days.]
In recent weeks, Lanford Wilson has been sitting quietly on the porch in his Sag Harbor, N.Y., home, alternately staring into space and reading several of his own full-length dramas.
“I've written a ton of plays,” the one-time winner of the Pulitzer Prize for Drama says wearily of his recent autumnal exploits. “It's obscene. And I would rather be doing just about anything else in the world than sitting here and reading them all. My plays used to be all over the place, and now it's like, ‘Who the hell wrote that?’”
He pauses for a moment, perhaps sensing that he has gone too far down the road of self-deprecation. “You know,” he adds, more philosophical than weary, “most of them still really aren't so bad.”
And many of them are produced at colleges, stock and community theatres with singular regularity. With that market in mind, the publisher Smith & Kraus is currently anthologizing the collected plays of the long-established and widely esteemed playwright into four volumes (the first in the series was released in October 1996), and he's been recently proofing the texts in Volume 2 (The Mound...
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Barnett, Gene A. Lanford Wilson. Boston: Twayne, 1987, 170 p.
Provides a bio-critical overview of Wilson's career.
Callens, Johan. “When ‘the Center Cannot Hold’ or the Problem of Mediation in Lanford Wilson's The Mound Builders.” In New Essays on American Drama, edited by Gilbert Debusscher and Henry I. Schvey, pp. 201-26. Amsterdam: Rodopi, 1989.
Addresses problems with The Mound Builders.
Dean, Anne M. Discovery and Invention: The Urban Plays of Lanford Wilson. Rutherford, PA: Fairleigh Dickinson University Press, 1994, 139 p.
Assesses the significance of Wilson's urban plays.
Jones, Chris. “The Glory Years.” American Theatre 15, no. 9 (November 1998): 20-2.
Review of the Michigan premiere of Book of Days, featuring Wilson's remarks.
Kellman, Barnet. “The American Playwright in the Seventies: Some Problems & Perspectives.” Theatre Quarterly 8, no. 29 (spring 1978): 45-58.
Moderates a discussion between playwrights Wilson, Jack Gelber, Corrine Jacker, Leslie Lee, Janet Neipris, John Ford Noonan, and Michael Weller concerning the problems of contemporary drama.
Additional coverage of Wilson's life and career is contained in the following...
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