Megan Terry 1932-
Considered among the first dramatists to embrace feminist causes and avant-garde techniques, Terry's work often presents female characters in situations that test them or require them to challenge their own gender preconceptions. In other plays, Terry explores the psyches of such societally marginalized characters as battered women, teenagers, the elderly, and prisoners. As a director of many of her own works, Terry advocates a community theater approach in which she sometimes recruits individuals from the audience or from the streets outside the theater to act. Her philosophy of each participant bringing their “own reality” to the play, along with her use of space and music, are among the key identifiers of her work.
Born in Seattle, Washington, Terry became fascinated with the theater when she was seven years old after attending her first live production. Determined theater would be her career, Terry mounted theatrical productions in her neighborhood and school, serving as actor, writer, director, designer, and set builder. While still in high school, she interned with the Seattle Repertory Playhouse where she worked with director Florence James and actor Burton James, whose political views influenced Terry's later dramas. As a student at the University of Edmonton, Terry immersed herself in set design and technical direction, skills that later affected her approach to theatrical writing. After completing college, Terry continued to write and produce dramas, some of which were performed at New York City's Open Theatre. The experimental environment at the Open Theatre helped Terry conceive her plays as a series of action blocs rather than sequential scenes. She also began using her scripts as starting points for dialogue and action and allowed the participants to ad lib their parts.
Terry’s prolific writing resulted in the production of more than fifty plays and numerous awards. The Magic Realists (1969) signalled Terry’s experimentation with postmodern techniques, which included songs and dream sequences. Her first success and perhaps best-known play, Viet Rock: A Folk War Movie (1966), is generally regarded as the first rock musical as well as the first drama about the Vietnam conflict. Despite its topicality and popularity, Viet Rock received mixed reactions to its innovative form and antiwar message. Viet Rock is also noted for Terry's use of “transformational drama,” a highly influential postmodern technique she defines as “a dramatic action composed of brief sequences that are suddenly transformed into different sets of characters and circumstances.” In contrast to her previous work, Approaching Simone: A Drama in Two Acts, which received the 1970 Obie Award for best play, received wide acclaim from critics. The play portrays the life of philosopher Simone Weil, who, at age thirty-four, committed suicide by starvation to protest World War II soldiers starving at the front line. During the 1970s, Terry wrote several plays concerning family, societal, and gender issues, including Hothouse, The Pioneer, American King’s English for Queens, and Goona Goona. Family scenarios used in her 1978 play American King’s English for Queens demonstrate the sexism Terry perceives as inherent in the English language, and the 1979 play Goona Goona depicts the abuse that occurs in some families.
Although she received favorable notices for her one-act plays Calm Down Mother: A Transformation Play for Three Women (1966) and Keep Tightly Closed in a Cool Dry Place (1966), Viet Rock was the first of Terry's plays to receive serious critical notice. While some critics found the play's use of rock music and subversive politics offensive and amateurish, others applauded Terry's use of such innovative theatrical techniques as nonlinear time and refusal to maintain the play's action within the confines of the stage. The play, however, was highly influential, inspiring other musicals, including the well-known play Hair. Approaching Simone, however, was received enthusiastically by critics, many of whom admired the humane themes Terry employed. In her play Hothouse, inspired by her relationships with her mother and grandmother, Terry explores the expectations society places on female behavior. While admiring her treatment of feminist themes, some critics faulted Terry's reliance on autobiographical material. In contrast to the negative reviews Hothouse received, Terry's Babes in the Bighouse: A Documentary Fantasy Musical About Life Inside a Women's Prison (1974) was lauded: the plays use of humor and satire was considered by critics as an inspired means to portray potentially controversial issues of sexuality and the degradation of female prisoners.
Beach Grass 1955
The Dirt Boat 1955
Go Out and Move the Car 1955
New York Comedy: Two 1961
Eat at Joe's 1963
Ex-Miss Copper Queen on a Set of Pills 1963
When My Girlfriend Was Still All Flowers 1963
Calm Down Mother: A Transformation Play for Three Women 1966
Keep Tightly Closed in a Cool Dry Place 1966
Viet Rock: A Folk War Movie 1966
Comings and Goings: A Theatre Game 1967
The Gloaming, Oh My Darling: A Play in One Act 1967
Home: Or Future Soap 1968
The Key Is on the Bottom 1968
Massachusetts Trust 1968
The People vs. Ranchman 1968
Sanibel and Captiva 1968
The Magic Realists 1969
One More Little Drinkie 1969
The Tommy Allen Show 1969
Approaching Simone: A Drama in Two Acts 1970
American Wedding Ritual Monitored/Transmitted by the Planet Jupiter 1972
Choose a Spot on the Floor 1972
Off Broadway Book 1972
St. Hydro Clemency; or, A Funhouse of the Lord: An Energizing Event 1973
Susan Perultz at the Manhattan Theatre Club 1973
All Them Women 1974
Babes in the Bighouse: A Documentary Fantasy Musical About Life Inside a Women's Prison 1974
Couplings and Groupings 1974
Fifteen Million Fifteen Year Olds 1974
Henna for Endurance 1974
Hospital Play 1974
The Narco Linguini Bust 1974
The Pioneer 1974
Pro Game; The Pioneer: Two One-Act Plays 1974
We Can Feed Everybody Here 1974
Women's Prison 1974
100,001 Horror Stories of the Plains 1976
Women and Law 1976
Brazil Fado: You're Always with Me 1977
Lady Rose's Brazil Hide Out 1977
Sleazing Toward Athens 1977
Willie-Willa-Bill's Dope Garden, A Meditation in One-Act on Willa Cather 1977
American King's English for Queens 1978
Attempted Rescue on Avenue B: A Beat Fifties Comic Opera 1979
Goona Goona 1979
Janis Joplin 1980
Flat in Afghanistan 1981
The Trees Blew Down 1981
Winners: The Lives of a Traveling Family Circus and Mother Jones 1981
Mollie Bailey's Traveling Family Circus: Featuring Scenes from the Life of Mother Jones 1983
Body Leaks 1990
Breakfast Serial 1991
Do You See What I'm Saying? 1991
Sound Fields: Are We Hear 1992
SOURCE: “Megan Terry,” in American Playwrights: A Critical Survey, Vol. 1, by Bonnie Marranca and Gautam Dasgupta, Drama Book Specialists, 1981, pp. 183-92.
[In the following excerpt, Marranca and Dasgupta critique Terry's career, focusing on the author's use of various styles.]
Megan Terry began her theatrical career in the mid-fifties in Seattle, Washington, where she first had her plays produced and worked as a director and actor. But it was her work as a member of The Open Theater from 1963 to 1968 that brought her to prominence. In the mid-sixties Terry ran a playwrights' workshop for that company in which many of her own plays were developed. Since 1971 she...
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SOURCE: “Megan Terry: Mother of American Feminist Drama,” in Feminist Theatre, Macmillan, 1984, pp. 53-76.
[In the following excerpt, Keyssar explores Terry's extraordinary impact on feminist theater, contending that her work does not invite radical revolution but instead calls attention to the power of women.]
Since the early sixties Megan Terry has been a sustaining force in feminist drama, nurturing other American women playwrights and continually extending the reaches of her own plays. Captivated by theatre from the age of fourteen, Terry, now in her early fifties, has written more than fifty dramas most of which have been both produced and published. Reviewers...
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SOURCE: “Language and Meaning in Megan Terry's 1970s ‘Musicals',” in Modern Drama, Vol. XXVII, No. 4, December, 1984, pp. 574-83.
[In the following essay, Klein concentrates on the meaning and power of the language in Terry's musicals.]
American King's English for Queens is the most clearly articulated of Megan Terry's language plays of the 1970s, explicitly concerned with the ways in which the text and context of language mold thinking, seeing, and believing. In four full-length plays, Tommy Allen Show, Babes in the Bighouse, Brazil Fado and American King's English for Queens—all “musicals” performed at the Omaha Magic...
(The entire section is 4386 words.)
SOURCE: “Keep Tightly Closed in a Cool Dry Place: Megan Terry's Transformational Drama and the Possibilities of Self,” in Studies in American Drama, 1945-Present, Vol. 2, 1987, pp. 59-69.
[In the following essay, Schlueter discusses how Terry's transformational drama acknowledges the extent to which the self is shaped by modern culture.]
In order “to make it,” we need to make images of ourselves. We compose ourselves from the cultural models around us. We are programmed into a status hunger. Once we have masked ourselves with the social image suitable to a type, we enter the masquerade of the setup. Even the masquerade of our ethnic...
(The entire section is 4366 words.)
SOURCE: “Megan Terry and Family Talk,” in The Centennial Review, Vol. XXXII, No. 3, Summer, 1988, pp. 296-311.
[In the following essay, Babnich provides an in-depth discussion of Terry's Family Talk, including an interview with the author.]
For the last ten years Megan Terry, playwright in residence at the Omaha Magic Theatre since 1974, has been writing plays focused on themes of particular interest to the American family. Her newest musical comedy, Family Talk, is the fourth in a series of plays tackling the problems of domestic life. Common to all these plays is Terry's concern of “how are we going to get closer...
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SOURCE: “Making Magic Public: Megan Terry's Traveling Family Circus,” in Making A Spectacle: Feminist Essays on Contemporary Women's Theatre, edited by Lynda Hart, The University of Michigan Press, 1989, pp. 169-80.
[In the following essay, Breslauer and Keyssar examine Terry's Mollie Bailey's Traveling Family Circus, a play that shows people how to make a difference in their world.]
When Megan Terry moved to the Omaha Magic Theater in 1974, she began a new phase of the feminist discourse she had begun to shape in the experimental theatre of the 1960s. The energy that she had directed for more than a decade toward collaborative production endeavors,...
(The entire section is 5230 words.)