Paula Anne Vogel was born to a working-class family in Washington, D.C. After her parents’ divorce, she was raised by her mother. Vogel’s family life, education, and early career were not free of problems, but the challenges and failures she faced taught her lessons and helped her build the resilience necessary for life as a writer. She first became interested in drama in high school and began working as a stage manager for school productions. She began college at Bryn Mawr but lost her scholarship and finished her undergraduate education at Catholic University in Washington, where she earned her B.A. in 1974. She hoped to attend graduate school at the Yale School of Drama, but her application was rejected. She entered a Ph.D. program at Cornell University but left in 1977, not having completed her dissertation. By then her playwriting career had begun to experience some success.
Vogel’s first theatrical success came with Meg, a three-act play examining the life and martyrdom of the Catholic saint Sir Thomas More, as seen from the perspective of his daughter Margaret. The play won the 1977 American College Theater Festival award for best new play and was produced at the Kennedy Center for the Performing Arts in Washington, D.C. Vogel’s interest in exploring traditionally male stories from the vantage point of women characters can also be seen in Desdemona, in which the story of William Shakespeare’s Othello (pr. 1604) is retold from the point of view of Othello’s wife. Vogel turns the innocent young woman of Shakespeare’s play into a wicked, deceitful character embodying Othello’s worst nightmares.
A major breaktrough in Vogel’s career came in 1992 with The Baltimore Waltz, a play inspired by the time she spent helping her brother Carl in his final battle with acquired immunodeficiency syndrome (AIDS). The play is a tribute to her brother and an indictment of the medical establishment and of society’s treatment of terminally ill patients. Despite its dark subject matter, The Baltimore Waltz has a surreal story line and a comic touch. The play won the prestigious Obie Award for best Off-Broadway play.
If The Baltimore Waltz secured her place in the canon of American theater, it was How I Learned to Drive that brought Vogel to the attention of an international audience. The play takes an unusual approach to the difficult subject of child abuse by portraying the abuser as a complex, sometimes even likable, figure, rather than a one-dimensional villain. The play earned for Vogel many of the top honors for New York theater in 1997, among them the Obie in playwriting, the Lucille Lortel Award for best play, and The New York Drama Critics Circle Best Play Award. In 1998 it was awarded the Pulitzer Prize in drama.
In addition to her original works, Vogel’s contribution to American theater has included teaching young playwrights and nurturing new talent. She served on the faculty of theater arts at Cornell from 1978 to 1982 and in Brown University’s M.F.A. program in playwriting beginning in 1985. She has also served as a consultant and taught playwriting workshops at a long and varied list of institutions, including the Perseverance Theatre in Juneau, Alaska; the Saratoga International Theatre Institute; McGill University in Montreal, Quebec; St. Elizabeths Hospital in Washington, D.C.; and even a maximum security women’s prison.
By the time she wrote The Baltimore Waltz, Vogel had publicly acknowledged her lesbian sexual orientation and had begun to discuss the ways in which it influenced her writing. Though she made clear in interviews that she did not intend to write “lesbian plays” or to speak for the entire gay community, her works do often deal with some of the more complex and less frequently acknowledged aspects of human sexuality and family life, from pedophilia and incest in How I Learned to Drive to the lives of older prostitutes in The Oldest Profession to lesbian adoption and parenting in And Baby Makes Seven.
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