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Trailers + More

Watch a trailer or a video interview, listen to a podcast, read essays by our writers and artistic staff, peruse interviews with our writers -- it's all here, and it's all exclusive to Playwrights Horizons.  Just scroll down to browse or choose your desired interactive medium.


Trailer

"Your Mother's Copy of the Kama Sutra" Trailer

What are the boundaries of intimacy? How well can we get to know each other, and how well should we get to know each other? With commentary by Kirk Lynn (playwright) and Anne Kauffman (director), get to know "Your Mother's Copy of the Kama Sutra."

Interview

Artist Interview with Sarah Ruhl

Tim Sanford: Did you ever kiss someone yourself onstage? Sarah Ruhl: Yes, when I was in Joyce’s scene study class. I was 13 and I’d never kissed a boy before, and Murphy Monroe just went in with full tongue, and I’ll never forget the look on Joyce’s face. She said, “Oh, Murphy, you need to ask permission.” [Laughs] But I was not a very good actor. It was clear that I was meant to be in the back writing and watching other actors even though I loved, I loved rehearsal but I didn’t love the audience to come and see me.

Interview

In Conversation with the writers of Fly By Night

How did the three of you come to collaborate on Fly By Night? KIM ROSENSTOCK: Michael and I were both students together in the playwriting program at Yale—we actually interviewed together, and I remember him saying that he wrote musicals and thinking, “I hope I get in and that he gets in and that one day I can trick him into writing a musical with me.” Will was in the acting program at the same time. MICHAEL MITNICK: The Yale Cabaret has a summer stock season and Kim was the artistic director. She wisely chose to give herself a slot. KR: I was finally in the position to put my musical scheme into action. MM: I was her biggest fan so I said, sure as long as we could also work with Will, whose songs I thought were wonderful. WILL CONNOLLY: Then Michael and Kim came to me and said, “Hey! You wanna write a musical with us?” And I was like, “Uh, I have no earthly idea what that means or why you're asking me, but sure, sounds like a fun experiment.” KR: And then, of course, much to our delight and fear, the hypothetical became actual, and we had about six months to write an original musical.

Essay

Tim Sanford on Fly By Night

"States of consciousness, even when successive, permeate one another, and in the simplest of them the whole can be reflected." –Henri Bergson, Time and Free Will "What does it look like when time stops?" –Fly by Night A genial Narrator steps forward to set the story of Fly by Night for us. His manner is reassuring, parabolic, and just a little bit halting. It’s a story of three: two sisters from South Dakota, and a sandwich maker. It’s a story with a funeral and a guitar and a band. It’s a story about everyday life and the vastness of the starry sky. It’s a story about a simpler age. And it’s a story about now.

Essay

The American Voice: On Musicals and Modernity

In 2005, a rather remarkable production of Stephen Sondheim’s classic Grand Guignol musical Sweeney Todd appeared on Broadway. Directed by John Doyle, this extraordinary production stood out not because it featured epic effects or oceans of stage blood, but instead because it was pared down to its simplest level. Described as “psychologically astute” by critics, it uniquely featured actors who also played their own instruments. Rather than serving as a gimmick, Doyle’s stylized version of Sweeney allowed the music to act as a direct form of character development and storytelling. Form was allowed to follow function. The result was a production that demonstrated extraordinary depth of character.

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