Sarah Ruhl

Playwrights Horizons: Stage Kiss, Dead Man’s Cell Phone. Other plays: How to Transcend a Happy Marriage; The Oldest Boy; In the Next Room, or the vibrator play; The Clean House; Orlando; Late: a cowboy song; Dear Elizabeth. She is a two-time Pulitzer Prize finalist and a Tony Award nominee. Her plays have been produced on and Off- Broadway, regionally and internationally, translated into over 12 languages. MFA: Brown University, where she studied with Paula Vogel. Awards: Steinberg Distinguished Playwright, Susan Smith Blackburn, Whiting, Lilly, PEN, MacArthur “genius” Award. In print: 100 Essays I Don't Have Time to Write (Faber and Faber). She teaches at the Yale School of Drama and lives in Brooklyn with her family.

(as of 8/09/17)


Playwrights' Perspectives

Playwright's Perspective: For Peter Pan

I wrote 'For Peter Pan on her 70th birthday' as a gift for my mother (for her seventieth birthday). My mother grew up playing Peter Pan in Davenport, Iowa. As a child I looked at pictures scattered around my grandparents’ house of my mother wearing green tights and flying.


From the Artistic Director: For Peter Pan

Commentators have long noted the dark undercurrents of Peter Pan: the boy who wouldn’t grow up, whose shadow is cut from his body, the island of lost boys, the Freudian pairing of Father with Dr. Hook, the death and resurrection of Tinkerbell. Of course these dark elements are more than matched by Peter Pan’s underlying quest for transfiguration.


The American Voice: The Boy Who Would Not Grow Up

When he first flew into the bedroom of the sleeping Darling children in 1904, Peter Pan made an entrance not just onto the stage of London’s Duke of York Theatre but, indelibly, into the popular imagination. In conceiving this “Boy Who Would Not Grow Up,” J.M. Barrie invented a new myth, one that’s permeated our cultural psyche.