I usually do everything I can to avoid referencing Chekhov. But as I search for a way to write about the wry, fragile, existentially troubled world of Max Posner’s plays, I find the comparison unavoidable.
Like the character Ida in “The Treasurer”, Max Posner’s grandmother ran for Albany County Clerk as the Republican-AIM candidate in 1967 (the first woman in the city’s history to do so), losing only narrowly to the Democratic incumbent after a spirited campaign.
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.
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.
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.
As we welcome her back for her third production at Playwrights Horizons, we invite you to peruse a sampling of Sarah Ruhl’s work to date.
What are people saying about Bella?
Celebrating a stunning opening night performance with wildly talented company of ‘Bella: An American Tall Tale’.