Arthur Miller and the Art of the Possible
Centola, Steven R
While commenting on the difference between playwriting and screenwriting…
Category: American Drama
Melodrama, Convention, and Rape
Branca, R Rene
Royall Tyler’s The Contrast (1787), Fanny Wright’s Altorf (1819), John Augustus Stone…
Mamet’s Divided Magics: Communion and Duplicity in The Shawl, The Cryptogram, and Other Works
Brewer, Gaylord
David Mamet’s 1985 pla…
Tennessee Williams Encyclopedia, The
Bak, John S
Review: Philip C. Kolin, ed. The Tennessee Williams Encyclopedia. Westport and Lond…
Ragged Edges: The Curious Case of F. Scott Fitzgerald’s The Vegetable
Wixson, Christopher
F. Scott Fitzgerald’s only full-length pla…
“Quite a Moon!”: The Archetypal Feminine in Our Town
Shen, Min
Near the end of Act I in Our Town, Wilder enumerates different charac…
“Moments” the Fade, Love that Abides in Tina Howe’s Painting Churches
Loomis, Jeffrey
Just as much as other Tina Howe plays, Paintin…
GETTING ALBEE’S GOAT: ‘Notes toward a Definition of Tragedy’
Kuhn, John
Winning three Pulitzers (1966: A Delicate Balance, 1974: Sea…
Editor’s Note
Jenckes, Norma
With great pride and pleasure I introduce this very Special Double Issue of American Orama dedicated to…
Bernadette Peters on Gypsy
Miller, Gabriel
GABRIEL MILLER: Is the production of Gypsy still going forward?
BERNADETTE PETERS: …
