Bøker av Megan Terry

A musical presentation of magical and possible events in the lives of two women born in the 19th century. Megan Terry has published over forty-five plays. Most have been translated and produced worldwide. She has won a number of major writing awards, including a Guggenheim Fellowship and an Obie Award. She was elected to lifetime membership by the College of Fellows of the American Theatre, installation at the Kennedy Center, Washington, DC

In this non literal series of exercises for actors, performers enter every ninety seconds or so to substitute (as in a basketball game). The enjoyment is in technique - pure virtuosity is required. Vignettes include a husband and wife eating breakfast in bed, a female bank robber and a woman who plays the God of Abraham.

Subtitled "A Documentary Fantasy Musical About Life in Prison", BABES IN THE BIG HOUSE explores feminism, sexuality, and the degradation of women. "BABES IN THE BIGHOUSE is a wildly varying production, with situations so funny they're sad, so tragic they're hilarious. The characters are acid-strong."Steve Jordan, Omaha World-Herald "BABES is a funny, shocking, affecting piece of theater. Ms Terry's jazz-like verbal constructions were absolutely great."Maggie Hawthorn, Seattle Post-Intelligencer "Megan Terry, like Kafka did in The Trial, uses razor-honed, sardonic gallows humor to coax empathy and understanding-so her theme-the dehumanization of incarcerated people aided and abetted by sexist stereotyping and sadism-comes across with even greater power and urgency."Victor Livingston, Philadelphia Evening Bulletin

"It's tough to imagine 'a comic, gymnastic extravaganza about family aggression,' but the Omaha Magic Theater has done it. Avant garde playwright Megan Terry's new play GOONA GOONA concerns child abuse as told to Punch and Judy, the story of a nuclear family meltdown is stylized to absurdity… GOONA GOONA may be the best play the Magic Theater has staged."Roger Catlin, Omaha World-Herald "Megan Terry's GOONA GOONA turns out to be a racy, raucous and instructive piece of avant garde action theater somewhere this side of Grand Guignol and Artaud's theater of cruelty. It's a 'musical' that is also educational, not only about family violence but also about a whole clutch of middle-class American attitudes. It plays like a cross between a circus and a surrealist sermon… The play is a fascinating, always interesting exploration of the uses of the stage."Joan Bunke, The Des Moines Register