SUNDAY PRESS SPOTLIGHT
BROADWAY PLAY PUBLISHING
Broadway Play Publishing specializes in publishing full-lenght American plays. It also licenses and publishes some dramatic adaptiosn of some classic plays and literature, as well as on acts. the press acts as an agent to licese productions of play for various authors.
Over the years they have published the work of several Chicano(a) and Latino(a) plays. They published a collection of Octavio Solis plays, which I have been unable to find on their website.
this collection contains:
THE GUITARRÓN
HIDDEN PARTS
THE WONDERFUL TOWER OF HUMBERT LAVOIGNET
DON JUAN OF SEVILLE
THIN AIR: TALES FROM A REVOLUTION
THE REINCARNATION OF JAIME BROWN
EDDIE MUNDO EDMUNDO
ON SUNDAYS
"Lynne Alvarez is an enchantress. Her plays unfurl like flying carpets—the joy, the daring, the loop, the loops...prepare yourself for an exhilarating flight."
Tina Howe, playwright
"The plays of Lynne Alvarez possess a poetry and eerie quietude that is unique in our dramatic literature."
Mac Wellman, playwright
"In her magical and mysterious plays, Alvarez creates characters filled with longing, imagination and an outrageous sense of humor. Her highly theatrical landscapes invite us into a world where towers rise up, people flee their pasts, love appears around surprising corners and the poet in all of us is reborn. Alvarez has a unique and joyful voice that celebrates the complexities of the American experience in all its diverse and startling incarnations. This collection is a major achievement by one of the best kept secrets of the American Theater." Carey Perloff, Artistic Director, American Conservatory Theatre
Irene Fornes: Plays
Irene Fornes
This collection contains:
THE CONDUCT OF LIFE
THE DANUBE
MUD
SARITA
THE CONDUCT OF LIFE:
"...She writes increasingly from a woman's point of view. Women are doing women's things— ...getting raped (in THE CONDUCT OF LIFE).... Fornes has a near faultless ear for the ruses of egotism and cruelty. Unlike most contemporary dramatists, for whom psychological brutality is the principal, inexhaustible subject, Fornes is never in complicity with the brutality she depicts. She has an increasingly expressive relation to dread, to grief and to passion.... Dread is not just a subjective state, but is attached to history: the psychology of torturers In THE CONDUCT OF LIFE....
Fornes' work has always been intelligent, often funny, never vulgar or cynical; both delicate and visceral. Now it is something more. The plays have always been about wisdom: what it means to be wise. They are getting wiser...."
From Susan Sontag's preface to MARIA IRENE FORNES: PLAYS
Ann Garcia-Romero
“García-Romero’s witty, fast-paced play does give the (mismatched lovers) situation a new twist, focusing on two very individual and well-drawn characters in a particular cultural stratum that American theater hasn’t handled often or well.”
James Reel, Tucson Weekly
James Reel, Tucson Weekly
“García-Romero has a writing style that comfortably contains the literary spirit of Gabriel García Márquez, Jorge Luis Borges and others…. The conversations in this two-person play flow back and forth in gentle shapes. Even when there is much shouting, the words never feel jagged or abrupt. Like boxers they thrust and parry, shifting from offense to defense and back again, hoping to find an advantage.”
Chuck Graham, Tucson Citizen
Chuck Graham, Tucson Citizen
“…García-Romero’s voice is a vibrant one that has a love of language and storytelling…there are some wonderful verbal images in this play—one, a blue bucket by a bed to catch tears, is particularly poignant. And García-Romero has an ear for rhythmic dialogue.”
Kathleen Allen, Arizona Daily Star
Kathleen Allen, Arizona Daily Star
Eduardo Ivan Lopez
"The soldier and the girl, the girl and the soldier. Of such are many plays and movies made to warm the heart over many years.... A SILENT THUNDER, the quite heartwarming play.... The girl works in a tailor shop in Okinawa, which is where the play is set in 1966, during the Vietnam War.... The Marine is Corporal Joe Santana, a Puerto Rican American orphan."
----- Jerry Tallmer, New York Post
----- Jerry Tallmer, New York Post
"This sweet tale by playwright Eduardo Iván López becomes so much more than the tried-and-true serviceman's one-night-stand becoming true love. His characters are original because they rebel from the identities fate has dealt them and are consciously trying to become the people they desire to be. The script becomes universal because Mr. Lopez uses war effectively as a symbol of personal disillusionment and social injustice. He makes love between these two strikingly different characters seem like the most natural thing in the world."
--- Kris Oser, New York Law Journal
--- Kris Oser, New York Law Journal
Rogelio Martinez
1960, Havana. A young woman quickly learns that putting her past behind her is going to take more than a Revolution. With her wealthy family safely in Miami, Veronica sets out to prove that she's on the side of the Revolution, but when she's asked to betray her marriage, she begins to realize that to fit in she's going to have to do a lot more than read Marx.
Jose Rivera
Screenwriter of The Motorcycle Diaries
“José Rivera’s SCHOOL OF THE AMERICAS traces the last two days of the Argentine revolutionary’s life. The story comes from historical fact: When a feckless attempt to start an insurrection in Bolivia led to his capture, Che really was held for two days in tiny La Higuera while authorities decided his fate, and really did talk to a young villager named Julia Cortes. As imagined by Rivera, their conversations are sometimes predictable—America is “the greatest enemy of mankind” —but also contain surprising introspection. Che calls himself “a goddamn joke” and “a small, failed, stupid man.” No doubt addressing the audience, he declares, “Worship the struggle...don’t worship me.”
Jeremy Carter, New York
Jeremy Carter, New York
“…Mr Rivera's intimate play is something of a bookend to his screenplay for The Motorcycle Diaries, a coming-of-age movie about a young pre-political Che. In SCHOOL OF THE AMERICAS politics serve only as a backdrop to a story about Che's encounter with a young teacher named Julia Cortes. Julia teaches at the schoolhouse where Che is being held, and after pleading with the Lieutenant to be let inside, she has a final conversation with the prisoner.
Like COPENHAGEN and STUFF HAPPENS, this drama uses historical fact as a frame to pose intriguing questions about what might have happened….”
Jason Zinoman, The New York Times
Like COPENHAGEN and STUFF HAPPENS, this drama uses historical fact as a frame to pose intriguing questions about what might have happened….”
Jason Zinoman, The New York Times
this collection contains three full-length plays:
CLEAN
FLOOR SHOW: DONA SOL AND HER TRAINED DOG
TRAFFICKING IN BROKEN HEARTS
CLEAN:
“The forms of love that dare not speak their names are pretty scarce in this age of the tabloid talk shows. But that hasn't stopped Edwin Sanchez, a new playwright of tremendous emotional conviction...
How do you feel, for example, about a thirty year-old Roman Catholic priest in love with a ten year-old boy? The relationship—which, it should probably be noted right away, is never consummated—is at the center of CLEAN....
Mr Sanchez is a wide-eyed, unregenerate romantic who uses what he describes as `impossible' relationships to consider and celebrate the arbitrariness of love.
In a sense, the play is like a contemporary MIDSUMMER NIGHT'S DREAM in which the passion-drunk characters, rather than being sorted into socially acceptable pairs, learn to live in a world ruled by a blind Cupid. It is a theme Mr Sanchez explored in TRAFFICKING IN BROKEN HEARTS, an unsettling drama about a doomed gay triangle....
He is, in other words, a playwright to watch closely.”
Ben Brantley, The New York Times
How do you feel, for example, about a thirty year-old Roman Catholic priest in love with a ten year-old boy? The relationship—which, it should probably be noted right away, is never consummated—is at the center of CLEAN....
Mr Sanchez is a wide-eyed, unregenerate romantic who uses what he describes as `impossible' relationships to consider and celebrate the arbitrariness of love.
In a sense, the play is like a contemporary MIDSUMMER NIGHT'S DREAM in which the passion-drunk characters, rather than being sorted into socially acceptable pairs, learn to live in a world ruled by a blind Cupid. It is a theme Mr Sanchez explored in TRAFFICKING IN BROKEN HEARTS, an unsettling drama about a doomed gay triangle....
He is, in other words, a playwright to watch closely.”
Ben Brantley, The New York Times
originally produced by Hartford Stage
FLOOR SHOW: DONA SOL AND HER TRAINED DOG:
Reality and fantasy collide as a son—just out of a mental institution—and his mother—a former hooker, now a fortune teller—battle for the truth regarding the death of a daughter who may never have existed.
originally produced by Latino Chicago
TRAFFICKING IN BROKEN HEARTS:
“Playwright Edwin Sanchez makes a promising New York debut with TRAFFICKING IN BROKEN HEARTS, a grim, streetwise and bracingly compassionate work....
...he convinces with the honesty of his writing and a canny, thoughtful grasp of his trio of characters.
The playwright does an especially effective job in penning the gray shades of his characters....”
Greg Evans, Variety
...he convinces with the honesty of his writing and a canny, thoughtful grasp of his trio of characters.
The playwright does an especially effective job in penning the gray shades of his characters....”
Greg Evans, Variety
originally produced by the Atlantic Theater Company, New York
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