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Detroit: A Play Paperback – September 13, 2011


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Product Details

  • Paperback: 112 pages
  • Publisher: Faber & Faber (September 13, 2011)
  • Language: English
  • ISBN-10: 0865478651
  • ISBN-13: 978-0865478657
  • Product Dimensions: 8 x 5.5 x 0.4 inches
  • Shipping Weight: 4 ounces (View shipping rates and policies)
  • Average Customer Review: 2.7 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #96,141 in Books (See Top 100 in Books)

Editorial Reviews

Review

“This scary-funny comedy . . . speaks to the fractious, frightened American moment more perceptively than any play I’ve seen on a New York stage.” Charles Isherwood, The New York Times
 
Detroit is a brilliantly observed piece of art about a particular time and place. That time is now—and by now I mean the current post-recessionary America. That place is a pair of backyards in the suburb of a great American city that has been rocked on its heels.” —Chris Jones, The Chicago Tribune
 
 

About the Author

Lisa D’Amour is an Obie Award–winning playwright and one half of PearlDamour, an interdisciplinary performance company she runs with Katie Pearl. Her work has been produced by theaters such as Steppenwolf Theatre, Children’s Theater Company, Clubbed Thumb, the Walker Arts Center, and the Kitchen. D’Amour received her MFA in playwriting from the University of Texas at Austin and currently splits her time between Brooklyn and New Orleans.

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Customer Reviews

2.7 out of 5 stars
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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Dave on November 6, 2013
Format: Paperback
Ms. D'Amour is from New Orleans? Ms. D'Amour is from New York? So, why is this author writing about Detroit you ask? She apparently isn't, but kind of is at the same time. Its tough to really see the true intention behind this play -- even after reading it and watching it live. See, Detroit isn't actually about the city of Detroit, but potentially any American city that has fallen on hard times. While the author personally makes a convincing parallel between New Orleans struggle with Katrina and Detroit's struggle of recovering from post-manufacturing depression, it doesn't validate this play. The writing is clunky and even good actors have difficulty with the presumptive dialogue. In many ways, as a native Midwesterner, I even felt offended by the stereotyped, tackiness of the characters. I wish that the author would have saved the title of the play for someone who understands Detroit's complexity and not its shock value.
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2 of 2 people found the following review helpful By Ray Andrews on July 30, 2012
Format: Paperback Verified Purchase
I read this play several weeks ago and plan to see it in New York. A true and frightening cautionary tale when you open your hearts and share with new neighbors who are living on nothing. Very impressive writing and totally believable. Paints a painful picture of youth running on empty. First rate work.
Ray Neye
Brookhaven, PA
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2 of 3 people found the following review helpful By boomboomboom on July 9, 2013
Format: Paperback Verified Purchase
I'm harsh when it comes to plays, and this one didn't really make the cut for me. I liked sections of it rather than the whole thing. Don't let that deter you from reading it... but maybe let it warn you from buying it. I own it, and kind of want to sell it back.
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Format: Paperback
Better seen than read. The words need actors to give them weight, air, and fluidity. It is especially difficult to visualize many of the scenes taking place, as D'Amour is sparing in her stage direction: for most directors, a gift, but for recreational readers, this can be a tough one to tackle. Don't reach into this play without prior experience reading theatrical literature. You'll enjoy it more.
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By Duncan Murphy on November 8, 2012
Format: Paperback
'Detroit' is only marginally a play. It doesn't dramatize anything, even though it demands loads of hurly-burly action on a stage. Larded with lazy writing (stage directions: "Ambient sounds of the neighborhood. Are they the same as usual or have they changed?"), there might be an actual play somewhere in this manuscript had the author put her mind to writing one. The characters are uniformly flat and speak with the same voice; the writing is listless as it plays on the hoary cliche of adults behaving badly. Themes are introduced, abandoned, resurrected, then capriciously modified in this ultimately unsatisfying work. Would that it were more than lackluster slapstick masquerading as half-baked performance art.
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