The plays in this volume are Loving Daniel Boone, The Holdup, Circus Valentine, Sarah and Abraham, Getting Out, Traveler in the Dark, and Third and Oak. This collection will also include introductory notes by the playwright, original cast and production information.
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Editorial Reviews
From Library Journal
Winner of the 1983 Pulitzer Prize for 'Night Mother and Tony Award winner for her Broadway musical The Secret Garden, Norman is a master at creating dialog and dramatic scenes that ring true to our ears and senses. Included in this collection of seven plays are Getting Out, Third & Oak, Circus Valentine, and The Holdup. Three speeches made to drama groups appear at the end. Her characters, whether they be performers in a struggling two-bit circus, women in an all-night landromat, or a Western outlaw, are ones we can easily identify with and understand. Each play may represent a different time and place, but all speak universal truths about the human condition. Highly recommended for all modern drama collections.?Howard E. Miller, St. Louis Science Ctr.
Copyright 1998 Reed Business Information, Inc.
Copyright 1998 Reed Business Information, Inc.
From Booklist
Norman won the 1983 Pulitzer Prize for 'Night, Mother but remains virtually unknown. That is a shame because, as the first volume of her collected plays shows, she is an unusually sensitive and powerful writer, able to find drama in the most mundane settings--a laundromat, a pool hall, a cheap apartment. More important, Kentucky-based Norman writes about the world of poor southern whites and blacks without resorting to offensive stereotypes or to bogus, politically correct cliche s. The plays in this volume aren't equally successful, though, for cheek by jowl with the early triumphs Getting Out and Third and Oak are two great disasters: Circus Valentine, which Norman considers her first bomb, and Traveler in the Dark, whose vicious reviews compelled Norman to stop writing for four years. Still, every play, thoughtfully introduced by the author, affords insight into how Norman has grown and changed. That alone makes the book valuable, and the three essays on the state of playwriting in contemporary American theater do nothing to detract from that value. Jack Helbig
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