THEA 1033:
Instructor:
Phone:
Hours:
ACTING I
FALL 2013
Richard Bugg
Office: South Hall 208
865-8365
E-mail:bugg@suu.edu
8:00 – 9:00 am; 11:00 am - noon Mon/Wed.; 9:00-10:00 am Tue; or by appointment
I.
COURSE DESCRIPTION:
Fundamental acting skills: perception, voice, movement, emotive analysis, thought processes.
Attendance at major productions required.
II.
III.
REQUIRED TEXT: Cohen, Robert. Acting One
OPTIONAL OR SUPPLEMENTAL TEXT:
Stanislavski, Constantine. An Actor Prepares
Hagen, Uta. Respect for Acting
IV. STUDENT LEARNING OUTCOMES:
1. Students will articulate a clear knowledge of basic stage terms and acting terminology.
2. Students will analyze both aurally and in writing a stage character’s motivations and tactics.
3. Students will demonstrate through performance the skill of immediacy or “being in the
moment.”
4. Students will demonstrate through performance the skill of creating tactical and emotional
progression through a scene or monologue.
5. Students will experience and evaluate the inherent collaborative nature of theatre by working
with scene partners.
6. Through improvisational games, the performing of personal monologues, and verbal analysis
assignments, students will demonstrate improved self-confidence and preparation for public
speaking and presentation.
7. Students will analyze and evaluate personal vocal, physical, social, and emotional traits or
shortcomings that might inhibit or limit them as actors, and create a plan for addressing them.
8. Students will demonstrate a knowledge of basic Aristotelian theory through written analysis of
theatre department productions.
V. STUDY UNITS OR PROJECTS:
The course will not be taught in separate subject matter units or at least this will be minimized as
much as possible. Subject matter units may be introduced separately, but skills will be learned as
an integrated experience as much as possible. Class work will include physical exercises, acting
assignments, script and text analysis as well as open discussions.
VI. GRADING SYSTEM:
Attendance at class is a must. You will be awarded 4 points for each class you attend on time.
However, after two absences you will not only lose the 4 points for attendance, but you will be
docked 25 points for your absence. Three tardy marks count as an absence.
Personal Monologue
Journal
Attendance at Major Productions w/ reports (2)
Play analyses (2)
GOTE sheet (1)
Script Analysis (1)
Quizzes
Monologue
Scene (1st presentation)
Scene (Final presentation)
Attendance & Participation
40 points
100 points
100 points
80 points
45 points
60 points
75 points
100 points
50 points
150 points
200 points
Quizzes will be one to two pages of true/false, fill-in-the-blank, and short answer questions.
Points may be deducted if you fail to keep your obligations to class members as partners in scene
assignments and general theatre ethics to individuals and to the class. All personal electronic
devices must be completely turned off during class.
EXTRA CREDIT - Participation in plays:
Departmental shows:
Auditions:
Extra play analysis or report
Off-campus shows:
Extra Credit is limited to 50 points.
up to 20 points
up to 10 points
up to 20 points
to be determined by me
You are expected to see two of the SUU Theatre productions this semester:
VII.
Romeo & Juliet
Christmas Carol on the Air
by William Shakespeare
September 26, 27, 28, October 4, 5
7:30 pm
Adams Memorial Theatre
Conceived & Adapted by Peter Sham & Brad Carroll
Play & Lyrics by Peter Sham
Score & Music by Brad Carroll
December 5, 6, 7, 9, 12, 16
Randall L. Jones Theatre
ACADEMIC INTEGRITY: Scholastic dishonesty will not be tolerated and will be prosecuted to
the fullest extent. You are expected to have read and understood the current issue of the student
handbook (published by Student Services) regarding student responsibilities and rights, and the
intellectual property policy, for information about procedures and about what constitutes
acceptable on-campus behavior.
VIII. AMERICANS WITH DISABILITIES ACT: Students with medical, psychological, learning or
other disabilities desiring academic adjustments, accommodations or auxiliary aids will need to
contact the Southern Utah University Coordinator of Services for Students with Disabilities
(SSD), in Room 206F of the Sharwan Smith Center or phone (435) 865-8022. SSD determines
eligibility for and authorizes the provision of services.
IX.
EMERGENCY MANAGEMENT STATEMENT: In case of emergency, the University's
Emergency Notification System (ENS) will be activated. Students are encouraged to maintain
updated contact information using the link on the homepage of the mySUU portal. In addition,
students are encouraged to familiarize themselves with the Emergency Response Protocols posted
in each classroom. Detailed information about the University's emergency management plan can
be found at http://www.suu.edu/emergency.
X.
HEOA COMPLIANCE STATEMENT: The sharing of copyrighted material through peer-to-peer
(P2P) file sharing, except as provided under U.S. copyright law, is prohibited by law. Detailed
information can be found at http://www.suu.edu/it/p2p-student-notice.html.
XI.
DISCLAIMER NOTICE: Information contained in this syllabus, other than the grading, late
assignments, makeup work, and attendance policies, may be subject to change with advance
notice, as deemed appropriate by the instructor.
Course Outline
AUG
Mon
Wed
Fri
SEP
Mon
Wed
Fri
Mon
Wed
Fri
Mon
Wed
Fri
Mon
Wed
Fri
Mon
OCT
Wed
Fri
Mon
Wed
Fri
Mon
Wed
Fri
Mon
Wed
Fri
Mon
Wed
NOV
Fri
Mon
Wed
Fri
Mon
Wed
Fri
Mon
Wed
Fri
Mon
DEC
Mon
Wed
Fri
THU
26
28
30
2
4
6
9
11
13
16
18
20
23
25
27
30
2
4
7
9
11
14
16
18
21
23
25
28
30
1
4
6
8
11
13
15
18
20
22
25
2
4
6
12
Introduction, Games
Preparing to Act
Goal and Obstacle / 3-object exercise
LABOR DAY RECESS – No Class
Acting with the “Other” / 3-object exercise
Beginning to Act / Personal Monologue
Personal Monologue / Tactics
Expectations Personal Monologue / Monologue Selection
GOTE
Quiz #1
Preparing a Role / Partner Exercise
Partner Exercise
Creating a Monologue-Chap.28 / Work Monologues
Journal Check; Rehearsing / Work Monologues
Staging the Scene / Work Monologues
Choices / GOTE sheet due / Work Monologues
Performing / Work Monologues
Work Monologues
R&J Play Report Due; Evaluation and Improvement / Scene Selections
Play Analysis #1 Due; Work Monologues
Quiz #2 / Stage Combat
Perform Monologues
Perform Monologues
Perform Monologues
FALL BREAK – No Class
The Actor’s Voice
Stage Speech
Using the Voice
Play Analysis #2 Due; The Actor’s Body / Scene – 1st Showing
Voice and Body Integration / Scene – 1st Showing
Imagination and Discipline / Scene – 1st Showing
Exercises
Quiz #3
Emotion—and Acting Theory
Work Scenes
Script Analysis Due; Work Scenes
Work Scenes
Work Scenes
Work Scenes
Final Scenes
THANKSGIVING BREAK
Final Scenes
Final Scenes
Final Scenes
9:00-10:50 Final Scenes; Christmas Carol on the Air Play Report Due
Play Analysis (for plays read):
This format should be used for each of the plays that you perform a scene or monologue
from
In essay form identify the following:
Exposition, Inciting Action, Crises, Climax, Denouement, Protagonist(s), Antagonist(s)
Also, within the body of the essay, answer these questions:




How does this story relate to modern human conflicts?
How does this play relate to your own life experience?
Your essay should be between 300 - 500 words.
It must be typed. Good grammar and sentence structure is expected.
Play Reports (for plays seen):
The following information will help you in writing your play reports. You will be
expected to write a report for each of the SUU Theatre main stage plays this semester
What to Look for When Watching a Play
(excerpt from “Enjoy the Play!” by Robert and Lorna Cohen)
A play should evoke hundreds of individual sensations, which all merge together in the final experience.
If you want to talk or write about the play afterwards, however, try to focus your attention on specific
details. You might even want to take notes during the intermission or during brief scenery changes.
What should you focus on at these moments? First, take note of any detail that catches your imagination
or curiosity. Such details, perhaps seeming only superficial at first, might eventually help you to
conceptualize the larger themes of the play or the production. You might be amused — or annoyed —
at the oddity of certain costumes, the way the actors move around the stage or speak, or the speed (fast?
slow? surrealistic?) with which certain lines and speeches are delivered. Perhaps you are struck by
certain stage effects or, conversely, at the simplicity and economy of the staging. (During a play, I try to
be observant of unexpected details; occasionally I take notes on them to see if I can reconcile them
afterwards with my overall impression of the play.)
Second, try to grasp the fundamental story as it is unfolding, to assess the goals and tactics of the
principal characters (and to predict where they will take them,) and to isolate the principal issues
involved and speculate on how they might be resolved or reconciled. This process is often aided by
lobby conversation, particularly during intermission, both between acquaintances and with strangers.
Intermission, however, is not the time to assess a play’s or a production’s quality — you don’t yet know
exactly where it’s all going — but it is the time when, on rare occasions, you might sense the thrill of
heading towards what might easily become a truly momentous, life-changing theatrical experience. (It’s
also the time, to be perfectly honest, when you might decide the play is so terrible that you should just
sneak out of the theatre and go home. But such experiences, one hopes, are extremely rare!)
After the play is over (and not too long thereafter, or the experience will lose its freshness), try to come
to terms with what impact the play had on you. Part of the “after-enjoyment” of theatre is separating out
all of its various elements to see which have made their maximum contributions to the aggregate
theatrical experience. Her are some questions you might consider:
About the play:
What is the play really about?
What characters did you root for? Which ones did you like? Which ones did you hate? Why?
Who, in your real life or in public life, do these characters resemble, if anyone? Did the play increase
your understanding of (or compassion for or anger at) such people?
Did the play get more interesting or less interesting as it went along?
Did the play address questions that are pertinent in your life (in terms of your country, culture, religion,
age group, or social group)? Did it make you rethink your values — or hope others would rethink
theirs?
Were there emotionally staggering moments in the play? Or were you left cold? Were there hilarious
moments? Or were you looking at your watch? Were there dazzlingly written and delivered
arguments? Or were you perplexed? bored?
Was the play too long? Or did you want it to go on? If the former, what parts could have been
eliminated or shortened? If the latter, how could it have been augmented?
What was terrific about the play? What was confusing? What was missing?
About the production and performance:
Did the acting seem believable? That is, did the characters seem like real people? Did you feel for their
predicament? empathize with their feelings? care what happened to them? Did the “in-love”
characters really appear to be in love? Or were they just faking it? Did the “angry” characters thrill
you with the passion of their anger? Or were they just bellowing?
Was the acting exciting? That is, did the actors enchant you with any particular performance skills,
beauty, emotional power, or rhetorical gifts? (Make no mistake: there are performers — in both
professional and amateur theatre, and certainly in university theatre — who can literally take your
breath away.) Or did the acting seem stilted, preplanned, mechanical, or forced?
Were the sets and the costumes appropriate for the show? (You need not be a theatre expert to answer
this.) Did the design elements help to make the play either more believable, more theatrically
exciting, or both? Looking back at the production, did its design elements make you think about the
matters addressed in the preceding list of questions? Did they help to make you feel the actions of
the play or feel that they were pertinent to you? Did they help to make you care about the characters
and what happened to them?
How did the lighting and the sound design contribute to the quality of the experience? Did they propel
the action forward and enhance the play’s ideas and emotions? Or did they unnecessarily call
attention to themselves? (Remember that all design elements — and the acting for that matter — are
expected to be generally subliminal to the overall impact of the play. They are not ordinarily
expected to “stand out” for individual attention and applause.)
About the audience:
Was the house filled or was attendance sparse?
Was the applause tepid or vociferous?
Did the audience seem to enjoy the play as much as (more than? less than?) you did?
Writing a Theatre Report
Your report should always include the name of the play, the author, the production company, and the
director, as well as those members of the artistic team whose contributions to the production
significantly shaped — either positively or negatively, in your opinion — the overall theatrical event.
At the beginning of the report itself, and often in the first sentence or two, identify the general type
of play you’re reporting on, whether, for example, it is a contemporary musical, a 1940s mystery thriller,
a well-known classic comedy, a rarely produced French tragedy, an original comedy, or whatever
category best suits the play you’ve just seen. This is not so much a formal designation of the play’s
genre but rather an in-your-own-words description to give your reader a framework for the remainder of
the report. You might also note whether the play was adapted, newly translated, or presented in an
unusual style; in particular, comment on the location and time period of the play’s setting, especially if
these vary from the location and period specified by the playwright.
At this point your report might read something like this:
OKLAHOMA!
Biloxi State University Theatre
A Theatre Report by Jane Student
Last Friday night, I attended the State University production of
Oklahoma! – the famous 1943 musical dram by Richard Rodgers and Oscar
Hammerstein II (based on Green Grow the Lilacs by Lynn Riggs) that
depicts the hard work of establishing statehood on the American
frontier at the turn of the 20th century. It was directed by Robert A
and performed by Biloxi State students.
In your first sentence, you have indicated the play’s genre stature, and period, as well as its authors,
year of writing, and general theme; in the next sentence you have identified the producing theatre
organization and the director.
At this point you will probably want to give a brief synopsis of the play. Identify the main
characters and the main story line as you do, going into as much detail as necessary for your reader to
get the gist of the play’s action. This might also be the place to introduce the names of the principal
actors as well.
In Oklahoma! We first meet the good-looking cowboy, Curly (played
by Kurt B), who has his eye on the pretty farm girl Laurey (played by
Erin C), an orphan being raised by her hearty “Aunt Eller” Murphy
(played by Megan D). We quickly see that Curly and Laurey are made
for each other, but their shyness and social inexperience, masked by
pride, keep them bantering rather than courting, and Curly’s hope to
invite Laurey to the “Box Social” is thwarted by the intervention of
Eller’s darkly sinister ranch hand, Jud (played by Joe E), who asks
her first. The conflicting romantic longings between these three
characters, which dominate the play, are paralleled in a lighter vein
by Laurey’s pal Ado Annie (played by Beth F) and her comical dilemma
(“I cain’t say no!”) as to how she might choose between her two
attractive suitors: dashing cowboy Will Parker (played by Danny G)
and world-wise traveling salesman Ali Hakim (played by Ken H). But
both of the play’s love triangles are set against a deeper sort of
romance — that of the Wild West and the American frontier. And as
romance yields to marriage, Oklahoma is tamed by the covenant of
statehood. Oklahoma! Thus celebrates both the exuberance of freedom
and the indispensable bonds of civilization.
This summary introduces the major characters and basic dramatic issues. It does not attempt to
show how the conflicts are resolved, however, since the goal of the report is to get the reader into the
play, not to retell the entire story with all its complications. Your report is intended to represent, but not
take the place of, the production.
Here, at about midpoint in the report, you might decide which features of the production —
direction, design, and acting — contributed effectively to the overall theatre experience and how they
worked together to do this. What details were particularly memorable? engaging? bothersome? Ask
yourself the questions in the previous section and answer them here.
I felt that from the time the curtain went up (“Oh, What a
Beautiful Mornin’,” Curly sings as the curtain rises), the setting,
deeply saturated with the brilliant colors of dawn, beautifully
underscored the apparently unbounded freedom of the frontier that is
so important to the play. A vast wheat field, broken only by a
slowly turning windmill; well-worn (and occasionally mud-caked)
overalls; and what appeared to be real, century-old farm implements
gave a vivid impression of the hard work of rural life in this part
of America’s territorial Midwest. Director A and the designers
(Gordon I, scenery; Lisa J, costumes; Shelly K, lighting) have
perfectly counterbalanced the beauty and desolation of this
environment, which plays against the mix of hope and despair of the
principal characters.
The music of Oklahoma!, though certainly well-known for many years,
seems fresh and new in this production, and the Biloxi student
company sings the numbers with passion and integrity. Under the
skillful choreography of Donald L, the thirty-three cast members
celebrate America’s heartland in a variety of dance numbers ranging
from the sensuous subtlety of Laurey’s “Dream Ballet” to the raucous
and almost uncontainable stomping of Will parker’s “Kansas City.”
Thanks to the careful direction and generally believable
performances, we are compellingly drawn into the rough-and-tumble
world of Oklahoma! without finding this legendary musical has become
a museum piece or a caricature of itself.
In the final portion of the report, you have moved into a more direct presentation of your strictly
personal response to the production. Your job is not so much to develop an opinion about everything
you see, but to identify just what actively stimulated you in this theatre experience, and just why it did.
Another person might comment more on the singing in this show, while another might highlight the
comedy elements, or the tragic development of Jud’s character; this merely demonstrates that we all see
plays differently and hence “report” on them in differing ways.
We shouldn’t expect every play we see to be important in the history of theatre or even in the larger
picture of our lives. We might hope that a play entertains us for two or three hours, that it keeps our
mind active, that it presents us with some interesting figures, and that maybe — just maybe — it will do
all of that and a lot more. The more we see theatre, and the more we understand what to look for and
report on in the theatre, the closer we can come to these goals.
SCRIPT ANALYSIS: For every page of your scene script you should have a corresponding page
that follows the following format. Be sure to describe specific measurable goals, and to use specific
action verbs (psychological actions toward the ‘other’.) Show in your script where each of these changes
in Objective and/or Tactic occurs:
Scene Objective
Xxxxxxxxxxxxxxxx
Xxxxxxxxxxxxxxxxxx
Xxxxxxxxxxxxxxxxx
Xxxxxxxxxxxxxxxxxx
Xxxxxxxxxxxxxxxxxx
Xxxxxxxxxxxxxxxxx
Xxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxxxxx.
Immediate Objective
A. xxxxxxxxxxxxxx
xxxxxxxxxx
xxxxxxxxxx
B. xxxxxxxxxx
xxxxxxxxxxx
xxxxxxxxxxxx
xxxxxxxxxxx
C. xxxxxxxxxxx
xxxxxxxxxxx
xxxxxxxxxxxx
D. xxxxxxxxxxx
xxxxxxxxxxx
xxxxxxxxxxx
Etcetera
Tactic
1. to xxxxxxx
2. to xxxxxxx
3. to xxxxxxx
4. to xxxxxxx
5. to xxxxxxx
6. to xxxxxxx
7. to xxxxxxx
8. to xxxxxxx
9. to xxxxxxx
10. to xxxxxxx
11. to xxxxxxx
12. to xxxxxxx
13. to xxxxxxx
14. to xxxxxxx
15. to xxxxxxx
16. to xxxxxxx
17. to xxxxxxx
18. to xxxxxxx
19. to xxxxxxx
20. to xxxxxxx
21. to xxxxxxx
22. to xxxxxxx
23. to xxxxxxx
24. to xxxxxxx
25. to xxxxxxx
26. to xxxxxxx
Etcetera
Personal Observation
Notes about character
idiosyncrasies,
character
relationships,
rehearsal discoveries,
etc.
The following is a list of plays and scenes that I happened to have and that I thought would be a helpful
reference. Most of them fit the ‘modern realism’ category. This is by no means a comprehensive list.
There are many possible selections that are not listed here.
Barefoot in the Park
Neil Simon
1m1w
Born Yesterday
Garson Kanin
1m1w
Bus Stop
William Inge
1m1w/2w
Com Blow Your Horn
Neil Simon
1m1w
Mary, Mary
Jean Kerr
1m1w
A Hatful of Rain
Michael V. Gazzo
2m/1m1w
King of Hearts
Jean Kerr
1m1w
Member of the Wedding
Carson McCullers
2w
The Sign in Sidney Brustein's Window
Lorraine Hansberry
1m1w
The Subject was Roses
Frank Gilroy
2m/1m1w/2m1w
A Thousand Clowns
Herb Gardner
1m1w/2m
Two for the Seesaw
William Gibson
1m1w
The Odd Couple
Neil Simon
2m
The Odd Couple (female version)
Neil Simon
2w
Golden Boy
Clifford Odets
1m1w
Plaza Suite
Neil Simon
1m1w
The Women
Clare Booth
2w
The Owl and the Pussycat
Bill Manhoff
1m1w
Bell, Book and Candle
John van Druten
2w/1m1w
Marty
Paddy Chayefsky
1m1w
A Moon for the Misbegotten
Eugene O'Neill
1m1w
Fool for Love
Sam Shepard
1m1w
Chapter Two
Neil Simon
1m1w/2m
A Streetcar Named Desire
Tennessee Williams
1m1w/2w
Little Foxes
Lillian Hellman
1m1w/2w
...Man in the Moon Marigolds
Paul Zindel
2w
The Glass Menagerie
Tennessee Williams
1m1w/2w
Our Town
Thornton Wilder
1m1w/2w
Death of a Salesman
Arthur Miller
2m
Butterflies are Free
Gershe
1m1w
The Bad Seed
Maxwell Anderson
2w
Inherit the Wind
Jerome & Lee
2m/1m1w
The Rainmaker
Richard Nash
1m1w
The Miracle Worker
William Gibson
2w
I Never Sang for my Father
Robert Anderson
2m
Dark at the Top of the Stairs
William Inge
2w
Toys in the Attic
Lillian Hellman
2w
Look Back in Anger
John Osborne
2w
I Remember Mama
John van Druten
2w
A View from the Bridge
Arthur Miller
2w
Come Back little Sheba
William Inge
1m1w
Country Girl
Clifford Odets
1m1w
Picnic
William Inge
1m1w
Echoes
Richard Nash
1m1w
Tea and Sympathy
Robert Anderson
1m1w
This Property is Condemned
Tennessee Williams
1m1w
The Children's Hour
Lillian hellman
2w
Wait Until Dark
Frederick knott
1m1w
Look Homeward Angel
Ketti Fringes
1m1w/2m
Scenes from a Marriage
Ingmar Bergman
1m1w
The Diary of Anne Frank
Frances Goodrich
1m1w/2w
Ah, Wilderness
Eugen O'Neill
2m/1m1w
Who's Afraid of Virginia Woolf
Edward Albee
1m1w
The Zoo Story
Edward Albee
2m
A Clearing in the Woods
Arthur Laurents
1m1w
Cactus Flower
Abe Burrows
1m1w
Two on an Island
Elmer Rice
1m1w
Summer and Smoke
Tennessee Williams
1m1w
Five Finger Exercise
Peter Shaffer
1m1w/2m
Biography
S.N. Behrman
1m1w
Counselor at Law
Elmer Rice
1m1w
Of Mice and Men
John Steinbeck
2m
True West
Sam Shepard
2m
Crimes of the Heart
Beth Henley
2w
Talley's Folley
Lanford Wilson
1m1w
The Prisoner of Second Avenue
Neil Simon
1m/1w
Romantic Comedy
Bernard Slade
1m1w
The Woolgatherer
William Mastrosimone
1m1w
Betrayal
Harold Pinter
1m1w
Vieux Carrè
Tennessee Williams
1m1w
Bedroom Farce
Alan Ayckbourn
1m1w
Hopscotch
Israel Horovitz
1m1w
The American Clock
Arthur Miller
1m1w
Innocent Thoughts, Harmless Intentions
John Heuer
1m1w
Agnes of God
John Pielmeir
2w
The Gingerbread Lady
Neil Simon
2w
Uncommon Women and Others
Wendy Wasserstein
2w
A Coupla White Chicks Sitting
Around Talking
John Ford Noonan
2w
Orphans
Kessler
2m
Table Manners
Alan Ayckbourn
2w
Laundry and Bourbon
James McLure
2w
Everybody Loves Opal
John Patrick
2w
Lone Star
James McLure
2m
Mr. Roberts
Heggen & Logan
2m
Teahouse of the August Moon
Saul Levitt
2m
Lion in Winter
Goldman
1m1w/2w
The Importance of Being Ernest
Oscar Wilde
1m1w/2m/2w
Blithe Spirit
Noel Coward
1m1w/2w
Taste of Honey
Shelagh Delaney
The Private Eye
Peter Shaffer
The Public Ear
Peter Shaffer
Luv
Schisgal
Brighton Beach Memoirs
Neil Simon
Broadway Bound
Knock Knock
A Streetcar Named Desire
Vanities
The Runner Stumbles
The Goodbye People
A Thousand Clowns
Thieves
You Can't Take It With You
The Nerd
Steel Magnolias
The Dining Room
Neil Simon
Jules Feiffer
Tennessee Williams
Jack Heifner
Milan Atitt
Herb Gardner
Herb Gardner
Herb Gardner
Kaufman and Hart
Larry Shue
Robert Harling
A.R. Gurney, Jr.
Labute, Neil
Autobahn, Bash, Coax, The Distance From Here, Falling In Like, Fat Pig, A Gaggle Of Saints, Helter Skelter / Land Of
The Dead, In a Dark Dark House, In The Company Of Men, Iphigenia In 0rem, Liars' Club, Love At Twenty, Medea
Redux, The Mercy Seat, The Shape of Things, Some Girl(s), Things We Said Today, This Is How it Goes, Wrecks
Miller, Arthur
All My Sons, Death of a Salesman, A View From the Bridge
O'Neill, Eugene
Long Day's Journey Into Night
Williams, Tennessee
The Glass Menagerie, Summer and Smoke
Simon, Neil
The Last of the Red Hot Lovers, The Odd Couple, The Odd Couple (Female Version), Prisoner of Second Avenue, The
Gingerbread Lady, Barefoot in the Park, Plaza Suite, God's Favorite, California Suite, Chapter Two, Brighton Beach
Memoirs, Biloxi Blues, Broadway Bound, Rumors, Lost in Yonkers, Laughter on the 23 rd Floor, London Suite, The
Sunshine Boys, I Ought to Be in Pictures,
Inge, William
Bus Stop, Come Back, Little Sheba, Picnic, The Dark at the Top of the Stairs
Rabe, David
The Basic Training of Pavlo Hummel, In the Boom Boom Room, Streamers
Feiffer, Jules
Little Murders, Knock Knock
Storey, David
Home, The Changing Room, The Contractor
Zindel, Paul
The Effect of Gamma Rays on Man-In-The-Moon Marigolds, And Miss Reardon Drinks a Little
Gershe, Leonard
Butterflies Are Free
Wasserman, Dale
One Flew Over the Cuckoo's Nest
Ayckbourn, Alan
The Norman Conquests
Wilson, Lanford
Talley's Folly
Anderson, Robert
I Never Sang for My Father, I'm Herbert, Tea and Sympathy
Lawrence, Jerome and Lee, Robert E.
Inherit the Wind, First Monday in October, The Gang's All Here
Shepard, Sam
True West, Fool for Love
Gibson, William
Two for the seesaw, a Cry of Players, The Miracle Worker, Monday After the Miracle
Odets, Clifford
Awake and Sing!
Osborne, John
Look Back in Anger, The Entertainer, Luther, Inadmissible Evidence
Kaufman, George S., and Hart, Moss
You Can't Take It With You
Saroyan, William
The Time of Your Life
Behan, Brendan
The Hostage
Leonard, Hugh
Da, A Life
Jones, Preston
A Texas Trilogy ( The Last Meeting of the Knights of the White Magnolia; LuAnn Hampton Laverty Oberlander; The
Oldest Living Graduate
Hellman, Lillian
The Children's Hour, The Little Foxes
Mamet, David
A Life in the Theatre, The Water Engine, Sexual Perversity in Chicago, American Buffalo
Durang, Christopher
Beyond Therapy
Coburn, D.L.
The Gin Game
Shaffer, Anthony
Murderer, Sleuth
Mastrosimone, William
The Woolgatherer, Extremities, Shivaree
Clark, Brian
Whose Life Is It, Anyway?
Davis, Bill C.
Mass Appeal
Wade, Kevin
Key Exchange
Levin, Ira
Deathtrap, Veronica's Room
Thompson, Ernest
On Golden Pond, The West Side Waltz
Slade, Bernard
Same Time Next Year, Tribute, Romatic Comedy
Wasserstein, Wendy
Isn't It Romantic?, The Heidi Chronicles
Gardner, Herb
A Thousand Clowns, I'm Not Rappaport
Henley, Beth
Crimes of the Heart, The Miss Firecracker Contest
Howe, Tina
Painting Churches, The Art of Dining, coastal Disturbances
Brady, Michael
To Gillian On Her 37th Birthday
Harling, Robert
Steel Magnolias
Harwood, Ronald
The Dresse
Taylor, Harold
K2
Luce, William
The Belle of Amherst
Pielmeier, John
Agnes of God
Manhoff, Bill
Owl and the Pussycat
Noonan, John Ford
A Couple White Chicks Sitting Around Talking
McLure, James
Laundry and Bourbon, Lone Star
Heggen, Thomas & Logan, Joshua
Mr. Roberts
Nash, N. Richard
The Rainmaker
Gertie's great-grandma grew aghast at Gertie's grammar.
Eight gray geese on green grass grazing.
The Shrieking Sheik shrieked shrilly.
Cedar shingles should be shaved and saved.
Mr. Blister Bluster. Preshrunk shirts. Twine three tree twigs.
Crackers crackle crackers crumble.
Ready, rugged, ragged, rascals.
His shirt soon shrank in the suds.
The bootblack brought the black boot back.
Slippery soapsuds. Double bubble. Truly rural.
When wasp swatters swat, watch the wasps get swatted.
Shelter for six sick scenic sightseers.
Bonnie Bliss blew big bubbles.
Give papa a cup of proper coffee in a copper coffee cup.
Sharp shooting Sam shot six savage sharks.
Katy clattered candy cans.
Roving rumba Romeo.
Lily ladles little Letty's lentil soup.
The pleasant peasant's funny pheasant wasn't present.
Listen to the local yokel yodel. That bloke's back brake block broke.
Give Mr. Snipa's wife's knife a swipe. Try tying twine to three tree twigs.
The sea ceaseth and sufficeth us. The sixth sheik's sixth sheep is sick.
Six slim slick slender saplings. Two twin screw steel cruisers.
Amidst the mists and coldest frosts, with stoutest wrists and loudest boasts, He thrusts his fists against the posts, And still
insists he sees the ghosts.
Theophilys Thistle, the successful thistle sifter, while sifting a sieve full of unsifted thistles, thrust three-thousand thistles
through the thick of his thumb. Now if Theophilys Thistle, the successful thistle sifter, while sifting a sieve full of
unsifted thistle, thrust three-thousand thistles through the thick of his thumb, see that thou, while sifting a sieve full of
unsifted thistles, thrusteth not three-thousand thistles through the thick of thy thumb. Success to the successful thistle
sifter.
Betty and Bob brought back blue balloons from the big bazaar.
Whereat with blade, with bloody blameful blade, he bravely broach'd his boiling bloody breast.
A big black bug bit a big black bear; where's the big black bear that the big black bug bit?
Are our oars oak? Peggy Babcock. Unique New York. Cricket critic.
Billions of booted, belted, bewhiskered braves busily biting a bit of better butternut before a bitter breakfast.
A lusty lady loved a little lawyer and longed to lure him from his lonely laboratory.
Noisy new gnats knew nothing about naughty knaves.
If lisping Lizbeth lisped listlessly, and lisping Les less listlessly lisped, would lisping Les lisp least listlessly?
The Swiss witch which bewitched this switch wished the switch bewitched.
Peter Prangle, the prickly prangle pear picker, picked three thousand packs of prickly prangly pears.
Vincent vowed vengeance very vehemently.
I bought a batch of baking powder and baked a batch of biscuits. I brought a big basket of biscuits back to the baker and
baked a basket of big biscuits. Then I took the big basket of biscuits and the basket of big biscuits and mixed the big
biscuits with the basket of biscuits next to the big basket and put a bunch of biscuits from the basket into the box.
Then I took the box of mixed biscuits, a biscuit mixer, and biscuit basket, and brought the basket of biscuits and box of
mixed biscuits and biscuit mixer to the bakery and opened a can of sardines.
What whim led White Whitney to whittle, whistle, whisper and whimper near the wharf where a floundering whale might
wheel and whirl?