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Nagy Plays: 1
"Young playwrights don't come much hotter than Phyllis Nagy" (Daily Telegraph) Includes her three Royal Court -performed plays Weldon Rising "Here is the best new play I have seen in many months...This play is exciting because it is well written, unusually constructed and morally serious." (Financial Times); in Butterfly Kiss "Nagy captures the texture of a life and writes short, vivid, often disturbingly erotic scenes...it's a play that leaves me proclaiming Nagy a writer of real talent" (Guardian), Disappeared (winner of the Mobil Prize,1995) "A piece that gets right under your skin...There's no neat solution to Nagy's conundrum, just a fog of fear, despair, and most remarkably of all, a final mirage of escape. Spine-tingling stuff" (Daily Telegraph) The Strip, "kaleidoscopic and hugely accomplished dissection of fate, love and chance" (Independent) "Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)
Never Land
"Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Alistair Macaulay, Financial Times) Nagy's latest play is a blend of chilling humour and surrealism, interconnected issues of sex, truth, sincerity, psychology and mystery. "Whereas much contemporary playwriting is egregious, anorexic, short-winded and uncluttered, Nagy writes sinuously and elegantly, working towards a theatrical coalescence of plot, dialogue and swiftly changing scenic representation that is as exciting as it is unusual" (Michael Coveney)
Weldon Rising' & 'Disappeared'
"Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Alistair Macaulay, Financial Times) Weldon Rising: Downtown New York. The temperature is soaring. In the meat-packing district, Natty Weldon's lover is casually butchered by a homicidal homophobe. The witnesses do not intervene. Natty flees in terror, two lesbians watch from their apartment window and a flamboyant transvestite prostitute cowers in the street below. But life changes for them after the murder. Disappeared: Sarah Casey, a travel agent who has never been anywhere, meets the mysterious Elston Rupp in a bar in New York's Hell's Kitchen. They walk out together and she is never seen again. Was she murdered, has she escaped from the city of loners, or has she simply vanished? Nagy is "the laconic laureate of this spiritual wasteland" (Paul Taylor, Independent)
Nagy Plays: 1
"Young playwrights don't come much hotter than Phyllis Nagy" (Daily Telegraph) Includes her three Royal Court -performed plays Weldon Rising "Here is the best new play I have seen in many months...This play is exciting because it is well written, unusually constructed and morally serious." (Financial Times); in Butterfly Kiss "Nagy captures the texture of a life and writes short, vivid, often disturbingly erotic scenes...it's a play that leaves me proclaiming Nagy a writer of real talent" (Guardian), Disappeared (winner of the Mobil Prize,1995) "A piece that gets right under your skin...There's no neat solution to Nagy's conundrum, just a fog of fear, despair, and most remarkably of all, a final mirage of escape. Spine-tingling stuff" (Daily Telegraph) The Strip, "kaleidoscopic and hugely accomplished dissection of fate, love and chance" (Independent) "Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)
Stagestruck
Stagestruck: theater, AIDS, and the marketing of gay America.
Feminist Theatrical Revisions of Classic Works
Re-visioning the classics, often in a subversive mode, has evolved into its own theatrical genre in recent years, and many of these productions have been informed by feminist theory and practice. This book examines recent adaptations of classic texts (produced since 1980) influenced by a range of feminisms, and illustrates the significance of historical moment, cultural ideology, dramaturgical practice, and theatrical venue for shaping an adaptation. Essays are arranged according to the period and genre of the source text re-visioned: classical theater and myth (e.g. Antigone, Metamorphoses), Shakespeare and seventeenth-century theater (e.g. King Lear, The Rover), nineteenth and twentieth century narratives and reflections (e.g. The Scarlet Letter, Jane Eyre, A Room of One's Own), and modern drama (e.g. A Doll House, A Streetcar Named Desire).
The Talented Mr Ripley
The first stage adaptation of Patricia Highsmith's famous crime novel Tom Ripley is a criminal with an ambiguous past. He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris. "Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)
Upstaged
First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
Feminist Views on the English Stage
Feminist Views on the English Stage, first published in 2003, is an exciting and insightful study on drama from a feminist perspective, one that challenges an idea of the 1990s as a 'post-feminist' decade and pays attention to women's playwriting marginalized by a 'renaissance' of angry young men. Working through a generational mix of writers, from Sarah Kane, the iconoclastic 'bad girl' of the stage, to the 'canonical' Caryl Churchill, Elaine Aston charts the significant political and aesthetic changes in women's playwriting at the century's end. Aston also explores writing for the 1990s in theatre by Sarah Daniels, Bryony Lavery, Phyllis Nagy, Winsome Pinnock, Rebecca Prichard, Judy Upton and Timberlake Wertenbaker.
Blood on the Stage, 1975-2000
Describes more than 80 full-length plays produced in the last quarter of the 20th century, with an emphasis on New York and London performances.
