Over the holiday weekend I posted a few items; those of you who were at the beach or taking a well-deserved vacation from the digital world may have missed them. On Saturday I published a response to a recent Terry Teachout essay in the Wall Street Journal; yesterday I offered a few observations about Eugene O’Neill’s early play The Emperor Jones. The comments remain open.
I should also point to Hannah Silva’s recent essay in the British theatre journal Exeunt called “Crisis of Naturalism,” arguing that there continues to be a reluctance for theatres and critics to recognize linguistic experimentation — another kind of diversity — in contemporary drama, a reluctance that borders on hostility:
We talk a lot about “diversity” in theatre. Diversity should not only be about ensuring we hear voices from different ethnic backgrounds and cultures on our stages, but all kinds of minority voices. Writers creating “linguistically innovative” work are a minority. As [Joanna] Laurens warned in The Guardian, “for as long as we dare put only naturalism on our stages, writers will dare write only naturalistic plays.”