Amy Muse is associate professor and Chair of the English Department at the University of St. Thomas in St. Paul, Minnesota, USA.

Muse’s generous and affectionate approach … might challenge some institutional notions of scholarship, but her critical methodology emulates and illuminates one of the hallmarks of Ruhl’s style, an ‘aesthetic of lightness.’ … For researchers, it provides an excellent overview of Ruhl’s canon. Playwrights looking to experiment with new forms will appreciate Muse’s detailed descriptions of the specific way that Ruhl constructs her plays.

• Acknowledgements Preface1 “What aesthetic form might consciousness take?”SnowlessThe Lady with the Lap Dog and Anna Around the NeckThree SistersOrlandoDear ElizabethCoda2 “I like plays that have revelations in the moment, where emotions transform almost inexplicably”EurydiceDemeter in the CityMelancholy PlayScenes from Court Life or the whipping boy and his princeCoda3 “Getting in the same room is kind of the dream”The Clean HouseLate: A Cowboy SongDead Man’s Cell PhoneIn the Next Room or the vibrator playStage KissCoda4 “I’m interested in those more invisible terrains”Passion PlayThe Oldest BoyFor Peter Pan on Her 70th BirthdayHow to Transcend a Happy MarriageCoda5 Directing Sarah RuhlAn interview with Sarah Rasmussen and Hayley Finn6 Other Critical PerspectivesSarah Ruhl’s Passion Play and Contemporary Expressions of Medieval PerformanceJill Stevenson, Marymount Manhattan College, USA.Arrested Dev-elopement: Myth-Understanding Father-Daughter Love in Sarah Ruhl’s EurydiceChristina Dokou, University of Athens, Greece.From Pontius Pilate to Peter Pan: Lightness in the Plays of Sarah RuhlThomas Butler, Eastern Kentucky University, USA.ChronologyNotes and ReferencesNotes on ContributorsBibliographyIndex

Amy Muse is associate professor and Chair of the English Department at the University of St. Thomas in St. Paul, Minnesota, USA.

Muse’s generous and affectionate approach … might challenge some institutional notions of scholarship, but her critical methodology emulates and illuminates one of the hallmarks of Ruhl’s style, an ‘aesthetic of lightness.’ … For researchers, it provides an excellent overview of Ruhl’s canon. Playwrights looking to experiment with new forms will appreciate Muse’s detailed descriptions of the specific way that Ruhl constructs her plays.

• Acknowledgements Preface1 “What aesthetic form might consciousness take?”SnowlessThe Lady with the Lap Dog and Anna Around the NeckThree SistersOrlandoDear ElizabethCoda2 “I like plays that have revelations in the moment, where emotions transform almost inexplicably”EurydiceDemeter in the CityMelancholy PlayScenes from Court Life or the whipping boy and his princeCoda3 “Getting in the same room is kind of the dream”The Clean HouseLate: A Cowboy SongDead Man’s Cell PhoneIn the Next Room or the vibrator playStage KissCoda4 “I’m interested in those more invisible terrains”Passion PlayThe Oldest BoyFor Peter Pan on Her 70th BirthdayHow to Transcend a Happy MarriageCoda5 Directing Sarah RuhlAn interview with Sarah Rasmussen and Hayley Finn6 Other Critical PerspectivesSarah Ruhl’s Passion Play and Contemporary Expressions of Medieval PerformanceJill Stevenson, Marymount Manhattan College, USA.Arrested Dev-elopement: Myth-Understanding Father-Daughter Love in Sarah Ruhl’s EurydiceChristina Dokou, University of Athens, Greece.From Pontius Pilate to Peter Pan: Lightness in the Plays of Sarah RuhlThomas Butler, Eastern Kentucky University, USA.ChronologyNotes and ReferencesNotes on ContributorsBibliographyIndex

Amy Muse is associate professor and Chair of the English Department at the University of St. Thomas in St. Paul, Minnesota, USA.

Muse’s generous and affectionate approach … might challenge some institutional notions of scholarship, but her critical methodology emulates and illuminates one of the hallmarks of Ruhl’s style, an ‘aesthetic of lightness.’ … For researchers, it provides an excellent overview of Ruhl’s canon. Playwrights looking to experiment with new forms will appreciate Muse’s detailed descriptions of the specific way that Ruhl constructs her plays.

• Acknowledgements Preface1 “What aesthetic form might consciousness take?”SnowlessThe Lady with the Lap Dog and Anna Around the NeckThree SistersOrlandoDear ElizabethCoda2 “I like plays that have revelations in the moment, where emotions transform almost inexplicably”EurydiceDemeter in the CityMelancholy PlayScenes from Court Life or the whipping boy and his princeCoda3 “Getting in the same room is kind of the dream”The Clean HouseLate: A Cowboy SongDead Man’s Cell PhoneIn the Next Room or the vibrator playStage KissCoda4 “I’m interested in those more invisible terrains”Passion PlayThe Oldest BoyFor Peter Pan on Her 70th BirthdayHow to Transcend a Happy MarriageCoda5 Directing Sarah RuhlAn interview with Sarah Rasmussen and Hayley Finn6 Other Critical PerspectivesSarah Ruhl’s Passion Play and Contemporary Expressions of Medieval PerformanceJill Stevenson, Marymount Manhattan College, USA.Arrested Dev-elopement: Myth-Understanding Father-Daughter Love in Sarah Ruhl’s EurydiceChristina Dokou, University of Athens, Greece.From Pontius Pilate to Peter Pan: Lightness in the Plays of Sarah RuhlThomas Butler, Eastern Kentucky University, USA.ChronologyNotes and ReferencesNotes on ContributorsBibliographyIndex