Terrence McNally – författare

The 1996 Tony Award winner for Best Play "unforgettable, worth swimming to New York to catch" (Benedict Nightingale) Master Class presents the legendary opera diva, Maria Callas, as she puts aspiring young singers through their paces in a series of master classes. Both moving and entertaining, this theatrical tour de force dramatizes the Callas phenomenon and "is an unembarrassed, involving meditation on Callas's life and the nature of her art. Such subjects are not easily dramatized, certainly not with this brio." (New York Times)

Characters: 15 male, 3 female Scenery: Interior Winner of multiple Tony Awards including Best Musical, Kiss of the Spider Woman revamps a harrowing tale of persecution into a dazzling spectacle that juxtaposes gritty realities with liberating fantasies. Cell mates in a Latin American prison, Valentin is a tough revolutionary undergoing torture and Molina is an unabashed homosexual serving eight years for deviant behavior. Molina shares his fantasies about an actress, Aurora (originated on Broadway by Chita Rivera) with Valentin. One of her roles is a Spider Woman who kills with a kiss. "Thrilling."-- N.Y. Times. "Compelling, beautiful, funny and moving...[Has] a cinematic fluidity and a poetic charge."-- N.Y. Daily News. "Creates an entire world out of a prison cell...Dazzling."-- Newsweek.

A unique look of the story of Christ dramatically explores the homosexual quest for faith.

The Stendhal Syndrome is named for the French novelist, who on a visit to Florence had such a visceral and physical reaction to its beauty that he wrote, "I felt a pulsating in my heart. Life was draining out of me, while I walked fearing a fall." Now Terrence McNally, one of our most beloved playwrights, has crafted two stunning and witty plays about art and how it transforms us. Full Frontal Nudity explores the reaction of three American tourists to the perfection and beauty of Michelangelo's David. In Prelude and Liebstod, a renowned conductor watches his life unravel while conducting Wagner's musical masterpiece. With its world premiere in the winter of 2004 starring Frank Langella and Isabella Rossellini, The Stendhal Syndrome will join the ranks of important plays by this American master.

Four-time Tony Award–winning author Terrence McNally returns with a powerful new play about how far one will go for one’s love of the theater. In a small upstate New York town, Lou, a speech and drama teacher, and Jessie, a dog groomer at The Dapper Dog, bring joy to their community through running an amateur theater company. They become obsessed with buying a derelict movie theater and turning it into Captain Lou and Miss Jessie’s Magic Theater for Children of All Ages. The only obstacle in reaching their dream is Annabelle Willard — a terminally ill and manipulative widow who owns half the town. Will these naive dreamers be able to grasp the brass ring, and at what cost?

The world can and will go on without us but I have to think that we have made this world a better place. That we have left it richer, wiser than had we not chosen the way of art.The 1996 Tony Award winner for Best Play.Terrence McNally's Master Class presents the legendary opera diva, Maria Callas, as she puts aspiring young singers through their paces in a series of master classes. Both moving and entertaining, this theatrical tour de force dramatizes the Callas phenomenon and "is an unembarrassed, involving meditation on Callas's life and the nature of her art. Such subjects are not easily dramatized, certainly not with this brio." (New York Times)After opening on Broadway in 1995 with Zoe Caldwell and Audra McDonald, the play premiered in London in 1997 with Patti LuPone. It was last revived on Broadway and in the West End in 2011-12 starring Tyne Daly.

The world can and will go on without us but I have to think that we have made this world a better place. That we have left it richer, wiser than had we not chosen the way of art.The 1996 Tony Award winner for Best Play.Terrence McNally''s Master Class presents the legendary opera diva, Maria Callas, as she puts aspiring young singers through their paces in a series of master classes. Both moving and entertaining, this theatrical tour de force dramatizes the Callas phenomenon and "is an unembarrassed, involving meditation on Callas''s life and the nature of her art. Such subjects are not easily dramatized, certainly not with this brio." (New York Times)After opening on Broadway in 1995 with Zoe Caldwell and Audra McDonald, the play premiered in London in 1997 with Patti LuPone. It was last revived on Broadway and in the West End in 2011-12 starring Tyne Daly.

The world can and will go on without us but I have to think that we have made this world a better place. That we have left it richer, wiser than had we not chosen the way of art.The 1996 Tony Award winner for Best Play.Terrence McNally''s Master Class presents the legendary opera diva, Maria Callas, as she puts aspiring young singers through their paces in a series of master classes. Both moving and entertaining, this theatrical tour de force dramatizes the Callas phenomenon and "is an unembarrassed, involving meditation on Callas''s life and the nature of her art. Such subjects are not easily dramatized, certainly not with this brio." (New York Times)After opening on Broadway in 1995 with Zoe Caldwell and Audra McDonald, the play premiered in London in 1997 with Patti LuPone. It was last revived on Broadway and in the West End in 2011-12 starring Tyne Daly.

THE FULL MONTY: THE COMPLETE BOOK AND LYRICS OF THE HIT BROADWAY MUSICAL

Acclaimed playwright Terrence McNally’s works are characterized by such diversity that critics have sometimes had difficulty identifying the pattern in his carpet. To redress this problem, in Muse of Fire, Raymond-Jean Frontain has collected McNally’s most illuminating meditations on the need of the playwright to first change hearts in order to change minds and thereby foster a more compassionate community. When read together, these various meditations demonstrate the profound ways in which McNally himself functioned as a member of the theater community—as a strikingly original dramatic voice, as a generous collaborator, and even as the author of eloquent memorials.These pieces were originally written to be delivered on both highly formal occasions (academic commencement exercises, award ceremonies, memorial services) and as off-the-cuff comments at highly informal gatherings, like a playwriting workshop at the New School. They reveal a man who saw theater not as the vehicle for abstract ideas or the platform for political statements, but as the exercise of our shared humanity. “Theatre is collaborative, but life is collaborative,” McNally says. “Art is important to remind us that we’re not alone, and this is a wonderful world and we can make it more wonderful by fully embracing each other. [. . .] I don’t know why it’s so hard to remind ourselves sometimes, but thank God we’ve had great artists who don’t let us forget. And thank the audiences who support them because I think that those artists’ true mission has been to bring the barriers down, break them down; not build walls, but tear them down.”