Humanizing the Enemy: Wannous’ The Rape

By India Stoughton, The Daily Star

“The audience that descended on the Lebanese American University’s Irwin Theater Friday night for a performance of Saadallah Wannous’ “The Rape” sat in rapt silence as the brutal events played out on stage. Directed by Sahar Assaf, in a new English-language translation by Nada Saab and Robert Myers, the production is the fruit of a collaboration between LAU and the American University of Beirut.”

Read article

Unmanned: Timely Drone Drama Set in the Southwest

“In some ways modern warfare has saved American lives through the use of technologies such as… drones… But is that right? For as long as nations have fought one another, war has been bloody, violent and permanently damaging… This… makes battle a last resort when wars are usually fought by young men and women… These issues and more are part of Robert Myers’ play, Unmanned.”

Read article

New York Review of Books: “Coup de Théâtre”

Sentence to Hope
Robert Myers and Nada Saab’s thoughtful selection builds a picture of a complex artist and thinker who used theater to grapple with the great political questions of his time: questions of the possibility of social justice, the effectiveness of revolutionary action, the power of words and art, and the possibility of personal freedom within repressive societies.

Read article

A Rare Chance to Forget the Killing

By Rami Khouri, The Daily Star

“Written by a Syrian author in the 1990s, it captures human emotions and hypocrisy, social constraints, and political power relations that are reflected in perhaps every country in the world. But this cultural and creative power that affirms universal human attributes is virtually unknown outside the Arab world.”

Read article

Top 10 Books of 2019 from the Arab World

Joanna Diab
In Sentence to Hope, translated by Nada Saab and Robert Myers, Sa’dallah Wannous, the towering Syrian playwright finally gets the wide-ranging collection he deserves. The book includes several of Wannous’s translated plays, essays and interviews that broaden our sense of the late writer’s relationship to his writing and his country.

Read article

Lee Atwater’s Sorrow For the Road Taken


By James Hebert, The San Diego Union-Tribune

“In writing Fixin’ to Die, Myers found Atwater’s confessions and regrets as compelling as the perplexing life that led to them. ‘His act of contrition at the end, however you want to interpret it, was sort of a cry of humanity,’ the playwright says. “That on some very basic level, we’re human beings.’”

Read article

Questions of Pleasure and Value


By David Shumway

“Myers’s plays might be described as archival, in that they incorporate not just the facts of historical events, but the very language of historical documents. Like many of Sayles’s films, these plays address themselves explicitly to political questions.”

Continue reading

The 1915 Lynching of a Jew


By Jane Gross, New York Times

“The Theater in the Square, a former cotton warehouse 300 yards from Mary Phagan’s grave, chose the play The Lynching of Leo Frank, by Robert Myers, to open its 19th season, in keeping with a philosophy to showcase local themes.”

Read article

The Lynching of Leo Frank

Leo Frank - Small

By Sid Smith, Chicago Tribune

“Myers, who is author of several other works inspired by history, including “Lee Atwater: Fixin’ To Die” and “Dead of Night: The Execution of Fred Hampton” (premiered by Pegasus in February), wrote his version of the Leo Frank story in 1984, his first effort at playwrighting.”

Read article

The Death of Fred Hampton


By Teresa Wiltz, Chicago Tribune

“We’re talking about a political figure who was cut down,” says Robert Myers, the playwright who has written “Dead of Night.” “Hampton was an absolutely courageous figure. I don’t think he had one iota of doubt about what potentially was in store for him…”

Read article

Atwater: Fixin’ To Die


By Mark Singer, New Yorker

“At one point in Fixin’ to Die, Atwater says, “Lemme tell you something about my attitude towards lying,” then launches into a hilariously bombastic non sequitur that winds up with the declamation “Because if you ever corrupt yourself on lying or stealing, then Katie bar the door!”

Continue reading