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.”

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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.”

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Lee Atwater Live On Stage!

Sacramento365.com

“This acclaimed one-man play explores the strategems, cynicism and passion brought to politics by Lee Atwater, self-styled master of negative campaigning and the fun-lovin’ Dixie dude equally at home in the world of delta blues and “dirty tricks” political strategists.”

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Jawad al-Assadi’s Women Sexophone

By Bassem Mroue, International Herald Tribune

“The first play produced at Babel Theater is al-Assadi’s Women Sexophone, which is adapted from The House of Bernarda Alba by Spanish dramatist Federico Garcia Lorca. The play depicts a tyrannical, recently widowed mother who represses her daughters.”

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Lee Atwater’s Sorrow For the Road Taken

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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.’”

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Questions of Pleasure and Value

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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be described as archival, in that they incorporate not just the facts of historical events, but the very language of historical documents.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.”

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The 1915 Lynching of a Jew

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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.”

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The Lynching of Leo Frank

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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.”

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The Death of Fred Hampton

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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…”

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Atwater: Fixin’ To Die

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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!”

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