When Third, playwright Wendy Wasserstein's swan song, first debuted in New York, it was met with largely tepid reviews. It seems as if many felt that Wasserstein's creative energy, once so true to life—both her own and more generally so—that it earned her the first Tony ever given to a female playwright, had fizzled with her prolonged bout with cancer. And to a degree, this is true: Third is not nearly so strong a script as some of Wasserstein's earlier works.
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