User:DPrison/sandbox

Recent productions[edit]

In 1996 the Orange Tree Theatre in Richmond, London, began a long association with the plays of Susan Glaspell. Auriol Smith directed The Verge in 1996, one of the first of many plays by the American playwright to be performed at the theatre. The Mint Theater in New York City produced Alison's House in 1999 under the direction of Linda Ames Key.

The Metropolitan Playhouse a New York resident theater dedicated to exploring and re-vitalizing American literature and culture, staged Inheritors in 2005; the production was directed by Yvonne Opffer Conybeare.

In his 2008 programmed note for Inheritors, Orange Tree director Sam Walters wrote:

The Ontological Hysteric Incubator Arts project put on two plays by Glaspell, The Verge in 2009, directed by Alice Reagan; and Trifles in 2010, directed by Brooke O'Harra and Brendan Connelly.

As of 2013 the theater has produced three of Glaspell's one-act plays and five of her full-length plays, including the first ever production of Glaspell's unpublished final play, Springs Eternal.

In September 2015, celebrating the centenary of Provincetown Players, American Bard Theater Company presented a 12-hour celebration, featuring performances of 10 of Glaspell's plays in a single day.

As of 2018, The San Diego State University school of theatre, television, and film opened this fall with The Glaspell Project. This project consisted of two, one act plays by Susan Glaspell; Trifles written in 1916 and Women Horror written in 1918.The play cost $20 and $17 for students and was sold out. Plays were directed by faculty member Randy Reinholz and sold out immediately. The production ran Friday September 28 through Sunday October 7 in the SDSU’s experimental theatre. This school aspires to gender equality and has pledged that half of each seasons productions will be written by female playwrights. Reinholz said:

” It’s important to recognize that women, or any group, are not a group of homogenous people. I am very familiar with working s a very close alli and advocate, but also as an outsider, facilitation the original authentic voice on stage.”