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Last Updated: 26 Jul 11

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Penny Penniston

PENNY PENNISTON   

Nationality:   USA    Email:   Click here to contact    Website:   n/a

Literary Agent:  n/a

Penniston is a Chicago-area playwright. Her most recent play, NOW THEN AGAIN, won a Joseph Jefferson Citation for "Best New Work" and was published by Broadway Play Publishing in the Fall of 2001. A screenplay adaptation of this play was selected for the 2005 Tribeca Film Institute / Alfred P. Sloan Foundation development program. As part of this program, Penny is developing the script under the mentorship of director/screenwriter Nora Ephron and Physicist Brian Greene. Previously, Penny co-authored THE ROARING GIRL with her husband, director Jeremy Wechsler. This adaptation of the 1611 comedy by Thomas Middleton and Thomas Dekker had its world premiere in Chicago with Shakespeare's Motley Crew in the Fall of 1999 and received a Joseph Jefferson nomination for "Best Adaptation." Penny teaches playwriting in the theater department at Northwestern University.

Plays by Penny Penniston

Now Then Again

1st Produced:

Bailiwick Repertory, Chicago, USA >>>

2001

Company:

n/a

1st Published:

Broadway Play Publishing,

ISBN/ASIN:

-

Music:

-

doollee no

#55371

To Buy This Play:

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Genre:

Romantic Comedy Comedy

Parts:

Male

5

Female

1

Parts other:

-

Notes:

-

Synopsis:

A time-bending love story between two physicists. Hedy Weiss of the Chicago Sun-Times described it as ". . .a deft little romantic screwball comedy with a very brainy twist. It brings to mind some of Tom Stoppard's more intellectual theatrical hijinks. But it's also the kind of work that might have beguiled such 1930's and '40s era film directors as Frank Capra and Preston Sturges, who probably would have hired Albert Einstein as a script consultant."

Further Reference:

-


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Roaring Girl, The

1st Produced:

Chicago, Illinois

1999

Company:

Shakespeare's Motley Crew

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#55372

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Comedy

Parts:

Male

13

Female

4

Parts other:

-

Notes:

written by Jeremy Wechsler and Penny Penniston

Synopsis:

This is an adaptation of the 1611 comedy by Thomas Middleton and Thomas Dekker. Middleton and Dekker's play was inspired by the real-life character of Moll Cutpruse, a female thief and con-artist who lived in early 17th century London. The play is an action-packed adventure story about star-crossed lovers, conspiring noblemen, and, in the middle of it all, Moll Cutpurse, the fast-talking sword-wielding Roaring Girl.

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.