This book, the first full-length study of Guare's theater, will make his plays more accessible through an examination of the often unnerving type of black comedy that makes his plays work.".

A comprehensive study of an award-winning playwright known for unconventional blending of genres John Guare, one of the most innovative and influential contemporary American playwrights of the last sixty years, is best known for such works as House of Blue Leaves, winner of an Obie Award, the New York Drama Critics Circle Award for Best American Play, and four Tony Awards, and Six Degrees of Separation, recipient of the New York Drama Critics Circle Award for Best American Play and the Olivier Best Play Award and a finalist for the Pulitzer Prize in Drama. In Understanding John Guare, William W. Demastes provides a concise biography and analyzes the playwright's career from his earliest works produced off-off Broadway in the 1960s to his most recent Broadway play, A Free Man of Color, a finalist for the 2011 Pulitzer Prize in Drama. Often compared to his contemporaries Sam Shepard and David Mamet, who have distinctive voices tied to their mastery of realistic, idiomatic American English, Guare has a style that is perhaps more varied, Demastes speculates, the result of his formal training in theater. After earning a bachelor's degree from Georgetown University, Guare earned an M.F.A. from the Yale School of Drama. He then polished his theater craft in New York City during the exciting and turbulent 1960s, breaking from realist conventions and creating an unlikely blend of comedy, burlesque, stand-up comedy, and absurdly incongruous plotlines. The result has been a theater of surprise that is rich in stage action and experimentally invigorating. Demastes examines Guare's tools and techniques such as mixing serious with comic, creating characters who break into song and dance, inserting stand-up comedy routines, and drawing from the most absurd incongruities of everyday life. In doing so, Guare has created plays about the best and worst of humanity, about lost souls, and about delusional ideals.

Best known for his plays Six Degrees of Separation and The House of Blue Leaves, John Guare is a major figure in the contemporary American theater. Other notable works by Guare include Bosoms and Neglect, Landscape of the Body, and the Lydie Breeze series. His career began with off-off-Broadway experimentation in the sixties and continues through the present. In that time Guare has created many imaginative, eccentric plays that reflect the chaos, violence, and loneliness of life in our time. He frequently combines outrageous farce with painfully serious subject matter. This sourcebook is both a convenient reference and a resource for further investigation of Guare's works. The volume chronicles his achievements with a chronology and biographical essay. It also includes summaries of his published and unpublished plays, overviews of the critical reception of each work, production credits, a primary bibliography of dramatic and nondramatic writings, and extensive annotated bibliographies of reviews and other secondary material.

From the 1960s to the present day, John Guare’s plays have ranged from one-act to cyclic, realistic to surrealistic, naturalistic to experimental, and tragic to comic dramas. This study’s approach to the cornucopia the playwright himself provided when in an interview he gave a fundamental aesthetic principle of his craft. Like a person—and Guare’s plays develop the personal as well as the artistic self—a play must be grounded in reality; only then can it soar. The ground is traditional theatre with characters, no matter how larger than life they can be, and plot, no matter how illogical it can be. The soaring is in interrupting the action with monological narratives and musical interludes, bringing characters back from the dead, and having the action take hairpin turns into a mixture of genres and styles, modes and tones. In verbal and visual images, the flight invokes works by authors as varied as Aeschylus and Whitman, Dante and Feydeau, Verdi and Romberg. Soaring from ground to new ground, the theatre creates the transmission of the American heritage in Lake Hollywood, an idealism corrupted by a fraudulent American Dream in Lydie Breeze, and the recovery of the past in A Few Stout Individuals. As Guare said about his plays: they “interconnect.”

From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman, A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner of Second Avenue to 2005’s The Clean House, domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed “kitchen sink realism” to both support and contest the idea that the home is naturally women’s sphere. But there is more to the genre than even its supporters suggest. In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women’s roles and the importance of their household labor across lines of class and race in the twentieth century. The story begins just after World War I, as more households were electrified and fewer middle-class housewives could afford to hire maids. In the 1920s, popular mainstream plays staged the plight of women seeking escape from the daily grind; African American playwrights, meanwhile, argued that housework was the least of women’s worries. Plays of the 1930s recognized housework as work to a greater degree than ever before, while during the war years domestic labor was predictably recruited to the war effort—sometimes with gender-bending results. In the famously quiescent and anxious 1950s, critiques of domestic normalcy became common, and African American maids gained a complexity previously reserved for white leading ladies. These critiques proliferated with the re-emergence of feminism as a political movement from the 1960s on. After the turn of the century, the problems and comforts of domestic labor in black and white took center stage. In highlighting these shifts, Chansky brings the real home.