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    How I Learned to Drive (Stand-Alone TCG Edition)
    How I Learned to Drive (Stand-Alone TCG Edition)
    How I Learned to Drive (Stand-Alone TCG Edition)
    Ebook102 pages1 hour

    How I Learned to Drive (Stand-Alone TCG Edition)

    By Paula Vogel

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    About this ebook

    “As I try to come to grips with the lack of control I have in terms of my own visibility and commercial success within the American Theater, I remain convinced that I have control in terms of how I see my identity. How I Learned to Drive gave me that gift. It felt as if the play was rewriting me, and I will always remember the sensation of lightness I had in the middle of the night as I wrote it. This is the gift of theater and of writing: a transubstantiation of pain and secrecy into light, into community, into understanding if not acceptance.” — Paula Vogel, from her Preface

    Winner of the Pulitzer Prize for Drama, Paula Vogel’s How I Learned to Drive is widely recognized as a masterpiece of contemporary drama. It is published here for the first time as a stand-alone edition. Paula Vogel is the author of Indecent, The Baltimore Waltz, The Long Christmas Ride Home, Don Juan Comes Home from Iraq and A Civil War Christmas, among many other plays. She has held a distinguished career as a teacher and mentor to young playwrights, first at Brown University and then at the Yale School of Drama.

    LanguageEnglish
    PublisherTheatre Communications Group
    Release dateApr 24, 2018
    ISBN9781559368841
    How I Learned to Drive (Stand-Alone TCG Edition)

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      Book preview

      How I Learned to Drive (Stand-Alone TCG Edition) - Paula Vogel

      PRODUCTION NOTES

      GREEK CHORUS: I urge directors to use the Greek Chorus in staging as environment and, well, part of the family—with the exception of the Teenage Greek Chorus member who, after the last time she appears onstage, should perhaps disappear.

      MUSIC: Please have fun. I wrote sections of the play listening to music like Roy Orbison’s Dream Baby and The Mamas and the Papas’ Dedicated to the One I Love. The vaudeville sections go well to the Tijuana Brass or any music that sounds like a Laugh-In soundtrack. Other sixties music is rife with pedophilish (?) reference: the You’re Sixteen genre hits; The Beach Boys’ Little Surfer Girl; Gary Puckett and the Union Gap’s This Girl Is a Woman Now; Come Back When You Grow Up, etc.

      TRAFFIC SIGNS: Whenever possible, please feel free to punctuate the action with traffic signs: No Passing, Slow Children, Dangerous Curves, One Way, and the visual signs for children, deer crossings, hills, school buses, etc.

      TITLES: Throughout the script there are boldfaced titles. In production these should be spoken in a neutral voice (the type of voice that driver education films employ). In the New York production these titles were assigned to various members of the Greek Chorus and were done live.

      NOTES ON THE NEW YORK

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