The back jackets of much of Thomas Bernhard's English-language translations are burdened by such qualifications as "near genius" or "second only to Kafka and Beckett."  This, of course, is no small praise: there is no shame in being second to Kafka or Beckett; there is no shame in being a "ne

Melissa James Gibson is at once an anomaly among contemporary playwrights and a sterling emblem of her contemporary theatrical period.  As anomaly, she imbues each work with a singular integrity that seems almost defiant of the current overriding trend of theatrical collectives and hive-minde