Sam Kahn

Sam Kahn writes the Substack “Castalia.”

There was a point, circa 2015, when I was reading a ton of plays. I was, honestly, annoyed and unimpressed by almost everything—but there were two playwrights, Annie Baker and Mike Bartlett, who seemed to come up with a completely new, completely intact, and thrillingly rich theory of theater.

Mike Bartlett and the Brutalist Aesthetic
If nineteenth century realism (Chekhov, Ibsen, etc) centers on the living room—as a cross-section of middle-class daily life—Odets’s drama roots itself in the kommunalka-like apartments of the thirties, a disparate array of people packed together by poverty. To a surprising extent, that configuration all by itself gives the plays much of their dramatic charge.
Eleanor Lynn and Luther Adler in Rocket to the Moon (1938). Courtesy Stage Publishing Company, Inc. Photo: Alfredo Valente - Stage magazine, January 1939.
Sam Kahn pens a love letter to playwright Gina Gionfriddo, charting her career, inner world of her plays, and the influence she had over his life and writing.
Courtesy Gina Gionfriddo.
Georg Büchner was a rising star in Germany’s 19th century literary scene. A prolific and thought-provoking writer, he was a counterculturalist whose life was cut short; he died at age 23. Two centuries later, writer Sam Kahn explores Büchner’s impact, and how he may be the missing link in the history of theater.
Jean-Baptiste Alexis Muston, portrait of Georg Büchner, c. 1835.

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