By coincidence, at the interval of Platonov on Saturday, I met an English playwright who had just returned from the German premiere of one of his works, which, in what seems to be a common experience for foreign dramatists in that country, had been impressive but not entirely recognisable.
THE 17th-century playwright John Ford never met a character he didn't want to kill: gruesomely, ingeniously, poignantly.
The same could be said of the stage version of the odyssey through life of a boy from Wiltshire, which was dramatized by the British playwright Simon Stephens and first met an audience in 2012 at the Royal National Theatre in London before enjoying great commercial success on Broadway.
She came to New York in 1959 as a lecturer on a ship; a year later, she met and married a playwright, Harold Callen.
Each of the playwrights has had a turn running 13P to stage a work; Ms. Ruhl said she had decided to adapt "Melancholy Play" after meeting Mr. Almond, a playwright and musician who composed songs for the Off Broadway play "On the Levee" in 2010.
After graduation, he moved to London, where he worked at several production companies, met the playwright Dawn King, who became a friend and collaborator, and began to make his films.
After graduating from college, she worked as an Off Off Broadway general manager and met the playwright Mac Wellman.
Immediately she agreed to do it, and when she met the playwright she told him the play was "like a great modern Bosch canvas".
There he met the playwright Peter Nichols.
The Workshop is also where she met the playwright Lisa Kron.
