by William Hanley
by William Hanley
The Cast
Glas . . . . . Taud Boatman
Randall . . . . . Deandre Grassity
Rosie . . . . . Melinda Eshbuagh
Production Staff
Director . . . . . Paul Prece
Set & Lighting Design . . . . Tony Naylor
Costume Design . . . . . Ron Zastrow
Original Music & Sound Design . . . . .
Drake Mikkelsen
Technical Direction . . . . . Tony Naylor
Properties . . . . . Ron Zastrow
Sceneshop Supervisor . . . . . Lynn Wilson
Stage Manager . . . . . David DeLoch
Publicity . . . . . Paul Prece
Lightboard Operator . . . . .Viet Lam
Keyboard & Sound . . . . . Drake Mikkelsen
Set & Costume Shop Crew . . . . . Eun Joo Lee, Shaun Rice, Melinda
Eshbaugh, Lynn Wilson, Aaron Isaacson, David DeLoach
| William Hanley, born in Lorrain, Ohio in 1931, was educated at Cornell University and the American Academy of Dramatic Arts. He is the author of a number of novels and television, radio and stage plays including: Whisper In My Good Ear, Mrs. Dally Has A Lover, Conversations In The Dark and Flesh and Blood. During a three-year period he made his appearance, created a play—Slow Dance on the Killing Ground, written in 1964—which reflected relevant contemporary issues, and disappeared from the New York theater scene. Hanley was one of the few American playwrights who infused a certain amount of vitality into American drama of the early 1960s.His plays are essentially conversations, but they involve perceptive thought, poetic tenderness and the problems and feelings of believable people. Hanley's major concern is communication -- language is important to him. Although his characters seem to stumble around in an unhappy world, they do see something better. | It is
this vague idea of something better he wished his audiences for Slow
Dance on the Killing Ground, his only full-length Broadway success,
would take with them. Although the ending is sad and essentially unhappy,
it is an affirmation of living. Hanley's insight into his characters and
his obvious themes of contemporary significance have challenged critics
to see Slow Dance as a quite substantial piece of theater. (Excerpted from Contemporary Dramatists, Walter Meserve) |
