• MWnyc

    “And although I have been told since 1997 that my play, written by a woman playwright, is not universal enough to receive a Broadway production, …”

    I wonder: Did producers say that to Vogel in those words?

    I suspect that the real reason no producers have been willing to put up the money to stage How I Learned to Drive on Broadway is that they believe the tourists and middlebrow suburbanites who make up the better part of the Broadway audience won’t spend $100 a head to watch a story about the sexual abuse of an underage girl.

    And I don’t think that worry is unfounded.

    It’s possible that the #MeToo movement has now established a Zeigeist in which Broadway audiences (and, therefore, some Broadway producer) might be willing to take a chance on How I Learned to Drive. We’ll see.

    Even so, I wish Vogel could move past her apparent resentment that How I Learned to Drive didn’t make it to Broadway 20 years ago. There is no shame, and a great deal of pride, is having had a successful, critically acclaimed Off-Broadway run – especially one that has led to productions all over the world. Besides, many people who couldn’t afford to pay Broadway prices were able to see the play because it ran at the Vineyard rather than at, say, the Belasco.

    All that and a Pulitzer – can’t that be enough?