ABSTRACT
It’s no secret to say the drama is a restrictive medium, and that those of us who try to write plays are hedged in on all sides by tough laws of dramaturgy which we break only at our peril. To compound the problem, American play wrights, dependent as we are on the uneasy generosity of private enterprise, would seem to be even further encumbered by economic inhibitions that require us to be downright miserly about the number of characters we use or the settings in which our plays take place.
