Sarah Ruhl was born in Chicago in 1974. She studied under Paula Vogel at Brown University and did graduate work at Pembroke College, Oxford. She is among the most acclaimed and accomplished young playwrights on the contemporary scene. "A recent winner of MacArthur "genius" grant, she was a Pulitzer Prize finalist in 2005 for the comedy " The Clean House," which has been seen at many regional theaters. Some of her other plays have a particular style that blends a vibrant emotionalism with quirky comedy in theatrically adventurous ways." As of today, Ruhl lives in New York City and is married to a physician at New York University. Sarah wrote her first play in forth grade but it was never produced.
Ruhl and Mother
"Sarah Ruhl came into my intensive advanced playwriting seminar some 15 years ago. A sophomore, but i thought at first she was a senior: she was quiet and serious, but so obviously possessed a mind that came at aesthetics from a unique angle. I assigned an exercise: to write a short play with a dog as protagonist. Sarah Ruhl wrote of her father's death from that unique angle: a dog is waiting by the door, waiting for the family to come home, unaware that the family is at his master's funeral, unaware of the concept of death."
"I have worked with many stunning young voices, but i have been blessed with a continuing conversation with Ruhl over the years. I think of discussions in booths over tea that became talks in bistros in New york and Las Angeles over wine- a hungry exchange of viewpoint and experience, rushed for lack of time, between two playwrights in the field, and now i turn to Sarah as a trusted and beloved colleague who
still has one of the most unique minds in theater I've encountered."
Discussion with Paula Vogel and these are some interesting words by Sarah Ruhl:
"The longer I do theater, the more shocked I am that you can get the play’s punctuation, the story, the casting, even the director right. Still, you have to deal with variables like: Is this the right audience? Do I have the right month of the year, the right city? Is the right reviewer coming? So much of it is chance in terms of how the aesthetic object is received. Sometimes it makes you just want to write a slim volume of poetry."
"Every production prepares you for the next production, and in that sense it’s cumulative. We think: Oh, New York is definitive. In a way, it’s just another production of one of my plays in another city. I’ve worked so much regionally that it gives me less of a sense of living or dying by one interpretation."
"I come into the theater wanting to feel and think at the same time, to have the thought affect the emotion and the emotion affect the thought. That is the pinnacle of a great night at the theater."
" I felt that theater was actually a place where the voice could be attached to emotion. Theater is still a living tradition of speech and emotion. It’s something that deeply attracts me."
"I’ve worked with so many actors with different methods and vocabularies. In almost all the productions I’ve had, it’s been the usual mode: You cast the play out of L.A. and New York, and the actors meet each other on the first day of rehearsal. I’ve been very pleased and honored and moved by the integrity of all the productions. But I’d like to discover what would happen if I worked with the same actors and designers over and over in a concentrated way. If the actor and I were able to know exactly what we meant if I said, “Give this line a little more space.” As opposed to one actor who thinks space is a subtext and another who thinks space is a technical pause."
"I had a remarkable time going to the Goodman production of The Clean House, directed by Jessica Thebus. It was exactly the play and yet more so, because there were elements I would never have thought of that were so sublime. For instance, there’s a scene where Lane, a doctor married to a doctor, imagines her husband kissing the breast of his new lover, who is one of his patients. The stage direction says, “Ana wears a gown. Is it a hospital gown or a ballroom gown?” Well, Marilyn Dodds Frank, who plays Ana, walked out in a renaissance ball gown made of lavender hospital-gown material. It had a train that was about 20 yards long. So she begins walking out in this purple gown, and it just keeps coming and coming and coming. I would never have thought of that. That was a high point of my life really, watching that production and thinking: They really read my mind. Also, the living room was very architectural, spare and abstract. There had been a beautiful skylight in Act One and in the second act it cantilevered down and became the balcony. It was so shocking—you wouldn’t think that it could just come out of the air like that. The designer completely understood abstraction and transformation of space."
"This is why I love having a baby. Anna laughs at things, even though she doesn’t understand language. I think that at the most primal level, the intention to be funny, to share wit, is beyond language. When I wrote The Clean House and began it with the joke in Portuguese that probably no one would understand, that was part of the impulse. But people do laugh. Some nights they don’t; that’s a night when we’re in trouble."
Sources:
http://www.bombsite.com/issues/99/articles/2902
http://en.wikipedia.org/wiki/Sarah_Ruhl
http://topics.nytimes.com/top/reference/timestopics/people/r/sarah_ruhl/index.html
http://www.npr.org/templates/story/story.php?storyId=4967202
http://images.google.com/images?hl=en&q=sarah%20ruhl&um=1&ie=UTF-8&sa=N&tab=wi
http://www.youtube.com/watch?v=Ufddr9k6rbE