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Later this month, Churchill opens a new work in the National’s studio space, called “Here We Go.” It is billed, with customary pithiness, as a “short play about death.” Two major plays, in fact: back in April, a kaleidoscopic collage of scenes from the English civil wars, “Light Shining in Buckinghamshire” (1976), was given an imposing new production by Lyndsey Turner (who then directed Benedict Cumberbatch in “Hamlet”). After a long association with the Royal Court-the elegantly appointed Chelsea theatre that has been the nucleus for new British writing since the days of John Osborne and Arnold Wesker-she has returned to the National Theatre with a major play for the first time in a decade. Some call her (though one suspects that Churchill hates this) “Saint Caryl.” It is tempting to describe her as sphinxlike, but then the Sphinx did occasionally speak in public.Įven so, the playwright has rarely been so visible. A young playwright I asked said admiringly that Churchill “puts all her swagger and gesture into the work,” then compared her to Kate Bush. Many of her works-there are now more than fifty, including libretti, dance pieces, and translations-have been published with chatty forewords that nonetheless give next to nothing away: “Top Girls” (1982), a fractured, formally experimental examination of feminism and perhaps her most famous play, “came slowly,” she writes, “it took ’80 and ’81 to work it out.” 1989’s “Icecream,” a wryly picaresque comedy about Anglo-American relations, “is simply a play I wrote.”Ĭhurchill’s reticence is all the more striking because she does not live in Salinger-like isolation-she’s often to be seen at opening nights in London, and she is active in the protest movement. While she occasionally discusses her work with researchers and fellow theatre-makers, she has not granted an interview to a major newspaper since the nineteen-nineties her communications with the press are generally restricted to letters to the editor on political causes.
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Two things are frequently said about Caryl Churchill: that she is the greatest playwright alive, and that she is one of the most elusive. Chris Perfetti and Izzie Steele in Caryl Churchill’s gender-bending play “Cloud Nine.”