Two stunning, intensely powerful plays about race in 20th century America from the legendary Pulitzer Prize and Tony Award-winning playwright.
August Wilson was a major American playwright whose work has been consistently acclaimed as among the finest of the American theatre. His first play, Ma Rainey's Black Bottom, won the New York Drama Critics' Circle Award for best new play of 1984-85. His second play, Fences, won numerous awards for best play of the year, 1987, including the Tony Award, the New York Drama Critics' Circle Award, the Drama Desk Award, and the Pulitzer Prize. Joe Turner's Come and Gone, his third play, was voted best play of 1987-1988 by the New York Drama Critics' Circle. In 1990, Wilson was awarded his second Pulitzer Prize for The Piano Lesson. He died in 2005.
A prolific and successful playwright who confines his themes to
African American culture... August Wilson widened the space for
African American theatre and controlled it for some twenty-fve
years. The level of his achievement is high. This comes powerfully
into view when the play is read, an activity for me that is equal
to, and in some ways more fruitful than, seeing its stage
production.
*Toni Morrison*
August Wilson has established himself as the richest theatrical
voice to emerge in the U.S. since Tennessee Williams and Arthur
Miller
*Time*
Wilson is a major writer, combining a poet's ear for vernacular
with a robust sense of humor, a sure sense for crackling dramatic
incident, and a passionate commitment to a great subject
*New York Times*
The strongest, most passionate American dramatic writing since
Tennessee Williams
*New York Post*
Wilson is a consummate storyteller
*Los Angeles Times*
A genuine work of art
*New Yorker on 'Ma Rainey's Black Bottom'*
A blockbuster piece of theater, a major American play
*New York Daily News on 'Fences'*
A moving story line and a hero almost Shakespearean in contour
*Wall Street Journal on 'Fences'*
In his work, August Wilson depicted the struggles of black
Americans with uncommon lyrical richness, theatrical density and
emotional heft, in plays that give vivid voices to people on the
frayed margins of life
*New York Times*
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