Nebraska Center for Writers

Chimney Rock What the Critics Say
About Megan Terry

I may write a play because I'm so upset about something that I have to say something. ... I may want to write about someone in my family I love very much and want to memorialize. I may see someone walking down the street in a certain way. I'll imagine a whole life for that person and go home and write a play about this person who interested me because of the walk. Or I may be in a supermarket and hear a phrase. — Megan Terry

The Mother of American Feminist Drama — Helene Keysser

Terry's theater is a theater of discovery, in which all things, and joy, are possible. — June Schlueter

... prodigious gifts. She threads together many varieties of language, from poetry and lyrical vernacular to senseless, palpitating vocal noises; she sets each one of her multiple scenes economically, without holding up the drama; her lines are rich with buoying rhythms and unforced song; she knows how to make a harsh satirical comment obliquely. — Albert Bermel, New Leader (on Megan Terry)

A provocative, frequently wildly funny, series of theatrical metaphors. — Al McConagha, Dictionary of Literary Biography (on Viet Rock)

What I find most interesting about her plays is their exploitation of the theater as a medium, in particular their accommodation to those unreal and neglected dimensions: stage time and space." — Albert Bermel, New Leader, (on Viet Rock and other plays)

Material that at first glance might seem untheatrical — the play, after all, records the journey of a soul — into one of the most powerful and engrossing pieces of theatre to be seen. — Catharine R Hughes, America (on Approaching Simone)

It is a rare theatrical event for these hysterical and clownish times, a truly serious play, filled with the light, shadow and weight of human life, and the exultant agonies of the ceaseless attempt to create one's humanity. — Jack Kroll, Newsweek (on Approaching Simone)

The way parents pressure children into certain roles, by instruction and examples; the way society uses this pressure, making the home an horrific training ground for the horrific larger world. — Michael Feingold, dictonary of Literary Biography (on The Pioneer)

It's tough to imagine "a comic, gymnastic extravaganza about family aggression," but the Omaha Magic Theater has done it. Avant garde playwright Megan Terry's new play Goona Goona concerns child abuse as told to Punch and Judy, the story of a nuclear family meltdown is stylized to absurdity. ... Goona Goona may be the best play the Magic Theater has staged. Roger Catlin, Omaha World-Herald

Megan Terry's Goona Goona turns out to be a racy, raucous and instructive piece of avant garde action theater somewhere this side of Grand Guignol and Artaud's theater of cruelty. It's a "musical" that is also educational, not only about family violence but also about a whole clutch of middle-class American attitudes. It plays like a cross between a circus and a surrealist sermon. ... The play is a fascinating, always interesting exploration of the uses of the stage. — Joan Bunke, The Des Moines Register

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The Rock

Nebraska Center for Writers