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Can modern playwrights compete with the classics?

Cheyanne Penniell

As an avid lover of both classic and modern plays, I cannot help but become irritated by the constant comparison between the two. The question of whether modern playwrights can compete with the classics is not only outdated, but it is also a disservice to the incredible talent and innovation that exists in contemporary theater.

First of all, comparing modern playwrights to the classics is like comparing apples to oranges. The classics were written in a completely different time with different societal norms, values, and beliefs. To try and compete with them is not only unfair, but it also ignores the fact that theater, like all art forms, evolves with society. What was considered groundbreaking and revolutionary in the past will not necessarily resonate with audiences today.

Secondly, modern playwrights have been breaking barriers and pushing boundaries in ways that the classics never could. They are dealing with contemporary issues such as race, gender, sexuality, and politics, which were either taboo or non-existent in the time of the classics. Modern playwrights such as August Wilson, Tony Kushner, and Caryl Churchill have created masterpieces that not only reflect the world we live in but also challenge our perspectives and beliefs.

Furthermore, the rise of experimental theater has allowed for a whole new generation of playwrights to explore unconventional staging, narrative structures, and themes. Works by playwrights such as Sarah Kane and Martin McDonagh have shocked and provoked audiences with their dark and disturbing subject matter, as well as their unconventional storytelling.

In conclusion, the question of whether modern playwrights can compete with the classics is not only irrelevant but also insulting to the incredible talent and diversity that exists in contemporary theater. Modern playwrights are not only competing with the classics, but they are also pushing the boundaries of what theater can be and what it can do. It is time to stop looking to the past and start celebrating the present and future of theater.