The first contemporary writer to get a spot on Subjectiviste (except for my launch icon), today’s post will be a brief intro mediated through other web resources before I quickstep through notes on her first four plays over (let’s believe) the next four days.
Coming through in the Nineties alongside the In Yer Face writers, Nagy is an American transplant, whose work therefore lacked the same obsession with lower end UK pop culture plus offered less aggro than was standard practice (you can access an interview in which Nagy discusses Sarah Kane here).
There’s not an abundance of content about her on the web – the wikipedia entry is stubby and the interviews are often ends-directed promotional gush – but perhaps this reflects how little theatre / realtime performance overlap the internet (as of right now). Certainly, there seems more material on the film career she has embarked on since, with the success of her adaptation of The Talented Mr Ripley (duologue extract here) building to a directorial debut with Mrs Harris.
For more than scraps on our subject, then, I have to look toward Michael Coveney‘s introduction to her first collection of plays. “The theatrical cross-fading and flash-backing demanded by the play…which seemed nonetheless to be played in a constant theatrical present” is a trim little evocation of her style – a kind of centreless materialised cinematics. As for tone, Coveney speculates Nagy: “…is fired by her own experience [working abroad] to express and explore other dreams of leaving. And it is because these stories are bedded in ideals of emotional and sexual possibility and of fulfilment that they resonate so effectively in performance…” There’s something in that. Tomorrow: her debut, Weldon Rising.