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Megan Terry Biography (1932-)

Born Megan Duffy, July 22, 1932, in Seattle, WA; daughter of Harold Joseph and Marguerite Cecilia (Henry) Duffy. Addresses: OFFICE--c/o The Magic Theatre, 1417 Farnam Street, Omaha, NE 68202. AGENT--c/o Elisabeth Marton, 96Fifth Avenue, New York, NY 10011.

Nationality

American

Gender

Female

Birth Details

July 22, 1932

Seattle, Washington, United States

Famous Works

• Writings;PLAYS
• Beach Grass, Seascape, Go Out and Move the Car, all Cornish Theatre, Seattle, WA, 1955.
• New York Comedy: Two, Saratoga Gallery Theatre, Saratoga, NY, 1961.
• Ex-Miss Copper Queen on a Set of Pills, Cherry Lane Theatre, New York City, 1963, then St. Joan Theatre, Chicago, IL, later Edinburgh Festival, Edinburgh, Scotland, U.K., both 1987, published in Playwrights for Tomorrow, Vol. 1, University of Minnesota Press, 1966, then by Samuel French, Inc., 1970, andin A Century of Plays by American Women, Rosen Press, 1979.
• When My Girlhood Was Still All Flowers, Eat at Joe's, both Open Theatre,New York City, 1963.
• The Gloaming, Oh My Darling, Firehouse Theatre, Minneapolis, MN, 1965, published in Viet Rock: Four Plays by Megan Terry, Simon & Schuster, 1967,then in Norton Introduction to Literature, Norton, 1973, and by Samuel French, Inc., 1980.
• Calm Down Mother, Sheridan Square Playhouse, New York City, 1965, then Swarthmore College Theatre, Swarthmore, PA, 1987, published in Eight Plays fromOff-Off Broadway, Bobbs-Merrill, 1966, then by Samuel French, Inc., 1970, and in Plays by and about Women, Random House, 1973.
• Keep Tightly Closed in a Cool, Dry Place, Sheridan Square Playhouse, 1965, then Edinburgh Festival, 1968, published in Tulane Drama Review, 1966, in Viet Rock: Four Plays by Megan Terry, Simon & Schuster, 1967, and by Samuel French, Inc., 1980.
• The Magic Realists, La Mama Experimental Theatre Club (ETC), New York City, 1966, published in Best One-Act Plays of 1968, Chilton Press, 1969, and bySamuel French, Inc., 1971.
• Viet Rock, La Mama ETC, 1966, then Yale University Theatre, New Haven, CT, 1966, later Martinique Theatre, New York City, 1967, and at Temple University Theatre, Philadelphia, PA, and Swarthmore College Theatre, and in New YorkCity, all 1987, published in Tulane Drama Review, 1966, and in Viet Rock: Four Plays by Megan Terry, Simon & Schuster, 1967.
• Comings and Goings, La Mama ETC, 1966, then Edinburgh Festival, 1969, later Swarthmore College Theatre, 1987, published in Viet Rock: Four Plays by Megan Terry, 1967, and by Samuel French, Inc., 1980.
• Jack-Jack, Firehouse Theatre, then International Theatre Festival, Nancy,France, both 1968.
• The Key Is at the Bottom, Mark Taper Forum Theatre Lab, Los Angeles, CA,1968.
• Changes, La Mama ETC, 1968.
• Massachussetts Trust, Brandeis University Theatre, Waltham, MA, 1968, published by Bobbs-Merrill, 1972.
• The People vs. Ranchman, Fortune Theatre, New York City, 1968, publishedby Samuel French, Inc., 1970.
• The Tommy Allen Show, College of the Immaculate Heart Theatre, Los Angeles, CA, 1969, then Omaha Magic Theatre, Omaha, NE, later Actors Studio, New York City, 1970, published in Scripts 2, 1971.
• Approaching Simone, Boston University Theatre, Boston, MA, 1970, then University of Montreal Theatre, Montreal, PQ, Canada, and University of WesternMaryland Theatre, both 1982, published by Feminist Press, 1973, in Women in Drama, Mentor Books (NAL), 1975, and by Samuel French, Inc., 1980.
• (with Jo Ann Schmidman) Choose a Spot on the Floor, Omaha Magic Theatre,1972.
• Grooving, Brooklyn Academy of Music, Brooklyn, NY, 1972.
• (lyricist) Thoughts, Theatre de Lys, New York City, 1972.
• Susan Peretz at the Manhattan Theatre Club, New York Theatre Strategy Festival, New York City, 1973.
• Saint Hydro-Clemency, St. Clements Church Theatre, New York City, 1973.
• (with Sam Shepard and Jean Claude Van Itallie) Nightwalk, produced in NewYork City, 1973, published in Three Works by the Open Theatre, Bobbs-Merrill, 1975.
• Couplings and Groupings, published by Pantheon, 1973, then by Avon, 1974.
• We Can Feed Everybody Here, Westbeth Feminist's Collective Theatre, New York City, 1974.
• The Narco Linguini Bust, Omaha Magic Theatre, 1974.
• Babes in the Bighouse, Omaha Magic Theatre, 1974, then New York Theatre Strategy, Theatre 13, New York City, 1976, later Amherst College Theatre, MA,1976, and Wilma Project Theatre, Philadelphia, PA, 1976, published in High Energy Plays from the Omaha Magic Theatre, Broadway Play Publishing, 1983.
• The Pioneer, Theatre Genesis, 1974, published by Ragnarok Press, 1975, and in Two by Terry Plus One, I.E. Clark, 1984.
• Pro Game, Theatre Genesis, 1974, then University of Notre Dame Theatre, 1983, published in Two by Terry Plus One, I.E. Clark, 1984.
• Hospital Play, Omaha Magic Theatre, 1974.
• Hothouse, Circle Repertory Theatre, then Chelsea Theatre Center, both NewYork City, 1974, later University of Nebraska Theatre, Lincoln, NE, 1980, Horizon Theatre, Atlanta, GA, 1984, and College of William and Mary, Williamsburg, VA, 1987, published by Samuel French, Inc., 1975.
• Mollie Bailey's Family Circus, Featuring Scenes from the Life of Mother Jones, Mark Taper Forum Theatre Lab, 1975, published by Broadway Play Publishing, 1983.
• 100,001 Horror Stories of the Plains, Omaha Magic Theatre, 1976.
• Brazil Fado, Omaha Magic Theatre, 1977, then University of Notre Dame Theatre, 1983.
• Willa-Willie-Bill's Dope Garden, Ragnarok Press, 1977.
• American King's English for Queens, Omaha Magic Theatre, 1978, publishedin High Energy Musicals from the Omaha Magic Theatre, Broadway Play Publishing, 1983.
• (with Schmidman) Running Gag, Omaha Magic Theatre, 1979, then Winter Olympic Games Theatre, Lake Placid, NY, 1980, published by Broadway Play Publishing, 1983.
• Fireworks, Actors Theatre of Louisville, Louisville, KY, 1979, publishedby Earplay Publications, 1980.
• Attempted Rescue on Avenue B., Chicago Theatre Strategy, Chicago, IL, 1979.
• Goona Goona, Omaha Magic Theatre, 1979, then Wichita State University, Wichita, KS, 1986.
• Comings and Goings: The Musical, Advances, both Omaha Magic Theatre, 1980, then University of Kansas Theatre, Lawrence, KS, 1984.
• Objective Love, Omaha Magic Theatre, 1980.
• Henna for Endurance, Scenes from Maps, both University of Nebraska Theatre, Omaha, NE, 1980.
• Winners, Process Theatre, Santa Barbara, CA, 1981.
• Katmandu, Omaha Magic Theatre, 1981, published in Humor in America, Collins, 1985.
• Kegger, Omaha Magic Theatre, 1982, then Yuba College Theatre, Marysville,CA, 1984.
• Fifteen Million Fifteen Year-Olds, Omaha Magic Theatre, 1983.
• X-Rayed-Iate, Omaha Magic Theatre, 1984.
• Family Talk, Omaha Magic Theatre, 1986.
• Sleazing toward Athens, Omaha Magic Theatre, then University of Nebraska,Lincoln, both 1986.
• Sea of Forms, Omaha Magic Theatre, 1986, then Grinnell College, IA, 1987.
• Dinner's in the Blender, produced in Gordon, NE, 1987.
• Pro-Jec-Tiles, Omaha Magic Theatre, 1987.
• Future Soap, Omaha Magic Theatre, 1987, published as Megan Terry's Home:Or Future Soap, Samuel French, Inc., 1972.
• Retro, Omaha Magic Theatre, 1988.
• Writings;TELEPLAYS
• The Dirt Boat, KING-TV, Seattle, WA, 1955.
• Home: Or Future Soap, WNET, New York City, 1968, later in U.S; and Canada, 1969.
• One More Little Drinkie, PBS, 1970, published in Three One-Act Plays by Megan Terry, Samuel French, Inc., 1971.
• (with Anne Meara) Special Material, PBS, 1974.
• Women and the Law, PBS Nebraska, 1976.
• Writings;RADIO PLAYS
• Sanibel and Captiva, WGBH, Boston, then National Public Radio, both 1968,published in Three One-Act Plays by Megan Terry, Samuel French, Inc., 1971,and in Spontaneous Combustion, Winterhouse, 1972.
• "American Wedding Ritual," Earplay, National Public Radio, then in Canada, both 1972, published in Places: A Journal of the Theatre, Vol.
• 1, 1973.
• "Fireworks," Earplay, National Public Radio, then in Canada, both 1980.
• Writings;PERIODICALS
• "Cool Is Out! Uptight Is In," New York Times, January 14, 1968.
• "Who Says Only Words Make Great Drama?," New York Times, November 10, 1968.
• "American Experimental Theatre, Then and Now," Performing Arts Journal, Vol. 2, 1977.
• "Two Pages a Day," Drama Review, 1977.
• "Omaha Magic: Playwright's Theatre," The Southwestern Review, 1980.
• Also wrote the article "Janis Joplin," for Notable American Women, Harvard University Press, 1980.