Cary Mazer is Professor of Theatre Arts and English at the University of Pennsylvania; he is active in the Theatre Arts Program, the University’s interdepartmental undergraduate major in Theatre, which he chaired for many years. He is also a working playwright. In 2001, he received the Dean’s Award for Mentorship of Undergraduate Research.
All’s Well that Ends Well, 2017
(Photos: John Flak)
He is author of Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages (UMI Research Press, 1981), editor of Great Shakespeareans XV: Poel, Granville Barker, Guthrie, Wanamaker (Bloomsbury-Arden, 2013), and author of Double Shakespeares: Emotional-Realist Acting and Contemporary Performance (Fairleigh Dickinson University Press, 2015).
He has written seven plays:
- Pinchas Vontz, after Peer Gynt by Henrik Ibsen.
- Shylock’s Beard.
- Seven Lectures on Hamlet.
- A Puppeteer with the Palsy Performs Scenes from Shakespeare, or, The Ghost in the Machine.
- Swing Set.
- Benefit Performance, or The Other Jew.
- Got Your Back.
Shylock’s Beard won the 2016 Award for Excellence in Playwriting from the Association for Theatre in Higher Education (ATHE). For a feature about the play from the University of Pennsylvania website, click here. And watch ATHE’s interview about the play.
Among the theatre productions he has directed are:
- Pericles, by William Shakespeare, Theatre Division, Columbia University, 1978.
- The Devil’s Disciple, by G. Bernard Shaw, Princeton Summer Theatre, 1980.
- Not I and Rockaby, by Samuel Beckett, Intuitons, University of Pennsylvania, 198l.
- As You Like It, by William Shakespeare, Penn Players, University of Pennsylvania, 1982.
and, for the Theatre Arts Program at Penn:
- Electra, by Euripides, 1983.
- Richard II, by William Shakespeare, 1989.
- Playing with Peter, based on, and incorporating the text of, Peter Pan by J.M. Barrie, 1990.
- The Duchess of Malfi, by John Webster, 1992.
- Miss Julie, by August Strindberg, 1995.
- A Dream Play, by August Strindberg, at the University of Pennsylvania and at the 1996 Edinburgh Fringe Festival.
- The Two Gentlemen of Verona, by William Shakespeare, 1999
- Old Times, by Harold Pinter, 2000.
- Major Barbara, by G. Bernard Shaw, 2003.
- Transfixed, an original documentary theatre piece, 2010.
- Look/Alive, an original adaptation of stories by Ovid, Grimm, Anderson, and others, 2011, at the University of Pennsylvania as part of the Philadelphia Fringe Festival, and at the Edinburgh Festival Fringe.
- All’s Well that Ends Well, by William Shakespeare, 2017.
And semi-staged script-in-hand readings:
- The Spanish Tragedy, by Thomas Kyd, The Red Heel Theatre, 1993.
- The Good Person of Szechwan, by Bertolt Brecht, Theatre Arts Program, University of Pennsylvania, 1996.
- Spring Awakening, by Frank Wedekind, Theatre Arts Program, 1999.
- Engaged, by William S. Gilbert, Theatre Arts Program, 2008.
- Cyrano de Bergerac, by Edmond Rostand, translated by Michael Hollinger, adapted by Michael Hollinger and Aaron Posner, Theatre Arts Program, 2011.
- The Octoroon by Dion Boucicault, Theatre Arts Program, 2016.
In addition, he has acted in the Theatre Arts Program productions of The Bacchae by Euripides (as Kadmos, 1992), and in1984 (as Emanuel Goldstein, 2018), both directed by Jim Schlatter; and served as guest dramaturg for productions of The Importance of Being Earnest, by Oscar Wilde (1993), Misalliance, by G. Bernard Shaw (1994), Heartbreak House, by Shaw (1998), and The Merchant of Venice by William Shakespeare (2002), at People’s Light & Theatre Company.
From 1986 to 1999, he was a theatre critic for the Philadelphia City Paper. To read reviews from past issues of the City Paper, click here. Click here to read his valedictory essay in City Paper, September 16, 1999).