Summary of “Lauren Gunderson profile: America’s most popular playwright is ready for Broadway. But is New York ready for her?”

“I think in New York they think, Danger danger, this is getting into cheesy love story mode.” – Lauren Gunderson.
In 2009, Lauren Gunderson left New York for the West Coast, and since then, she’s made a career in America’s regional and repertory theaters, writing brisk comedies about plucky women, classical literature, romance, and the history of science.
At one point in her career, Gunderson was on the path to being a New York playwright.
The inspiration for the show was a long drive Gunderson and Melcon took together in which they posed the question, “What sort of show did the American theater most need so that people could add it to the season planning processes?” Gunderson told the New Yorker that by the end of the trip, they had the show outlined on Starbucks napkins.
The lesson of Gunderson’s career is that New York doesn’t have to matter, but the way Gunderson talks about her New York experience-and her upcoming premiere-makes it clear that New York still matters to her.
David Cote, who was for many years the head critic at Time Out New York, noted that “New York’s theaters at this moment are interested in dealing with identity politics and messy intersectional issues.” Maybe Gunderson, he speculated, “Is simply not an edgy enough feminist?” Minadakis, the Marin Theatre AD, hears New York theater people dismiss Gunderson’s plays as “Not serious” because of their inveterate optimism.
To McNulty, the issue keeping Gunderson out of New York is not taste but sexism.
“I could be a total snob,” he said, “And say New Yorkers are far too intelligent to have this middlebrow stuff flatter them. But tons of middlebrow stuff gets produced in New York.” Cote compared Gunderson with a writer whose once-edgy work now seems much less provocative: “She’s a much better playwright than Neil LaBute, and for a while everything he wrote was being produced.”

The orginal article.