Alexis Soloski composes a wish list of infrequently performed plays she'd loved to see, including works by Hrotsvitha, Capek, Artaud, and John Ford. I recognize a few titles from years of theatergoing on the West Coast: Balzac's Mercadet, for instance, which I caught in a scintillating production by Antaeus (this is the play notable for, among other things, its climactic waiting for Godeau); Artaud's Spurt of Blood, which I saw in a gallery courtyard called ArtShare; and Everyman in the Mall, in an environmental staging by Cornerstone, which I nearly but never quite saw (and which, in an odd twist, happened to feautre Michele Mais, currently on B'way in Rock of Ages).
If I could draw up a short list of shows I'd love to see produced in New York, I'd include the razor-sharp (and remarkably relevant) Mercadet as well as Johnny Johnson, if only to hear Weill's score live; more Churchill revivals as good as last year's Top Girls, including Serious Money and Mad Forest (I have no good excuse for missing the acclaimed Matrix Theater production); Genet's The Screens (I did see Cornerstone/Peter Sellars' half-successful take, would love to see it (relatively) straight); Hansberry's Les Blancs, which I saw at Oregon Shakes many years ago and which shares some of the impulses and politics of Lynn Nottage's (superior) Ruined; the Brecht/Auden Duchess of Malfi, which had a stellar L.A. premiere and deserves further airings; the original Spring Awakening; a considered (possibly revised) revival of Zoot Suit; another production of Havel's The Memorandum (saw Jessica Kubzansky's near-definitive one); Schiller's Don Carlos (again, my interest is based on a killer production I saw in L.A., at the Evidence Room).
I'll stop here and throw it out to you, dear reader. What seldom-produced plays would you like to see?