Keith Reddin
Keith Reddin's plays include All the Rage, Some Brighter Distance, Too Much Memory, Life and Limb, Rum and Coke, Big Time, Nebraska, Life During Wartime, Brutality of Fact, Almost Blue, All the Rage, But Not for Me, Frame 312, Human Error and The Missionary Position. Mr. Reddin also wrote several adaptations including Molière's The Imagery Invalid, Thornton Wilder's Heaven’s My Destination, F. Scott Fitzgerald's Richboy and Aleksandr Buravsky’s The Russian Teacher. Mr. Reddin's adaptation of Mikhail Shatrov's Maybe was presented at the Royal Exchange Theatre in Manchester, England in April 1993, starring Vanessa Redgrave. Mr. Reddin has been awarded the Charles MacArthur Fellowship (1983), an NEA Playwriting Fellowship (1984), the San Diego Critics Circle Award for Best New Play (1989 and 1990), the Joseph Kesselring Award (1990), a Drama-Logue Award (1990), the Helen Merrill Award (2006) and the New York Fringe Festival’s Outstanding New Play Award (2008). His film credits include All the Rage (with Joan Allen and Gary Sinise), The Heart of Justice, Bad Boys, Milken and a film adaptation of his play Big Time for American Playhouse on PBS.

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Life During WartimeA Play
TOMMY: …the Justice Department statistics show that sixty percent of all rapes are committed by burglars.
GALE: God.
TOMMY: Thirty percent of all assaults.
GALE: I… well those are…
TOMMY: And how can you protect this home 24 hours a day, 365 days a year?
GALE: How?
TOMMY: The S-2448 system.
Life During Wartime (redlifed)Premiered in1990- Print Books
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Life During WartimeA Play
WAITER: Look, I’ve had about enough. I’ve been treated with contempt by you for the entire evening and frankly, I don’t need this. You treat me like some sort of indentured servant and I’ve got too much dignity and self-respect to be abused by the likes of you. I have a life, you know. To you I’m just a waiter, some bozo bringing you quantities of food that you then shovel in enormous mouthfuls like some barnyard animal into your foul smelling orifices. Well, I have a name, I have a past, I have loves and disappointments and dreams you know nothing about, you rude mass of polyester. How dare you. I hope you step outside this place and are hit by a large twelve wheeled tractor trailer and they have to scrape you off the pavement with a shovel like some viscous squirrel pulp.
HEINRICH: Why don’t you just clear the table and we’ll pay the check and leave.
WAITER: You want me to clear the table? Is that it? Clear the goddamn table? I’ll clear the table. (He overturns the table, sending food and plates to the floor.)
WAITER: There the table is cleared. (He exits.)
Life During Wartime (redlifed)Premiered in1990- Print Books
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Life During WartimeA Play
RICHIE: And I start to cry, and I look around at the other people in the airport and I notice that all the other people are starting to cry. And some people are on their knees and they’re praying. And everybody is screaming No No, and we drive home and I turn on the T.V. and everybody on the T.V. is crying and praying and saying no, I don’t believe this is happening and I sort of go into shock. Only nobody told me that afternoon John Kennedy had been shot. I thought the entire country had some to a stop because my parents got a divorce.
Life During Wartime (redlifed)Premiered in1990- Print Books
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"A smart, sassy skewering of the back-room machinations of presidential politics, where personal rivalries and agendas can derail the larger mission . . . cynical humor that recognizes that when winning is the sole concern, no one is above a little double dealing, skullduggery and betrayal." —Pittsburgh Tribune [on The Missionary Position]
"People who want to kill people may not be the craziest people in the world. They may be sitting at a nearby desk, living next door to you or looking back at you in the mirror . . . All the Rage investigates rage of the free-floating, menacing kind . . . [Reddin's] powerful, often hilarious displays of pent-up hostility ingeniously bring into play devices of opera and classical theater." —The New York Times
"In Brutality of Fact, the playwright continues to plumb the void of modern life and to expose our attempts to fill them. Like most of Reddin's work, Brutality is written in brief, seamless, rapid-fire scenes . . . full of smart, snappy dialogue." —Chicago Sun-Times
Selected Works



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