Daniel Pollack-Pelzner in The New Yorker:
On a six-hour drive from San Francisco to the Oregon Shakespeare Festival a few years ago, the playwright Lauren Gunderson raised a question: What does American theatre need? “It was ridiculously presumptuous,” Gunderson told me recently, over the phone, “but it’s the conversation everyone is having.” Gunderson was travelling with her friend Margot Melcon, a former literary manager, who reminded her that every theatre needs a holiday show: something clever, heartwarming, and family-friendly enough to entice an audience inured to “A Christmas Carol.” Gunderson recalled their idea: “You know what people love? Jane Austen. You know what people really love? Christmas and Jane Austen.” By the time they finished the drive, they had outlined a script on Starbucks napkins: a holiday reunion for the Bennet sisters, from “Pride and Prejudice,” with a courtship plot for Mary, the pedantic middle sister, who emerges as a surprising feminist heroine. (Mary and her beau spark over a copy of Lamarck’s “Zoological Philosophy”; Gunderson calls Mary an emblem of “geek chic.”) “Miss Bennet: Christmas at Pemberley” is now a regional-theatre hit.
Increasingly, theatres are banking on Gunderson, who, at thirty-five, has already had more than twenty of her works produced: among them witty historical dramas about women in science (“Emilie,” “Silent Sky,” “Ada and the Engine”), giddy political comedies (“Exit, Pursued by a Bear,” “The Taming,” “The Revolutionists”), and wildly theatrical explorations of death and legacy (“I and You,” “The Book of Will”). According to American Theatre magazine’s annual survey, released last month, Gunderson will be the most produced playwright in the country for the 2017–18 season.