We’re 18 minutes away from, by all accounts, Ruined winning the Pulitzer. In The Heights seems to be the closest contender. Lydia would be right up there, based on everything I’ve heard, but without a New York production, it’s an uphill battle.

UPDATE: Yep. It’s Lynn. Congratulations. Heights was a runner-up, along with Becky Shaw.

UPDATE: Here’s an article on why this all matters (from the perspective of women writers — people of color aren’t mentioned, but the same all applies):

This season, according to American Theatre magazine, the most-produced play at regional theaters (barring “A Christmas Carol” and Shakespeare) is John Patrick Shanley’s “Doubt,” which won the Pulitzer in 2005 and has since been made into a movie. At number 3, trailing Joe Mantello’s David Sedaris adaptation, “The Santaland Diaries,” is the 2007 Pulitzer winner, David Lindsay-Abaire’s “Rabbit Hole.” Also on the list are non-shortlisted plays by former Pulitzer winners (August Wilson, Tennessee Williams) and finalists (Sarah Ruhl, Theresa Rebeck). Ruhl and Rebeck are the only women in the top 10 aside from Harper Lee, whose Pulitzer-winning novel, “To Kill a Mockingbird,” was adapted, not by her, into a play.

It’s a bit of a rout, really, and the reasons for it remain fuzzy. Women make up half the population; surely they have half the stories to tell, don’t they? Surely they’ve been writing plays all along, haven’t they? The first woman to win a Pulitzer for drama was the long-forgotten Zona Gale, whose “Miss Lulu Bett” was the third play to win the prize, in 1921, a year after Eugene O’Neill was honored for “Beyond the Horizon.” Granted, women in the past encountered greater obstacles to education and professional success than they do these days, thus clearing the way for their male contemporaries to crowd the repertory and become today’s classic American playwrights. But one would have thought we’d be further along by now.
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