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Kirk Lynn

The Emporium

May 22, 2026

John, discovered as an infant in a basket outside the grand department store known as the Emporium, grows up haunted by the place’s almost metaphysical allure. Like so many Wilder protagonists, he is both an innocent and a seeker, a fundamentally decent American pilgrim wandering toward a destination he only dimly understands. The Emporium itself becomes at once department store, cathedral, artistic calling, romantic ideal, and existential mirage. Wilder once described the play as “a mixture of Horatio Alger and Franz Kafka,” and the description proves hilariously apt: John’s yearning possesses the earnestness of American self-invention while the bureaucratic evasions surrounding the store carry the absurd, unknowable menace of a dream. [more]

The First Line of Dante’s Inferno

February 14, 2026

The opening gesture of Dante Alighieri’s "Inferno"—that immortal confession of midlife disorientation in which a wanderer finds himself astray from the “straight road” and deposited in a “dark wood”—has rarely felt as theatrically apt as it does in "The First Line of Dante’s Inferno," Kirk Lynn’s sly, searching, and disarmingly funny new experiment in staged storytelling. Lynn, a polymath of the American theater—playwright, novelist, screenwriter, educator, and guiding spirit of the Austin collective Rude Mechs—treats Dante’s premise less as a theological map than as a psychological condition. His forest is not an allegorical afterlife but a contemporary wilderness in which several souls, one quite literally at midlife, appear to have misplaced the coordinates of their former selves. [more]