Ten Questions I’d Like to Ask Lisa D’Amour:

1) Why did you title your play “Detroit,” then set it in the suburbs?

2) Why did you feel it was okay to do this when you clearly know little to nothing about Detroit or its suburbs?

3) Where in Detroit did you find the roads I-694 and I-295?

4)  Have you ever been to Detroit?

5) If you’re trying to explore ideas such as the American Dream vs. the American reality during the Recession, and you choose to do it through the lens of the city most iconic for post-industrial destitution, isn’t it incumbent upon you to do your work as a playwright and research that city?

6) Where in suburban Detroit have you ever met people who somehow manage to work so hard at keeping up with the Joneses while wearing their damages like designer brands for all their neighbors to see?

7)  Why do your characters speak their subtext and your message to the point they seem like caricatures?

8)  Why do you undercut your play’s most genuine moment of ruin  and abandonment—indeed, its entire climax—with an act so hollowly symbolic of such a moment?

9) Why are you committing dramaturgical faux pas that would get you pilloried even in your most basic undergraduate writing workshop?

10) Why was “Detroit” a finalist for the Pulitzer?