Unless they're by Pinter or Beckett, playlets rarely get a look-in on our main stages. It doesn't have to be this way. Festivals and double bills are simple solutions to the argument that short plays aren't commercially viable or value for money unless they star Michael Gambon or Harold Pinter, yet such events are relatively uncommon.More from Maxie Szalwinska on The Guardian Theatre blog.
The truly short play is in danger of becoming a neglected form. Still seen as inferior and limiting, it's not afforded the kudos of, say, the short story. I'm not arguing against large-scale work or the admirable monsterist movement, just against losing the art of brevity, of finding the epic in the miniature and of making every word count.