Paul Alexander is the author of four plays. Strangers in the Land of Canaan, directed by Rip Torn and produced by the Sanctuary Theatre Company, ran Off-Broadway and at The Actors Studio. Edge, the Outer-Critic-Circle-Award nominated one-woman play about Sylvia Plath starring Angelica Torn (now Page), was developed at The Actors Studio before it went on to be performed more than 400 times in four countries in cities that included London, Miami, Tampa Bay, Rochester, Los Angeles, Sydney, Melbourne, Adelaide, and Wellington, New Zealand. Two of his plays are new. Good Morning Heartache is a play with music about Billie Holiday. The Moons of Saturn is a family drama set in South around the time of the first presidential victory of Barack Obama. He is a member of the Dramatists Guild and the Playwrights and Directors Unit of The Actors Studio.

  PAST PRAISE FOR EDGE

“Played by Angelica Torn, the daughter of Geraldine Page and Rip Torn, [Sylvia Plath is] tough, witty and sarcastic, not the sort of woman who would take abuse lying down…. This woman, in Mr. Alexander's capable…hands, is no whiner; she's a realist with an attitude. A resurrected Sylvia Plath.”

                    — The New York Times  

“[The] showcase of a lifetime.”

— New York Times (second review)  

"Angelica Torn gives a devastating performance, Plath's mordant wit tumbling from her like she was Dorothy Parker on a particularly savage day…. Has the power to transport you into the poet’s mind…. [Torn] inhabits the role...completely."

  — Time Out London  

“Along with Diana, Princess of Wales, one of the most raked-over women of the 20th century is Sylvia Plath…. Angelica Torn [gives] a tremendous portrayal of the fiercely intelligent woman who was eventually pulverized by love…. The writer-director of Edge is Paul Alexander, whose absolute confidence with his material shines out from Plath’s very first line: ‘This is the last day of my life.’”

—The Evening Standard  

“You will not see a finer performance on the London stage or indeed any stage anywhere!”

 —The Lady Magazine, London  

“An honesty that recalls the dark fire of Plath’s best poems.”

 — Broadway.com  

“There were no tears, no bathos, and no whining from either actress or playwright, just a steely determination to prove Plath ‘a strong and resilient woman.’”

  — Variety  

"Powered by the fiercely luminous performance of Angelica Torn as Plath, Alexander's play paints a rich, complicated portrait of a brilliant poet."

              — The Miami Herald  

“In Paul Alexander's biographical solo show Edge, Angelica Torn portrays Plath on the final day of her tragically short life. It's easy to see why Torn was nominated for an Outer Critics Circle Award for outstanding solo performance…. Her Plath is no mewling victim but a fierce fighter determined to end her life on her own terms.”

                        — The Los Angeles Times  

“While the production is introspective and focused, it moves quickly; every silence and every change in light engrosses and intrigues, giving further insight into the workings of Plath’s mind.”

  — The Daily UCLA Bruin  

“Set on the day of Plath’s death, Edge begins with the haunting image of the writer sitting at her desk composing a suicide note. Few performers inhabit their characters with the intensity with which Angelica Torn plays Sylvia Plath…. [Her] mesmerizing portrayal brings to mind her mother, Geraldine Page. Paul Alexander's one-woman show provides this superb actress with a galvanizing showcase as the poet who ended her life at age 30.”

— The New York Post  

"Angelica Torn plays Plath as sexy, brittle, laceratingly funny.... It's a performance not to be missed."

  — Michael Riedel, New York Post  

“Angelica Torn…gives a virtuoso performance…gripping acting.”

— British Theatre Guide  

“In the course of two hours, Angelica Torn conveys all the fire and brimstone beneath Plath’s façade…. By the time Plath died, Torn’s sterling performance tells us, she had become the daddy she loved and feared: a strict, angry, unforgiving ghost.”

 —  Hilton Als, The New Yorker