In the following excerpt from a work originally published in German in 1961, Papajewski examines Our Town in the context of an American literary tradition focused on small-town life. Papajewski explores Wilder's adaptation of this literary archetype to theatrical production in Our Town.

In the following essay, originally published in 1956, Fergusson compares the use of allegory by Thornton Wilder, Bertolt Brecht, and T. S. Eliot, focusing especially on Wilder's Our Town and The Skin of Our Teeth.

In the following essay, Cardullo asserts that, despite its outward display of experimental theatrical technique, Our Town fails to question or challenge traditional values regarding family, nation, and religion.

In the following essay, originally published in Modern Drama in February 1959, Stephens argues against characterizing Our Town as a tragedy and concludes that the play's popularity is due to its folksiness and appeal to nostalgia.

In the following essay, Haberman examines the legacy of Our Town to modern theater.

In the following essay, originally published in 1971, the authors interpret Our Town as a sentimental comedy, loosely constructed, superficially philosophical, and deficient in its characterization.

In the following essay, originally published in 1956, Ballet asserts that Our Town is a “modern American Tragedy,” following a tradition that stretches back to Sophocles' Oedipus Rex.

In the following essay, originally published in 1965, Goldstein asserts that the universal appeal of Our Town may be attributed in part to the common, everyday settings, characters, and events depicted in the play.

In the following essay, originally published in 1961, Scott asserts that the tone of understatement in Our Town contributes to its universal appeal.

In the following essay, originally published in 1968, Austell examines Wilder's creation of ordinary, typical characters in Our Town as a means of expressing universal experiences and values and exploring fundamental truths about human life.

In the following essay, originally published in 1967, Haberman analyzes Our Town as an allegorical work in the manner of the medieval morality play Everyman.

In the following essay, D'Ambrosio explores the timeless, universal theme of “man's failure to appreciate life” as expressed in Our Town. D'Ambrosio concludes that this “prophetic” play continues to be relevant to today's youth and is important for teachers to introduce to their students.

In the following interview, originally published in the New York Times on 13 August 1939, Wilder discusses the initial reception of Our Town by rural audiences, as well as his own experiences performing the role of the Stage Manager.

In the following review of the Washington, D.C., Arena Stage production of Our Town, Erstein praises Wilder's play for its wisdom and humor, and applauds this production for bringing out the darker, bolder elements of the play.

In the following review of the Fullerton College production of Our Town at the Bronwyn Dodson Theatre, McCulloh praises Wilder's script as insightful, powerful, affectionate, and poignant.

In the following review of the Williamstown Theater Festival production of Our Town at Williams College, Johnson describes Wilder's play as an essential American play that has endured the test of time. He criticizes this production, however, for undermining the strengths of the play through poor acting.

In the following review of the A Noise Within production of Our Town at the Glendale Masonic Temple in Glendale, California, McCulloh praises it as an enduring American play that expresses timeless and universal ideas. McCulloh further applauds the casting of a woman as the Stage Manager, a role traditionally played by a man.