The stage is one of the very few places where Joyce Carol Oates’s reputation as a master stylist has suffered a few bruises. Not from lack of effort: The dizzyingly prolific Ms. Oates has written enough adaptations of her own fiction (“Black Water”) as well as original works to fill a few anthologies. Still, for a woman whose name routinely surfaces during Nobel Prize speculation, Ms. Oates the playwright has typically met with responses ranging from tepid encouragement to benign neglect.