The brilliant, powerful and deeply moving play that marked the author’s triumphant return to Broadway. The play examines with compassion, humor and rare insight, the relationship of two long-estranged brothers who meet after many years to dispose of their late father’s belongings.
Picking up a year after the ending of Arlene Hutton’s critically acclaimed Last Train to Nibroc, this tender and funny sequel follows May and Raleigh through the end of World War II and introduces the characters of their two mothers-in-law. A medical condition keeps Raleigh from military service, and he is forced to sit idly on the porch, watching the cars drive by, as May supports them both as a high-school principal. Faced with daily rejection letters for his writing, constant criticism from his mother and taunts of cowardice from townspeople, Raleigh fights to find meaning in his new life. When tragedy strikes the family and May loses her job to returning soldiers, she discovers she must make an unimaginable sacrifice to save her relationship with Raleigh. This tender portrayal of married life, set against the backdrop of World War II, shows the best of the human spirit and its ability to overcome any and all obstacles. The second play of a trilogy, and the recipient of the MacLean Foundation’s “In the Spirit of America” Award, SEE ROCK CITY stands alone as a very funny, touching and universal portrayal of a young couple very much in love.
In Steven Dietz’s clever, fierce and heartbreaking tribute to The Seagull, Chekhov’s star-crossed lovers meet over and over again. In forty-three variations on their famous final scene, the young actress Nina and the young writer Treplev pit their vibrant wit and uprising passions against one another in a fast-paced tour de force of romantic entanglement. In scene after scene, they try to say all the things that were never said, but may have been thought, in Chekhov’s original. And by finally speaking their minds, they allow for the possibility that they might find to each other in the end.
Boston Marriage is set in a late Victorian Boston drawing room, the scene of much backbiting wit from Anna and Claire. Anna is being kept by a married man, but she prefers the company of women. Claire, Anna’s lover, has become infatuated with a much younger woman whom she hopes Anna will help her seduce. Anna’s lover has given her a fabulous emerald which actually belongs to the mother of Claire’s inamorata. Financial and moral scandal ensues, through which Anna forces Claire’s loyalty to her. Mamet’s play gives us his trademark blunt language and scheming characters, set rather unusually among the Victorian female intellectual set.
Edward and Alice have been married for thirty-three years. Their thirty-year-old son, Jamie, visits them for the weekend, to find that this is the Sunday his father has picked to leave his mother for another woman. Jamie, unable to change his father’s mind, watches helplessly as his parents’ marriage crumbles, and his mother is overwhelmed with bewilderment and pain. This is a play without villains—both Edward and Alice are good people trying to do their best—but the damage done by Edward’s departure is devastating. Jamie, caught in the middle, tries to help and can’t, and slowly realizes that he’s not an impartial witness but one of the combatants. His struggle is to understand both his parents and, like them, to survive the emotional hurricane that has ripped through their lives.