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Phillip James Brannon, Jessica Frances Dukes, Benja Kay Thomas, Lance Coadie Williams. Photo by Joan Marcus.

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Jesse Pennington and Phillip James Brannon. Photo by Joan Marcus.

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Lance Coadie Williams. Photo by Joan Marcus.

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Benja Kay Thomas, Jesse Pennington, Jessica Frances Dukes. Photo by Joan Marcus.

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Writer/Director Robert O'Hara. Photo by Zack DeZon.

Bootycandy


Mainstage Theater

Written and directed by   Robert O'Hara

NEW YORK PREMIERE

Sutter is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms and even nursing homes. A kaleidoscope of sketches that interconnect to portray growing up gay and black, Robert O’Hara’s subversive, uproarious satire crashes headlong into the murky terrain of pain and pleasure and... BOOTYCANDY.

Suggested for ages 17+.

FEATURING
Phillip James Brannon
Jessica Frances Dukes
Jesse Pennington
Benja Kay Thomas
Lance Coadie Williams

Scenic and Costume Design  Clint Ramos
Lighting Design  Japhy Weideman
Sound Design  Lindsay Jones
Projection Design  Aaron Rhyne
Hair and Makeup Design  Dave Bova
Production Stage Manager  Marisa Levy

Reviews

More Reviews

Trailer

Bootycandy Trailer

It's "big, bold, searing, and sensationally funny" (NY Times)—it's Bootycandy. Robert O'Hara has written/directed a fearless show that's taken New York by storm.

Trailer

Behind the Booty

If you think the Bootycandy cast is outrageous on stage, wait until you see what goes on BEHIND the booty.

Trailer

Scene from Bootycandy

What does "bootycandy" really mean? Find out in this excerpt of the opening scene to Robert O'Hara's "sassy and saucy" (NY Post) hit show.

Interview

Bootycandy Symposium

Bootycandy Symposium, where the writer asks the questions. Moderated by Robert O'Hara, featuring Carmen Neely, Billy Porter, and Yoruba Richen. Fast forward to 8:40 for the beginning of the panel.

Watch live streaming video from newplay at livestream.com

Essay

Tim Sanford on Bootycandy

Robert O’Hara is not widely known as a playwright in New York. He has worked more often as a director. He has had one notable production of a play at the Public and several productions regionally, particularly at the Woolly Mammoth in DC. But as I’ve tracked his work in its various incarnations, including several readings over the years at Playwrights Horizons, I’ve come to admire him as one of the most adventurous playwrights I know.

Playwrights' Perspective

Robert O'Hara on Bootycandy

My grandmother, Lizzie Bee O'Hara, was known by various names to various people for as long as she was in my life: Bee, Aunt Bee, Lizzie, Lizzie Bee, Mrs. O'Hara, Granny, Sister, Grandmama, Mama. (And a whole host of other names whenever she and my Grandfather cussed each other out. On a daily basis.) They had thirteen children, twelve of whom lived. Granny once told me that she delivered her twins herself “’Cause the fire truck didn’t get here on time.” My mother, Lillie Anne, was her third child and the first girl, and she had me when she was seventeen. Recently, she told me that I was a virgin birth. When I asked her what that meant, she said she didn’t understand how I got here because it was her first time, she was a virgin when she got pregnant with me, and she and my father “really didn’t do nothin’.”

Essay

Gay Questions, Black Answers

Surrounding the premiere of Bootycandy at Woolly Mammoth, Robert O’Hara spoke to D.C.’s MetroWeekly about studying theater at Columbia: “At the end of my first semester, at my evaluation, the Chair looked at me and said, ‘Your teachers think you’re a little bit too focused on African-American and gay issues.’ We’re sitting in Harlem. I’m the only black student in the department. I’m the only gay student in the directing program. And you’re going to tell me that I’m too focused on African-American issues and gay issues?”

Interview

Dance!!! Dance!!! Dance!!!

As Robert O’Hara’s outrageous episodic odyssey follows its young gay protagonist, Michael Jackson receives more than one passing but reverent shout-out. I spoke with the playwright about his relationship to the King of Pop, and why his presence suffuses O’Hara’s delightfully subversive Bootycandy.