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The Call e-bulletin

A co-production with Primary Stages

MARCH 22–MAY 26
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Those of you who saw Tanya Barfield’s Blue Door here in 2006 may be struck, when you read her Playwright’s Perspective, by a kind of shadow parallel between that play and Tanya’s description of the genesis of The Call.  Blue Door tells the story of a super-assimilated African American math professor who becomes increasingly haunted by specters from America’s and his own ancestral history.  The path that led Tanya to writeThe Call seems to have run in reverse.  She describes how her natural predisposition to write about African American history seemed to leave her as the specter of her own personal story began to call to her.  

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I did not want to write this play. I refused. Without realizing what I was doing, I pointedly and stubbornly refused. It wouldn’t make a good play, I thought. And I didn’t know how to write it. What I knew—what I was known for—were plays about the African-American experience through history.  I did not want to write a contemporary play, a play close to me, a play about adoption. 

And so I didn’t write.
And I didn’t write.
I didn’t write.
Anything.

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ABOUT THE PLAYWRIGHT, CAST, & DIRECTOR

Visit our show page to read more about The Call, including bios for Tanya Barfield, Leigh Silverman, and the cast!

THE CALL 


We live in an increasingly globalized civilization, evermore aware of the connections between our lives and the lives of our co-inhabitants on the planet, not only across political and geographic borders but also across time.  One can hardly consider any aspect of the modern world in isolation.  Watching the morning news, logging onto Facebook, strolling through supermarket aisles, we see everyday proof that the world is increasingly interlinked, a web of enmeshed connections, events and handshakes.  And as a result, not to sound too much like Yoko Ono or somebody, our cultural views are evolving to become less myopic, the experience of our lives becoming more tied to the experiences of people we’ve never met.    

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BACKSTORY: THE FORCES BEHIND THE GROUNDSWELL

“I remember being at the store and seeing Angelina on the cover of, I think it wasPeople magazine, and I said, ‘Oh my gosh! We can do this.’”
– Adoptive mother of Ethiopian child on “Good Morning America,” 2005

African adoption has been thrust into the international spotlight. The last seven years saw 41,000 African children adopted overseas, predominantly by French and American families. Those numbers stand in stark contrast to the larger global slump in transnational adoption. While intercountry adoption rates on the whole have plummeted to a fifteen year low, Africa has witnessed a threefold rise in foreign adoption. Celebrity publicity aside, what explains the sudden influx of Westerners adopting African children?

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MEET THE TEAM

During the run of The Flick, post-performance discussions with members of the creative team have been scheduled for the following dates:

Wednesday, March 27 with Tim Sanford, Artistic Director
Sunday, March 31 with Adam Greenfield, Director of New Play Development (following the matinee)
Tuesday, April 2 with Tim Sanford, Artistic Director
Thursday, April 28 with Andrew Leynse, Artistic Director, Primary Stages
Wednesday, April 24 with Michelle Bossy, Associate Artistic Director, Primary Stages

These discussions are an important aspect of our play development process. We hope you can take part!

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Playwrights Horizons Annual Gala

Heroines

A celebration honoring the Women Writers of Playwrights Horizons
& Leslie Marcus on her 20th Anniversary as Managing Director 

The event will be held on Monday, May 6, 2013 at the event space, 583 Park Avenue. Stefanie Kane, Partner at PricewaterhouseCoopers, is the Board Chair of the event.  A cocktail reception and silent auction will begin at 6pm and dinner and entertainment will begin at 7:30pm.

Each year, our achievements are commemorated with entertainment and warm conversation with celebrated artists, staff and our family of generous supporters.  The Gala is our largest annual fundraising event and net proceeds directly support our productions, numerous play workshops and programs.

For information about participating, please call Michelle Kiefel at (212) 564–1235  x3143 or email at mkiefel@phnyc.org.


The Lab Report

It’s a new year in the New Works Lab!  As we continued to read play submissions and contemplate potential productions for the 2013/14 season, we dove into several new development processes.  First up was a week-long workshop of Mr. Burns (a post-electric play) by Anne Washburn (The Internationalist), with music by Michael Friedman (Bloody Bloody Andrew Jackson) and directed by Steve Cosson of The Civilians.  This ambitious new play with music made its world premiere at Woolly Mammoth Theatre Company in Washington, D.C. this past summer, and the team was eager to revisit the play with the knowledge they’d gained from that experience.   The following week, playwright Lisa D’Amour and director Anne Kauffman—this season’s Detroit collaborators—gathered for a first read of D’Amour’s new play Cherokee.  Next up, we heard a reading of Ken Urban’s play A Future Perfect, directed by Stephen Brackett.  Finally, we rounded out the month of January by spending a week with the new musical Fly By Night by Will Connolly (performer, Once), Michael Mitnick (Sex Lives Of Our Parents) and Kim Rosenstock (Tigers Be Still).

NEW WORKS LAB


playwrights horizons thanks its leadership supporters of FAR FROM HEAVEN

Playwrights Horizons believes that Musical Theater is a uniquely American art form. In 1978, the organization established the first musical theater department in the country in a non-profit theater and officially added “composers and lyricists” into its mission statement.  Since then, Playwrights Horizons has produced a new musical virtually every season, demonstrating an unparalleled track record of developing and producing new musical work. 

Playwrights Horizons’ commitment to developing and producing new musical theater has required the visionary generosity of an evolving array of benefactors.  Leadership support for Far From Heaven has been provided by the following foundations and individuals.  Playwrights Horizons thanks them and the many others who are supporting this production. 

The Andrew W. Mellon Foundation
The Laurents / Hatcher Foundation 
Stacey & Eric Mindich Fund for New Musicals at Playwrights Horizons 
Daniel & Joanne Smith
Cathy & Stephen Weinroth
National Alliance for Musical Theatre

The World Premiere of Far From Heaven will run May 18–June 30, 2013. Book by Richard Greenberg, Music by Scott Frankel, Lyrics by Michael Korie, based on the Vulcan Productions motion picture written and directed by Todd Haynes, and Directed by Michael Greif.


helpful information

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MEMBER PRICES

Member tickets to The Call are $30 each for performances March 22–April 7 and $35 each for performances April 9–May 19.  YOUNG MEMBERS: 30&Under Member tickets are $20; Student Member tickets are $10.

Age appropriate?

We recommend The Call for those aged 12+. 

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