March 20–may 10
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Tim Sanford on IOWA
The formal zaniness of Iowa, from its footloose characterizations, to the playful quicksilver of its language and its loosey-goosey narrative, bears a passing resemblance to work sometimes described as “Theater of the Absurd.” Yet, while it is true that Iowa certainly runs giddily away from the clanking chains of realism, it takes no measure of the meaninglessness of reality. It takes delight in its over-the-top characters and finds them as fascinating as they are confounding. These include Sandy, a motor-mouthed, scattered single mom who has found a fiancé on Facebook, a singing pony, a made-over Nancy Drew who comes in four different races, and a janitor named Jesus; but at its root, Iowa is a sweet coming-of-age story of Becca, a teenage girl trying to survive high school and a spectacularly daffy mother.
IN CONVERSATION WITH TODD ALMOND AND JENNY SCHWARTZ
Jenny Schwartz: Which character in Iowa do you relate to most?
Todd Almond: Hmm...
JS: If it’s too hard of a question you can say pass.
ABOUT THE PLAYWRIGHT/DIRECTOR
Visit our show page to read more about Iowa including bios of the cast and creative team!
BACKSTORY: A MUSICAL SPECIES
In his seminal 2007 book Musicophilia, neurologist Oliver Sacks describes humans’ relationship with music in very powerful terms. “Music can move us to the heights or depths of emotion. It can persuade us to buy something, or remind us of our first date. It can lift us out of depression when nothing else can. It can get us dancing to its beat. But the power of music goes much, much further. Indeed, music occupies more areas of our brain than language does–humans are a musical species.” Sacks goes onto say that as much as humans communicate through language, they communicate through music. Certainly this will come as no surprise to Jenny Schwartz and Todd Almond whose piece Iowa embodies this idea both literally and figuratively.
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EXCITING NEWS FROM THE ARTISTIC DEPARTMENT
Adam Greenfield is no stranger to our audiences – you’ll recognize him from our symposium events, artist interviews and his regular “American Voice” piece in each bulletin. Now, after more than eight years at Playwrights Horizons, we’re excited to announce that he’s been promoted to Associate Artistic Director.
“Since joining Playwrights Horizons in 2007, Adam has opened doors to a wealth of new writers,” says Artistic Director Tim Sanford. “Under his leadership, the literary department has expanded and tailored its development efforts in ways that are so rarely seen by the public, but which are always attentive to the particular needs of individual writers. His engagement with new work is fervent, discerning and positive, and writers adore him because of his palpable love for his work and his fierce advocacy of their efforts. By promoting him to Associate Artistic Director, we acknowledge his extraordinary contributions to our organization and open the door for him to make an even greater impact in the future. He is a consummate artist and an extraordinary colleague, and I look forward to working with him more closely than ever before.”
Adam adds, “I’m deeply moved by the invitation to extend my relationship with a company and Artistic Director who I consider unparalleled in their life-long commitment to writers and their work. We’re in the middle of a great era in American playwriting. I’m grateful for the chance to spread the word, and I feel incredibly lucky to have found a home at Playwrights Horizons to do so, in the company of so many wonderful, indelible artists and audience members, and such lovely colleagues.”
We’re also thrilled to share that Sarah Lunnie has been promoted to the position of Literary Manager.
During the run of Iowa, post-performance discussions with the creative team have been scheduled for the following dates:
Wednesday, March 25
Sunday, March 29 (following the matinee)
Friday, April 3
These discussions are an important aspect of our play development process. We hope you can take part!
AN EXCERPT FROM GOD'S EAR BY JENNY SCHWARTZ
Jenny Schwartz’s 2007 play God’s Ear floored audiences nationally and internationally, establishing her place among the most innovative and virtuosic writers in the contemporary landscape. The story of how the death of a son shatters a marriage, this haunting, funny play manages to turn language into a spectacle, a reward unto itself, while also accessing the sharp yearning in the hearts of a family coping with loss. In this scene, Ted is on an extended business tripaway from his wife, Mel.
Your ticket to IOWA (reg. $60) is $30 for performances March 20–April 5, and $35 for performances April 6–May 10.
30&Under Member tickets are $20; Student Member tickets are $10.
SUBSCRIBERS: Order guest tickets for $45 each when you reserve your own.
FLEXPASS HOLDERS: FlexPass holders may use tickets in your account to bring guests. Add tickets to your account by calling Ticket Central (Noon-8pm daily) at (212) 279-4200. Restrictions apply.
MEMBERS: Order one guest ticket per package per production for $50 when you reserve your own.
YOUNG MEMBERS: One guest ticket may be purchased per production for $35.
We recommend Iowa for those aged 12+.
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