November 21–January 4

Tim Sanford on  Pocatello

The Great American Family play looms large in our theater history.  Some might argue it is its starting point: Long Day’s Journey into Night, Death of a Salesman, Awake and Sing. Arthur Miller’s seminal 1956 essay, “The Family in Modern Drama,” acknowledges this primacy. Yet the essay also observes that, even in 1956, the realistic American family play was beginning to encounter some resistance. Part of this resistance is stylistic, as evidenced by the poeticism of The Glass Menagerie or Our Town. But the resistance was also social. The notion of the ’50s nuclear family was already just a myth in the ’50s. The father figures in The Glass Menagerie or A Raisin in the Sun are long gone, and the offspring in Who’s Afraid of Virginia Woolf never arrives. By 1988, as if to amend his earlier essay, Miller observed in an interview, “Nowadays the family is broken up, and people don't live in the same place for very long.” However, the American drama still wrestles with the specter of family, even as its social and stylistic permutations become increasingly varied.



I grew up in a town in Idaho of about 20,000 people (big for Idaho, small for almost everywhere else). One hundred fifty years ago, my great-great grandfather was the first postmaster there, and 15 years ago, I was a cashier at the local Walmart, my first high school job.  My relationship to my hometown is just that—existing somewhere in the tension between small-town pride and parking-lot desolation. And this tension has been working its way into my writing ever since I left.



Visit our show page to read more about Pocatello including bios of the cast and creative team!


THE AMERICAN VOICE: There is no place like home

In October, 1929, W.K. Henderson, a wealthy Shreveport businessman who inherited his father’s company, got fed up with the rapid proliferation of chain stores in his hometown and went on air at the local radio station KWKH. “American people, wake up!,” he cried. We can whip these chain stores. We can whip the whole cock-eyed world when we are right... I know the chain store game. I’ll be your leader. I’ll whip hell out of them if you will support me. We can drive them out in thirty days if you people will stay out of their stores.”


Welcome season residents

The Playwrights Horizons Theatrical Residency Program trains the next generation of theater artists and administrators. Selected from among hundreds of qualified applicants spanning the country, ten Residents are placed in vital, season-long artistic and management positions.

Through this program, hundreds of aspiring arts professionals have received one-on-one mentorship within Playwrights Horizons’ offices and on its productions, developed marketable skills, and made valuable connections that launched their theatrical careers. Past residents include Sam Gold, who has helmed Playwrights Horizons’ productions of Circle Mirror Transformation, The Big Meal, and last season’s The Flick; Kim Rosenstock, co-writer of last season’s musical Fly By Night; Robert Lopez, Tony Award-winning composer and lyricist of Avenue Q and The Book of Mormon; and PH Artistic Director Tim Sanford!

Theatrical Residency Program participants receive a weekly stipend, monthly subway metrocards, and invitations to special events. The 2014/15 Playwrights Horizons Theatrical Residency Program is generously supported by the Tiger Baron Foundation, Con Edison, McGraw Hill Financial, and many generous individuals at the Spring 2014 Playwrights Horizons Gala.

This season, we are thrilled to welcome Bailey Jordan Koch (Casting); Ellen Kaveevittayakun (Costume); Erin Mizer (Development); Morgan Green and Ann Noling (Directing); Milo Cramer (Literary Management); Ankita Raturi (General Management); Maya Shah (Marketing); Melanie Bafitis (Musical Theater); and Lilly Deerwater and Joseph Fernandez, Jr. (Stage Management) to the Playwrights Horizons family.

We hope you will have the chance to meet each of our 2014/2015 Residents during your visits to 42nd Street! 

BACKSTORY: Thinking about idaho in estonia

In August, with rehearsals for Pocatello still a few months away, I spent a week with Sam Hunter on the Estonian island of Hiiumaa, where he was workshopping a new play at the Baltic Playwrights Conference. At the end of the week, on a bus back to the mainland ferry, Sam caught me up on what he’s been up to since The Whale played at PH in 2012, and how distance has informed his idea of home.


post-performance discussions

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

Monday, November 24
Sunday, November 30 (following matinee)

Thursday, December 4 

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

helpful information



Your ticket to POCATELLO (reg. $75) is $30 for performances Nov. 21–30 and Sunday eves thru Jan. 4; $35 for performances Dec. 1–Jan. 4 except Sunday eves.

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.

Age appropriate?

We recommend Pocatello for those aged 13+. 


Go to Plan Your Visit to find out more about directions, parking, and neighborhood discounts!