Lucas Hnath received a 2017 Tony Award nomination for Best Play with A Doll’s House, Part 2. Hnath’s other plays include Red Speedo, The Christians, A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, Isaac’s Eye, and Death Tax. He has been produced on Broadway at the John Golden Theatre, Off-Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, and Ensemble Studio Theatre. His plays have also been premiered at the Humana Festival of New Plays, Victory Gardens, and South Coast Repertory. He is a New York Theatre Workshop Usual Suspect, a member of Ensemble Studio Theatre, and an alumnus of New Dramatists. Awards: Whiting Award, Guggenheim Fellowship, Kesselring Prize, Outer Critics Circle Award for Best New Play, Obie Award for Playwriting, Steinberg Playwright Award, and the Windham-Campbell Literary Prize.
(Updated Mar 2019)
Critics' Pick. THE FIRST IMPORTANT NEW PLAY OF THE FALL SEASON. Ingeniously staged by Les Waters, this terrific play about the mystery of faith by Lucas Hnath — one of the freshest playwriting voices to emerge in the past five years — is MESMERIZING.
—Charles Isherwood, The New York Times
DEEPLY AFFECTING. EMOTIONALLY DEVASTATING. A white-knuckled drama about a theological battle. This is a production we can believe in.
Tim Sanford: What were your early influences that pushed you into becoming an artist and a playwright?
Lucas Hnath: I think it came in part from growing up in Orlando so close to Disney World, which is an incredibly theatrical place. In a lot of ways my interest in theater and in art started there. I really wanted to make Disney rides when I was a kid.
The Christians Symposium — where the playwright asks the questions. Moderated by Lucas Hnath, featuring a panel with Lesley Hazleton, Mark Schultz, and Reverend Ann Kansfield. To avoid skipping errors in the beginning of the video, skip ahead to 2:12.
When I was younger, I was supposed to be a preacher, but I decided it would be too much responsibility. I didn't want to worry about other peoples’ souls. I switched to pre-med. I didn't want to worry about other peoples’ bodies. And so, I switched to playwriting.
Lucas Hnath has described ‘The Christians’ as his “big little play about faith in America.” When I first encountered it in its premiere production at the Humana Festival in Louisville, it seemed unequivocally big to me. I saw mainly the broad, timely thematic conflict that ensues when the pastor of an evangelical, Bible-literalist church preaches a game-changing sermon.
Three summers ago, Lucas Hnath sent me an email at Actors Theatre of Louisville, where I used to be the literary manager, with a Word document attached. “Well gosh,” his message began, “this was kind of fun. I went through my list of notes and organized it and turned my shorthand into complete sentences. So here are 17 ideas for plays.” (“There were even more that I didn’t include,” he added.)
Over time, words change meaning, and language evolves just like everything else. Back in the day, for instance, if your son was a “determined bachelor,” you’d be proud of his knighthood, and if he brought home his broke, underage girlfriend to meet you, you could call her a “naughty wench” without ruining Christmas. “Sick” was ill, and so was “ill”; “thongs” were flip-flops, “bad” was bad, and a “gay marriage” wasn’t anything to argue about. And whether you consider the evolution of language a science, a history lesson, or a damn shame, it's an insight to the evolution of how we think.