Playwrights Horizons: Jordan Harrison’s Doris to Darlene, Lucas Hnath’s The Christians. Broadway: Sarah Ruhl’s In the Next Room, or the vibrator play. Other Off- Broadway: Anne Washburn’s 10 out of 12 (Soho Rep.), Charles Mee’s The Glory of the World (BAM), Sarah Ruhl’s Eurydice (Second Stage). Regional: Berkeley Rep, Steppenwolf, Goodman, Arena Stage, La Jolla Playhouse, A.R.T., Mark Taper Forum, American Conservatory Theatre, Actors Theatre Of Louisville (Artistic Director since 2012). Awards: Edinburgh Fringe First, Bay Area Theatre Critic, Drama- Logue, Obie Award for Big Love.
(As of 8/09/17)
A sweet spot for Sarah Ruhl. Pairing philosophical daring and surreal tenderness.
—Jesse Green, The New York Times
Another role for the legendary Kathleen Chalfant to inhabit with gusto and intelligence.
I wrote 'For Peter Pan on her 70th birthday' as a gift for my mother (for her seventieth birthday). My mother grew up playing Peter Pan in Davenport, Iowa. As a child I looked at pictures scattered around my grandparents’ house of my mother wearing green tights and flying.
Commentators have long noted the dark undercurrents of Peter Pan: the boy who wouldn’t grow up, whose shadow is cut from his body, the island of lost boys, the Freudian pairing of Father with Dr. Hook, the death and resurrection of Tinkerbell. Of course these dark elements are more than matched by Peter Pan’s underlying quest for transfiguration.
When he first flew into the bedroom of the sleeping Darling children in 1904, Peter Pan made an entrance not just onto the stage of London’s Duke of York Theatre but, indelibly, into the popular imagination. In conceiving this “Boy Who Would Not Grow Up,” J.M. Barrie invented a new myth, one that’s permeated our cultural psyche.