The next great American play. A father decides to leave his family on the eve of his wife's giving birth to twins. His preteen daughter mutates herself in order to please him and keep him close. The twins begin to have varying opinions about whether it's safe to leave the womb, and their mother is left with the hard task of holding everything together. A stunning, imaginative examination of the changing nature of the American family, suffused with magical realism and hints of Thornton Wilder's Our Town used in fresh new ways.
Seeing this play in Chicago two years ago pushed all my buttons - moved me emotionally, challenged me intellectually, made me laugh, cry, and awed me with its insanely imaginative examination of the changing nature of the American family. A bold, ambitious, but still very human work for our times, this is my favorite new play of the decade.
Magical realism collides with manic vaudeville in this family drama with a chewy metaphysical core by Noah Haidle, one of our most exciting and daring young playwrights. With a glancing nod to Our Town, a man named Footnote acts as guide. The Twins swap philosophy while awaiting their birth. Daughter Beauty eats dirt and doesn't speak, and Father is about to drive away and never return, leaving pregnant and dreamy mother Violet alone to live out her father’s notion that “every love story is a tragedy, because its ending is built into its beginning.” Whipping from astonishing tenderness to profound humor and back again, this wholly original play uncovers the extraordinary family connections that stretch and warp across the years but can never quite be broken. Smokefall’s award-winning Chicago premiere, directed by Anne Kauffmann, was followed by its off-Broadway premiere in 2015, also directed by Kauffmann and starring Zachary Quinto and Robin Tunney, in highly praised performances.