Play
The play debuted off Broadway April 14, 2001, at the Joseph Papp Theater in New York City. It was directed by Loretta Greco, produced by George C. Wolfe, and executive produced by Fran Reiter. Rosemarie Tichler was the artistic producer.
The play is a montage of reminiscences, memories, testimonials and roman a clefs of "Miss Rachel," or Nanny, as the young Ruben Santiago, Jr. calls her. Largely abandoned by his parents, Ruben finds that Nanny becomes his surrogate family. Various incidents in Ruben's and Nanny's life are portrayed, with a large cast of quirky minor characters—friends, boarders, family members, visitors, relatives, and so on—providing commentary on Nanny's strength of character, intelligence, and morality.
The play included several songs, either sung by the characters in the play or as ambient music heard via a radio or through a window. Bill Sims Jr. provided the original music, as well as performing on-stage acoustic guitar for the play.
Lackawanna Blues is intended to be a one-man show. The actor narrating the play (an adult Ruben) was intended to portray more than 20 other characters, as well as the starring role of the young Ruben.
The play was very well received. The New York Times called it a "tour de force." Playwright Ruben Santiago-Hudson won an OBIE special citation for Lackawanna Blues, while Bill Sims, Jr. won an OBIE for his music.
Read more about this topic: Lackawanna Blues
Famous quotes containing the word play:
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . today’s children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)
“There has been in our time a lack of reliance on language and a lack of experimentation which are frightening to anyone who sees them as symptoms. We know the phenomenon of stage-fright: it holds the player shivering, incapable of speech or action. Perhaps there is an audience-fright which the play can feel, which leaves him with these incapacities.”
—Muriel Rukeyser (1913–1980)