Slave Play

by Jeremy O. Harris

Overview

“The single most daring thing I’ve seen in a theater in a long time.” — Wesley Morris, New York Times

The Old South lives on at the MacGregor Plantation—in the breeze, in the cotton fields…and in the crack of the whip. Nothing is as it seems, and yet everything is as it seems. Slave Play rips apart history to shed new light on the nexus of race, gender, and sexuality in twenty-first-century America.

Product Details

ISBN-13:	9781559369343
Publisher:	Theatre Communications Group
Publication date:	02/11/2020
Sold by:	Barnes & Noble
Format:	eBook
File size:	2 MB

About the Author

Jeremy O. Harris's plays include Slave Play (New York Theatre Workshop, NYT Critics Pick, Winner of the 2018 Kennedy Center Rosa Parks Playwriting Award, the Lorraine Hansberry Playwriting Award, and The Lotos Foundation Prize in the Arts and Sciences), “DADDY” (Vineyard Theatre/The New Group), Xander Xyst, Dragon: 1, and WATER SPORTS; or insignificant white boys (published by 53rd State Press). His work has been presented or developed by Pieterspace, JACK, Ars Nova, The New Group, NYTW, Performance Space New York and Playwrights Horizons. In 2018, Harris co-wrote A24’s upcoming film Zola with director Janicza Bravo. He is the 11th recipient of the Vineyard Theatre’s Paula Vogel Playwrighting Award, a 2016 MacDowell Colony Fellow, an Orchard Project Greenhouse artist, a resident playwright with Colt Coeur, and is under commission from Lincoln Center Theater and Playwrights Horizons. Jeremy is a graduate of the Yale MFA Playwrighting Program.

Editorial Reviews

"[A] willfully provocative, gaudily transgressive and altogether staggering new play." ―New York Times  
 
"Supercharged, fearsome, and terribly funny." ―Sara Holdren, New York  
 
"This wildly imaginative work asserts itself with a daringness rarely seen on our stages these days." ―Hollywood Reporter  
 
"This is a demanding play, and one of the things that it demands is the audience's discomfort. But that discomfort is productive ― and in the end, it brings its own satisfactions. It creates a space in which the messiness and rawness of race and power and fantasy and trauma can unspool into a chaotic churn of impressions." ―Vox  
 
"Jeremy O. Harris is the theater world's vital new voice."―Raven Smith, GQ  
 
"Slave Play is funny, probing and, at times, disturbingly sexy...it asks a lot of its spectators, and has a lot to give in return."―Adam Feldman, Time Out New York  
 
"Uncomfortably funny and gruesomely sexy." ―Vinson Cunningham, New Yorker  
 
"The most radical Broadway play in years. A shot across the bow of the Great White Way."―Chris Jones, Chicago Tribune  
 
"Slave Play offers some of the most stunning theatricality of the year."―Peter Marks, Washington Post 

From the Publisher

"Uncomfortably funny and gruesomely sexy."

New Yorker - Vinson Cunningham

"This wildly imaginative work asserts itself with a daringness rarely seen on our stages these days."

Hollywood Reporter

"Supercharged, fearsome, and terribly funny."

New York - Sara Holdren

"[A] willfully provocative, gaudily transgressive and altogether staggering new play."

New York Times

"The most radical Broadway play in years. A shot across the bow of the Great White Way."

Chicago Tribune - Chris Jones

"This is a demanding play, and one of the things that it demands is the audience's discomfort. But that discomfort is productive — and in the end, it brings its own satisfactions. It creates a space in which the messiness and rawness of race and power and fantasy and trauma can unspool into a chaotic churn of impressions."

Vox

"Slave Play is funny, probing and, at times, disturbingly sexy...it asks a lot of its spectators, and has a lot to give in return."

Time Out New York - Adam Feldman

"Slave Play offers some of the most stunning theatricality of the year."

Peter Marks

"Jeremy O. Harris is the theater world's vital new voice."

GQ - Raven Smith

"There's delicious danger in truly not knowing what might happen next, and Slave Play is all about that collision between what’s terrifying and what’s tantalizing."

New York Magazine