School is in session! Manhattan Theatre Club brings Jonathan Spector’s play Eureka Day, directed by Anna D. Shapiro, to Broadway.
What's it all about? Eureka Day is a private California elementary school with a Board of Directors that values inclusion above all else – that is, until an outbreak of the mumps forces everyone in the community to reconsider the school’s liberal vaccine policy. As cases rise, the board realizes with horror that they’ve got to do what they swore they never would: make a choice that won’t please absolutely everybody.
Despite its familiar subject matter, Spector has explained that he wrote the play long before the COVID pandemic.
Before Broadway, the comedy had its world premiere at Aurora Theatre Company in Berkeley, California as part of their 2017-2018 season and was commissioned through their Originate+Generate program. It went on to have its east coast premiere off-Broadway at Walkerspace in 2019, and opened at the Old Vic in London in 2022. It arrives on Broadway with an all new cast.
Meanwhile, the board, for their part, seems far more worried about the financial health of the school than the physical health of their students, or in the case of Suzanne, furthering her own personal agenda. (Hecht’s brilliant delivery of a small monologue explaining her “reasoning” is heartbreaking and slightly terrifying.) But here’s the biggest problem of all: as Covid still looms, the concept of people resisting and refusing vaccines isn’t likely to engender much sympathy in New York theatergoers (many of whom have started to wear masks again). Worse yet, with the prospect of vaccine-denier Robert F. Kennedy Jr. becoming the next secretary of the Department of Health and Human Services – and asking the FDA to revoke approval of the polio vaccine – the issue no longer feels fit for satire. Ultimately, even in a better production than this one, the day to produce “Eureka Day” has passed.
But neither the dialogue, characterizations, nor plot elements, the latter including the revelation of an affair between Eli and Meiko, have the crisp sharpness of, say, Yasmina Reza’s God of Carnage, which similarly lampooned parental conflicts. The 100-minute evening feels longer than it is thanks to the sluggish pacing and frequent repetition. There is the occasional powerful moment, most notably a monologue by Suzanne in which she reveals the tragic backstory behind her opposition to vaccination. But too much of the play is dependent on such tired cliches as the “artisanal scones” which help the board members get through the long meetings in which decisions are made not by majority vote but consensus. Still, Eureka Day deserves praise for its comic treatment of the sort of contemporary social issues not often paid attention to on Broadway, the fine performances by its ensemble (Irwin deserves special credit for tamping down his usual comic persona), and that amazingly funny livestream sequence that will prevent you from ever sitting through a similar one with a straight face ever again.
| 2024 | Broadway |
MTC Original Broadway Production Broadway |
| Year | Ceremony | Category | Nominee |
|---|---|---|---|
| 2025 | Drama League Awards | DISTINGUISHED PERFORMANCE | Amber Gray |
| 2025 | Drama League Awards | OUTSTANDING DIRECTION OF A PLAY | Anna D. Shapiro |
| 2025 | Tony Awards | Best Performance by an Actress in a Featured Role in a Play | Jessica Hecht |
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