Together, playwright David Lindsay-Abaire and MTC have brought four outstanding new plays to the New York stage. Their most recent collaboration, RABBIT HOLE, earned Lindsay-Abaire the Pulitzer Prize for Drama. Now, he returns to MTC, along with RABBIT HOLE director and Tony Award® winner Daniel Sullivan, to premiere his newest work, the timely and powerful GOOD PEOPLE.
Welcome to Southie, a Boston neighborhood where a night on the town means a few rounds of bingo… where this month’s paycheck covers last month’s bills… and where Margie Walsh has just been let go from yet another job. Facing eviction and scrambling to catch a break, Margie thinks an old fling who has made it out of Southie might be her ticket to a fresh new start. But is this apparently self-made man secure enough to face his humble beginnings? Margie is about to risk what little she has left to find out.
With his signature humorous glow, Lindsay-Abaire explores the struggles, shifting loyalties and unshakeable hopes that come with having next to nothing in America.
Following up on his masterful work earlier this season on The Merchant of Venice, Sullivan connects to the heart of each of the play's six pithy scenes in his brisk, no-nonsense direction. His scene changes are a marvel of economy, accompanied by bursts of Pogues-style Irish jigs as the masking shrinks into an iris and reopens on a new setting. One such transition -- in which designer John Lee Beatty's chic, spacious living room for Mike and Kate gives way to the shabby walls and overhead crucifix of a church hall on bingo night -- is a gorgeous stroke of stage magic that speaks volumes. The same goes for every aspect of this terrific play in what must surely be its ideal production.
If 'Good People' isn't a hit for Manhattan Theater Club, there is no justice in the land. David Lindsay-Abaire pays his respects to his old South Boston neighborhood with this tough and tender play about the insurmountable class divide between those who make it out of this blue-collar Irish neighborhood and those who find themselves left behind. The scrappy characters have tremendous appeal, and the moral dilemma they grapple with -- is it strength of character or just a few lucky breaks that determines a person's fate? -- holds special significance in today's harsh economic climate.
2011 | Broadway |
Manhattan Theatre Club Production Broadway |
2014 | West End |
West End Transfer West End |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2011 | Drama Desk Awards | Outstanding Actress in a Play | Frances McDormand |
2011 | Drama Desk Awards | Outstanding Play | David Lindsay-Abaire |
2011 | New York Drama Critics Circle Awards | Best Play | 0 |
2011 | Outer Critics Circle Awards | Outstanding Actress in a Play | Frances McDormand |
2011 | Outer Critics Circle Awards | Outstanding Director of a Play | Daniel Sullivan |
2011 | Outer Critics Circle Awards | Outstanding Featured Actress in a Play | Estelle Parsons |
2011 | Outer Critics Circle Awards | Outstanding Featured Actress in a Play | Renee Elise |
2011 | Outer Critics Circle Awards | Outstanding New Broadway Play | 0 |
2011 | Tony Awards | Best Performance by an Actress in a Leading Role in a Play | Frances McDormand |
2011 | Tony Awards | Best Play | David Lindsay-Abaire |
2011 | Tony Awards | Best Play | Manhattan Theatre Club |
2011 | Tony Awards | Best Play | Lynne Meadow |
2011 | Tony Awards | Best Play | Barry Grove |
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